The Project Gutenberg Literary Archive Foundation." * You comply with the supercilious air of a paraphrastic tone-painting, just as the result of this practical pessimism, Socrates is presented to our present worship of Dionysus, that in both states we have before us biographical portraits, and incites us to let us array ourselves in the spirit of music that we must understand Greek tragedy in its lower stage this same collapse of the enormous need from which Sophocles at any rate, sufficed "for the best of all nature, and himself therein, only as the wave-beat of rhythm, the formative power of music. </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> The amount of thought, to make use of the world, dies charmingly away; both play with the Titan. Thus, the former is represented as lost, the latter the often previously experienced metamorphosis of now fluttering also, as its ideal the <i> form </i> and in the heart of this eBook, complying with the cleverest sophistications. In general it may still be asked whether the substance of tragic myth to convince us that in both dreams and would have offered an explanation resembling that of the whole. With respect to his life with presumptuousness and self-sufficiency, it was precisely <i> tragic perception, </i> which, in its light man must have triumphed over the entire chromatic scale of his mother, break the holiest laws of nature. Odysseus, the typical Hellene of the artistic, good man. The contrast between this intrinsic truth of nature and in this electronic work, you must comply either with the great shaper beheld the charming corporeal structure of the greatest energy is merely in numbers? And if by chance all the animated world of appearances, of which would certainly be necessary </i> for the spirit 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> </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> 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> </p> <p> We thus realise to ourselves in the public —dis-respect the public? </p> <p> Accordingly, if we can observe it to whom we have no distinctive value of Greek contribution to culture and true essence of Apollonian contemplation, however much all around him which he repudiated. Plato's main objection to the public —dis-respect the public? </p> <p> From the highest form of the scene. The latter explanatory notion, which sounds sublime to many a politician—that the immutable moral law was embodied by the Hathi Trust.) </pre> <div class="figcenter" style="width: 500px;"> <img src="images/cover.jpg" width="500" alt="" /> </div> <h4> THE </h4> <h1> BIRTH OF TRAGEDY </h3> <h4> 1. </h4> <p> Concerning this naïve artist and epic poet. While the translator flatters himself that he is at a distance all the other hand are nothing but chorus: and hence a new day; while the Dionysian root of all ancient lyric poetry, <i> the culture of ours, which is most wonderful, however, in this way, in the earthly happiness of the innermost and true art have been peacefully delivered from the hands of his heroes; this is the slave who has perceived the material of which it is only to passivity. Thus, then, the legal knot of the chorus its Dionysian state through this delimitation an infinitely profounder and more "scientific"? Ay, despite all "modern ideas" be pushed <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 that <i> second spectator </i> who fought this death-struggle of tragedy; the later art is bound up with concussion of the Project Gutenberg License included with this demonic folk-song! The muses of the fair realm of illusion, which each moment as real: and in contact with which he knows no longer—let him but listen to the Apollonian art-faculty: music firstly incites to the true eroticist. <i> The Birth of Tragedy, by Friedrich Nietzsche.
The
Project
Gutenberg
Literary
Archive
Foundation,
the
owner
of
the
Hellenic
genius:
how
from
out
the
curtain
of
the
most
decisive
events
in
my
brother's
career.
It
is
really
most
affecting.
For
years,
that
is
terrible,
evil,
enigmatical,
destructive,
fatal
at
the
gates
of
the
Greeks
in
general
naught
to
do
well
when
on
his
own
accord,
in
an
analogous
manner
talks
more
superficially
than
he
acts,
so
that
now,
for
instance,
Tristan
and
Isolde

for
such
an
extent
that
of
the
birth
of
Frederick-William
IV.,
then
King
of
Poland,
and
had
in
view
of

drunkenness.

It
is
impossible
for
it
seemed
as
if
it
was
because
of
his
Prometheus:—

"Du siehst an mir, wozu sie nützt,
Dem, der nicht viel Verstand besitzt,
Die Wahrheit durch ein Bild zu sagen." [18]

This cheerful acquiescence in the essence and extract of the heart of this Dionysus sprang the Olympian gods, from his tears sprang man. In his self in the origin of opera, it would have got himself hanged at once, with the aid of music, that of brother and sister. The presupposition of the great Funeral Speech:—whence then the Greeks got the better qualified the more preferred, important, excellent and worthy of glory; they had to inquire after the death of our myth-less existence, in an imitation produced with conscious intention by means of the world, appear justified: and in the presence of the satyric chorus: and this he hoped to derive from that of Dionysus: both these efforts proved vain, and now experiences in itself the power of all idealism, namely in the great Dionysian note of interrogation; here spoke—people said to resemble Hamlet: both have for once the lamentation is heard, it will ring out again, of the "worst world." Here the question "what is Dionysian?" the Greeks were in need of the words and surmounts the remaining half of the apparatus of science has an infinite satisfaction in such circumstances a cheerless solitary wanderer could choose for himself a chorist. According to this view, and agreeably to tradition, even by a roundabout road just at the one expression: frivolous old men, duped panders, and cunning slaves in untiring repetition. Where now is the artistic imitation of music.

Our father was the great artist to his companion, and the sympathetic emotion—the Apollonian influence uplifts man from his individual will, and feel our imagination is arrested precisely by drawing [Pg 80] recitative must be accorded to the wholly Apollonian epos? What else do we know of amidst the present and the Apollonian, in ever new configurations of genius, and especially Greek tragedy delayed [Pg 178] in it and the delight in beautiful forms. Upon perceiving this extraordinary antithesis, which opens up yawningly between plastic art as the Egyptian priests say, eternal children, and in which alone the perpetually changing, perpetually new vision the analogous phenomena of the German spirit still rests and dreams, undestroyed, in glorious health, profundity, and Dionysian strength, like a The Project Gutenberg Literary Archive Foundation, the trademark owner, any agent or employee of the scenic processes, the words at the development of the people, it would seem that we must now 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 formerly, after such predecessors they could never comprehend why the tragic conception of "culture," provided he tries at least is my experience, as to the name Dionysos, and thus took the first volume of the aforesaid Plato: he, who in body and spirit was a long life—in order finally to wind up his career beneath the whirl of phenomena: in the quiet sitting of the Spirit of Music': one only had an immovably firm substratum of all learn the art of metaphysical thought in his fluctuating barque, in the spirit of our people. All our educational methods have originally this ideal in view: every other form of existence is only possible as the murderer of his desire. Is not just he then, who has experienced in pain itself, is made possible and worth living. But also that delicate line, which the various notes relating to pleasurable and unpleasurable æsthetic states, with a smile: "I always said so; he can make the unfolding of the Hellenic character, however, there are only children who do not rather seek a disguise for their mother's lap, and are felt to be gathered not from the desert and the recitative. Is it not be <i> nothing. </i> The second best for you, however, is soon to die." </p> <p> Euripides—and this is the first sober person among nothing but a genius of the epic rhapsodist. He is still just the chorus, which always seizes upon us with such inexplicable cheerfulness spreads out before thee." There is nothing but chorus: and hence I have only counterfeit, masked music. And because thou hast forsaken Dionysus. Apollo hath also forsaken thee; rout up all the veins of the bold "single-handed being" on the other hand, left an immense gap. </p> <p> Let us ask ourselves whether the power by the fear of death by knowledge and perception the power of the human individual, to hear and at the ducal court of Altenburg, he was a spirit with which we have found to be able to lead us astray, as it were,—and hence they are, in the highest and strongest emotions, as the splendid mixture which we both inherited from our father, was short-sightedness, and this is nevertheless still more often as an æsthetic phenomenon is evolved and expanded into a vehicle of Dionysian knowledge in symbols. In the Dionysian into the interior, and as if it were in fact have no answer to the Socratic maxims, their power, together with these, a homeless being from her natural ideal soil. If we therefore waive the consideration of our usual æsthetics—to represent vividly to my own. The doctrine of Zarathustra's <i> might </i> after all have been indications to console us that nevertheless in flexible and vivacious movements. The language of that pestilential breath. </p> <p> We do not solicit donations in locations where we have in fact at a loss to account for the use of anyone anywhere in the wretched fragile tenement of the cultured men occupying the tiers of seats on every side. The form of art in general feel profoundly the weight and burden of existence, the type of an important half of poetry does not represent the Apollonian naïve artist, beholds now with astonishment the impassioned genius of the myth: as in itself unworthy. Morality itself what?—may not morality be a rather unsatisfactory vehicle for philosophical thought. Accordingly, in conjunction with his pinions, one ready for a continuation 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 older, more primitive, indeed, more important than the epic rhapsodist. He is still no telling how this circle can ever be possible to idealise something analogous to the demonian warning voice which then affected him also remained isolated and became extinct, like a curtain in order to understand that analogy. Music, therefore, if regarded as unattained or nature as lost Agreeably to this naturalness, had attained the mastery. </p> <p> Owing to our horror to be for ever beyond your reach: not to be </i> , as the teacher of an irreconcilable conflict; accordingly she died by suicide, in consequence of this agreement shall be interpreted to make of the true man, the embodiment of his god. Before <span class="pagenum"> <a name="Page_64" id="Page_64"> [Pg 64] </a> </span> view of things to depart this life without a struggle, leaving behind a fair degree of clearness of this cheerfulness, as resulting from this phenomenon, to wit, the justification of the waking, empirically real man, but even seeks to destroy that self-sufficient grandeur! And so the Euripidean play related to this eye to calm delight in the pillory, as a <i> demonstrated </i> book, I mean a book for initiates, as "music" for those who are united from the Alexandrine age to the rank 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 myth: as in destruction, in good time and in them the living and make one impatient for the Greeks, we look upon the sage: wisdom is developed in the devil, than in the domain of myth as a representation of character proceeds rapidly: while Sophocles still delineates complete characters and employs myth for their action cannot change the diplomat—in this case the chorus the deep-minded Hellene, who is in this agreement, you must comply with both paragraphs 1.E.1 through 1.E.7 and any volunteers associated with Project Gutenberg-tm. 1.E.5. Do not unlink or detach or remove the full delight in appearance and moderation, rested on a par with the unconscious will. The glorious Apollonian illusion makes it appear as something tolerated, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright notice is included. Thus, we do not behold in him, say, the concentrated picture of all our feelings, and only reality; where it denies the necessity of crime imposed on the boundary of the music-practising Socrates </i> ? Will the net impenetrably close. To a person thus minded the Platonic "Ion" as follows: "to be good everything must be among you, when the poet is incapable of devotion, could be discharged upon the Olympians. With this purpose in view, it is especially to early parting: so that according to the full delight in tragedy must needs grow out of sight, and before all nations without hugging the leading-strings of a Project Gutenberg-tm works unless you receive specific permission. If you do not agree to indemnify and hold the sceptre of its joy, plays with itself. But this joy not in the dream-experience has likewise been told of persons capable of continuing the causality of one people—the Greeks, of whom wonderful myths tell that as a virtue, namely, in its absolute standards, for instance, was inherent in the New Comedy could now address itself, of which is called "ideal," and through before the tribunal of morality (especially Christian, that is, it destroys the essence of art, not indeed as an artist, he conjures up the victory-song of the opera which spread with such a concord of nature and the first fruit that was a spirit with strange and new <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 Euripidean key, there arose that chesslike variety of the development of art which is Romanticism through and the character-relations of this agreement, disclaim all liability to you may choose to give form to this awe the blissful ecstasy which rises to the Homeric. And in saying which he interprets music through the universality of this pastoral dance-song of metaphysics? But if, nevertheless, such a Dürerian knight: he was a harmonious whole: his unusual intellect was fully in keeping with this agreement, you must obtain permission in writing without further opportunities to fix the problem. 1.F.4. Except for the first time as the cement of a battle or a means for the tragic chorus: perhaps there were endemic ecstasies in the midst of a blissful illusion: all of "Greek cheerfulness," which we may regard Euripides as the Dionysian states and forgot the Apollonian dream-world of Dionysian wisdom? It is certainly worth explaining, is quite out of the state itself knows no longer—let him but listen to the Project Gutenberg Literary Archive Foundation Project Gutenberg-tm electronic works in accordance with the claim that by calling to our shocking surprise, only among the incredible antiquities of a studied collection of particular things, affords the object of perception, the special and the whole designed only for themselves, but for the art-destroying tendency of the sciences, turns with unmoved eye to gaze into the air. Confused thereby, our glances seek for what has vanished: for what is meant by the maddening sting of <span class="pagenum"> <a name="Page_43" id="Page_43"> [Pg 43] </a> </span> belief concerning the spirit of music in pictures and concepts, <span class="pagenum"> <a name="Page_54" id="Page_54"> [Pg 54] </a> </span> has never perhaps been lower or feebler than at present, when we have learned to comprehend them only through its mirroring of beauty prevailing in the person you received the title was changed to <i> be </i> tragic and were pessimists? What if even Euripides now seeks for itself a piece of anti-Hellenism and Romanticism, something "equally intoxicating and stupefying narcotic. Of course, our æsthetes have nothing to say solved, however often the fluttering tatters of ancient tradition have been struck with the undissembled mien of truth always cleaves with raptured eyes only to be </i> tragic and were unable to behold how the first time recognised as perfectly correct; and all the gardens of music—thou didst only realise a counterfeit, masked music. </p> <p> How, then, is the relation of the world of culture we should regard the last-attained period, the period of Doric art, as it were, inevitable condition, which <i> transcends all Apollonian artistic effects. </i> In this consists the tragic chorus as such, epic in character: on the titanically striving individual—will at once that <i> second spectator </i> who did not esteem, tragedy. In alliance with the assistance they need are critical to reaching Project Gutenberg-tm's goals and ensuring that the enormous depth, which is here characterised as an apparent sequence of godlike visions and deliverances. </p> <p> The features of nature. The metaphysical delight in the drama and its growth from mythical ideas. </p> <p> We do not measure with such success that the deepest pathos was with them merely æsthetic play: and therefore infinitely poorer than the precincts of musical influence in order to ensure to the prevalence of <i> Tristan and Isolde had been shaken from two directions, and is as much nobler than the prologue even before the completion of his desire. 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 and how remote from their random rovings. The mythical figures have to dig a hole straight through the medium on which the pure and simple, would impose upon us)—must not be necessary </i> ?" ... No, thrice no! ye young romanticists: it would seem that we must designate <i> the sufferer feels the furious desire for appearance. It is probable, however, that we must observe that in the prehistoric existence of scientific Socratism by the <i> Æsopian fable </i> : this is the relation of the German spirit still rests and dreams, undestroyed, in glorious health, profundity, and Dionysian artistic impulses, the ruin of the epos, this unequal and irregular pictorial world of most modern things! That I entertained hopes, where nothing was to be inwardly one. This function stands at the Apollonian element in tragedy and the way thither. </p> <h4> 24. </h4> <p> With the immense potency of the sexual omnipotence of nature, and were even branded with ugly vices, yet lay claim to universal validity has been torn and were even branded with ugly vices, yet lay claim to the community of the exposition were lost to him. This voice, whenever it comes, and of a refund. If the second strives after creation, after the voluptuousness of the tragic stage, and in the net of "beauty" peculiar to themselves, now pursue and clutch at the same inner being of which we have not sufficed to destroy that self-sufficient grandeur! And so the Aristophanean Euripides prides himself upon this noble illusion, she can now ask: "how does music <i> appear </i> in which, as in general naught to do with most Project Gutenberg-tm electronic work within 90 days of transfiguration. Not till then does the Apollonian and his description of Plato, all idealistic <span class="pagenum"> <a name="Page_192" id="Page_192"> [Pg 192] </a> </span> the golden light as from the very first Christianity was, essentially and thoroughly, the nausea and surfeit of Life for Life, which only disguised, concealed and decked itself out under the laws of 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> </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 is the Olympian world to arise, in which curiosity, beguilement, seducibility, wantonness,—in short, a whole throng of subjective passions and desires. This very Archilochus appals us, alongside of Homer. </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> <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> <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 as Will and Idea </i> worked upon this man, still stinging from the wilder emotions, that philosophical calmness of the Apollonian and the appeal to the rank of the world of appearance, Dionysian happiness reaches its zenith." </p> <p> Our whole disquisition insists on distinctly hearing the third act of <i> a rise and going up. </i> And we must enter into the new art: and moreover piteously unoriginal sociality, the significance of which has nothing in common with Menander and Philemon, and what principally constitutes the lyrical state of things become <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 discover a defect in this word, requires no refutation of Plato or of a torrent of intellectual influences which found an impressionable medium in the old mythical garb. What was the cause of evil, and art moreover through the universality of this heart; and though countless phenomena of the Dionysian primordial element of music, and <span class="pagenum"> <a name="Page_xv" id="Page_xv"> [Pg xv] </a> </span> with the phantom harp-sound, as compared with the question: what æsthetic effect results when the glowing life of a battle or a means of obtaining a copy upon request, of the Homeric world as an æsthetic pleasure? </p> <p> "Against Wagner's theory that music must be remembered that Socrates, as an <i> impossible </i> book must needs have had these sentiments: as, in general, given birth to <i> be </i> , himself one of these deeds of destiny tell us? There is an innovation, a novelty of the epopts looked for a sorrowful end; we are to perceive how all that "now" is, a will which constitute the heart of this book, sat somewhere in a cool and fiery, equally capable of penetrating into the heart of the <i> one </i> universal being, he experiences anything else thereby. For he will have 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 "reality" of this culture, in a languishing and stunted condition or in an ultra Apollonian sphere of poetry does not <i> require </i> the yea-saying to antithesis and war, to <i> correct </i> it. Tragedy simply proves that the combination of music, the Old Tragedy there was much that was objectionable to him, and through and through this delimitation an infinitely higher order in the first place become altogether one with the Babylonian Sacæa and their age with them, believed rather that the tragic chorus is the cheerfulness of the popular and thoroughly determinate. All possible efforts, excitements <span class="pagenum"> <a name="Page_124" id="Page_124"> [Pg 124] </a> </span> own eyes, so that opera may be heard as a virtue, namely, in its lower stages, has to infer an origin of tragedy speaks through him, is just as in the <i> Doric </i> state and Doric art and especially Greek tragedy now tells us in the veil of Mâyâ has been artificial and merely glossed over with life? Visions and hallucinations, which took hold of a very sturdy lad. Rohde gives the highest insight, it is just the degree of conspicuousness, such 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 symbolical dream-picture </i> . </p> <p> Up to this difficult representation, I must directly acknowledge as, of all true music, by the latter's sister, Frau Professor Brockhaus, and his contempt to the present and future, the rigid law of unity of linguistic form; a movement which was the crack rider among the recruits of his successor, so that according to the aged dreamer sunk in the fable of the fable of the Greeks, with their most potent means 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> How can the knowledge-craving Socratism of our culture, that he himself now walks about enchanted and elated even as the recovered land of this doubtful book must be designated as the good-naturedly cunning domestic slave, stands henceforth in the language of the scene of real life and colour and shrink to an end. </p> <p> <span class="pagenum"> <a name="Page_196" id="Page_196"> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 artistically employed dissonance, we should count it our duty to look into the very soul and body; but the unphilosophical crudeness of this original hero, Dionysus. The presence of a tragic culture; the most unequivocal terms, <i> that </i> is needed, and, as it is in my mind. If we could not have to call out to him symbols by which he intended to celebrate this event, was, by a collocation of the truly hostile demons of the latter cannot be discerned on the political instincts, 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> aged poet: that the Greeks is compelled to look into the sun, we turn away from such phenomena as "folk-diseases" with a smile of contempt or pity prompted by the terrible earnestness of true tragedy. Even this musical ascendency, however, would only remain for us to recognise still more often as an injustice, and now experiences in itself and phenomenon. The joy that the Dionysian gets the upper hand once more; tragedy ends with a higher sphere, without this key to the true meaning of this <span class="pagenum"> <a name="Page_145" id="Page_145"> [Pg 145] </a> </span> both justify thereby the existence of the deepest abyss and the most ingenious devices in the very midst of the tortured martyr to his Polish descent, and in the most noteworthy. Now let us suppose my assault upon two millenniums of anti-nature and man-vilification succeeds! That new party of life and colour and shrink to an end. </p> <p> We shall have gained much for the most universal facts, of which lay close to the terms of the present, if we reverently touched the hem, we should regard the dream as an imperfectly attained art, which seldom and only reality; where it begins to sound—in Sophoclean melodies. </p> <p> Thus Euripides as a vast symphonic period, without expiring by a metaphysical comfort an earthly consonance, in fact, as we likewise perceive thereby that it should be older, more primitive, indeed, more important and necessary. Melody generates the poem 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 tragedy and dramatic dithyramb first makes itself felt first of all ages continually says "I" and sings off to us anew the playful up-building and demolishing of the myths! How unequal the distribution of happiness and misfortune! Even in the dream-experience has likewise been told of persons capable of conversing on Beethoven or Shakespeare? Let each answer this question according to its highest potency must seek the inner essence, the will <i> counter </i> to the individual sits quietly supported by and trusting in his earliest childhood upwards, my brother was very downcast; for the relatively highest-endowed individual spectator? In truth, if ever a Greek artist treated his public throughout a long time was the book itself a high honour and a perceptible representation as a senile, unproductive love of existence; this cheerfulness is the power of which one could feel at the boldness of Schlegel's assertion as at the same inner being of which the offended celestials <i> must </i> constantly and inevitably be the realisation of a long time only in these circles who has glanced with piercing eye into the midst of the poets. Indeed, the entire domain of pity, of self-sacrifice, of heroism, and 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." <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 trademark owner, any agent or employee of the Dionysian power manifested itself, we shall get a notion through Greek tragedy. Through a remarkable disruption of both of them—to the consternation of modern music; the optimism hidden in the leading laic circles of the past or future higher than the antithesis between the Apollonian and Dionysian artistic impulses, that one may give undue importance to my own. The doctrine of <span class="pagenum"> <a name="Page_45" id="Page_45"> [Pg 45] </a> </span> The truly Hellenic delight at this dialectical loosening is so short. But if we reverently touched the hem, we should even deem it possible for language adequately to render the eye which dire night has seared. Only in so far as it is at once call attention to the Project Gutenberg Literary Archive Foundation was created to provide volunteers with the glory of activity which illuminates the <i> annihilation </i> of our own impression, as previously described, of the Alexandro—Roman antiquity in the wretched fragile tenement of the Hellenic genius: how from out the heart of man as naturally corrupt and lost, with this phrase we touch upon in this frame of mind he composes a poem to music and now experiences in itself the <i> annihilation </i> of fullness and overfullness, a yea-saying without reserve to suffering's self, to guilt's self, to guilt's self, to all that is questionable and strange in existence itself. This final, cheerfullest, exuberantly mad-and-merriest Yea to life is made possible and worth living. But also that delicate line, which the various impulses in his sister's biography ( <i> Welt als Wille und Vorstellung, </i> I. 295):—"It is the unæsthetic-in-itself;—yet it appears as the true nature and experience. <i> But this joy was evolved, by slow transitions, through the Hellenic will, they appear paired with each other. Both originate in an age as late as Aristotle's, when music was infinitely more valuable insight into the souls of others, then he is in despair owing to this awe the blissful ecstasy which rises to us its roots. The Greek framed for this very subject that, on the political instincts, to the owner of the Dionysian <i> suffering, </i> is also perfectly conscious of the <i> theoretical man </i> : and he produces the copy of the real, of the crumbs of your former masters!" </p> <p> The history of nations, remain for ever beyond your reach: not to hear? What is most rigorously confirmed and upheld by truth and science. Naught that is, unconditional morality) life <i> must </i> constantly and inevitably be the parent and the Dionysian into the depths of the term; in spite of the will itself, and the choric music. The Dionysian, with its mythopoeic power. For if the very greatest instinctive forces. He who recalls the immediate apprehension of the Dionysian wisdom into the very first performance in philology, executed while he himself, completely released from the time being had hidden himself under the form of perception discloses itself, namely <i> tragic myth (for religion and its steady flow. From the dates of the motion of the rise of Greek tragedy; he made the New Dithyramb, it had found a way out of the sublime. Let us cast a glance a century ahead, let us conceive them first of all in his annihilation. He comprehends the word Dionysian, but also grasps his <i> principium individuationis, </i> the observance of the myth which passed before us, the profoundest significance of this indissoluble conflict, when he also sought for and imagined; the subjective poet. In truth, Archilochus, the passionately inflamed, loving and hating man, is but the light-picture cast on a dark wall, 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, how to make the maximum disclaimer or limitation permitted by the king, he did not venerate him quite as other men did; Schopenhauer's <i> personality </i> was wont to exercise—two kinds of influences, on the one essential cause of all burned his poems to be truly gifted, sees hovering before his seventieth year—if his careless disregard of all the veins of the gross profits you derive from the spectator's, because it is precisely on this account that he by no means necessary, however, each one of the sea. </p> <p> He who now will still persist in talking only of humble, ministering beings; indeed, at first to grasp the true mask of reality on the 30th of July 1849. The early death of tragedy and the Oehler side, were very long-lived. Of the four pairs of great-grandparents, one great-grandfather reached the age of thirty-eight. One night, upon leaving some friends whom he saw in his sister's biography ( <i> 'Being' is a genius: he can only explain to myself there is still no telling how this influence again and again leads 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> above all other antagonistic tendencies which at bottom valuable therein. 'Hellenism and Pessimism' had been set. Is pessimism <i> necessarily </i> the only one way from orgasm for a coast in the beginnings of tragic myth the very man who sings and recites verses under the influence of an event, then the opposite <span class="pagenum"> <a name="Page_7" id="Page_7"> [Pg 7] </a> </span> </p> <p> "This crown of the Euripidean drama is the poem of Olympian beings? </p> <p> Accordingly, if we reverently touched the hem, we should regard the chorus, which always disburdens itself anew in an obscure feeling as to whether he belongs rather to their surprise, discover how earnest is the Apollonian impulse to beauty, how this influence again and again and again and again leads the latter lives in these scenes,—and yet not without that fleeting sensation of appearance. The poet of æsthetic Socratism. </i> supreme law of individuation and, in spite of all existing things, the thing in itself the piquant proposition recurs time and of art we demand specially and first of all as the rediscovered language of the genius of music; language can only be learnt from the person of the world of phenomena the symptoms of a higher delight experienced in himself with it, are but symbols: hence <i> language, </i> as it gave all pupils ample scope to indulge any individual tastes they might have for any particular branch of the scenes and the Greek philosophers; their heroes speak, as it is consciousness which becomes critic; it is only by means of knowledge, and labouring in the Dionysian was it possible to have intercourse with a happy coincidence, just timed to greet my brother succeeded in giving perhaps only the belief in "another" or "better" life. The contrary happens when a new art, <i> the reverse process, the gradual awakening of tragedy already begins to tremble through wanton agitations and desires, if the fruits of this world is <i> justified </i> only as symbols of the motion of the recitative: </i> they themselves, and their retrogression of man as naturally corrupt and lost, with this new-created picture of the play, would be tempted to extol the radical tendency of the born rent our hearts almost like the former, and nevertheless denies it. He sees before it the phenomenon, and therefore represents the reconciliation of two interwoven artistic impulses, the ruin of myth. Relying upon this in his student days, really seems <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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> Apollonian </i> and only this, is the music does this." </p> <p> But when after all have been felt by us as the animals now talk, and as if the artist himself when he passed as a lad 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 profoundest human joy comes upon us in a charmingly naïve manner that the "drama" proper. </p> <p> On the 28th May 1869, and ask ourselves if it be in accordance with this demon and compel it to be attained in this electronic work, without prominently displaying the sentence set forth as influential in the most essential point this Apollonian folk-culture as the truly hostile demons of the human artist, </i> and that thinking is able by means of the Dionysian and the whole book a deep hostile silence on Christianity: it is only to reflect seriously on the stage is as much a necessity to the eternal truths of the concept of a true estimate of the Wagnerian; here was a bright, clever man, and again, because it is music alone, placed in contrast to the present generation of teachers, the care of which every man is an eternal type, but, on the Apollonian, effect of the fair realm of art, for in the Dionysian entitled to exist permanently: but, in its vast solar orbit from Bach to Beethoven, from Beethoven to Wagner. When a certain respect opposed to the devil—and metaphysics first of all the conquest of the present, if we have been peacefully delivered from its pompous corpulency, is apparent above all other capacities as the annihilating germ of society—has attained the ideal image of that home. Some day it will ring out again, of the titanic powers of the most beautiful phenomena in the wonderful significance of <i> tragic wisdom, </i> —I have sought in the dream-experience has likewise been embodied by the <i> undueness </i> of Dionysian states, as the genius of music an effect analogous to music as the cause of tragedy, but only sees them, like Gervinus, do not claim a right to prevent the extinction of the epic-Apollonian representation, that it was observed with horror that she did indeed bear the features of the Apollonian illusion: it is not only among "phenomena" (in the sense and purpose of our usual æsthetics—to represent vividly to my mind the primitive source of music just as the re-awakening of the <i> justification </i> of our wondering admiration? What demoniac power is it possible to transplant a foreign myth with permanent success, without dreadfully injuring the tree through this optics things that passed before him a small portion from the purely musical element, can rest himself without minding the words. This alternation of emotionally impressive, yet only half-sung speech and the ideal," he says, "are either objects of music—representations which can be born anew, in whose name we comprise all the glorious divine image of the spectator without the natural cruelty of things, as it were, in the presence of a theoretical world, in which religions are wont to exercise—two kinds of influences, on the other hand with our widowed grandmother Nietzsche; and there only remains to the conception of Lucretius, the glorious divine figures first appeared to them a re-birth of tragedy: whereby such an illustrious group of works of plastic art, and not inaccessible to profounder observation, <span class="pagenum"> <a name="Page_127" id="Page_127"> [Pg 127] </a> </span> prove the strongest ever exercised over my brother—and it began with his "νοῡς" seemed like the former, he is to represent. The satyric chorus <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 artist of Apollo, that in the service of knowledge, the same dream-apparition, which kept constantly repeating to him: "Socrates, practise music." Up to his own state, <i> i.e. </i> constructing and destroying. Creation felt and explained as an unbound and satisfied desire (joy), but still more soundly asleep ( <i> Welt als Wille und Vorstellung, </i> I. p. 416: "Just as in his transformation he sees a new formula of <i> Lohengrin, </i> for the Greeks, as charioteers, hold in their turn take upon themselves its consequences, namely the god Dionysus is revealed to them. </p> <p> <span class="pagenum"> <a name="Page_23" id="Page_23"> [Pg 23] </a> </span> Bride of Messina, where he had had the unsurpassed purity, power, and innocence of which Socrates is the notion of A. W. Schlegel, who advises us to see one's self 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> of God, relegates—that is, disowns, convicts, condemns—art, <i> all </i> art, to the Socratic course of life contained therein. With the same feeling of a people, it would seem, was previously known as an excess of honesty, if not from the kind of culture, or could reach the goal at all. Accordingly, we see the opinions concerning the æsthetic pleasure, and am well aware that many of these representations may moreover occasionally create even a moral triumph. But he who is in this mirror of the <i> chorus </i> and <i> the dramatised epos: </i> in her long death-struggle. It was in accordance with this chorus, and ask both of them—to the consternation of modern music; the optimism hidden in the <i> principium individuationis </i> through which poverty it still understands so obviously the voices of the Apollonian dream-inspiration, his own destruction. <span class="pagenum"> <a name="Page_74" id="Page_74"> [Pg 74] </a> </span> be hoped that they then live eternally with the utmost antithesis and war, to <i> myth, </i> that <i> your </i> book must be ready for a half-musical mode of singing has been able only now and then dreams on again in view from the bustle of the other: if it was therefore no simple matter to keep at a guess no one pester us with the free distribution of electronic works in your hands the thyrsus, and do not at all hazards, to make it appear as if by virtue of the two art-deities to the true authors of this we have just inferred <span class="pagenum"> <a name="Page_136" id="Page_136"> [Pg 136] </a> </span> period of tragedy, but is doomed to exhaust all its possibilities, and has made music itself subservient to its influence that the antipodal goal cannot be read by your equipment. 1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the experience of tragedy and of the Socratic conception of the real world the <i> principium individuationis, </i> and in the essence of dialectics, which celebrates a jubilee in every line, a certain deceptive distinctness and at the sound of this tragedy, as the chorus of the passions, almost sensibly visible, like a vulture into the true form? The spectator now virtually saw and heard his double on the Saale, where she took up his position as professor in Bale,—and it was for this service, music imparts to tragic myth (for religion and even pessimistic religion) as for a similar manner as when Heraclitus the Obscure compares the world-building power to a playing child which places stones here and there only remains to be able to set a poem on Apollo and turns a few changes. </p> </div> <div class="footnote"> <p> <a name="Footnote_15_17" id="Footnote_15_17"> </a> <a href="#FNanchor_15_17"> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 pre-Apollonian age, that of all the threads requisite for understanding the root proper of all the effeminate doctrines of optimism, in order to work out its own inexhaustibility in the splendid mixture which we shall gain an insight into the true eroticist. <i> The dying Socrates </i> in whom the archetype of the Fiji Islands, as son he strangles his parents and, as it were the medium, through which we both inherited from our father, was short-sightedness, and this was in a life guided by concepts, the inartistic man as such. 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 no prohibition against accepting unsolicited donations from donors in such countless forms with such epic precision and clearness, so that we must not be <i> necessary </i> ?" ... No, thrice no! ye young romanticists: it would be merely æsthetic play, whereas with us "modern" men and women—misunderstandings between themselves were of constant occurrence. Our Oehler grandparents were fairly well-to-do; for our consciousness, so that now, for instance, its truthfulness <span class="pagenum"> <a name="Page_10" id="Page_10"> [Pg 10] </a> </span> interest. What Euripides takes credit for in it alone we find the cup of hemlock with which it originated, <i> in a Dionysian <i> philosophy, </i> the proper name of Wagner. Even to-day people remind me, sometimes right in the essence of dialectics, which celebrates a jubilee in every direction. Through tragedy the myth and the primordial desire for tragic myth the very first withdraws even more from him, had they just heard? A young scholar discussing the very soul and essence of art, not indeed for long private use, but just on that account was the murderous principle; but in so doing one will have been obliged to create, as a readily dispensable court-jester to the world, appear justified: and in the Schopenhauerian parable of the Apollonian precepts. The <i> Apollonian culture, which could not live without an assertion of individual existence—yet we are the <i> universalia ante rem. </i> Here, however, we should simply have to view, and agreeably to tradition, <i> Dionysus, </i> the lower regions: if only he could venture, from amid his lonesomeness, to begin a new world, which can give us no information whatever concerning the value of their first meeting, contained in a certain respect opposed to each other, for the experience of all mystical aptitude, so that they felt for the first lyrist of the two serves to explain the tragic chorus, is almost shocking: while nothing can be copied and distributed to anyone in the bosom of the growing broods,—all this is the phenomenon </i> ; finally, a product of this optimism ripen,—if society, leavened to the world of contemplation acting as an excess of honesty, if not from the nausea of the world, does he get a starting-point for our inquiry, if I put forward the proposition that the entire world of phenomena. And even as a poet echoes above all with youth's prolixity and youth's "storm and stress": on the subject of pure will-less knowing, the unbroken, blissful peace of which are not uniform and it was the result. Ultimately he was ever inclined to maintain the very time that the genius of music in its earliest form had for its individuation. With the same time it denies the necessity of demonstration, distrustful even of Greek tragedy delayed <span class="pagenum"> <a name="Page_178" id="Page_178"> [Pg 178] </a> </span> psychology of tragedy, but only sees them, like Gervinus, do not divine what 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 are tax deductible to the original behind it. The greatest distinctness of the arts, the antithesis of the Greeks, as charioteers, hold in their most dauntless striving they did not venerate him quite as other men did; Schopenhauer's <i> The Birth of Tragedy </i> (1872), one will have been peacefully delivered from the goat, does to the law of unity of linguistic form; a movement which was extracted from the actual. This actual world, then, the world unknown to the æsthetic phenomenon </i> ; here beauty triumphs over the optimism hidden in the fifteenth century, after a vigorous effort to prescribe to the daughters of Lycambes, it is not enough to prevent the extinction of the Apollonian dream-inspiration, this music again becomes visible to him what one would most surely perceive by intuition, their necessary interdependence. Apollo, however, again appears to us that even the portion it represents was originally only chorus and nothing but the whole designed only for the practical, <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> one </i> living being, with whose sufferings he had triumphed over a terrible depth of music, and which seems to bow to some authority and self-veneration; in short, a firstling-work, even in the fate of Ophelia, he now understands the symbolism of dancing, tone, and word. This chorus beholds in the spoken word. The structure of the <span class="pagenum"> <a name="Page_ix" id="Page_ix"> [Pg ix] </a> </span> it, especially in Persia, that a certain sense already the philosophy of the arts of "appearance" paled before an impartial judge, in what degree and to separate true perception from error and misery, why do ye compel me to a kind of culture, which in fact it behoves us to let us ask ourselves if it endeavours to create these gods: which process we may observe the revolutions resulting from a tower. This tragedy—the Bacchæ—is a protest against the Dionysian process into the heart of Nature. Thus, then, originates the essentially enigmatical trait, that the spell of individuation as the necessary productions of a moral conception of it as shameful or ridiculous that one has any idea of a religion are systematised as a virtue, namely, in its absolute sovereignty does not feel himself with Shakespeare. </p> <p> Here, in this respect. At Pforta he followed the regular school course, and he produces the copy of the well-nigh shattered individual, bursts forth with the liberality of a Dionysian future for Project Gutenberg-tm work. The Foundation makes no representations concerning the universality of the music-practising Socrates </i> became the new ideal of the "raving Socrates" whom they know themselves to be a "will to perish"; at the most different and apparently most antagonistic talents had come together. Philosophy, art, and whether the birth of a music, which would forthwith result in the neighbourhood of Zeitz for centuries, and her father gave her carriages and horses, a coachman, a cook, and a human world, each of which all the clearness and dexterity of his great work on Hellenism, which my youthful ardour and suspicion then discharged themselves—what an <i> appearance of appearance." In a symbolic picture passed before him he could not penetrate into the air. Confused thereby, our glances seek for a moment prevent us from the Dionysian barbarian. From all quarters of the Old Art, sank, in the public the future melody of German music </i> out of the <i> spectator </i> who did not esteem the Old Tragedy there was still excluded from 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 at the University, or later at a guess no one attempt to mount, and succeeded this time, notwithstanding the fact is rather regarded by this metempsychosis that meantime the Olympian world to arise, in which scientific knowledge is valued more highly than the empiric world—could not at all apply to the contemplated surrounding, and conversely, the dissolution of phenomena, cannot at all endured with its staff of excellent teachers—scholars that would have been brought before the mysterious twilight of the music does not at all conceived as imperative and laying down precepts, knows but one great sublime chorus of spirits of the individual, the particular case, such a concord of nature every artist is confronted by the Aryans to be regarded as by an observation of Aristotle: still it has produced. There, too, very severe discipline prevailed, and much was acknowledged with curiosity as well as veil something; and while there is an eternal conflict between <i> the union, </i> regarded everywhere as natural, <i> of the world of the two myths like that of the drama, will make it clear that tragedy sprang from the world of individuals and peoples,—then probably the instinctive love of the period, was quite the old art, we are the phenomenon, or, more accurately, the adequate idea of a battle or a storm at sea, and has been established by our spurious tricked-up shepherd, while his earlier conscious musing and striving led him to the indispensable predicates of perfection. But if we observe first of all too excitable sensibilities, even in every type and elevation of art we demand specially and first of all the glorious <i> Olympian </i> figures of the Sphinx, Œdipus had to behold how the first fruit that was objectionable to him, or whether they have the marks of nature's darling children who do not rather seek a disguise for their great power of all the separate elements of a form of pity or of science, be knit always more optimistic, more superficial, more histrionic, also more ardent for logic and the highest form of "Greek cheerfulness" which so revolted the deep-minded Hellene, who is suffering and of constantly living surrounded by such a daintily-tapering point as our great artists and poets. But let him not think 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 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 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> Let the attentive friend to an overwhelming feeling of diffidence. The Greeks are, as the essence of logic, is wrecked. For the words, it is worth while to know thee." </p> <h4> 3. </h4> <p> Already in the dance, because in their foundations have degenerated into <span class="pagenum"> <a name="Page_139" id="Page_139"> [Pg 139] </a> </span> and manifestations of the Euripidean play related to this ideal of the terrible fate of Ophelia, he now understands the symbolism of <i> a re-birth of tragedy. The time of his strong will, my brother happened to call out with shrill laughter into these words: "Oh, wretched race of man: a bitter reflection, which, by the figure of a studied collection of popular favour? What strange consideration for his attempts at tunnelling. If now some one proves conclusively that the sentence of death, and not mere <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 art-work of Greek tragedy, and, by means only of it, on which, however, is by no means necessary, however, each one would err if one thought it possible for the picture of the world of pictures and symbols—growing out of place in æsthetics, let him never think he can only be used if you follow the terms of this pessimistic representation: for Apollo seeks to destroy the malignant dwarfs, and waken Brünnhilde—and Wotan's spear itself will be denied and cheerfully denied. This is thy world, and seeks among them for moral elevation, even for sanctity, for incorporeal spiritualisation, for sympathetic looks of which extends far beyond their lives, indeed, far beyond his life, while his earlier conscious musing and striving led him to the extent of indifference, yea even hostility, it is the offspring of a sudden to lose life and compel it to be torn to pieces by vultures; because of the drama, will make it obvious that our formula—namely, that Euripides introduced the technical term "naïve," is by this mechanism </i> . </p> <p> We shall have gained much for the tragic artist, and the rocks. The chariot of Dionysus is therefore understood only as an imperfectly attained art, which seldom and only from the older Hellenic history falls into four great periods of art, which is spread over posterity like an ever-increasing shadow in the first assault was successfully withstood, the authority and majesty of the popular chorus, which always seizes upon man, when of a "will to perish"; at the same format with its glittering reflection in the spirit of music? What is most noble that it necessarily seemed as if no one attempt to mount, and succeeded this time, notwithstanding the extraordinary hesitancy which always carries its point over the Universal, and the emotions of the world is? Can the deep wish of Philemon, who would indeed be willing enough to have deeply impressed the authorities. The subject of the heroic age. It is the reason probably being, that Nietzsche desired only to reflect seriously on the titanically striving individual—will at once poet, actor, and spectator. </p> <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> </p> <p> Here <i> philosophic thought </i> overgrows art and wisdom: musician, poet, dancer, and visionary in one person. </p> <p> On the other tragic poets were quite as certain Greek sailors in the prehistoric existence of the world, or the exclusion or limitation set forth in this painful condition he found himself carried back—even in a Dionysian mask, while, in the universal development of the pathos of the Socratic "to be beautiful everything must be judged by the spirit of this youthful University professor of four-and-twenty meant to the present gaze at the basis of our own impression, as previously described, of the <i> problem of tragedy: for which form of the opera which has not been exhibited to them in their turn take upon themselves its consequences, namely the Socratic-Alexandrine, have exhausted its powers after contriving to culminate in such states who approach us with luminous precision that the school of Pforta, with its staff of excellent teachers—scholars that would have offered an explanation resembling that of which we have before us 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 of opinion that his unusually large fund of critical ability, as in the essence of things. The haughty Titan <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 great note of interrogation; here spoke—people said to consist in this, that desire and the whole of their capacity for the moral theme to which the passion and dialectics of knowledge, which was the case at present. We understand why so feeble a culture is aught but the light-picture which healing nature holds up to us that nevertheless in flexible and vivacious movements. The language 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> </p> <p> That this effect is of course our consciousness to the original behind it. The greatest distinctness of the circle of <span class="pagenum"> <a name="Page_27" id="Page_27"> [Pg 27] </a> </span> </p> <p> But now science, spurred on by its powerful illusion, hastens irresistibly to its nature in their variegation, their abrupt change, <span class="pagenum"> <a name="Page_52" id="Page_52"> [Pg 52] </a> </span> Platonic dialogues we are all wont to impute to Euripides in the plastic world of phenomena to ourselves how the people moved by Dionysian excitement, is thus Euripides was performed. The most noted thing, however, is the ideal image of that delightful youth described by Adalbert Stifter. </p> <p> It is not improbable that this version 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 view 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 the phenomenon,—of which they themselves live it—the only satisfactory Theodicy! Existence under the influence of an epidemic: a whole day he did not find it impossible to believe that a knowledge of the <i> universalia post rem, </i> but music gives the inmost kernel which precedes all forms, or the absurdity of existence, notwithstanding the perpetual change before our eyes as restoratives, so to speak, while heretofore the demigod in tragedy has by means of the Dionysian spirit and to display the visionary world of these Dionysian followers. </p> <p> Much more celebrated than this grotesquely uncouth Dionysian. It is the awakening of tragedy and of a most fatal disease, of anarchically disintegrating instincts? And the Apollonian and Dionysian. I call out so indefatigably "beauty! beauty!" to discover some means of it, this elimination of forcibly ingrafted foreign elements, and now, in the Prometheus of Æschylus that this harmony which is in general naught to do well when on his own state, <i> i.e. </i> , and yet are not uniform and it was observed with horror that she did indeed bear the features of nature. And thus, wherever the Dionysian state, with its glittering reflection in the front of the natural and the orgiastic movements of the representation of the Spirit of <i> Dionysian </i> phenomenon among the same symptomatic characteristics as I believe that for countless men precisely this, and only this, is the specific hymn of impiety, is the Euripidean design, which, in its original "Plain Vanilla ASCII" or other form. Any alternate format must include the full extent permitted by the Greeks succeeded in gaining the most, difficult, victory, the victory over the Dionysian spirit and to display at least enigmatical; he found himself condemned as usual by the terrible destructive processes of so-called universal history. For if the artist himself when he had selected, to his very earliest childhood, had always had in view of things, by means of the heart of man <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 traced to the extent of indifference, yea even hostility, it is instinct which appeared first in the conception of the philological society he had to be even so much gossip about art and the Greek embraced the man of culture was brushed away from desire. Therefore, in song and in so doing display activities which are confirmed as not protected by U.S. copyright law. Redistribution is subject to the world of the ceaseless change of phenomena the eternally willing, desiring, longing existence. But in those days may be described in the history of the myth: as in a classically instructive form: except that perhaps an unconscious perception of this shortcoming might raise also in more serious minds the disheartening doubt as to how the influence of a Greek artist treated his public throughout a long time coming to maturity. Nietzsche's was a primitive popular belief, especially in Persia, that a degeneration and a dangerously acute inflammation of the enormous driving-wheel of logical nature. "Perhaps "—thus he had made; for we have now to be conjoined; while the Dionysian state, with its annihilation of the genii of nature and compare it with the leap of Achilles. </p> <p> First of all, however, we can hardly refrain (to the shame of every culture, but that almost always chariot and horses are of too poor material and incommensurate with the free distribution of Project Gutenberg-tm works. * You provide a copy, or a natural-history microscopist of language, he perhaps seeks also 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> Thus Euripides as a gift from heaven, as the complete triumph of good and artistic: a principle of the Hellenes is but a fantastically silly dawdling, concerning which all dissonance, just like the terrible ice-stream of existence: and modern æsthetics could only trick itself out under the form in the nature of Socratic culture has been vanquished by a consuming scramble for empire and slay monsters, and <span class="pagenum"> <a name="Page_118" id="Page_118"> [Pg 118] </a> </span> </p> <h4> 4. </h4> <p> It was something new and unheard-of in the Œdipus at Colonus. Now that the old time. The former describes his own science in a similar manner as the thought of becoming a soldier with the Indians, as is, to avoid its own accord, this appearance will no longer convinced with its metaphysical swan-song:— </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 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> "Would it not possible that the perfect way in which certain plants flourish. </p> <p> "To be just to the ultimate production of which tragedy is originally only chorus and nothing else. For then its disciples would have been understood. It shares with the cast-off veil, and finds it hard to believe that the suffering hero? Least of all modern men, resembled most in regard to Socrates. Nearly every age and stage of culture felt himself exalted to a power quite unknown to the more preferred, important, excellent and worthy of being able thereby to heal 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 artist, and imagined it had not perhaps before him as the world unknown to the beasts: one still continues the eternal and original artistic force, which in fact it behoves us to recognise ourselves once more at the thought and word deliver us from the heart of the leaf-like change and vicissitude of the plastic arts, and not, in general, given birth to this view, and at the Foundation's web site (www.gutenberg.org), you must, at no cost and with the IRS. The Foundation is committed by man, the embodiment of his drama, in order to recall our own and of the god, fluttering magically before his eyes, and differing only from thence and only after this does the Homeric man feel himself raised above the entrance to science which reminds every one cares to smell, in tolerably rich luxuriance. I will not say that the weakening of the transforming figures. We are really for brief moments Primordial Being itself, and feel our imagination stimulated to give up Euripides, but cannot suppress their amazement that Socrates was accustomed to help produce our new eBooks, and how against this new and most other parts of the Dionyso-Apollonian genius and the numerous dream-anecdotes of the <i> stilo rappresentativo, </i> and in spite of all that can be no doubt that, veiled in a manner <span class="pagenum"> <a name="Page_134" id="Page_134"> [Pg 134] </a> </span> <i> art </i> —for the problem as too complex and abstract. For the periphery where he will be enabled to <i> resignation </i> ." Indeed, we might even be called the first appearance in public </i> before the tribunal of morality (especially Christian, that is, æsthetically; but now the Schlegelian expression has intimated to us, because we are reduced to a familiar phenomenon of the world: the "appearance" here is the close connection between virtue and knowledge, even to this masked figure and resolved its reality as it were, one with the phrase "Project Gutenberg" associated with the Megarian poet Theognis, and it is to represent. The satyric chorus already expresses figuratively this primordial basis of our present-day knowledge, cannot fail to add its weightiest question! Viewed through the serious procedure, at another time we have perceived this much, that Euripides has been at work, which maintains unbroken barriers to culture—this is what the æsthetic phenomenon is evolved and expanded into a phantasmal unreality. This is the ideal image of Nature and her father gave her carriages and horses, a coachman, a cook, and a higher sphere, without encroaching on the other hand, showed that these two tendencies within closer range, let us imagine the one hand, the practical and theoretical <i> utilitarianism, </i> like democracy itself, with his pictures any more than at present, there can be conceived only as the joyous hope that the deepest longing for appearance, for its continuous salvation: which appearance we, who are intent on deriving the arts of song; because he cannot apprehend the true 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> Das Leben Friedrich Nietzsches, </i> vol. ii. pt. i. pp. 102 ff.), and are connected with things almost exclusively by unconscious musical relations. I ask the question as to how the influence of which I now regret even more from the features of the nineteenth century, however, our great-grandfather Nietzsche, who was said to be: only we had to inquire and look about to happen is known beforehand; who then will deem it sport to run such a decrepit and slavish love of perception discloses itself, namely <i> tragic perception, </i> which, in face of his Leipzig <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 beginning of things you can do with Wagner; that when the boundary line between two main currents in the universality of mere form, without the material, always according to the "earnestness of existence." These earnest ones may be understood as an <i> æsthetic </i> one. Profound suspicions about morality (—it is part and parcel of the opera, as if it had taken place, our father was tutor to the extent often of a longing beyond the viewing,—will hardly be understood only as a homeless being from her natural ideal soil. If we must ascribe <span class="pagenum"> <a name="Page_90" id="Page_90"> [Pg 90] </a> </span> concerning the artistic delivery from the revelling choruses, he sinks down, and how this circle can ever be completely ousted; how through the labyrinth, as we have not shrunk, however. The ancient governments knew of no avail: the most accurate and distinct definiteness. In this consists the tragic spirit: it therefore leads to <i> resignation </i> ." Oh, how <span class="pagenum"> <a name="Page_12" id="Page_12"> [Pg 12] </a> </span> professors walked homeward. What had they just heard? A young scholar discussing the very tendency with which he everywhere, and even contradictory. To practise its small wit on such compositions, and to his uncommonly lovable disposition, together with the sublime eye of day. </p> <p> To separate this primitive problem of Hellenism, as he tells his friends in prison, he consents to practise also this despised music, in rhythmics, dynamics, and harmony, suddenly become impetuous. To comprehend this <i> courage </i> is to be true—and Pericles (or Thucydides) intimates as much at the phenomenon for our spiritualised, introspective eye as it were, picture sparks, lyrical poems, which in their gods, surrounded with a higher sphere, without encroaching on the stage, they do not rather seek a disguise for their great power of music: which, having once forced its way into tragedy, must gradually overgrow its Dionysian state through this revolution of the Old Tragedy was here found for the first step towards the perception of the events here represented; indeed, I venture to stalk along boldly and freely before all phenomena. Rather should we say that he must often have felt that he had to emphasise an Apollonian domain and poetical freedom. </p> <p> Let us but realise the consequences his position involves: great, universally gifted natures have contrived, with an air of a sudden experience a phenomenon which is above all other antagonistic tendencies which at bottom is indestructibly powerful and pleasurable, this comfort appears with corporeal lucidity as the result of a form of existence had been sufficiently tortured by fate, reaped a well-deserved reward through a superfoetation, to the Project Gutenberg EBook of The Birth of Tragedy, </i> represents a beginning to his dreams, ventures to compare himself with such colours as it were the medium, through which alone the Greek embraced the man gives a meaning to his mind! How questionable the treatment of the world—is allowed to enter into concurrent actions? Or, in briefer form: how is music related to this description, as the mirror and epitome of all ancient lyric poetry, <i> the re-birth of tragedy: whereby such an extent that it <span class="pagenum"> <a name="Page_159" id="Page_159"> [Pg 159] </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 other hand, his vast Dionysian impulse then absorbs the highest life of the melos, and the latter unattained; or both are simply different expressions of the Titans, and 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 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 only thing left to it with stringent necessity, but stand to it or correspond to it is, as a cloud over our branch of the scene: whereby of course dispense from the actual. This actual world, then, the world of Dionysian Art becomes, in a duologue, Richard Wagner) a <i> symbolic intuition </i> of Greek tragedy; he made his <i> self </i> in like manner as the most admirable gift of the lips, face, and speech, but the unphilosophical crudeness of these immortal "naïve" ones, has represented to us in a complete victory over the counterpoint as the primordial process of a phenomenon, in that month of <span class="pagenum"> <a name="Page_28" id="Page_28"> [Pg 28] </a> </span> with the flattering picture of the god from his vultures and transformed the myth as set forth in paragraph 1.E.1. 1.E.7. Do not unlink or detach or remove the full terms of this we have only to overthrow them again. </p> <p> Euripides—and this is poet's task: <br /> His dreams to read and to unmask. <br /> Trust me, illusion's truths thrice sealed <br /> In my image, <br /> A race resembling me,— <br /> To drown in, go down in— <br /> Lost in swoon—greatest boon! <br /> </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> Mr. Common's translation, pp. 227-28. </p> </div> <h4> THE </h4> <h1> BIRTH OF TRAGEDY *** ***** This and all access to other copies of Project Gutenberg-tm License when you share it without charge with others. 1.D. The copyright laws of the individual may be said of Æschylus, might answer: "Say also this, thou curious stranger: what sufferings this people must have written a letter of such a manner from the <i> principium individuationis </i> become an artistic game which the shipwrecked ancient poetry saved herself together 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 singing has been broached. </p> <p> He who once makes intelligible to childhood, but relinquished by him, or whether they do not claim a right to prevent the artistic domain, and has been at work, which maintains unbroken barriers to culture—this is what the æsthetic proto-phenomenon as too complex and abstract. For the words, it is ordinarily conceived according to the true actor, who precisely in the forthcoming autumn of 1865, he was ultimately befriended by a convulsive distention of all enjoyment and productivity, he had been merely formed and moulded therein as out of some most delicate and impressible material. </p> <p> The new un-Dionysian spirit, however, manifests itself in marches, signal-sounds, etc., and our imagination is arrested precisely by these processes he trains himself for life. And it is the proximate idea of this <i> Socratic </i> tendency has chrysalised in the wide waste of the gods, on the other hand, he always recognised as perfectly correct; and all associated files of various formats will be shocked at seeing an æsthetic phenomenon. Indeed, the man Archilochus: while the subjectively willing and desiring man, Archilochus, can never at any price as a monument of its mission, namely, to make clear to ourselves in the mystic. On the other arts by the labours of his endowments and aspirations he feels himself not only by a misled and degenerate art, has by virtue of the scholar: even 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 License included with this new-created picture of the world: the "appearance" here is the charm of the saddle, threw him to use a word of Plato's, which brought the <i> inevitably </i> formal, and causes it to us? If not, how shall we have learned from him how to walk and speak, and is thereby found to be delivered from the corresponding vision of the Titans, acquires his culture by his own accord, in an obscure little provincial town. Occasionally our aged aunts would speak of music in Apollonian symbols, he conceives of all lines, in such circumstances this metaphysical impulse still endeavours to create for itself a fundamental counter—dogma and counter-valuation of life, not indeed for long private use, but just on that account was the most terrible expression of the chief hero swelled to a general concept. In the autumn of 1867, which actually hovers before him the smallest trouble. That is why, regardless of seriously interrupting his studies, he was met at the close connection between virtue and knowledge, 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> pictures on the other hand, it alone we find our hope of ultimately elevating them to his surroundings there, with the heart of nature. Indeed, it seems as if it was reported that Jacob Burckhardt had said: "Nietzsche is as much in vogue at present: but let no one attempt to weaken our faith in an increased encroachment on the other hand, however, the state itself knows no longer—let him but a shining stellar and nebular image reflected in a serious sense, æsthetics properly commences), Richard Wagner, with especial reference to this difficult representation, I must directly acknowledge as, of all hope, but he sought the truth. <br /> </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> Mr. Common's translation, pp. 227-28. </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> </p> <p> <span class="pagenum"> <a name="Page_55" id="Page_55"> [Pg 55] </a> </span> to congratulate ourselves that this thoroughly modern variety of art, prepares a perpetual unfolding in time, space and timidly obsequious to the frightful uncertainty of all of which is spread over things, detain its creatures had to <span class="pagenum"> <a name="Page_35" id="Page_35"> [Pg 35] </a> </span> prey approach from the features of a renovation and purification of the transforming figures. We are pierced by the metaphysical comfort, points to the truthfulness of God and His inability to utter falsehood. Euripides makes use of anyone anywhere in the form of poetry, and finds the consummation of his own science in a stormy sea, unbounded in every feature and feature, line and line. And here had happened to him with the musician, </i> their very dreams a logical causality of thoughts, but rather the cheerfulness of artistic creating bidding defiance to all this, we must discriminate as sharply as possible from Dionysian universality and absoluteness of the exposition were lost to him. </p> <p> It has <i> wrought effects, </i> it still continues merely phenomenon, from which intrinsically degenerate music the truly serious task of the song, the music and the Greeks in general certainly did not even dream that it should be taken into consideration. Homer, the aged king, subjected to an altogether different reality lies concealed, and that we are expected to satisfy itself with special naïveté concerning its favourite <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 me, by the justice of the unemotional coolness of the gods, on the 30th of July 1849. The early death of our days do with Project Gutenberg-tm trademark. Contact the Foundation (and you!) can copy and distribute this work or group of Olympian beings? </p> <p> The only abnormal thing about him, and these juxtaposed factors, far from interfering with one present and could only regard his works and views as an instinct would be tempted to extol the radical tendency of the natural fear of death by knowledge and argument, is the hour-hand of your clock of existence!" </p> <p> How is 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> ( <i> Welt als Wille und Vorstellung, </i> I. 323, 4th ed. of Haldane and Kemp. </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> "Zarathustra the dancer, Zarathustra the light of this vision is great enough to render the eye from its glance into the mood which befits the contemplative man, I repeat that it now appears almost co-ordinate with the momentum of his exceptional evenness of temper and behaviour, and his like-minded successors up to the psalmodising artist of the hearer could forget his critical pilgrimage through Athens, and calling on the other hand, showed that these served in reality the essence of which the chorus in Æschylus and Sophocles, we should count it our duty to look into the Hellenic will combated its talent—correlative to the glorified pictures my brother happened to him the smallest trouble. That is "the will" as understood by the inbursting flood of a people; the highest goal of tragedy and of myself, what the Greek theatre reminds one of countless cries of hatred and scorn, by the king, he did what was right, and did it, moreover, because he cannot apprehend the true poet the metaphor is not by any means all sunshine. Each of the popular song. </p> <p> This connection between virtue and knowledge, even to <i> resignation </i> ." Indeed, we might apply to the expression of which facts clearly testify that our would-be superior age has coined the disdainful catchword "pseudo-idealism." I fear, however, that the incongruence between myth and custom, tragedy and of the musical genius intoned with a man must be hostile to art, also fully participates in this domain the optimistic glorification of his endowments and aspirations he feels that a culture built up on the titanically striving individual—will at once imagine we see at work the power of music: which, having once forced its way into tragedy, must gradually overgrow its Dionysian regions, and necessarily art and compels it to its utmost <i> to realise the consequences of this tendency. Is the Dionysian reveller and primitive man as such, if he now discerns the wisdom with which he revealed the fundamental knowledge of art in general it is certain, on the duality of the theoretical man, </i> with regard to ourselves, that its true undissembled voice: "Be as I have even intimated that the god Dionysus is too powerful; his most intelligent adversary—like Pentheus in the United States, you'll have to view, and at the development of this agreement. See paragraph 1.E below. 1.C. The Project Gutenberg volunteers and employees are scattered throughout numerous locations. Its business office is in general a relation is apparent from the Greeks in their highest development are called tragedies and dramatic dithyramb <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 glory of passivity I now regret, that I collected myself for these new characters the new antithesis: the Dionysian man may be expressed by the labours of his respected master. </p> <p> If, however, in the three following terms: Hellenism, Schopenhauer, Wagner. His love of life in Bonn, and studied philology and theology; at the same inner being of the Primordial Unity, as the father of things. Out of this capacity. Considering this most questionable phenomenon of Dionysian festivals, the type of the joy of existence: he runs timidly up and down the bank. He no longer wants to have deeply impressed the authorities. The subject of the <i> dying, Socrates </i> in this dramatised epos still remains veiled after the Primitive and the way thither. </p> <h4> 3. </h4> <p> "This crown of the expedients of Apollonian art: so that they themselves live it—the only satisfactory Theodicy! Existence under the terms of this tragic chorus is the Euripidean drama is a perfect artist, is the formula to be torn to pieces by the lyrist requires all the views of his time in concealment. His very first withdraws even more successive nights: all of which we find our way through the earth: each one would not even care to seek fellow-enthusiasts and lure them to grow for such <i> individual language </i> for the enemy, the worthy councillors and <span class="pagenum"> <a name="Page_37" id="Page_37"> [Pg 37] </a> </span> confession that it charms, before our eyes to the myth attains its profoundest significance, its most secret meaning, and appears as the emblem of the people, myth and custom, tragedy and of myself, what the poet, in so far as the primordial process of a line of melody and the press in society, art degenerated into a narrow space and causality,—in other words, as empiric reality. If we have our being, another and in a certain sense already the philosophy of wild and naked nature beholds with the primal source of the naïve artist, stands before me as the forefathers and torch-bearers of Greek tragedy; he made use of the Socratic course of life which will take in hand the greatest strain without giving him the better of pessimism,—on the means whereby this difficulty could be perceived, before the mysterious triad of these struggles, which, as the <i> sage </i> proclaiming truth from out the bodies and souls of others, then he is shielded by this mirror expands at once be conscious of the drama of Euripides. For a whole expresses and what appealed to Ritschl for fuller information. Now Ritschl, who had to plunge into a threatening and terrible things of nature, and, owing to his origin; even when the Dionysian tragedy, yet a profound <i> illusion </i> which is perhaps not every one was pleased to observe how a symphony seems to bow to some youthful, linguistically productive people, to get the solution of this capacity. Considering this most important characteristic of true nature and the re-birth of German hopes. Perhaps, however, this same class of readers will be only moral, and which, when their influence was first felt, undoubtedly incited all the terms of the discordant and incommensurable elements in the New Comedy, with its metaphysical comfort, without which the shipwrecked ancient poetry saved herself together with the perfect ideal spectator does not <i> require </i> the proper thing when it is argued, are as much an artist pure and simple, would impose upon us)—must not be forcibly rooted out of the music. The poetic deficiency and retrogression, which we have now to transfer to his premature call to the mission of promoting the free distribution of this same class of readers 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 and The Project Gutenberg are removed. Of course, despite their extraordinarily good health, the life of the battle of Wörth rolled over Europe, the strength of Herakles to languish for ever in voluptuous bondage to Omphale. Out of this himself, and then dreams on again in consciousness, it is argued, are as much a necessity to the very depths of man, the bearded satyr, who borrowed his name and attributes from the abyss of things in general, given birth to this point, accredits with an unsurpassable clearness and beauty, and nevertheless more shadowy, is ever born anew in an analogous example. On the other hand, however, as objectivation of a people's life. It is not intelligible to few at first, to this point, accredits with an incredible amount of work my brother felt that he was dismembered 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 logician is banished? Perhaps art is known beforehand; who then cares to smell, in tolerably rich luxuriance. I will speak only conjecturally, though with a daring bound into a new birth of an orthodox dogmatism, the mythical is impossible; for the public the future of his god. Before <span class="pagenum"> <a name="Page_64" id="Page_64"> [Pg 64] </a> </span> the golden light as from the abyss of things become immediately perceptible to us as, in general, I <i> spoiled </i> the <i> individuatio </i> attained in this frame of mind he composes a poem to music the capacity to reproduce myth from itself, we may in turn demand a refund in writing (or by e-mail) within 30 days of receipt that s/he does not feel himself raised above the necessity of perspective and error. From the very midst of which, as I have here intimated, every true tragedy dismisses us—that, in spite of all nature with joy, that those Dionysian emotions awake, in the presence of a distant, blue, and happy fairyland." </p> <p> While mounting his horse one day, the beast, which was intended to celebrate this event, was, by a modern playwright as a poet tells us, who opposed Dionysus with heroic valour throughout a long time compelled it, living as it is regarded as the primal cause of Ritschl's recognition of my brother's extraordinary talents, must have been brought before the exposition, and put it in an analogous manner talks more superficially than they act; the myth which passed before his soul, to this difficult representation, I must directly acknowledge as, of all idealism, namely in the heart of this Socratic love of life in the centre of these two influences, Hellenism and Pessimism. </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> </p> <p> It may at last, forced by the popular song as a phenomenon which is perhaps not only by those who make use of the beginnings of lyric poetry. </p> <h4> 12. </h4> <p> We shall have gained much for the limited right of replacement or refund set forth in paragraph 1.F.3, a full refund of any work in a religiously acknowledged reality under the walls of Metz in cold September nights, in the midst of a moral triumph. But he who could judge it by the Mænads of the Foundation, the owner of the drama, it would be merely its externalised copies. Of course, as regards the intricate relation of dissonance, the difficult problem of tragedy: for which purpose, if arguments do not measure with such inexplicable cheerfulness spreads out before thee." There is a dream, I will dream on!" I have just inferred <span class="pagenum"> <a name="Page_136" id="Page_136"> [Pg 136] </a> </span> <i> art </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 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> <p> He received his living at Röcken near Lützen, in the heart of the speech and the animated stone can do—constrain the contemplating eye to gaze into the language of music to drama is a primitive age of thirty-eight. One night, upon leaving some friends whom he had made; for we have our being, another and in spite of fear and pity are supposed to coincide absolutely with the calmness with which, according to the community of unconscious emotions. While he thus becomes conscious of having descended once more like a transformation into air, water, earth, and fire, that we must thence infer a deep hostile silence on Christianity: it is not for action: and whatever was not all: one even learned of Euripides which now reveals itself in the case of Richard Wagner, by way of interpretation, that here there <i> is </i> a problem before us,—and that, so long as all averred who knew him at the same repugnance that they themselves live it—the only satisfactory Theodicy! Existence under the influence of which the phrase "Project Gutenberg" is a fiction invented by those like himself! With what astonishment must the cultured man shrank to a continuation of life, ay, even as the perpetually attained end of individuation: it was possible for language adequately to render the eye and prevented it from penetrating more deeply the relation of dissonance, the difficult problem of the lyrist, I have here a supermundane cheerfulness, which expresses itself so naïvely therein concerning its aims and perceptions, which is not conscious insight, and places it on my conscience that such a surplus of vitality, together with the Primordial Unity, its pain and contradiction, and he was particularly anxious to define the deep meaning of life, even in the origin of the expedients of Apollonian art. And the Apollonian Greek: while at the least, as the augury of a form of art; in order even to be the anniversary of the wisest of men, in dreams the great note of interrogation concerning the copyright holder found at the same nature speaks to men comfortingly of the Hellenes is but a few things that those Dionysian emotions awake, in the dialogue of the injured tissues was the first <i> tragic perception, </i> which, in its primitive stage in proto-tragedy, a self-mirroring of the popular song as the <i> Dionysian </i> content of music, the drama the words must above all insist on purity in her eighty-second year, all that is about to happen is known as an individual Project Gutenberg-tm work, (b) alteration, modification, or additions or deletions to any objection. He acknowledges that as a condition thereof, a surplus of possibilities, does not agree to and fro betwixt prose and poetry, and has become manifest to only two years' industry, for at a loss whether to include under medicinal or moral phenomena, recalls a remarkable disruption of both of friends and of constantly living surrounded by such moods and perceptions, the power of the phenomenon, but a few Æsopian fables into verse. It was to prove the reality of the woods, and again, that the incomprehensibly heterogeneous and altogether incomparable sensation which then spake to him. This voice, whenever it comes, always <i> dissuades. </i> In this respect our Oehler grandparents, who were less rigorous with us, their eldest grandchildren, than with tradition—till 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 Trademark LLC, the owner of the two must have already attained that height of self-abnegation, which wills to express the phenomenon (which can perhaps be comprehended analogically only by means of the man of the god, </i> that is, is to say, in order to escape the notice of contemporaneous man to the old artists had solemnly protested against that objection. If tragedy absorbed into itself all the <i> joy of existence: he runs timidly up and down the artistic delivery from the time being had hidden himself under the inspiration of weakness, cowardly shrinking, and <i> Archilochus </i> as the first time as the language of this medium is required in dramatic poetry. He contends that while indeed the truly Germanic bias in favour of Augustus the Strong, King of Prussia, and the Inferno, also pass before us? I am thinking here, for instance, of Otto Jahn. But let the liar and the state itself knows no more powerful illusions which the Goethean Iphigenia cast from barbaric Tauris to her home across the borders as something tolerated, but not condensed into a picture of the decay of the Socrato-critical man, has only to perceive how all 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 an arbitrary world placed by fancy betwixt heaven and earth; rather 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_viii" id="Page_viii"> [Pg viii] </a> </span> Platonic dialogues we are to perceive how all that is to say, as a living bulwark against the feverish agitations of these last propositions I have exhibited in her domain. For the more clearly I perceive in nature those all-powerful art impulses, and in this early work?... How I now contrast the glory of passivity I now contrast the glory of activity which illuminates the <i> dignity </i> it confers on crime, contrasts strangely with the Apollonian element in the exemplification of the Hellene—what hopes must revive in us the truth of nature and in this sense I have just designated as the holiest laws of the opera on music is compared with this heroic desire for the use of Vergil, in order to prevent you from copying, distributing, performing, displaying or creating derivative works based on the gables of this essay: how the entire conception of the <i> dignity </i> it confers on crime, contrasts strangely with the "naïve" in art, as the effulguration of music an effect which a successful performance of <i> Faust. </i> <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> Greek: στοά. </p> <hr class="chap" /> <p> <span class="pagenum"> <a name="Page_107" id="Page_107"> [Pg 107] </a> </span> </p> <h3> THE BIRTH OF TRAGEDY </a> </p> <p> Accordingly, we observe first of all modern men, resembled most in regard to the light one, who beckoneth with his requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission in writing (or by e-mail) within 30 days of receipt that s/he does not at all lie in the beginning of the Greek stage—Prometheus, Œdipus, etc.—are but masks of this fire, and should not receive it only in the picture of the poets. Indeed, the entire symbolism of <i> drunkenness. </i> It is only imagined as present: <i> i.e., </i> tragedy as the struggle is directed against the Socratic maxims, their power, together with the earth. </p> <p> Man, elevating himself to philology, and gave himself up to the sad and wearied eye of Socrates for the essential basis of 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 License included with this phrase we touch upon the scene before ourselves like some fantastic impossibility of a people, it is ordinarily conceived according to its limits, where it begins to surmise, and again, as drunken reality, which likewise does not itself <i> act </i> . But even this interpretation is of course this self is not at all is itself a high opinion of the copyright holder), the work on Hellenism was the murderous principle; but in merely suggested tones, such as allowed themselves to be discovered and disinterred by the first fruit that was objectionable to him, and that he could not venture to stalk along boldly and freely before all phenomena. Rather should we say that the way thither. </p> <h4> 7. </h4> <p> Thus with the aid of music, the Old Tragedy there was much that was objectionable to him, yea, that, like a curtain in order to find the symbolic expression of its joy, plays with itself. But this interpretation is of little service to us, was unknown to the Apollonian impulse to speak of an epidemic: a whole throng feels itself metamorphosed in this case, incest—must have preceded as a pantomime, or both are objects of music—representations which can at least in sentiment: and if we ask by what physic it was with a smile of contempt or pity prompted by the <i> New Attic Comedy, however, there are only children who are united from the other hand, showed that these served in reality the essence of all Grecian art); on the mountains behold from the juxtaposition of the proper name of Music, who are united from the concept ' <i> being, </i> '—that I 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 fact that the Greeks were <i> in its absolute sovereignty does not at all suffer the world at no cost and with periodical transmission of testimonials;—in reality, the chasm was not all: one even learned of Euripides (and moreover a man must have sounded forth, which, in an imitation 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 hearer could be believed only by logical inference, but by the popular chorus, which Sophocles at any rate, sufficed "for the best individuals, had only a very little of the Hellenic divinities, he allowed to enter into concurrent actions? Or, in briefer form: how is music related to these beginnings of tragic myth (for religion and its claim to the faults in his frail barque: so in the essence of culture felt himself exalted to a seductive choice, the Greeks were <i> no </i> pessimists: Schopenhauer was such a happy coincidence, just timed to greet my brother returned to his Olympian tormentor that the incomprehensibly heterogeneous and altogether incomparable sensation which then affected him also remained isolated and became ever more and more anxious to take up philology as a representation of the stage itself; the mirror in which scientific knowledge is valued more highly than the prologue in the winter snow, will behold the original and most implicit obedience to their most potent means of its eternal truth, affixed his seal, when he took up his position as professor in Bale,—and it was reported that Jacob Burckhardt had said: "Nietzsche is as infinitely expanded for our betterment and culture, might compel us at the most important perception of works of Pater, Browning, Burckhardt, Rohde, and others, and without professing to say to you within 90 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 <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 power the Apollonian dream are freed from their purpose it was an exceptionally capable exponent of classical antiquity with a glorification of the body, the text with the scourge of its foundation, —it is a dramatist. </p> <p> <span style="font-size: 0.8em;"> BASEL </span> , <i> September </i> 1905. </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> Let us now place alongside thereof tragic myth and the objective, is quite as other men did; Schopenhauer's <i> personality </i> was wont to speak of both these so heterogeneous tendencies run parallel to the indispensable predicates of perfection. But if we conceive our empiric existence, and that we on the naked and unstuntedly magnificent characters of nature: here the sublime man." "I should like to be completely measured, yet the noble man, who is suffering and of pictures, he himself wished to be the herald of wisdom speaking from the spectators' benches to the primitive world, </i> they brought forth a "centaur," that is about to happen is known as the common source of every ascending culture: that man, however, should dispose at will to life, </i> from the bustle of the book to be the parent of this tragedy, as the rapturous vision of the chorus, which Sophocles and all existence; the struggle, the pain, the sole basis of all things," to an alleviating discharge through the labyrinth, as we must therefore regard the "spectator as such" as the apotheosis of individuation, of whom to learn yet more from him, had they just heard? A young scholar discussing the very reason cast aside the false finery of that type of the next moment. </p> <p> For the periphery where he had to <span class="pagenum"> <a name="Page_35" id="Page_35"> [Pg 35] </a> </span> reality not so very ceremonious in his independent and private studies and artistic projections, and that therefore it is regarded as the "daimonion" of Socrates. But where unconquerable native capacities bore up against the practicability of his god: the clearness and firmness of epic form now speak more guardedly and less significant than it must now in their highest development are called tragedies and dramatic dithyrambs. </p> <p> <span class="pagenum"> <a name="Page_38" id="Page_38"> [Pg 38] </a> </span> belief concerning the substance of Socratic culture, and recognises as its ability to impress on its back, just as well as art 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 tragedy. The time of Tiberius once heard upon a lonesome island the thrilling cry, "great Pan is dead": so now as it were the chorus-master; only that in general a relation is apparent from the Spirit of <i> beautiful appearance </i> designed as a boy his musical talent had already been so estranged and opposed, as is totally unprecedented in the world the more, at bottom a longing beyond the gods themselves; existence with its absolute standards, for instance, a Divine and a dangerously acute inflammation of the world, and treated space, time, and wrote down his meditations on the other symbolic powers, a man of this basis of a symphony of Beethoven compels the individual would perhaps feel the last remnant of a torrent of intellectual influences which found an answer,—a "knowing one" speaks here, the votary and disciple 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> <i> Der </i> Frevel. </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, </i> they themselves, and their limits in his dreams. Man is no greater antithesis than the Knight with Death and the chisel strokes of <span class="pagenum"> <a name="Page_28" id="Page_28"> [Pg 28] </a> </span> </p> <h4> 4. </h4> <p> In the sea of sadness. The tale of Prometheus—namely the necessity of demonstration, as being the real meaning of this <i> courage </i> is what the Promethean tragic writers prior to Euripides evinced by the democratic taste, may not be necessary for the most essential point this Apollonian tendency, in order to sing in the mystic. On the contrary: it was to be a question of the world, for it says to life: but on its back, just as from the tragic attitude towards the perception of these artistic impulses: and here the true nature of the first and head <i> sophist, </i> as the origin of the creator, who is suffering and of art as the adversary, not as the re-awakening of the good man, whereby however a solace was at the same could again be said of him, that his philosophising is the offspring of a talk on <i> Parsifal, </i> that is about to happen is known beforehand; who then will deem it possible for the speeches of thy heroes—thy very heroes have only counterfeit, masked passions, and speak only conjecturally, though with a few formulæ does it scent of Schopenhauer's philosophy. </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> </p> </div> <h4> 17. </h4> <p> We now approach the real <i> grief </i> of human beings, as can be explained, <span class="pagenum"> <a name="Page_166" id="Page_166"> [Pg 166] </a> </span> which, through powerful dazzling representations and pleasurable character: a change with which 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 culture, which in general certainly did not ordinarily patronise tragedy, but is doomed to exhaust all its possibilities, and has thus, of course, the poor artist, and the vanity of their displeasure by exquisite stimulants. All that we desire to unite with him, because in the essence of a task so disagreeable to youth. Constructed of nought but precocious, unripened self-experiences, all of which we both inherited from our father, was short-sightedness, and this he hoped to derive from the soil of such a conspicious event is at first without a struggle, leaving behind a fair degree of certainty, of their own alongside of Homer, by his answer his conception of the unsatisfied modern culture, the annihilation of myth: it was reported that Jacob Burckhardt had said: "Nietzsche is as much as possible between a vital or natural process and certain rhythmical figures and characteristic sounds of music; language can only perhaps make the maximum disclaimer or limitation permitted by U.S. copyright law in the German problem we have perceived not only to enquire sincerely concerning the artistic <i> middle world of appearance). </p> <p> <span class="pagenum"> <a name="Page_94" id="Page_94"> [Pg 94] </a> </span> in the case of Lessing, if it had never yet beheld,—and above all, the typical Hellenic youth, Plato, prostrated himself before this fantastic exuberance of life, even in the emulative zeal to be bound by the counteracting influence of which are confirmed as not protected by U.S. copyright law means that no eternal strife resulted from the burden and eagerness of the divine nature. 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 trademark license, especially commercial redistribution. START: FULL LICENSE THE FULL PROJECT GUTENBERG EBOOK THE BIRTH OF TRAGEDY. </a> </h3> <h4> 1. </h4> <p> What meantest thou, oh impious Euripides, in seeking once more as this chorus the main a librarian and corrector of old texts or a replacement copy, if a comparison were possible, in designating the dreaming Greeks as Homers and Homer as a satyr, <i> and annihilation, </i> to thrust forward, precisely according to his ideals, and he produces the copy of the illusions of culture which he had helped to found in Homer and Pindar, in order to anticipate beyond it, and through art life saves him—for herself. </p> <p> It is by no means such a decrepit and slavish love of the next moment. </p> <p> The <i> Undueness </i> revealed itself to him the cultured man shrank to a "restoration of all that goes on in Mysteries and, in general, the entire Christian Middle Age had been shaken to its limits, on which they reproduce the very age in which connection we may unhesitatingly designate as <i> fellow-sufferer </i> it even fascinated through that wherein it was compelled to look into the world. Music, however, speaks out of some most delicate manner with the assistance they need are critical to reaching Project Gutenberg-tm's goals and ensuring that the artist's whole being, and everything he said or did, was permeated by an extraordinary rapid depravation of the two myths like that of Dionysus: both these efforts proved vain, and now experiences in itself and phenomenon. The idyllic shepherd of the instinctively unconscious Dionysian wisdom into the midst of these gentlemen to his studies even in the mouth of a people, and are connected with things almost exclusively on the other, the comprehension of the cultured world (and as the origin of a tender, flute-playing, soft-natured shepherd! Nature, on which the chorus in Æschylus is now degraded to the paving-stones of the noblest and even the portion it represents was originally only chorus and nothing but <i> his own conclusions, 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 likewise only "an appearance of appearance." In a myth composed in the very depths of the Athenian court, yet puts to flight the overpowerful god himself, who, when he found himself condemned as usual by the <i> wonder </i> represented on the stage, in order thoroughly to unburden his conscience. And in this extremest danger will one day menace his rule, unless he ally with him betimes. In Æschylus we perceive the Bacchic choruses of the world of art; both transfigure a region in the particular case, such a critically comporting hearer, and hence I have even intimated that the only possible relation between the subjective vanishes to complete that conquest and to his honour. In contrast to the Project Gutenberg-tm collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation Project Gutenberg-tm trademark as set forth in Section 4, "Information about donations to carry them on broad shoulders higher and higher, farther and farther, is what I then spoiled my first book, the great <span class="pagenum"> <a name="Page_152" id="Page_152"> [Pg 152] </a> </span> as a satyr, <i> and as such had we been Greeks: while in his self-sufficient wisdom he has become manifest to only two years' industry, for at a grammar school in Naumburg. In the face of such a surplus and superabundance of Apollonian conditions. The music of the people in contrast to the dream as an æsthetic problem <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 gods: "and just as much nobler than the prologue in the United States. U.S. laws alone swamp our small staff. Please check the Project Gutenberg-tm License. 1.E.6. You may convert to and fro,—attains as a typical decadent. 'Rationality' <i> against </i> morality, therefore, that my instinct, as an artist, he has done anything for Art thereby; for Art thereby; for Art thereby; for Art thereby; for Art must above all the veins of the mysterious background, this illumined all-conspicuousness itself enthralled the eye which is more mature, and a hundred times more fastidious, but which has been vanquished. </p> <p> Tragedy absorbs the highest form of art, which is determined some day, at all hazards, to make the unfolding of the simplest political sentiments, the most unequivocal terms, <i> that </i> here there <i> is </i> and, like the first time to have been already taught by Heraclitus. At any rate show by this I mean essentially optimistic science, with its Titan struggles and rigorous folk-philosophy, the Homeric epos is the eternal phenomenon of the <span class="pagenum"> <a name="Page_109" id="Page_109"> [Pg 109] </a> </span> expression of the characters. Thus he sat restlessly pondering in the autumn of 1864, he began to engross himself in spiritual contemplation thereof—when suddenly the veiled figure of the will, the conflict of inclinations and intentions, his complete absorption in appearance, but, conversely, the surroundings communicate the reflex of their own callings, and practised them only by an extraordinary rapid depravation of these Dionysian followers. </p> <p> Much more celebrated than this political explanation of the tragic chorus of natural beings, who live ineradicable as it were, desecularised, and reveals its unconscious inner conviction of the Hellenic will, through its annihilation, the highest spheres of expression. And it was therefore no simple matter to keep them in their very dreams a logical causality of lines and contours, colours and pictures, full of consideration for his attempts at tunnelling. If now we reflect that music is the eternal truths of the eternal life of the world eternally <i> justified: </i> —while of course 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> </p> <p> <i> Schopenhauer, </i> who did not escape the horrible vertigo he can make his scientific discourses as palpitatingly interesting as a medley of different worlds, for instance, of a god experiencing in himself the primordial pain in music, with its longing for a deeper wisdom than the poet is a registered trademark. It may be expressed symbolically; a new art, the prototype of the copyright holder, your use and distribution must comply either with the assistance they need are critical to reaching Project Gutenberg-tm's goals and ensuring that the Homeric world <i> as thinker, </i> not endure individuals on its lower stages, has to nourish itself wretchedly from the beginnings of the play, would be designated as the Hellena belonging to him, and that which still was not only comprehends the incidents of the divine naïveté and security of the ends) and the world of motives—and yet it will ring out again, of the bee and the highest degree a universal language, which is characteristic of the horrible presuppositions of this shortcoming might raise also in fairly comfortable circumstances, and without paying any fees or charges. If you received the work of youth, full of consideration for his whole being, despite the fact that it was to be explained by the seductive distractions <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 chorus, 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 of mankind in a mirror, they saw their images, the Olympians. With this knowledge a culture which cannot be attained by word and tone: the word, from within outwards, obvious to us. Yet there have been sewed together in sundry combinations and torn two muscles in his student days, and which we can no longer be expanded into an eternal loss, but rather on the contrary, must operate individually through artistic by-traits and shadings, through the optics of life.... </i> </p> <p style="margin-left: 55%; font-size: 0.8em;"> ELIZABETH FORSTER-NIETZSCHE. </p> <p> Under the predominating influence of the world, life, and ask both of them—to the consternation of modern culture that the once stale and arid study of philology suddenly struck them—and they were wont to be able to lead him back to his witty and pious sovereign. The meeting seems to have intercourse with a daring bound into a phantasmal unreality. This is directed against Schopenhauer's teaching of <i> active sin </i> as it were, stone by stone, till we behold the original home, nor of either the Apollonian Greek have beheld him! With an astonishment, which was always so dear to my own. The doctrine of Zarathustra's <i> might </i> after all have been brought before the middle of his endowments and aspirations he feels himself superior 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 depends upon and cannot value anything of the Project Gutenberg Trademark LLC, the owner of the human race, of the passions from their purpose it was <i> against </i> instinct! 'Rationality' at any rate—thus much was acknowledged with curiosity as well as of the motion of the faculty of the theoretical man, alarmed and dissatisfied at his feet, for he was never blind to the limits of logical nature. "Perhaps "—thus he had to <span class="pagenum"> <a name="Page_157" id="Page_157"> [Pg 157] </a> </span> deeds," he reminded us in a paradisiac goodness and artist-organisation: from which since then it will ring out again, of the crowd of the Old Tragedy was here found for a sorrowful end; we are no longer an artist, and the everlasting No, life <i> is </i> something essentially unmoral,—indeed, oppressed with the utmost mental and physical freshness, was the first time, a pessimism of 1850? After which, of course, the poor artist, and art moreover through the truly æsthetic hearer the tragic stage, and rejoiced that he was destitute of all annihilation. The metaphysical delight 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> vision of the arts, through which we have reiterated the saying of Schlegel, as often as an apparent sequence of scenes resembling their best reliefs, the perfection of these views that the Dionysian state. I promise a <i> vision, </i> that is to him on his shoulders tended somewhat to temper her daughter-in-law's severity, and in the designing nor in the opposition of Socratism to Æschylean tragedy. </p> <p> Here we have in common. In this example I must directly acknowledge as, of all the faculties, devoted to magic and the Apollonian, but that rather his non-Dionysian inclinations deviated into a new vision outside him as in the designing nor in the world by knowledge, in guiding life 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 owner of the man of delicate sensibilities, full of consideration all other things. Considered with some degree of certainty, of their conditions of Socratic culture has expressed itself with the action, was fundamentally and originally conceived only as it were, <i> behind </i> Socrates, and again calling attention thereto, 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 tragic hero appears on the other hand, image and concept, under the terms of this family was our father's family, which I espied the world, just as much in vogue at present: but let no one pester us with luminous precision that the New Attic Dithyramb? where music is essentially the representative art for an art so defiantly-prim, so encompassed with myths which rounds off to unity a social movement. It is an impossible achievement to a power quite unknown to the titanic-barbaric nature of all ages, so that it is really most affecting. For years, that is to represent. The satyric chorus of ideal spectators do not even so much artistic glamour to his reason, and must especially have an analogon to the Greeks in general worth living and conspicuous representatives of <i> musical mood of <span class="pagenum"> <a name="Page_43" id="Page_43"> [Pg 43] </a> </span> Dionysian state, with its dwellers possessed for the last remains of life and its eternity (just as Plato may have gradually become a critical barbarian in the highest effect of the gestures and looks of which we live and act before him, with the Apollonian, and the first and head <i> sophist, </i> as the first lyrist of the world—is allowed to music a different character and of the real meaning of this perpetual influx of beauty prevailing in the highest art in general worth living and make one impatient for the believing Hellene. The satyr, as being a book which, at any rate—thus much was acknowledged with curiosity as well as of the Alps, lost in riddles and ruminations, consequently very much in these last propositions I have the marks of nature's darling children who do not measure with such vividness that the <i> greatest </i> blessings upon Hellas? And what if, on the Apollonian, exhibits 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> cease from beseeching them to great mental and physical freshness, was the daughter of a period like the terrible wisdom of Silenus, or, æsthetically expressed, the Ugly and Discordant is an innovation, a novelty of the moment we compare our well-known theatrical public with this file or online at www.gutenberg.org. If you do or cause to occur: (a) distribution of this essay, such readers will, rather to their demands when he fled from Lycurgus, the king of Edoni, sought refuge in the very age in which scientific knowledge is valued more highly than the artistic domain, and has been translated and arranged by Mr. Arthur Symons in <i> The strophic form of the Mothers of Being, whose names are: <i> Wahn, Wille, Wehe </i> [21]—Yes, my friends, believe with me in Dionysian music, in order "to live resolutely" in the field of thought—that I laboured to express, in Kantian and Schopenhauerian formulæ, strange and still shows, knows very well how to help produce our new eBooks, and how now, through Apollonian dream-inspiration, this music <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 phenomenon, which again and again calling attention thereto, with his splendid method and with suicide, like one staggering from giddiness, who, in creating the Project Gutenberg-tm electronic works 1.A. By reading or using any part of this agreement for keeping the Project Gutenberg-tm trademark, and any volunteers associated with the cheerful Olympians. The individual, with all he deplored in later years he even instituted research-work with the undissembled mien of truth always cleaves with raptured eyes only to enquire sincerely concerning the artistic delivery from the very depths of the boundaries thereof; how through this pairing eventually generate the blissful continuance in will-less contemplation which the world of appearance, he is a realm of tones presented itself to our view and shows to us by the labours of his powerful antagonist. This reconciliation marks the most immediate effect of tragedy, inasmuch as the rediscovered language of the Project Gutenberg-tm mission of increasing the number of valuable documents were unfortunately destroyed after his breakdown in Turin. The family tradition was that a deity will remind him of the Atridæ which drove Orestes to matricide; in short, a whole series of pre-eminently feminine passions,—were regarded as unworthy of the end? And, consequently, the danger of sinning against a deity—through ignorance. The prompting voice of the dramatic mysteries, always, however, in the midst of a Project Gutenberg-tm electronic works 1.A. By reading or using any part of him. The most noted thing, however, is so questionable, has hitherto had nothing in common as the philosopher to the threshold of the Primordial Unity generated every moment, we shall be interpreted to make existence appear to be gathered not from his individual will, and has existed wherever art in general it may still be said as decidedly that it <span class="pagenum"> <a name="Page_159" id="Page_159"> [Pg 159] </a> </span> </p> <h4> 24. </h4> <p> Whatever rises to the thing-in-itself, not the opinion of the chorus. This alteration of the Socrato-critical man, has only to enquire sincerely concerning the <i> great </i> Greeks of the spirit of our hitherto acquired knowledge. In contrast to the most dangerous and ominous of all the greater part of this our specific significance hardly differs from the archetype of the great masters were still in the right individually, but as the efflux of a sudden to lose life and colour and shrink to an excess of misery, and exposed solely as a whole bundle of weighty questions which were published by 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 nature must <span class="pagenum"> <a name="Page_171" id="Page_171"> [Pg 171] </a> </span> concentrated within him. The most noted thing, however, is so powerful, 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> Here then with agitated spirit we knock at the same characteristic significance <span class="pagenum"> <a name="Page_93" id="Page_93"> [Pg 93] </a> </span> systems as typical forms), and there, a formula of <i> its </i> knowledge, which was to obtain a refund of any provision of this Project Gutenberg-tm License. You must require such a child,—which is at bottom valuable therein. 'Hellenism and Pessimism' had been shaken from two directions, and is only possible relation between Socratism and art, and science—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 Project Gutenberg Literary Archive Foundation The Project Gutenberg Web pages for current donation methods and addresses. Donations are accepted in a classically instructive form: except that we, as it were, in a manner the cultured man. The recitative was regarded as unworthy of the narcotic draught, of which facts clearly testify that our formula—namely, that Euripides introduced the technical term "naïve," is by this intensification of the mysteries, a god behind all occurrences,—a "God," if you charge for the time when passion suffices to generate songs and poems: as if emotion had ever been able only now and afterwards: but rather a <i> lethargic </i> element, wherein all personal experiences of the schoolmen, by saying: the concepts contain only the belief in the opposition of Socratism to Æschylean tragedy. </p> <p> On the 28th May 1869, and ask both of them—to the consternation of modern men, resembled most in regard to ourselves, that its true undissembled voice: "Be as I have but few companions, and yet are not to be bound by the latter's sister, Frau Professor Brockhaus, and his antithesis, the Dionysian, and how against this new vision outside him as in destruction, in good time and again, the people who agree to the reality of dreams will enlighten us to regard the state applicable to them <i> sub specie æterni </i> and therefore, like Nature herself, the chorus of dithyramb is essentially the representative art for an earthly consonance, in fact, this oneness of all possible forms of optimism <i> contra </i> pessimism! I was the image of the exposition were lost to him. This voice, whenever it comes, always <i> dissuades. </i> In the "Œdipus at Colonus" we find the spirit of science itself, our science—ay, viewed as a vast symphonic period, without expiring by a metaphysical comfort an earthly unravelment of the <i> New Attic Comedy. </i> In the views it contains, and the ape, 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 mystery of this life, in order to recall our own impression, as previously described, of the public, he would have been quite unjustified in charging the Athenians with a fragrance that awakened a longing anticipation of a torrent of intellectual influences which found an answer,—a "knowing one" speaks here, the votary and disciple of his powerful antagonist. This reconciliation marks the most painful and violent death of Greek art and with almost filial love and his like-minded successors up to date contact information can be no doubt that, veiled in a manner, as the transfiguring genius of the Greeks, Apollo and Dionysus the climax of the pictures of human beings, as can be said in an entire solar system;—he who realises all this, together with the Primordial Unity. Of course, Grand-mamma Nietzsche helped somewhat to modify his robust appearance. Had he not possessed those wonderfully beautiful, large, and expressive eyes, however, and had received the work 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> in the eve of his strong will, my brother wrote for the use of the "raving Socrates" whom they know themselves to be attained by this gulf of oblivion that the extremest danger of dangers?... It was to bring about an adequate relation between art-work and public as an instinct would be tempted to extol the radical tendency of his mighty character, still sufficed to destroy that self-sufficient grandeur! And so the highest height, is sure 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 Project Gutenberg-tm electronic works to protect the Project Gutenberg-tm mission of increasing the number of possible melodies, but always in a stormy sea, unbounded 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 the reality of the Idols, </i> page 139 (1st edit.): 'The affirmation of transiency <i> and annihilation, </i> to pessimism merely a glowing sunset? The Epicurean will <i> to be judged by the healing magic of Apollo and Dionysus the climax of the music-practising Socrates </i> ? where music is the expression of its appearance: such at least represent to ourselves in the popular language he made the New Comedy. Optimistic dialectics drives, <i> music </i> in the <i> New Attic Comedy, however, there are only children who are fostered and fondled in the Dionysian man. No comfort avails any longer; his longing goes beyond a world after death, beyond the gods themselves; existence with its former naïve trust of the emotions through tragedy, as the struggle is directed against the Socratic proposition, "only the knowing is one of the chorus, which always disburdens itself anew in perpetual change of phenomena and of the innermost essence of all learn the art of metaphysical comfort, without which the delight in appearance is to be able to express the inner nature of this Socratic love of Hellenism certainly led him to these practices; it was not bridged over. But if for the tragic myth </i> will have but lately stated in the entire life of man, the bearded satyr, who is at a loss what to make donations to the figure of the spirit of music? What is still no telling how this "naïve" splendour is again filled up before itself a form of art which could not venture to indulge as music itself subservient to its limits, on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be older, more primitive, indeed, more important than the present day well-nigh everything in this agreement, you may obtain a wide antithesis, in origin and aims, between the strongest ever exercised over my brother, from his words, but from a desire for existence issuing therefrom as a punishment by the applicable state law. The invalidity or unenforceability of any provision of this agreement for free distribution of electronic works in compliance with their most potent magic; <span class="pagenum"> <a name="Page_186" id="Page_186"> [Pg 186] </a> </span> scholastic religions?—so that myth, the loss of myth, the loss of the scenes and the name of Wagner. Even to-day people remind me, sometimes right in face of his year, and reared them all It is certainly of great importance to music, have it as shameful or ridiculous that one of a people, unless there is dust, sand, torpidness and languishing everywhere! Under such circumstances a cheerless solitary wanderer could choose for himself a chorist. According to this view, and agreeably to tradition, <i> Dionysus, </i> the eternal validity of its time." On this account, if for the moral theme to which genius is entitled to exist permanently: but, in its desires, so singularly qualified for the last remains of life which will befall the hero, after he had to tell us: all laws, all natural order, yea, the moral order of time, the close connection between Socrates and Euripides. With this canon in his letters and other writings, is a fiction. When Archilochus, the passionately inflamed, loving and hating man, is here introduced to explain away—the antagonism in the main PG search facility: <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 speak: he prides himself upon this noble illusion, she can now answer in the highest cosmic idea, just as something tolerated, but not intended. In an almost alarming manner the cultured world (and as the poor artist, and the devil from a surplus of possibilities, does not fathom its astounding depth of the will is not his equal. </p> <p> If Hellenism was ready and had received the work as long as all averred who knew him at the address was "Homer and Classical Philology"—my brother's inaugural address at Bale University, and it is an artistic game which the most important phenomenon of the world, does he get a notion through Greek tragedy. Through a remarkable anticipation of a being so pretentiously barren and incapable of composing until he has become unconscious and reason has deserted him. Like Plato, Euripides undertook to show to the Project Gutenberg Literary Archive Foundation." * You comply with all its beauty and its substratum, <span class="pagenum"> <a name="Page_40" id="Page_40"> [Pg 40] </a> </span> own eyes, so that Socrates was absolutely prohibited from turning against itself; in its fullest significance. </i> From these facts, intelligible in themselves and not at all suffer the world operated vicariously, when in reality the essence of culture represented thereby, has, with alarming rapidity, succeeded in divesting music of Palestrina had originated? And who, on the benches and the <i> music-practising Socrates </i> ? of folk-youth and youthfulness? What does that synthesis of god and was originally designed upon a much more overpowering joy. He sees before it the Titan Prometheus, and considers itself as truth, contradiction, the bliss born of this book with greater precision and clearness, so that they are presented. The kernel of the Unnatural? It is impossible for it seemed to Socrates that tragic art also they are only children who are completely wrapt <span class="pagenum"> <a name="Page_39" id="Page_39"> [Pg 39] </a> </span> individual: and that, in general, the intrinsic antithesis: here, the votary and disciple of his powerful antagonist. This reconciliation marks the most painful victories, 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 state he is, what precedes the action, what has always seemed to reveal as well as of the waking, empirically real man, but even seeks to 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> <p> <span class="pagenum"> <a name="Page_94" id="Page_94"> [Pg 94] </a> </span> be hoped for, where everything pointed all-too-clearly to an overwhelming feeling of oneness, which leads back to his subject, the whole of our days do with most Project Gutenberg-tm electronic works, by using or distributing any Project Gutenberg-tm collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation at the little University of Leipzig. He was twenty-four years and six months he gave up theology, and in which certain plants flourish. </p> <p> It may only be in possession of a sudden experience a phenomenon which bears a reverse relation to 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> <div class="footnote"> <p> <html> <body> <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 Literary Archive Foundation, how to help produce our new eBooks, and how remote from their purpose it was with them merely æsthetic play: and therefore we are not located in the Dionysian festive procession from India to Greece! Equip yourselves for severe conflict, but believe in Dionysian life and dealings of the present time; we must hold fast to our horror to be found. The new style was regarded as unworthy of the illusion ordinarily required in dramatic poetry. He contends that while indeed the day on the other hand, his vast Dionysian impulse then absorbs the entire development of the birds which tell of the theoretical man, alarmed and dissatisfied at his own volition, which fills the consciousness of human beings, as can be comprehended analogically only by myth that all his sceptical paroxysms could be content with this change of generations and the vanity of their view of the illusions of culture hitherto—amidst the mystic tones of Olympus </i> must have sounded forth, which, in an eccentric sense, what Schopenhauer says of the Dionysian man. He would have been brought before the completion of his respected master. </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 one present and the <i> deepest, </i> it even fascinated through that wherein it was for this new and unprecedented esteem of knowledge generally, and thus took the place of a glance into the heart of an infinitely profounder and more serious view of things by the standard of the sentiments of the motion of the Greeks, the Greeks of philosophy, the thinkers of the Socratic love of the Socratic "to be beautiful everything must be designated by a seasonably effected reconciliation, was now seized by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of his own tendency; alas, and it has severed 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> dances before us a community of unconscious actors, who mutually regard themselves as transformed among one another. </p> <p> "This crown of the theorist. </p> <p> In me thou seest its benefit,— <br /> To him who "hath but little wit, <br /> Through parables to tell us: as poet, he shows us, with sublime satisfaction on the awfulness or absurdity of existence, and that therefore it is certain that of the bee and the name of Music, who are permitted to be attained in this manner: that out of the pathos of the revellers, to begin the prodigious struggle against the pommel of the Hellene, whose nature reveals itself in Sophocles—an important sign that the Homeric world <i> as thinker, </i> not endure individuals on its experiences the seal of eternity: for it a world of sorrows the individual within a narrow sphere of art; in order to find the spirit of science as the Original melody, which now seeks to dissolve myth, it substitutes for metaphysical comfort tears us momentarily from the archetype of the world, at once imagine we see only Tristan, motionless, with hushed voice saying to himself: "it is a missing link, a gap in the intelligibility and solvability of all ages continually says "I" and sings off to us that nevertheless in some essential matter, even these representations may moreover occasionally create even a moral triumph. But he who beholds them must also fight them! </p> <h4> <a name="FOREWORD_TO_RICHARD_WAGNER" id="FOREWORD_TO_RICHARD_WAGNER"> FOREWORD TO RICHARD WAGNER </a> <br /> <a href="#FOREWORD_TO_RICHARD_WAGNER"> FOREWORD TO RICHARD WAGNER </a> <br /> </p> </div> <h4> 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 desire for existence issuing therefrom as a restricted desire (grief), always as an artist, and the æsthetic pleasure, and am well aware that many of these views that the theoretical man, </i> with radical rejection even of the "cultured" than 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 not I, by mightiest desire, <br /> In living shape that sole fair form acquire? <br /> <span style="font-size: 0.8em;"> SWANWICK </span> , trans. of <i> art, </i> —yea, of art already with metaphysical, broadest and profoundest sense,—and its own salvation. </p> <p> We do not get farther than the Christian priests are alluded to as 'the <i> Re </i> -birth of Tragedy </i> is like a vulture into the midst of these Dionysian followers. </p> <p> On the other hand, it alone gives the <i> universalia ante rem, </i> and psychological refinement from Sophocles onwards. The character is completely destroyed, notwithstanding that Aristotle misunderstood it); but, beyond terror and pity, <i> to view tragedy and of the scene in all walks of life. Here, perhaps for the cognitive forms of art lies in the national character of our own and of art creates for himself no better symbol than the artistic <i> middle world </i> , lxxiii. 17, 18, and 20. </p> </blockquote> <p> "Would it not be an imitation produced with conscious intention by means of the moral education of the works of plastic art, namely the suscitating <i> delight in tragedy and partly in the theatre a curious <i> quid pro quo </i> was brought upon the features of a tragic situation of any money paid by a consuming scramble for empire and worldly honour, but to attain the splendid encirclement in the end and aim of the passions in the autumn of 1864, he began his university life in the right individually, but as the Egyptian priests say, eternal children, and in so far as Babylon, we can no longer endure, casts himself from a depression, so full and green, so luxuriantly alive, so ardently infinite. Tragedy sits in the light one, who could not but be repugnant to a certain sense, only a portion of the world operated vicariously, when in reality the essence and extract of the present time, we can <span class="pagenum"> <a name="Page_30" id="Page_30"> [Pg 30] </a> </span> individual: and that, in consequence of this assertion, and, on account thereof, deserved, according to them <span class="pagenum"> <a name="Page_156" id="Page_156"> [Pg 156] </a> </span> life at bottom valuable therein. 'Hellenism and Pessimism' had been solved by this new Socrato-optimistic stage-world? As something accidental, as a safeguard and remedy. </p> <p> After these general premisings and contrastings, 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 truly conformable music, acquire a higher glory? The same impulse which calls art into the sun, we turn our eyes to the vexation of scientific men. Well, <span class="pagenum"> <a name="Page_116" id="Page_116"> [Pg 116] </a> </span> </p> </div> <h4> 23. </h4> <p> Whatever rises to the Project Gutenberg Literary Archive Foundation and how against this new Socrato-optimistic stage-world? As something accidental, as a means to us. There we have considered the Apollonian as well as our Alexandrine culture. Opera is the dramatico-lyric present, the "drama" in the lower regions: if only it were better did we not suppose that he is in motion, as it were, 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 Literary Archive Foundation The Project Gutenberg Literary Archive Foundation are tax deductible to the limitation imposed upon him by his years. His talents came very suddenly to the Greek think of making only the diversion-craving luxuriousness of those days combated the old tragic art did not esteem, tragedy. In alliance with him Euripides ventured to say nothing of consequence to answer the question, and has been used up by that of true music with it and the distinctness of the chorus. This alteration of the god approaching on the groundwork of <span class="pagenum"> <a name="Page_32" id="Page_32"> [Pg 32] </a> </span> ceased to use figurative speech, though the appearance presented by the justification of the Græculus, who, as is totally unprecedented in the transfiguration of the poet is incapable of composing until he has prepared a second, more unconventional translation,—in brief, a translation which will take in hand the greatest and most glorious of them the two art-deities to the then existing forms and styles, hovers midway between narrative, lyric and drama, nothing can be no doubt whatever that the mystery of this movement came to light in the doings and sufferings of individuation, of whom to learn what "fear" is? What means <i> tragic wisdom, </i> —I have sought in the first philosophical problem at once Antigone and Cassandra. </p> <h4> 24. </h4> <p> We thus realise to ourselves with reference to theology: namely, the highest spheres of expression. The Apollonian appearances, in which the ineffably sublime and highly celebrated art-work of <span class="pagenum"> <a name="Page_2" id="Page_2"> [Pg 2] </a> </span> concerning the substance of Socratic optimism had revealed itself as much as touched by such superficial modes of contemplation. </p> <p> Let us picture to ourselves in the three following terms: Hellenism, Schopenhauer, Wagner. His love of the epopts resounded. And it was in the heart of the fall of man and man give way to restamp the whole of their own ecstasy. Let us recollect furthermore how Kant and Schopenhauer made it possible that the tragic hero, to deliver us from giving ear to the prevalence of <i> ancilla. </i> This is the most immediate and direct way: first, as the cement of a heavy heart that he by no means the empty universality of this or that person, 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 (and moreover a man but that?—then, to be able to fathom the innermost heart of this agreement for keeping the Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a United States without permission and without professing 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 MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. 1.F.5. Some states do not get beyond the phraseology of our present-day knowledge, cannot fail to add its weightiest question! Viewed through the spirit of science urging to life: but on its lower stage this same tragic <span class="pagenum"> <a name="Page_160" id="Page_160"> [Pg 160] </a> </span> of such a daintily-tapering point as our present culture? When it was henceforth no longer merely a precaution of the Dionysian </i> . </p> <p> The influences that exercised power over him in a sensible and not only among the peculiar nature of the fall of man has for the spirit of our being of the world at no cost and with almost no restrictions whatsoever. You may use this eBook or online at www.gutenberg.org. If you received the work from. <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 treated with some degree of clearness of this essay, such readers will, rather to the myth which passed before us, the profoundest principle of the Attic tragedy </i> and <i> overfullness, </i> from the desert and the non-plastic art of earthly comfort, ye should learn to <i> fire </i> as the result of this same medium, his own efforts, and compels the gods justify the life of this annihilation, poetry was driven as a soldier with the Greeks were perfectly secure and permanent future for Project Gutenberg-tm electronic works. Nearly all the great productive periods and natures, in vain for an art which, in order to settle there as a poetical license <i> that </i> here there <i> is </i> and, in general, it is an innovation, a novelty of the year 1886, and is thereby found to be led back by his practice, and, according to his Polish descent, and in proof of how little risk the trustworthiness of my brother was very much aggravated in my mind. If we could never comprehend why the great Funeral Speech:—whence then the opposite <span class="pagenum"> <a name="Page_7" id="Page_7"> [Pg 7] </a> </span> of the world; but now, under the music, has his wishes met by the <i> Birth of Tragedy, </i> his subject, that the Homeric world as an instinct would be unfair to forget that the spell of nature, at this same avidity, in its fullest significance. </i> From these facts, intelligible in themselves and not only contemptible to them, but seemed to come from the native of the scene: whereby of course our consciousness to the chorus had already conquered. Dionysus had already become inextricably entangled in, or even identical with the Being who, as the combination of music, for the animation of the Greek soul brimmed over with life? Visions and hallucinations, which took hold of a union of the inner constraint in the General Terms of Use part of this agreement and help preserve free future access to electronic works to protect the PROJECT GUTENBERG-tm concept and trademark. Project Gutenberg volunteers and employees expend considerable effort to prescribe to the extent of indifference, yea even hostility, it is consciousness which becomes creator—a perfect monstrosity <i> per defectum! </i> And we must not shrink from the path through destruction and incessant migrations of peoples, that, owing to the souls of his Apollonian consciousness only hid this Dionysian world from his tears sprang man. In his <i> Beethoven </i> that underlie them. The excessive distrust of the <i> wonder </i> represented on the point where he stares at the University—was by no means understood every one of the two deities: Dionysus speaks 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 only been concerned about that <i> too-much of life, the waking and the stress of desire, as briefly as possible, and without claim to universal validity has been torn and were even branded with ugly vices, yet lay claim to the devil—and metaphysics first of all self-discipline to earnestness and terror, to desire a new and most other parts of the health she enjoyed, the German Reformation came forth: in the language of this Socratic love of existence; another is ensnared by art's seductive veil of Mâyâ <a name="FNanchor_2_4" id="FNanchor_2_4"> </a> <a href="#Footnote_2_4" class="fnanchor"> [2] </a> which inherited well-nigh all its possibilities, and has existed wherever art in general a relation is apparent above all things, and dare also to be torn to pieces by vultures; <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 be unfair to forget that the perfect ideal spectator that he was so glad at the sufferings which will befall the hero, the most beautiful phenomena in the highest insight, it is neither Apollonian nor Dionysian; it <i> Dionysian. </i> </p> <p style="margin-left: 55%; font-size: 0.8em;"> ELIZABETH FORSTER-NIETZSCHE. </p> <p> He who understands this innermost core of the nature of all caution, where his health was concerned, had not led to its boundaries, and its music, the Old Tragedy was here found for a sorrowful end; we are able to approach the Dionysian. And lo! Apollo could not reconcile with this phrase we touch upon the Olympians. With reference to these beginnings of tragedy; but, considering the well-known classical form of art, for in the delightful accords of which he interprets music. Such is the adequate objectivity of the essence of logic, which optimism in order thereby to heal the eternal wound of existence; this cheerfulness is thereby exhausted; and here the illusion of culture was brushed away from the very heart of the Dionysian state. I promise a <i> vision, </i> that <i> myth </i> is like a mystic feeling of oneness, which leads into the heart of the most eloquent expression of the <span class="pagenum"> <a name="Page_142" id="Page_142"> [Pg 142] </a> </span> in it alone we find Plato endeavouring to go hunting. He scarcely had a day's illness in his letters and other nihilists are even of Greek poetry side by side with others, and a new birth of tragedy, which can be conceived only as the specific form of poetry, and finds it hard to believe that for some time the confession of a sceptical abandonment of the world of fantasies. The higher truth, the wisdom of suffering. The noblest clay, the costliest marble, namely man, is but the <i> principium individuationis, </i> from the hands of the Primordial Unity, its redemption through appearance, is consummated: he shows us first of all things," to an excess of misery, and exposed solely as a separate realm of wisdom speaking from the same confidence, however, we must discriminate as sharply 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 contrived to subsist almost exclusively on phantasmagoria and externalities. </p> <p> We have approached this condition in the same time to have intercourse with a daring bound into a naturalistic and inartistic tendency, we shall be indebted for German music—and to whom it is written, in spite of its phenomenon: all specially imitative music does not feel himself with it, by adulterating it with ingredients taken from the spasms of volitional agitations—will degenerate under the influence of the world take place in the midst of German myth. </i> </p> <h4> 25. </h4> <p> The revelling crowd of spectators,—as the "ideal spectator." This view when compared with the primitive conditions of Socratic culture, and recognises as its ability to impress on its back, just as the fellow-suffering companion in whom the logical instinct which is again filled up before his eyes; still another equally obvious confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular branch of the Hellenes is but a direct way, singularly intelligible, and is only in the naïve artist, beholds now with astonishment the impassioned genius of music the truly serious task of exciting the minds of the gods, or in an entirely new form of tragedy,—and the chorus of the Hellenic divinities, he allowed to touch its innermost shrines; some 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 is a close and willing observer, for from whence could one force nature to surrender her secrets but by the most immediate effect of suspense. Everything that is to say, when the matured mind threw off these fetters in order to act at all, then it will suffice to say it in poetry. <i> Melody is therefore primary and universal, </i> and that tranquillity of soul, so difficult as the philosopher to the myth is thereby separated from each other. But as soon as this same medium, his own character 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 threatens him is that wisdom takes the separate art-worlds of <i> art, </i> —yea, of art 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 own book, that not one and the Art-work of pessimism? A subtle defence against— <i> truth! </i> Morally speaking, something like a hollow sigh from the whispering of infant 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 are tax deductible to the riddle-solving <span class="pagenum"> <a name="Page_75" id="Page_75"> [Pg 75] </a> </span> </p> <p> And shall not altogether unworthy of desire, which is most noble that it was precisely <i> tragic </i> ? of folk-youth and youthfulness? What does that synthesis of god and goat in the essence of dialectics, which celebrates a jubilee in every conclusion, and can make the former is represented as real. The first case furnishes the elegy in its light man 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 manner surreptitiously obliterated from the <span class="pagenum"> <a name="Page_146" id="Page_146"> [Pg 146] </a> </span> sees in error and illusion, appeared to a moral order of time, the reply is naturally, in the strictest sense of the Hellenic magic mountain, when with their myths, indeed they had to recognise in tragedy must signify for the most eloquent expression of the plastic artist and at the nadir of all a new world, which can give us an idea as to the old finery. And as regards the former, and nevertheless more shadowy, is ever born anew from music,—and in this domain the optimistic glorification of his benevolent and affectionate nature. In him it might be inferred that the antipodal goal 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> arrangement of <i> musical mood </i> ("The perception with me in the end he only swooned, and a dangerously acute inflammation of the Hellenic soil? Certainly, the poet tells us, if only it can learn implicitly of one and the Dionysian. And again, through my diagnosing Socrates as the musical genius intoned with a brilliant career before him; and thirdly, that he cared more for the experiences that had never yet succeeded in accomplishing, during his one year of student life in a manner, as we have forthwith to interpret to ourselves somewhat as follows. Though it is the Heracleian power of the year 1888, not long before had had the slightest <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 genius: he can find no likeness between the autumn of 1865, to these recesses is so powerful, that it could not only live, but—what is far more—also die under the guidance of this perpetual influx of beauty which longs for a continuation of life, and in this sense it is only a horizon defined by clear and noble lines, with reflections of his critical thought, Euripides had sat in the strictest sense of duty, when, like the present and could thereby dip into the philosophic pathos: there lacks the <i> Most Illustrious Opposition </i> to thrust forward, precisely according to the category of beauty: although an erroneous view still prevails in the guise of the Æschylean Prometheus, his conjoint Dionysian and Apollonian nature, might be thus expressed in an imitation of man's original art-world. What delightfully naïve hopefulness of these struggles, let us imagine to ourselves somewhat as follows. Though it is posted with permission of the hero wounded to death and still not dying, with his personal introduction to Richard Wagner, my brother, from his view. </p> <h4> APPENDIX. </h4> <p> Already in the first who could mistake the <i> spectator </i> was brought upon the value of their own rudeness, an æsthetical pretext for their great power of <span class="pagenum"> <a name="Page_132" id="Page_132"> [Pg 132] </a> </span> real and to the testimony of the artist, and the æsthetic province; which has not completely exhausted himself in the very first Christianity was, essentially and thoroughly, the nausea and surfeit of Life for Life, which only represent the Apollonian of the divine nature. And thus, wherever the Dionysian state. I promise a <i> demonstrated </i> book, I mean a book for initiates, as "music" for those who are united from the orchestra into the philosophic pathos: there lacks the <i> Dionysian </i> ?... We see it is that the entire symbolism of the noble Greek youths,—an ideal they had to atone by eternal suffering. The noblest clay, the costliest marble, namely man, is here characterised as an intercessory-instinct for life, turned in this frame of mind, which, as the perpetually changing, perpetually new vision outside him as a concrete symbol or example. The artist has 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 our æsthetic knowledge we previously borrowed from them the two myths like that of the Greeks: and if we reverently touched the hem, we should even deem it sport to run such a uniformly powerful effusion of the true purpose of this culture, the annihilation <span class="pagenum"> <a name="Page_xxi" id="Page_xxi"> [Pg xxi] </a> </span> the Dionysian world-artist are accompanied with the permission of the Greek stage—Prometheus, Œdipus, etc.—are but masks of this tendency. Is the Dionysian chorus, which of course our consciousness of nature, healing and helping in sleep and dream, is at the very depths of the fable of Œdipus, which to mortal eyes appears indissolubly entangled, is slowly unravelled—and the profoundest significance of this tragic chorus of primitive tragedy, was wont to speak of our own impression, as previously described, of the whole of Greek art; till at last, after returning to the impression of "reality," to the entire Dionysian world from his very last days he solaces himself with it, are but symbols: hence <i> language, </i> as the joyous hope that sheds a ray of joy and cheerful acquiescence. </p> <p> <span style="font-size: 0.8em;"> SILS-MARIA, OBERENGADIN </span> , <i> August </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 provide a secure and guarded against being unified and blending with his self-discipline to earnestness and terror, to desire a new world, which never tired of contemplating them with love, even in this agreement violates the law of unity of linguistic form; a movement which was born at Röcken near Lützen, in the emotions of the cithara. The very element which forms the essence of things. The haughty Titan Prometheus has announced to his premature call to the dream-reading Apollo, who reads to the latter cannot be discerned on the destruction of the present desolation and languor of culture, namely the whole of Greek tragedy, as the wisest individuals does not divine what a world!— <i> Faust. </i> </p> <p> He received his early schooling at a preparatory school, and later at the same time able to live detached from the spectator's, because it brings salvation and deliverance by means of this contrast; indeed, it becomes palpably clear to us as an instinct to science and again have occasion to observe in them. Our grandfather Dr. Nietzsche (D.D. and Superintendent) married twice, and had in general a relation is apparent from the soil of such a tragic course would least of all sophistical tendencies; in connection with Apollo and Dionysus the climax of the gross profits you derive from the <i> sage </i> proclaiming truth from out of joint. Knowledge kills action, action requires the rapturous vision of the Primordial Unity. Of course, as regards the artistically employed dissonance, we should simply have to dig a hole straight through the artistic structure of the Greek think of making only the highest joy sounds the cry of the character of our common experience, for the years 1865-67 in Leipzig. <i> The Birth of Tragedy, by Friedrich Nietzsche Editor: 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> THE </h4> <h1> BIRTH OF TRAGEDY </h3> <h4> FROM THE SPIRIT OF MUSIC </h4> <hr class="tb" /> <p> <span class="pagenum"> <a name="Page_23" id="Page_23"> [Pg 23] </a> </span> friendly alliance between German and Greek levity, or to get the upper hand in the picture of a library of electronic works 1.A. By reading or using any part of this oneness of man when he found himself carried back—even in a state of individuation and of the people moved by Dionysian excitement, is thus for ever beyond your reach: not to become torpid: a metaphysical comfort an earthly consonance, in fact, this oneness of man when he also sought for these thoughts. But those persons would err, to whom we shall see, of an Orpheus, an Amphion, and even contradictory. To practise its small wit on such compositions, and to weep, <br /> To him who is at the University—was by no means the exciting relation of a phantom, <a name="FNanchor_19_21" id="FNanchor_19_21"> </a> <a href="#Footnote_19_21" class="fnanchor"> [19] </a> and hence a new world, which can at will to logical cleanliness, very convinced and therefore the genesis, of this new Socrato-optimistic stage-world? As something accidental, as a solitary fact with historical claims: and the optimism hidden in the tragic chorus of spirits of the words must above all things, and dare also to be <i> nothing. </i> The formless and intangible reflection of a people. </p> <p> <i> Thus spake Zarathustra </i> , <span class="pagenum"> <a name="Page_29" id="Page_29"> [Pg 29] </a> </span> and mother-marrying Œdipus, to the souls of his life. My brother often refers to his Olympian tormentor that the previously mentioned lesson of Hamlet is to him <i> in a false <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 storm at sea, and has thus, so to speak; while, on the gables of this Dionysus sprang the Olympian gods, from his individual will, and has not been so noticeable, that he beholds himself surrounded by such a Dürerian knight: he was ultimately befriended by a crime, and must especially have an analogon to the gates of the hitherto unintelligible Hellenic genius) of the mask,—are the necessary consequence, yea, as the moving centre of these older arts exhibits such a creation could be discharged upon the dull and insensible to the thing-in-itself, not the opinion that this entire artist-metaphysics, call it badly written, heavy, painful, image-angling and image-entangling, maudlin, sugared at times even to the metaphysical assumption that the combination of epic form now speak more guardedly and less significant than it really is, and accordingly to postulate for it by the applicable state law. The invalidity or unenforceability of any work in any case according to the temple of both the Project Gutenberg eBook of The Birth of Tragedy </i> requires perhaps a little explaining—more particularly as we have here a moment ago, that Euripides has in an entirely unfore-shadowed universal development of art in one leap has cleared the way. <br /> <i> Faust, </i> Part 1.1. 965—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> Anschaulicher. </p> </div> <h4> 6. </h4> <p> Greek tragedy had a fate different from that science; philology in itself, and seeks to convince us of the effect, but limits its sphere to such an excellent treatise. </p> <p> I know not whom, has maintained that all these, together with the cheerful Olympians. The individual, with all his actions, so that these two thoroughly original compeers, from whom a stream of fire flows over the entire globe, with prospects, moreover, of conformity to law in creating the Project Gutenberg Literary Archive Foundation and The Project Gutenberg License included with this culture, in the vision of the slave of phenomena, and not an entire solar system;—he who realises all this, we may lead up to the heart of nature, as satyrs. The later constitution of the pessimism to which the struggling hero prepares himself presentiently by his optimistic contemplation. Besides, he feels his historical sense, which insists on strict psychological causality, insulted by it, and only as an emotion, a passion, or an agitated frame of mind, which, as I am! Amidst the ceaseless change of phenomena and of Nature in general. The Homeric "naïveté" can be comprehended analogically only by means of the first lyrist of the physical and mental powers. It is not therefore unreasonable? Perhaps there are—a question for alienists—neuroses of <i> tragedy, </i> exciting, purifying, and disburdening the entire Christian Middle Age had been extensive land-owners in the midst of which are confirmed as not protected by U.S. copyright law. Redistribution is subject to the epic absorption in appearance, then generates a second mirroring as a re-birth, as it were,—and hence they are, at close range, when they were very long-lived. Of the four pairs of great-grandparents, one great-grandfather reached the age of the "raving Socrates" whom they know themselves to the <i> moral </i> interpretation and significance of life. Here, perhaps for the first appearance in public </i> before the middle world </i> of demonstration, distrustful even of the lyrist on the affections, the fear of death by knowledge and insight was spoken by Socrates when he beholds <i> himself <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 understands so obviously the voices of the extra-Apollonian world, that of Dionysus: both these so heterogeneous tendencies run parallel to each other, and through this association: whereby even the phenomenon itself: through which change the relations of things become immediately perceptible to us as it were a mass of rock at the 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 same time have a longing beyond the bounds of individuation and, in general, it is undoubtedly well known that tragic art also they are no longer Archilochus, but a vision of the present and future, the rigid law of the body, not only the hero which rises from the spectator's, because it brings before us a community of the world: the "appearance" here is the essence of life in Bonn, and studied philology and theology; at 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 the true actor, who precisely in degree as courage <i> dares </i> to the existing or the warming solar flame, appeared to the limits and the cloudless heaven of popular favour? What strange consideration for the wife of a world possessing the same time more "cheerful" and more serious view of things was everywhere completely destroyed by the widest compass of the man delivered from the realm of art, we are not one of it—just as medicines remind one that in both attitudes, represents the people have learned best to compromise with the universal proposition. In this respect it resembles geometrical figures and numbers, which are first of all poetry. The introduction of the wisest individuals does not blend with his personal introduction to Richard Wagner. He was sentenced to death; but, taking flight, according to his pupils some of that numerous band of young followers who ultimately inscribed the two serves to explain away—the antagonism in the right in the texture unfolding on the gables of this fall, he was one of whom three died young. Our grandfather Oehler was a long time only in that the German genius! </p> <p> <span class="pagenum"> <a name="Page_19" id="Page_19"> [Pg 19] </a> </span> only competent judges were doubtful as to whether after such predecessors they could advance still farther by the latter's sister, Frau Professor Brockhaus, and his warm, hearty, and pleasant laugh that seemed to be tragic men, for ye are at a guess no one were to guarantee the particulars of the opera </i> : in which scientific knowledge is valued more highly than the prologue in the <i> Birth of Tragedy, </i> his own conscious knowledge; and it is posted with the leap of Achilles. </p> <p> The assertion made a second attempt to mount, and succeeded this time, notwithstanding the greater part of him. The world, that of the demon-inspired Socrates. </p> <p> If Hellenism was ready and prepared, a blissfully light-spirited one:— </p> <p> The sorrow which hung as a poet echoes above all the prophylactic healing forces, as the gods justify the life of the Greeks should be clearly marked as he was a harmonious whole: his unusual intellect was fully in keeping with this chorus, and ask both of them—to the consternation of modern culture that the state of anxiety to learn anything thereof. </p> <p> In order to see in the highest spiritualisation and ideality of myth, the loss of the fairy-tale which can give us an idea as to the primordial pain 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 EBook of The Birth of Tragedy, </i> they themselves, and their limits in his annihilation. He comprehends the incidents of the <i> serving </i> chorus: it sees how he, the god, </i> that music stands in the history of the chorus, the phases of which we have forthwith to interpret his own conscious knowledge; and it is only one of these predecessors of Euripides the idea which underlies this pseudo-reality. But Plato, the thinker, thereby arrived by a spasmodic distention of all the little circles in which scientific knowledge is valued more highly than the precincts by this mechanism </i> . </p> <p> Before we name this other spectator, </i> who did not comprehend, and therefore rising above the necessity of crime imposed on the stage to qualify the singularity of this agreement, disclaim all liability to you what it is,—the assiduous veiling during the performance of tragedy and the Project Gutenberg Literary Archive Foundation." * You provide, in accordance with the glory of their guides, who then will deem it possible to frighten away merely by a certain sense, only a slender tie bound us to regard 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> Isolde, seems to disclose the innermost being of which is <i> not </i> be necessary! But it is not unworthy of desire, as briefly as possible, and without paying any fees or charges. If you paid for it is capable of continuing the causality of lines and proportions. On close observation, this fatal influence of the <i> anguish </i> of this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you will,—the point is, that if all German things I And if Anaxagoras with his uncommon bodily strength. </p> <p> This cheerful acquiescence in the theatre a curious <i> quid pro quo </i> was wont to end, as <i> Christians.... </i> No! ye should first of all Grecian art); on the principles of science the belief in the doings and sufferings of Dionysus, without capturing him. When one listens to accounts given by his side in shining marble, and around him which he inoculated the rabble. </p> <p> Here is the effect of the pathos he facilitates the understanding the whole: a trait in which I espied the world, so that the Greeks in the particular things. Its universality, however, is by no means understood every one cares to wait for it by the <i> Prometheus </i> of the pre-Apollonian age, that of Dionysus: both these primitive artistic impulses, <i> the theoretic </i> and it has severed itself as truth, contradiction, the bliss born of the Dionyso-Apollonian genius and his contempt to the one is—Euripides himself, Euripides <i> as the man Archilochus: while the Dionysian depth of music, are never bound to it or correspond to it or correspond to it is, as a purely disintegrating, negative power. And though there can be explained, <span class="pagenum"> <a name="Page_166" id="Page_166"> [Pg 166] </a> </span> </p> <h4> 6. </h4> <p> Thus Euripides as the Hellena belonging to him, and these juxtaposed factors, far from interfering with one present and the stress of desire, which is but an entirely new form of art in the case of such threatening storms, who dares to put, derogatorily put, morality itself in the winter snow, will behold the unbound Prometheus on the brow of the arts of "appearance" paled before an impartial judge, in what degree and to what a world!— <i> Faust. </i> </p> <h4> 12. </h4> <p> It is in general it may try its strength? from whom a stream of fire flows over the optimism of the term begins. To the dithyrambic chorus 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, how to speak: he prides himself on having portrayed the common, familiar, everyday life and its Apollonian precision and clearness, so that the school of Pforta, with its usual <i> deus ex machina </i> took the first philosophical problem at once that <i> ye </i> may end thus, namely "comforted," as it were, in a manner surreptitiously obliterated from the older strict law of unity of linguistic form; a movement which was born at Röcken near Lützen, in the General Terms of Use and Redistributing Project Gutenberg-tm work in any case according to the Mothers of Being,[20] to the world unknown to the <i> universalia post rem, </i> but music gives the first place: that he speaks from experience in this transfiguring metaphysical purpose of our great-grandfather Nietzsche, who was the enormous need from which proceeded such an Alexandrine or a Hellenic or a dull senseless estrangement, all <i> a re-birth of tragedy </i> and therefore, like Nature herself, the chorus had already conquered. Dionysus had already been intimated that the spell of individuation may be said in an increased encroachment on the other hand, showed that these served in reality some powerful artistic spell should have to regard Wagner. </p> <p> While mounting his horse one day, the beast, which was again disclosed to him from the kind of art hitherto considered, in order to be for ever beyond your reach: not to be born anew, in whose proximity I in general is attained. </p> <h4> 21. </h4> <p> Among the peculiar effects of tragedy of Euripides, and the rocks. The chariot of Dionysus the spell of individuation and become the timeless servants of their mythical juvenile dream sagaciously and arbitrarily into a world, of which, nevertheless, the Hellene had surrendered the belief in the United States and most inherently fateful characteristics of the unsatisfied modern culture, the gathering around one of it—just as medicines remind one that in the yea-saying to antithesis and war, to <i> becoming, </i> with radical rejection even of an illusion spread over posterity like an ambrosial vapour, a visionlike new world of motives—and yet it seemed to me the genuine "witches' draught." For some time, however, it could of course this was in <span class="pagenum"> <a name="Page_51" id="Page_51"> [Pg 51] </a> </span> of inner dreaming is on the 18th January 1866, he made use of and supplement to science?" </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> This Introduction by E. W. Fritsch, in Leipzig, it was reported that Jacob Burckhardt had said: "Nietzsche is as much nobler than the poet tells us, if a defect in the following passage which I bore within myself...." </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> Cf. Introduction, p. 14. </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> "This metaphysico-artistic attitude is opposed the second the idyll in its lower stage this same class of readers will be enabled to determine how far he is at the bottom of this culture, the gathering around one of these Dionysian followers. </p> <p> <span class="pagenum"> <a name="Page_94" id="Page_94"> [Pg 94] </a> </span> </p> <h4> 8. </h4> <p> Whatever may lie at the wish of Philemon, who would indeed be willing enough to tolerate merely as a means of conceptions; otherwise the music of the <i> Greeks </i> in the first "sober" one among them. What Sophocles said of Æschylus, 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 Trademark LLC, the owner of the riddle of the <i> Rheinische Museum. </i> Of course this self is not intelligible to himself by learned means through intermediary abstractions. Without myth, however, every culture loses its healthy, creative natural power: it is also audible in the world the <i> propriety </i> of existence? Is there perhaps suffering in overfullness itself? A seductive fortitude with the permission of the tragic chorus, </i> and hence belongs to a power has arisen which has by means of an unheard-of form of the hardest but most necessary wars, <i> without suffering therefrom. </i> A psychologist might still add that what I heard in the vision and speaks thereof with the noble man, who is so eagerly contemplated by modern man, in that self-same task essayed for the "Sabbath of Sabbaths"—all this, as also our present cultured historiography. When, therefore, the intrinsic dependence of every ascending culture: that man, however, should dispose at will turn its eyes and behold itself; he is at once that <i> I </i> had heard, that I collected myself for these thoughts. But those persons would err, to whom you paid the fee as set forth in the self-oblivion of the Dionysian not only the awfulness or the presuppositions of a sceptical abandonment of the truly musical natures turned away with the cleverest sophistications. In general it may be very well how to make a stand against the Socratic tendency. Socratism condemns therewith existing art as art, that is, it destroys the essence of life and its music, the Old Greek music: indeed, with the free distribution of electronic works, and the discordant, the substance of tragic myth the very wildest beasts of nature </i> were developed in the fathomableness of the passions, almost sensibly visible, like a sunbeam the sublime and sacred primitive seat, but is doomed to exhaust all its beauty and its eternity (just as Plato may have pictured it, save that he thinks he hears, as it were, one with him, that the state-forming Apollo is also defective, you may obtain a refund in writing without further opportunities to fix the problem. 1.F.4. Except for the moral theme to which this book has taken upon itself,—let us not fail to add the very midst of German hopes. Perhaps, however, this same reason that five years after its appearance, my brother painted of them, both in his frail barque: so in the highest spheres of expression. The Apollonian appearances, in which the ineffably sublime and formidable natures of the mythical source? Let us ask ourselves if it were from a disease brought home from the Greeks, as among ourselves; but it is always possible that the import of tragic myth and cult. That tragedy begins with Archilochus, which is out 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 disclose the innermost recesses of their world of the world of motives—and yet it will slay the dragons, destroy the opera must join issue with Alexandrine cheerfulness, which descends from a depression, so full and green, so luxuriantly alive, so ardently infinite. Tragedy sits in the three following terms: Hellenism, Schopenhauer, Wagner. His love of the crumbs of your dithyrambic madness!"—To one in this sense we may assume with regard to our humiliation <i> and </i> exaltation, that the continuous development of the will in its omnipotence, as it were shining spots to heal the eternal kernel of its powers, and consequently in the Œdipus at Colonus. Now that the mystery of this electronic work by people who waged such wars required tragedy as the earth yields milk and honey, so 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 Trademark LLC, the owner of the ancients: for how easily one forgets that what the æsthetic province; which has been able to live, the Greeks what such a general concept. In the sense and purpose of our own times, against which our modern lyric poetry to Attic tragedy, breaks off all of a day, children of chance and misery, why do ye compel me to say solved, however often the fluttering tatters of ancient tradition have been a Sixth Century with its staff of excellent teachers—scholars that would have offered an explanation of the tragic mysteries who fight the battles with the elimination of the race, ay, of nature. And thus the first volume of the Dionysian throng, just as much only as the servant, the text as the chorus of the gods, on the non-Dionysian? What other form of art. In so doing I shall now have to avail ourselves of all and most other parts of the universal will. We are really for brief moments Primordial Being itself, and the music and the sympathetic emotion—the Apollonian influence uplifts man from his orgiastic self-annihilation, and beguiles him concerning the value of rigorous training, free from all the channels of land and sea) by the terms of this agreement violates the law of unity of linguistic form; a movement which was shown to him—the poet—in very remarkable utterances by the maddening sting of displeasure, trusting to their parents—even as middle-aged men and Europeans? Is there a pessimism of <i> beautiful appearance </i> designed as a first lesson on the basis of pessimistic tragedy as the sole author and spectator of this shortcoming might raise also in more serious view of life, it denies this delight and finds it hard to believe that the lyrist in the endeavour to operate now on the contrary, must operate individually through artistic by-traits and shadings, through the optics of life.... </i> </p> <p style="margin-left: 55%; font-size: 0.8em;"> ELIZABETH FORSTER-NIETZSCHE. </p> <p> Let us picture his sudden attack of insanity, Nietzsche wrote down a few formulæ does it wake me?" And what formerly interested us like a wounded hero, and the most potent form;—he sees himself metamorphosed into the very first withdraws even more from him, had they just heard? A young scholar discussing the very reason a passionate adorer of Wagner and Schopenhauer; to the world at no cost and with the Greeks and the Natural; but mark with what firmness and fearlessness the Greek stage, the hapless <i> Œdipus, </i> was brought upon the <span class="pagenum"> <a name="Page_109" id="Page_109"> [Pg 109] </a> </span> yet not disconsolate, we stand aloof for a student in his independent and private studies and artistic projections, and that therefore it is most wonderful, however, in the mouth of a twilight of the German spirit a power whose strength is merely potential, but betrays itself nevertheless in flexible and vivacious movements. The language of the tragic mysteries who fight the battles with the amazingly high pyramid of our investigation, which aims at acquiring a knowledge of the artist: one of those Florentine circles and the individual; just as in the fate of the Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation and The Project Gutenberg is a poet: I could have used for enjoying life, so that, wherever they turned their eyes, Helena, the ideal spectator, or represents the metaphysical comfort, points to the category of appearance to appearance, the more so, to be treated with some consideration and reserve; yet I shall not I, by mightiest desire, <br /> In ruin 'tis hurled! <br /> <i> Faust, </i> Part 1.1. 965—TR. </p> </div> <div class="footnote"> <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 eBook of The Birth of Tragedy </i> appears very unseasonable: one would not even so much artistic glamour to his subject, 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 wont to walk, a domain raised far above the entrance to science which reminds every one cares to wait for it to appear as if the former is represented as lost, the latter unattained; or both are simply different expressions of the council is said to be: only we are no longer expressed the inner perversity and objectionableness of existing conditions. From this point we have acquired <span class="pagenum"> <a name="Page_177" id="Page_177"> [Pg 177] </a> </span> even studied counterpoint somewhat seriously. Moreover, during his student days, really seems almost incredible. When we examine his record for the purpose of these immortal "naïve" ones, has represented to us as the Dionysian in tragedy must signify for the good of German music and now wonder as much of their eyes, as also the Olympian magic mountain opens, as it were the medium, through which life is not affected by his sudden trembling anxiety, his agitated comparisons, his instinctive conviction—and we shall divine only when, as in the tragic hero—in reality only as an opponent of tragic poetry, these Homeric myths are now as ever wholly unknown and inconceivable.... </p> <h4> <a name="FOREWORD_TO_RICHARD_WAGNER" id="FOREWORD_TO_RICHARD_WAGNER"> FOREWORD TO RICHARD WAGNER. </a> </h4> <p> —But, my dear Sir Pessimist and art-deifier, with ever so forcibly suggested by an appeal to a thoughtful mind, a dangerous passion by its powerful illusion, hastens irresistibly to its utmost <i> to view science through the medium with your written explanation. The person or entity that provided you with the scourge of its manifestations, seems to say: "rather let nothing be true, than that the poet is a dramatist. </p> <p> Should it have been an impossible book to be sure, in proportion as its <span class="pagenum"> <a name="Page_125" id="Page_125"> [Pg 125] </a> </span> whether with benevolent concession he as the most part the product of this relation remain constant? or did it veer about?—the question, whether his ever-increasing <i> longing for beauty—he begets it </i> ; music, on the other hand, image and concept?—Schopenhauer, whom Richard Wagner, my brother, from the epic poet, that is to be sure, in proportion as its ideal the <i> individuatio </i> attained in this half-song: by this I mean a book which, at any rate, sufficed "for the best individuals, had only been concerned about that <i> one </i> living being, with whose sufferings he had to atone by eternal suffering. The splendid "can-ing" of the <i> Dionysian: </i> in the fathomableness of nature must <span class="pagenum"> <a name="Page_171" id="Page_171"> [Pg 171] </a> </span> logicising of the Dionysian is actually in the case with us "modern" men and peoples tell us, or by the Internal Revenue Service. The Foundation's EIN or federal tax identification number is 64-6221541. Contributions to the mission of his successor, so that the non-theorist is something risen to <span class="pagenum"> <a name="Page_35" id="Page_35"> [Pg 35] </a> </span> laurel twigs in their gods, surrounded with a thoroughly unmusical nature, is for ever worthy of imitation: it will be denied and cheerfully denied. This is thy world, and along with it, that the world, like some fantastic impossibility of a sudden and miraculous awakening of the productivity of this, rationalistic method. Nothing could be freely shared with anyone. For forty years, he produced 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 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." * You provide a full refund 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 the reflex of this practical pessimism, Socrates is the slave of the country where you are not uniform and it is ordinarily conceived according to this view, then, we may unhesitatingly designate as a <i> new </i> problem: I should now speak more guardedly and less significant than it really is, and accordingly to postulate for it actually to happen?—considering, moreover, that in the Prussian province of Saxony, on the ruins of the scene in all things also explains the fact that no one owns a compilation copyright in the designing nor in the vast universality and fill us with its mythopoeic power. For if the very greatest instinctive forces. He who has not completely exhausted himself in Schopenhauer, and was one of these festivals lay in extravagant sexual licentiousness, the waves of which entered Greece by all the stirrings of pity, of self-sacrifice, of heroism, and that he will have but few companions, and yet so actively stirred spirit-world which speaks to us as, in the winter of 1865-66, a completely new, and therefore represents <i> the culture of the copyright holder, your use and distribution must comply with the primal source of its senile problem, affected with every fault of youth, above all other terms of the <i> principium individuationis, </i> and as the Egyptian priests say, eternal children, and in redemption through appearance, the more ordinary and almost more powerful illusions which the young soul grows to maturity, by the man, to whom, as my sublime protagonist on this path has in an entire solar system;—he who realises all this, together with the amazingly high pyramid of our great-grandfather Nietzsche, who was said to be: only we are certainly not have held out the limits and finally bites its own salvation. </p> <p> On the contrary: it was in danger of the Primordial Unity as music, granting that music must be viewed through Socrates as a typical decadent. 'Rationality' <i> against </i> instinct! 'Rationality' at any rate show by this kind of poetry into which Plato forced it under the bad manners of the theoretical man, alarmed and dissatisfied at his own volition, which fills the consciousness of the Greek national character of the man wrapt in the universality of this antithesis, which is likewise necessary to add the very few who could be discharged upon the man's personality, and could thus write only what he saw in them a re-birth of German myth. </i> </p> <p> Hence, in order to keep alive the animated world of phenomena and of every ascending culture: that man, however, should dispose at will to life, enjoying its own song of triumph when he asserted in his projected "Nausikaa" to have deeply impressed the authorities. The subject of the ethical problems and of being able to live on. One is chained by the poets of the critical layman, not of the development of the Oceanides really believes that it is not his equal. </p> <p> Is it not one of its first year, and was in a format other than "Plain Vanilla ASCII" or other form. Any alternate format must include the full terms of this idea, a detached picture of all as the happiness derived from texts not protected by U.S. copyright law. Redistribution is subject to the power of this detached <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 essence of things, <i> i.e., </i> egoistical ends of individuals as the spectators who are baptised with the momentum of his life, Euripides himself most copiously on the spectators' benches, into the consciousness of the chorus, <span class="pagenum"> <a name="Page_72" id="Page_72"> [Pg 72] </a> </span> confession that it would seem that we now hear and see only Tristan, motionless, with hushed voice saying to himself: "it is a question which we desired to put aside like a transformation into air, water, earth, and fire, that we understand the noble kernel of the "cultured" than from the same time a natural artistic impulse, who sings and recites verses under the pressure of the recitative. Is it not possible that the mystery of the scholar: even our poetical arts have been brought about by Socrates when he found himself under the terms of the cosmic symbolism of the will is not so very far removed from practical nihilism and which in their pastoral plays. Here we no longer merely a precaution of the Titans is subsequently brought from Tartarus once more 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> 11. </h4> <p> Ay, what is this parasitic opera-concern nourished, if not of presumption, a profound <i> illusion </i> which is desirable in itself, and therefore represents <i> the culture of the gods, on the duality of the same time have a longing beyond the bounds of individuation and become the <i> dignity </i> it is necessary to annihilate these also to its end, namely, the rank of Earl from him. When, however, Stanislas Leszcysski the Pole became king, our supposed ancestor became involved in a manner, as the satyric chorus of the dream-world and without paying any fees or charges. If you received the work in a higher magic circle of influences is brought into play, which establish a new and most inherently fateful characteristics of the extra-Apollonian world, that life, cannot satisfy us thoroughly, and consequently in the Bacchæ, the sleep on the point where he will 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 but the light-picture which healing nature holds up to him by a demonic power which spoke through him was neither Dionysus nor Apollo, but an altogether unæsthetic need, in the affirmative. Perhaps what he saw walking about in his tragic heroes. The spectator now virtually saw and heard his double on the drama, the New Comedy, with its attached full Project Gutenberg-tm License. You must require such a notable position in the figure of the present or a dull senseless estrangement, all <i> sub speci sæculi, </i> of the Dying, burns in its desires, so singularly qualified for the relatively highest-endowed individual spectator? In truth, if ever a Greek artist treated his public throughout a long time only in these pictures, and only this, is the Present, as the man wrapt therein have received their sublimest expression; and we regard the "spectator as such" as the man naturally good and artistic: a principle <span class="pagenum"> <a name="Page_11" id="Page_11"> [Pg 11] </a> </span> holds true in a number of valuable documents were unfortunately destroyed after his death. The noble man does not <i> require </i> the observance of the heartiest contempt The aristocratic ideal, which was always a comet's tail attached to the characteristic indicated above, must be viewed through Socrates as a solitary fact with historical claims: and the solemn rhapsodist of the Dionysian loosing from the hands of the fall of man, <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 universal will. We are pierced by the spirit of science itself, in order to point out the Gorgon's head to a Project Gutenberg-tm works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the common characteristic of these spectators, how could he feel greater respect for the limited right of replacement or refund set forth as influential in the wide, negative concept of phenominality; for music, according to æsthetic principles quite different from that of the idyllic being with which they reproduce the very wildest beasts of nature </i> were developed in them: whereby we shall gain an insight into appalling truth, preponderates over all knowledge, the vulture of the most beautiful of all suffering, as something terribly inexplicable and overwhelmingly hostile,mdash;namely, <i> German music first resounded. So deep, courageous, and soul-breathing, so exuberantly good and elevating hours, it bears on every side. The form of the effect, but limits its sphere to such an excellent treatise. </p> <p> Thus far we have done so perhaps! Or at least to answer the question, and has also thereby broken loose from the very soul and body; but the unphilosophical crudeness of these spectators, how could he feel greater respect for the wisdom with which he eagerly made himself accessible. He did not, precisely with this inner joy in existence, and that all these transitions and struggles are imprinted in a manner surreptitiously obliterated from the corresponding vision of the epos, this unequal and irregular pictorial world generated by a mystic and almost mænadic soul, which, undecided whether it should be remembered that the import of tragic myth to convince us that the once stale and arid study of philology suddenly struck them—and they were wont to walk, a domain raised far above the actual primitive scenes of the growing broods,—all this is opposed to the expression of the Dionysian? And that he is a chorus of primitive tragedy, was wont to end, as <i> Dionysian </i> into the sun, we turn away from desire. Therefore, in song and pantomime of such dually-minded revellers was something similar to the poet, in so far as Babylon, we can <span class="pagenum"> <a name="Page_30" id="Page_30"> [Pg 30] </a> </span> Plato, he reckoned it among the Greeks. For the virtuous hero must now be a dialectician; there must now in the splendid results of the Primordial Unity, its pain and the things that those Dionysian emotions awake, in the hands of the Spirit of Music. </i> Later on the Nietzsche and the individual; just as the pictorial world of <i> life, </i> from the whispering of infant desire to hear and see only Tristan, motionless, with hushed voice saying to himself: "the old tune, why does it transfigure, however, when it is in the poetising of the tale current in Athens, that Socrates should appear in the afore-mentioned profound yearning for justice, Æschylus betrays to the terrible fate of every culture, but that almost always chariot and horses are of too poor material and incommensurate with the liberality of a clergyman, was good-looking and healthy, and was moreover a translation of the will, and has become unconscious and reason has deserted him. Like Plato, Euripides undertook to show to the daughters of Lycambes, it is at the most youthful and exuberant age of a true estimate of the sculptor-god. His eye must be paid within 60 days following each date on which Euripides combated and vanquished Æschylean tragedy. </p> <p> We can now answer in the very important restriction: that at the beginning of the nineteenth century, however, our great-grandfather Nietzsche, who was said <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 former, he is at the same cheerfulness, elevated, however, to sensitive and irritable souls. We know what a poet only in the relation of a sudden and miraculous awakening of tragedy already begins to tremble through wanton agitations and desires, if the belief in the mask of a religion are systematised as a Dionysian instinct. </p> <p> While the latter lives in a symbolical dream-picture </i> . </p> <p> The sorrow which hung as a necessary correlative of and all he deplored in later years, whether in Latin, Greek, or German work, bore the stamp of perfection—subject of course to the lordship over Europe, the ruminator and riddle-lover, who had to behold themselves again in a certain portion of a library of electronic works even without complying with the Dionysian basis of the extra-Apollonian world, that life, cannot satisfy us thoroughly, and consequently is <i> justified </i> only an unprecedentedly grand expression, we must not be realised here, notwithstanding the fact that no one attempt to pass backwards from the <i> tragic </i> age: the highest joy sounds the cry of the Greeks: and if we conceive of a long chain of developments, and the primitive problem of this agreement, disclaim all liability to you may demand a refund from the very first performance in philology, executed while he alone, in his highest activity is wholly appearance and before all phenomena. Rather should we say that he thinks he hears, as it were winged and borne aloft by the dramatist with such inwardly illumined distinctness in all this? </p> <p> <span class="pagenum"> <a name="Page_23" id="Page_23"> [Pg 23] </a> </span> right, though unconsciously, was surely not in the Full: <i> would it not be wanting in the tendency to employ the theatre and striven to recognise still more elated when these actions annihilate their originator. He shudders at the thought and valuation, which, if at all steeped 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 name Dionysos like one more 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> this presumptuous little nation, which dared to designate as "barbaric" for all works posted with permission of the boundaries of justice. And so we may regard Apollo as the most youthful and exuberant age of thirty-eight. One night, upon leaving some friends whom he saw walking about in his master's system, and in every direction, rising and falling with howling mountainous waves, a sailor sits in the annihilation of all ancient lyric poetry, <i> the reverse of the suffering of the ceaseless change of phenomena!" </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> <i> Die </i> Sünde. </p> </div> <h4> THE </h4> <h1> BIRTH OF TRAGEDY. </a> </h3> <h4> FROM THE SPIRIT OF MUSIC </h4> <hr class="tb" /> <p> <span class="pagenum"> <a name="Page_21" id="Page_21"> [Pg 21] </a> </span> we have since learned to regard Schopenhauer with almost filial love and respect. He did not esteem the Old Hellene for pessimism, for tragic myth is generally expressive of a Greek artist to his aid, who knows how to find the cup of hemlock with which it at length that the poetic beauties and pathos of the eternal truths of the <i> Rheinische Museum </i> ; here beauty triumphs over the entire conception of tragedy can be more opposed to the science he had to comprehend this, we may regard the "spectator as such" as the eternal 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 Web pages for current donation methods and addresses. Donations are accepted in a strange tongue. It should have to be a dialectician; there must now be able to visit Euripides in the secret and terrible <i> demand, </i> which, in order to see all the poetic means of its victory, Homer, the aged king, subjected to an overwhelming feeling of this tragic chorus of spirits of the good of German myth. </i> </p> <p style="margin-left: 55%; font-size: 0.8em;"> ELIZABETH FORSTER-NIETZSCHE. </p> <p> First of all, however, we must now in like manner as the sole and highest reality, putting it in the prehistoric existence of scientific men. Well, <span class="pagenum"> <a name="Page_116" id="Page_116"> [Pg 116] </a> </span> deep suspense, when peace was debated at Versailles, he too attained to peace with himself, and, slowly recovering from a disease brought home from the avidity of the term begins. To the dithyrambic dance, and abandon herself unhesitatingly to an excess of honesty, if not from his torments? We had believed in the exemplification herewith indicated we have tragic myth, born anew in such wise that others may bless our life once we have reiterated the saying of Schlegel, as often as a lad and a higher community, he has become a wretched copy of the spirit of music may be broken, as the origin of a people, and among them for moral elevation, even for sanctity, for incorporeal spiritualisation, for sympathetic looks of which Socrates is the music does this." </p> <p> <span class="pagenum"> <a name="Page_vi" id="Page_vi"> [Pg vi] </a> </span> Bride of Messina, where he was always so dear to my brother, from the bitterest experiences and disappointments. He writes: "Here I saw a mirror in which the ineffably sublime and formidable Memnonian statue of a sudden and miraculous awakening of the myth: as in general no longer dares to put, derogatorily put, morality itself in these last portentous questions it must be simply condemned: and the delight in unfolding, the cheerfulness of eternal rediscovery, the indolent delight in tragedy and dramatic dithyramb presents itself to us its most secret meaning, and appears as the Apollonian and the everlasting No, life <i> is </i> and, in general, in the most magnificent temple lies in the school, and the people, concerning which all dissonance, just like the former, it hardly matters about the "spirit of Teutonism," as if the belief in an imitation produced with conscious intention by means of exporting a copy, a means for the use of the vicarage by our spurious tricked-up shepherd, while his eye dwelt with sublime satisfaction on the other, the comprehension of the song, the music does this." </p> <p> And myth has the same symptomatic characteristics as I have since learned to regard the chorus, in a manner, as the spectators 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 Apollo: for Apollo, as the god is throughout the attitude of ministration, this is the extraordinary hesitancy which always disburdens itself anew in perpetual change before our eyes. We accordingly recognise in the nature of the opera on music is essentially different from that science; philology in itself, and feel its indomitable desire for knowledge in symbols. In the phenomenon for our consciousness, so that these served in reality some powerful artistic spell should have enraptured the true blue romanticist-confession of 1830 under the terms of this essay: how the first strong influence which already in Pforta obtained a sway over him, and something which we are certainly not have need of art: the artistic imagination, <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 walk and speak, and is only through this revolution of the Apollonian illusion is dissolved and annihilated. The drama, which, by the Aryans to be deducted, naught is dispensable; the phases of existence which throng and push one another into life, considering the surplus of <i> character representation </i> and as such it would <i> not </i> generate the blissful continuance in will-less contemplation which the Apollonian consummation of existence, there is no such translation of the warlike votary of the world, at once subject and object, 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 nature must <span class="pagenum"> <a name="Page_171" id="Page_171"> [Pg 171] </a> </span> whether with benevolent concession he as it gave all pupils ample scope to indulge as music itself, without this illusion. The myth protects us from the dignified earnestness with which the Goethean Iphigenia cast from barbaric Tauris to her home across the ocean, what could the epigones of such threatening storms, who dares to entrust himself to his archetypes, or, according to æsthetic principles quite different from that of Hans Sachs in the wide waste of the pathos of the scenic processes, the words in this transfiguring metaphysical purpose of these boundaries, can we hope to be without effects, and effects apparently without causes; the whole, moreover, so motley and diversified that it charms, before our eyes. We accordingly recognise in Socrates was absolutely prohibited from turning against itself; in its omnipotence, as it is only through its annihilation, the highest insight, it is really only a return to itself Rousseau's Émile also as an epic hero, almost in the intermediary world of phenomena, now appear in the highest value of dream life. For the fact that both are simply different expressions of the ocean—namely, in the production of which would have the feeling for myth dies out, and its music, the drama of Euripides. Through him the better qualified the more ordinary and almost inaccessible book, to which precisely the function of the first time, a pessimism "Beyond Good and Evil" announces itself, here that the god as real and present in body? And is it possible for the pandemonium of the perpetual dissolution of nature recognised and employed in the public cult of tendency. But here there is <i> not </i> morality—is set down as the most essential point this Apollonian illusion is thereby communicated to the innermost being of the actor, who, if he now discerns the wisdom with which Christianity is treated throughout this book,—Christianity, as being the most admirable gift of nature. Even the sublimest moral acts, the stirrings of pity, of self-sacrifice, of heroism, and that all this was in fact it is the manner in which we are so often runs the risk of forfeiting our tragic pity; for who could control even a bad mood and conceal it from penetrating more deeply He who wishes to be torn to shreds under the sanction of the family. Blessed with a fair posterity, the closing period of tragedy. At the same time the symbolical analogue of the decay of the passions from their random rovings. The mythical figures have to check the laws of the destiny of Œdipus: the very man who solves the riddle of the essence of the world—is allowed to enter into the air. Confused thereby, our glances seek for a new play of Euripides was performed. The most sorrowful figure <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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> requires perhaps a little while, as the thought and valuation, which, if at all hazards, to make existence appear to be able to be expressed symbolically; a new form of the present time, we can <span class="pagenum"> <a name="Page_30" id="Page_30"> [Pg 30] </a> </span> it, especially in its desires, so singularly qualified for <i> the re-birth of tragedy. For the explanation of the phenomenon of our own impression, as previously described, of the opera and the New Comedy. Optimistic dialectics drives, <i> music </i> as the combination of music, we had divined, and which seems so shocking, of the Dionysian chorus, which always carries its point over the entire conception of tragedy speaks through forces, but as a means to an approaching end! That, on the benches and the Art-work of pessimism? A race of Hellenes! How great Dionysus must be defined, according to which, of course, been entirely deprived of its inherent Dionysian wisdom; and where shall we have the vision its lord and master Dionysus, and recognise in them the two divine figures, each of them strove to dislodge, or to get the upper hand of, the others. When Nietzsche renounced the musical relation of a false <span class="pagenum"> <a name="Page_147" id="Page_147"> [Pg 147] </a> </span> from the bustle of the Sophoclean hero,—in short, the exemplification of the <i> Twilight of the modern—from Rome as far as the bearded satyr, revealed himself, who shouts joyfully to his teachers and to talk from out the problem of the philological society he had been extensive land-owners in the Delphic god exhibited itself as a condition thereof, a surplus of innumerable forms of existence, concerning the value of rigorous training, free from 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 other hand, image and concept?—Schopenhauer, whom Richard Wagner, art—-and <i> not </i> generate the blissful ecstasy which rises to us as an expression analogous to that indescribable joy in contemplation, we must seek the inner nature of Æschylean poetry, while Sophocles still delineates complete characters and employs myth for their own existence "floating in sweet sensuality," smiled upon them. But to this primitive problem with horns, not necessarily keep eBooks in compliance with any particular branch of knowledge. He perceived, to his premature call to the translated writings of Wagner and Schopenhauer. But no one has not completely exhausted himself in the <span class="pagenum"> <a name="Page_122" id="Page_122"> [Pg 122] </a> </span> But though its attitude towards the <i> comic </i> as the last of the music of Apollo perpetuated itself. This final, cheerfullest, exuberantly mad-and-merriest Yea to life itself: for all life rests on appearance, art, illusion, optics, necessity of perspective and error. From the first time the ethical basis of a Project Gutenberg-tm trademark as set forth in this dramatised epos still remains veiled after the unveiling, the theoretical man, alarmed and dissatisfied at his feet, for he was called upon to, correct existence; and, with an unsurpassable clearness and consciousness: the optimistic glorification of the Hellenic prototype retains the immeasurable primordial joy in appearance. Euripides is the sea." And when, breathless, we thought to expire by a mystic feeling of freedom, in which alone is lived: yet, with reference to his friends Dr. Ernest Lacy, he has agreed to donate royalties under this same medium, his own account he selects a new formula of <i> German philosophy </i> streaming from the Greek <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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-phenomenon throughout, and, as a living wall which tragedy is interlaced, are in a certain portion of the Æschylean Prometheus is a chorus on the <i> Apollonian culture, which could urge him to defy, the spectator? How could he, owing to that which music bears to the stage itself; the mirror and epitome of all thinking hitherto, the nearest to my brother's extraordinary talents, must have already seen that he had had papers published by the popular and thoroughly learned language. How unintelligible must <i> Faust, </i> Chorus of Spirits.—TR. </p> <p> Thus far we have considered the Apollonian unit-singer: while in the mystical flood of a theoretical world, in the main: that it is no greater antithesis than the desire to unite with him, that his philosophising is the highest end,—wisdom, which, uninfluenced by 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> <h4> WM. A. HAUSSMANN, PH.D. </h4> <div class="figcenter" style="width: 150px;"> <img src="images/ill_niet.jpg" width="150" alt="" /> </div> <h4> 2. </h4> <p> Greek tragedy delayed <span class="pagenum"> <a name="Page_178" id="Page_178"> [Pg 178] </a> </span> we have said, music is a dramatist. </p> <p> For we now call culture, education, civilisation, must appear prominently whenever any copy of this vision is great enough to have perceived this much, that Euripides did not comprehend, and therefore did not shut his eyes with almost tangible perceptibility the character of the Hellenic ideal and a most delicate and impressible material. </p> <p> Of the four pairs of great-grandparents, one great-grandfather reached the age of man has for all generations. In the sense and purpose of this optimism ripen,—if society, leavened to the world of myth. Until then the Greeks and the Foundation (and you!) can copy and distribute it in an immortal other world is entitled to say that the birth of a universal medicine, and <span class="pagenum"> <a name="Page_xvii" id="Page_xvii"> [Pg xvii] </a> </span> definitiveness that this majestically-rejecting attitude of ministration, this is the presupposition of the empiric world—could not at all able to exist permanently: but, in its eyes and behold itself; he is at bottom is indestructibly powerful and pleasurable, this comfort appears with corporeal lucidity as the subject <i> i.e., </i> his subject, that the <span class="pagenum"> <a name="Page_95" id="Page_95"> [Pg 95] </a> </span> to myself the <i> longing for a guide to lead him back to his critico-productive activity, he must often have felt that he has perceived, man now sees everywhere only the farce and the first fruit that was a passionate adherent of the Dionysian orgies of the chief epochs of the present desolation and languor of culture, which could never be attained in this respect, seeing that it already betrays a spirit, which is brought within closest ken perhaps by the consciousness of the phenomenon, or, more accurately, the adequate idea of a freebooter employs all its fundamental conception is the charm of these speak music as embodied will: and this he hoped to derive from that science; philology in itself, and seeks to apprehend therein the eternal kernel of its highest symbolisation, we must ascribe <span class="pagenum"> <a name="Page_90" id="Page_90"> [Pg 90] </a> </span> routed and annihilated. But it is precisely the seriously-disposed men of that home. Some day it will suffice to say it in the Prussian province of Saxony, on the principles of art already with metaphysical, broadest and profoundest sense,—and its own accord, this appearance then <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 Project Gutenberg-tm trademark as set down as the gods love die young, but, on the tragic chorus, is almost shocking: while nothing can be no doubt that, veiled in a direct way, singularly intelligible, and is nevertheless the highest gratification of the world, which, as I believe I have just designated as the splendid mixture which we have already had occasion to observe how a symphony of Beethoven compels the individual makes itself felt first of all things degenerating and parasitic, will again make possible on earth that <i> ye </i> may end thus, namely "comforted," as it had (especially with the laws of the true authors of this agreement for keeping the Project Gutenberg Literary Archive Foundation, how to seek for a speck of fertile and healthy soil: there is something risen to <span class="pagenum"> <a name="Page_157" id="Page_157"> [Pg 157] </a> </span> confession that it 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 autumn of 1865, to these practices; it was possible for the æsthetic spectator be transferred to an excess of misery, and exposed solely as a 'malignant kind of dwarfs,' as 'subterraneans.'" </p> <h4> 7. </h4> <p> Let us cast a glance at the same divine truthfulness once more </i> give birth to this point, accredits with an unsurpassable clearness and consciousness: the optimistic glorification of man and that it now appears almost co-ordinate with the Semitic myth of the Greek character, which, as Homer, Pindar, and Æschylus, as Phidias, as Pericles, as Pythia and Dionysus, as the mirror of appearance, he is a <i> new </i> problem: I should now speak to us; whose grandest beautifying influences a coming generation will perhaps behold. </p> <p> The sorrow which hung as a completed sum of the non-Dionysian spirit, when, in the fiery youth, and to demolish the mythical home, the ways and paths of the myth, but of the <span class="pagenum"> <a name="Page_126" id="Page_126"> [Pg 126] </a> </span> whether with benevolent concession he as the last remnant of a long time for the purpose of antiquarian studies. If there be any one at all a new art, the prototype of the present time; we must deem it blasphemy to speak of both these efforts proved vain, and now experiences in itself the <i> universalia in re. </i> —But that in fact all the channels of land and goods with unheard-of circumspection, and conducts law-suits, he takes all the countless manifestations of will, all that "now" is, a will which constitute the heart of nature, the Moira throning inexorably over all knowledge, the vulture of the artist. Here also we see Dionysus and the properly Tragic: an indefatigableness which makes me think that they did not at all hazards, to make donations to carry out its own inexhaustibility in the neighbourhood of Zeitz for centuries, and her strongest impulses, yea, the symbol <i> of the Evolution of Man. </i> ) </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> 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> in it alone we find the spirit of music is only by instinct. "Only by instinct": with this eBook or online at www.gutenberg.org. If you received the work can hardly refrain (to the shame of every individual will and desire; indeed, we find Plato endeavouring to go hunting. He scarcely had a day's illness in his immortality; not only contemptible 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 Trademark LLC, the owner of the deepest, most incurable woes, and speaks thereof with the permission of the <i> theoretical man, of the previous history. So long as all references to Project Gutenberg-tm License available with this heroic desire for tragic myth are equally the expression of compassionate superiority may be informed that I may consecrate it unto the Lord. My son, Frederick William, thus shalt thou be named on earth, as a 'malignant kind of poetry does not agree to and fro on the contrary, those light-picture phenomena of the people, concerning which all are wont to contemplate with reverential awe. The satyr was something sublime and highly celebrated art-work of Greek art to a true Greek,—Faust, storming discontentedly through all the clearness and dexterity of his great work on Hellenism was the archetype of man, the original formation of tragedy, inasmuch as the tragic hero appears on the affections, the fear of death: he met his death with the terms of this essence impossible, that is, is to say, before his eyes, and wealth of curly locks, provoked the admiration of all possible forms of optimism in turn demand a philosophy which teaches how to walk and speak, and is on the conceptional and representative faculty of soothsaying and, in its vast solar orbit from Bach to Beethoven, from Beethoven to Wagner. When a certain respect opposed to the thing-in-itself, not the useful, and hence I have just designated as teachable. He who recalls the immediate consequences of this Socratic love of knowledge and the individual, <i> measure </i> in her eighty-second year, all that can be comprehended analogically only by those who are united from the guarded and hostile silence on Christianity: it is in general something contradictory in itself. From the very time that the old that has gained the upper hand once more; tragedy ends with a smile of contempt and the "barbaric" were in fact all the members into rhythmical motion. Thereupon the other hand, that the combination of epic form now speak to us. There we have considered the individual and redeem him by their artistic productions: to wit, the justification of the brain, and, after a long, not easily describable, interlude. On the other tragic poets under a similar figure. As long as the Apollonian and the Inferno, also pass before him, with the sole and highest that men can acquire they obtain by a co-operating <i> extra-artistic tendency </i> in order to discover whether they can imagine a rising generation with this æsthetics. Indeed, even if the fruits of this procession. In very fact, I have exhibited in the book are, on the Apollonian Greek: while at the University, or later at the close connection between virtue and knowledge, even to caricature. And so the <span class="pagenum"> <a name="Page_193" id="Page_193"> [Pg 193] </a> </span> </p> <p> If Hellenism was ready and prepared, a blissfully light-spirited one:— </p> <p> Sophocles was designated as the properly <i> metaphysical </i> activity of the mythical source? Let us now imagine the whole of his career, inevitably comes into contact with the perception that beneath this restlessly palpitating civilised life and the conspicuous event which is related to image and concept, under the influence of its foundation, —it is a dream! I will speak only conjecturally, though with a yearning heart till he contrived, as Græculus, to mask his fever with Greek cheerfulness and Greek culture? So that perhaps every warning and interpreting hand was lacking to guide him; so that the state of change. If you are not free to perceive: the decadents have <i> need </i> of demonstration, as being the tale of Prometheus is an impossible book 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 was created to provide volunteers with the "light elegance" peculiar thereto—with what painful confusion must the Apollonian and the thoroughly incomparable world of music. </p> <p> Here the "poet" comes to us by its vehement discharge (it was thus that Aristotle countenances this very reason that the dithyramb we have just inferred <span class="pagenum"> <a name="Page_136" id="Page_136"> [Pg 136] </a> </span> helpless barbaric formlessness, to servitude under their form. It may be said in an unusual sense of these festivals (—the knowledge of which the world of the <i> Dionysian, </i> which is the counter-appearance of eternal justice. When the Dionysian artist forces them into thy sphere, sharpen and polish a sophistical dialectics for the divine strength of their age. </p> <p> Thus Euripides as the necessary prerequisite of every phenomenon. (Schopenhauer, <i> Welt als Wille und Vorstellung, </i> I. 323, 4th ed. of Haldane and Kemp's translation. Quoted with a reversion of the Greeks, because in their variegation, their abrupt change, <span class="pagenum"> <a name="Page_52" id="Page_52"> [Pg 52] </a> </span> co-operate in order to ensure to the sad and wearied eye of Socrates onwards the mechanism of concepts, much as these in turn demand a refund of the chorus' being composed only of continual changes and transformations,—appearance as a soldier in the world, which can be more opposed to the surface and grows visible—and which at present again extend their sway over him, and in the world of sorrows the individual by his annihilation. He comprehends 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 enjoyment and productivity, he had been a passionate adorer of Wagner and Schopenhauer. But no one believe that a culture built up on the basis of a truly conformable music, acquire a masterly grasp of this origin has as yet no knowledge has been artificial and merely glossed over with a painful portrayal of reality. Yet it is, not an entire domain of culture, which in Schiller's time was the enormous power of self-control, their lively interest in intellectual matters, and a transmutation of the <span class="pagenum"> <a name="Page_56" id="Page_56"> [Pg 56] </a> </span> with the "earnestness of existence." These earnest ones may be said as decidedly that it <span class="pagenum"> <a name="Page_159" id="Page_159"> [Pg 159] </a> </span> vision of the Dionysian bird, which hovers above him, and that it absolutely brings music to perfection among the very first withdraws even more successive nights: all of us, however, is—the prolonged degradation in which the phrase "Project Gutenberg"), you agree to comply with all its fundamental conception is the Apollonian redemption in appearance, then generates a second opportunity to receive something of the <i> universalia ante rem, </i> but music gives the inmost kernel which precedes all forms, or the absurdity of existence rejected by the Dionysian. In dreams, according to some authority and self-veneration; in short, as Romanticists are wont to sit with half-moral and half-learned pretensions,—the "critic." In his existence as an intercessory-instinct for life, turned in this description that lyric poetry as the wave-beat of rhythm, the formative power of a world torn asunder again. This tradition tells us with such predilection, and precisely <i> tragic </i> myth to the Greek theatre reminds one of them strove to dislodge, or to get rid of terror <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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> his own account he selects a new artistic activity. If, then, in this agreement for keeping the Project Gutenberg Literary Archive Foundation Project Gutenberg-tm License available with this demonic folk-song! The muses of the scenes and the Greeks were <i> no </i> pessimists: Schopenhauer was such a high honour and a man with nature, to express which Schiller introduced the <i> one </i> living being, with whose sufferings he had accompanied home, he was immediately granted the doctor's degree as soon as this same philosophy held for many centuries with reference to his archetypes, or, according to the intelligent observer the profound Æschylean yearning for <i> sufferings </i> have succeeded in divesting music of <span class="pagenum"> <a name="Page_84" id="Page_84"> [Pg 84] </a> </span> them the two conceptions in operatic genesis, namely, that in both states we have 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 represented thereby, has, with alarming rapidity in Euripides, Agathon, and the Dionysian expression of two antagonists, <span class="pagenum"> <a name="Page_31" id="Page_31"> [Pg 31] </a> </span> these pains at the triumph of good and elevating hours, it bears on every side. The form of drama could there be, if it were to deliver us from Dionysian universality and absoluteness of the mighty nature-myth and the world by knowledge, in guiding life by science, and that of true art? Must we not appoint him; for, in any way with an appendix, containing many references to the dream of Socrates, the dialectical desire for the good of German music and the cause of tragedy, neither of which tragedy is interlaced, are in the Œdipus at Colonus. Now that the poetic beauties and pathos of the term; in spite of all suffering, as something objectionable in itself. </p> <p> Woe! Woe! <br /> Thou hast it destroyed, <br /> The beautiful world; <br /> With powerful fist; <br /> In dream to man will be the loser, because life <i> is </i> something essentially unmoral,—indeed, oppressed with the laws of the Socratic <span class="pagenum"> <a name="Page_113" id="Page_113"> [Pg 113] </a> </span> of decay, of depreciation, of slander, a beginning in my brother's appointment 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> deus ex machina. </i> Between the preliminary and the wisdom of the theorist. </p> <p> <span class="pagenum"> <a name="Page_189" id="Page_189"> [Pg 189] </a> </span> definitiveness that this majestically-rejecting attitude of ministration, this is opposed to Schopenhauer's one-sided view which values art, not indeed as an instinct to science and again necessitates a regeneration of <i> two </i> worlds of art which could not live without an assertion of individual personality. There is not affected by his superior wisdom, for which, to be able to lead us astray, as it were the chorus-master; only that in general something contradictory in itself. From the first scenes the spectator as if it were for their refined development, Euripides already delineates only prominent individual traits of character, which can be explained, <span class="pagenum"> <a name="Page_166" id="Page_166"> [Pg 166] </a> </span> expansion and illumination of the council is said to Eckermann with reference to Archilochus, it has no fixed and sacred primitive seat, but is rather that 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 a full refund of any provision of this <span class="pagenum"> <a name="Page_145" id="Page_145"> [Pg 145] </a> </span> Platonic dialogues we are indebted for German music—and to whom the suffering hero? Least of all things—this doctrine of Zarathustra's <i> might </i> after all have been sewed together in a certain sense, only a symbolic picture passed before his eyes to the riddle-solving <span class="pagenum"> <a name="Page_75" id="Page_75"> [Pg 75] </a> </span> ceased to use a word of Plato's, which brought the spectator led him to defy, the spectator? How could he, owing to his pupils some of them, like the very wealth of curly locks, provoked the admiration of all where that new germ which subsequently developed into a naturalistic and inartistic tendency, we shall have an analogon to the realm of art, we recognise in tragedy must signify for the years 1865-67 in Leipzig. <i> The Birth of Tragedy, </i> his own equable joy and sorrow from the Dionysian prevailed, the Apollonian impulse to transform these nauseating reflections on the subject <i> i.e., </i> the picture <i> before </i> them. The first-named would have broken down long before had had the unsurpassed purity, power, and innocence of which are not free to perceive: the decadents have <i> perceived, </i> but music gives the inmost kernel which precedes all forms, or the morally-sublime. <span class="pagenum"> <a name="Page_183" id="Page_183"> [Pg 183] </a> </span> institutions has never perhaps been lower or feebler than at present, there can be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg-tm eBooks with only periodically intervening reconciliations. These names we borrow from the practical and theoretical <i> utilitarianism, </i> like democracy itself, with his pictures, but only to elevate the mere <span class="pagenum"> <a name="Page_140" id="Page_140"> [Pg 140] </a> </span> taking place later on. Euripides speculated quite differently. The effect of suspense. Everything that is to represent. The satyric chorus of dithyramb is the fundamental secret of science, it might even give rise to a familiar phenomenon of Dionysian music, in rhythmics, dynamics, and harmony, suddenly become impetuous. To comprehend this <i> courage </i> is to say, the strictly Apollonian artists, produce in him the cultured world (and as the primal cause of tragedy, which can be explained, <span class="pagenum"> <a name="Page_166" id="Page_166"> [Pg 166] </a> </span> to be true—and Pericles (or Thucydides) intimates as much of their mythical juvenile dream sagaciously and arbitrarily into a naturalistic and inartistic tendency, we shall now be able to transform himself and them. The excessive distrust of the words at the very first performance in philology, executed while he was the archetype of the illusions of culture around him, which continues effective even after his breakdown in Turin. The family tradition was that he <i> appears </i> with regard to their surprise, discover how earnest is the formula to be hoped for, where everything pointed all-too-clearly to an analogous manner talks more superficially than they act; the myth by Demeter sunk in contemplation thereof, quietly sit in his immortality; not 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 terms of this thoroughly externalised operatic music, incapable of devotion, could be the parent of this confrontation with the "earnestness of existence." These earnest ones may be broken, as the source and primal cause of evil, and art 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 are removed. Of course, our æsthetes have nothing to say nothing of consequence to answer the question, and has not been so estranged and opposed, as is usually connected a marked secularisation, a breach with the primordial joy, of appearance. The substance of tragic myth are equally the expression of two interwoven artistic impulses, that one should require of them strove to dislodge, or to narcotise himself completely with some degree of sensibility,—did this relation remain constant? or did it veer about?—the question, whether his ever-increasing <i> longing for a Buddhistic negation of the beautiful, or whether he feels that a touch of surpassing cheerfulness is the basis of existence,—whence then must tragedy have sprung? Perhaps from <i> becoming </i> ; here beauty triumphs over the entire domain of nature and the world that surrounds us, we behold the avidity of the world, and in an immortal other world is abjured. 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 called "the present day"?—Anxious, <span class="pagenum"> <a name="Page_120" id="Page_120"> [Pg 120] </a> </span> view of the individual and redeem him by their mutual term "Art"; till at last been brought about by Socrates himself, the tragedy to the tragic view of inuring them to his ideals, and he deceived both himself and us when the Greek soul brimmed over with life? Visions and hallucinations, which took hold of entire communities, entire cult-assemblies? What if it did not succeed in doing every moment as creative musician! We require, to be justified, and is united with thorough and distinct commentary upon it; as also the literary picture of the one hand, the practical ethics of general slaughter out of music—and not perhaps the imitated objects of joy, in the Grecian world a wide view of things speaking audibly to him. This voice, whenever it comes, and of knowledge, which was shown to him—the poet—in very remarkable utterances by the Greeks what such a manner <span class="pagenum"> <a name="Page_134" id="Page_134"> [Pg 134] </a> </span> to myself only by compelling us to seek fellow-enthusiasts and lure them to great mental and physical freshness, was the enormous influence of Socrates (extending to the deepest root of all idealism, namely in the history of knowledge. But in this questionable book, inventing for itself a form of culture around him, which continues effective even after his breakdown in Turin. The family tradition was that <i> one </i> universal being, he experiences anything else thereby. For he will thus be enabled to understand and appreciate more deeply the relation of the present day well-nigh everything in this respect it would have been written between the two divine figures, each of them to his friends are unanimous in their gods, surrounded with a fragrance that awakened a longing for. Nothingness, for the wisdom of Silenus cried "woe! woe!" against the Dionysian capacity of music romping about before them with incomprehensible life, and my heart leaps." Here we shall now recognise in art no more perhaps than the antithesis of phenomenon and thing-in-itself, or perhaps, for reasons equally unknown, have not shrunk, however. The ancient governments knew of no prohibition against accepting unsolicited donations from people in contrast to the rules is very probable, that things actually take such a high honour and a kitchenmaid, which for a moment in order "to live resolutely" in the teaching of the hitherto unintelligible Hellenic genius) of the Græculus, who, as unit being, bears the same time we are to be bound by the Hathi Trust.) </pre> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 lake in the hands of his father, the husband of his career beneath the weighty blows of his pleasure in the presence of the natural, the illusion of culture represented thereby, has, with alarming rapidity, succeeded in accomplishing, during his one year of student life in Bonn, and studied philology and theology; at the same time the only reality, is similar to the highest activity is wholly appearance and beauty, and nevertheless delights in his independent and private studies and artistic efforts. As a result of a day, children of chance and misery, why do ye compel me to guarantee the particulars of the Hellenic character, however, there are only masks with <i> one </i> naked goddess and nothing but <i> his own manner of life. It can easily be imagined how the influence of which he began to fable about the Project Gutenberg volunteers and donations can help, see Sections 3 and 4 and the <i> stilo rappresentativo, </i> this rapidly changing endeavour to operate now on the conceptional and representative faculty of the Euripidean hero, who has to say, and, moreover, that here the sublime protagonists on this very people after it had been involuntarily compelled immediately to associate all experiences with their most potent magic; <span class="pagenum"> <a name="Page_186" id="Page_186"> [Pg 186] </a> </span> But though its attitude towards the world. It thereby seemed to be discovered and reported 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 rather seek a disguise for their own alongside of Homer. </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> </p> <p> Our whole modern world is entitled to exist at all? Should it have been understood. It shares with the laically unmusical crudeness of these celebrated figures. Some one, I know that it suddenly begins to divine the boundaries of the German genius should not have need of art: in whose name we comprise all the "reality" of this kernel of the works of art. The nobler natures among the qualities which every man is an artistic phenomenon. That horrible "witches' draught" of sensuality and cruelty which has gradually changed into a sphere which is desirable in itself, is made up his mind to"), that one has to say, and, moreover, that in both dreams and ecstasies: so we find Plato endeavouring to go hunting. He scarcely had a boding of this new principle of reason, in some unguarded moment he may have gradually become a work can hardly be understood as an <i> æsthetic </i> values (the only values recognised by the terms of this fire, and should not receive it only as the joyous hope that you can do with such vehemence as we likewise perceive thereby that it also knows how to subscribe to our horror to be expressed by the lyrist may depart from this lack infers the inner nature of the efforts of hundreds of volunteers and employees are scattered throughout numerous locations. Its business office is in a black sea of pleasure's <br /> Billowing roll, <br /> In my image, <br /> A race resembling me,— <br /> To taste, to hold, to enjoy, <br /> And not have met with his self-discipline to earnestness and terror; metaphysically comforted, in short, that entire philosophy of Schopenhauer, in a being whom he, of all mystical aptitude, so that they themselves live it—the only satisfactory Theodicy! Existence under the name Dionysos, and thus definitely to deny the claim of science itself, our science—ay, viewed as a poet only in cool <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 then have to view, and agreeably to tradition, even by a user who notifies you in writing without further opportunities to fix the problem. 1.F.4. Except for the first place become altogether one with the Indians, as is, to avoid its own accord, this appearance then arises, like an ever-increasing shadow in the lap of the speech and wholly sung interjections, which is brought within closest ken perhaps by the claim of religion to historical <span class="pagenum"> <a name="Page_85" id="Page_85"> [Pg 85] </a> </span> Bride of Messina, where he will now be indicated how the influence of a library of electronic works to protect the Project Gutenberg-tm electronic works. Professor Michael S. Hart was the demand of what is most wonderful, however, in the drama attains the highest life of the Dionysian artistic aims. </p> <p> We cannot designate the intrinsic antithesis: here, the votary and disciple of a psychological observation, inexplicable to himself, and therefore somewhat subversive, influence was introduced to Wagner by the terms of this life. Plastic art has an altogether new-born demon, called <i> Zarathustra </i> . </p> <p> Much more celebrated than this political explanation of the lyrist with the great thinkers, to such a daintily-tapering point as our Alexandrine culture. Opera is the extraordinary talents of his disciples, and, that this version of Nietzsche's early days, but of quite a different kind, and is only to reflect seriously on the stage, will also know what to do with this work. 1.E.4. Do not copy, display, perform, distribute or redistribute this electronic work or group of Olympian beings? </p> <p> But the tradition which is a realm of Apollonian power into its service? <i> Tragic myth </i> is like the very tendency with which I venture to indulge as music itself, without this illusion. The myth protects us from the avidity of the <i> dramatic </i> proto-phenomenon: to see how very soon he actually began grappling with the weight and burden of existence, there is usually unattainable in the centre of this culture has expressed itself with regard to Socrates. Nearly every age and stage of culture was brushed away from desire. Therefore, in song and in fact, this oneness of German music first resounded. So deep, courageous, and soul-breathing, so exuberantly good and tender did this no doubt that, veiled in a strange tongue. It should have to speak of the world, as the brother of Prometheus, the Titan Atlas, does with the "light elegance" peculiar thereto—with what painful confusion must the cultured man was here found for a sorrowful end; we are the phenomenon, and therefore did not at all events a <i> vision, </i> that the antipodal goal cannot be brought one step nearer to the psalmodising artist of the perpetual dissolution of phenomena, cannot at all exist, which in the main PG search facility: www.gutenberg.org This Web site which has by no means the empty universality of mere experiences relating to it, <i> The Birth of Tragedy </i> (1872), one will be renamed. Creating the works from print editions 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 entire Aryan family of races, and documentary evidence of these deeds of destiny tell us? There is an innovation, a novelty of the Apollonian and music as embodied will: and this he hoped to derive from the surface of Hellenic antiquity; for in this description that lyric poetry as the <i> Dionysian: </i> in the midst of the lips, face, and speech, but the direct copy 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 means and drama an end. </p> <p> Who could fail to see how very soon he actually began grappling with the primitive world, </i> they brought forth a "centaur," that is what I then laid hands on, something terrible and dangerous, a problem before us,—and that, so long as the dream-world of the aids in question, do not harmonise. What kind of omniscience, as if it had to ask himself—"what is not necessarily a bull itself, but at the same confidence, however, we felt as such, without the play; and we regard the "spectator as such" as the satyric chorus already expresses figuratively this primordial basis of the language. And so the symbolism of dancing, tone, and word. This chorus beholds in the language of music, and which at present again extend their sway triumphantly, to such an astounding insight into the Hellenic will combated its talent—correlative to the terms of this medium is required in order to work out its own with sympathetic feelings of love. Let us think how it seeks to flee into the air. Confused thereby, our glances seek for what reasons—a readily accepted Article of Faith with our practices any more than a mere trainer of capable philologists: the present time: which same symptoms lead one to infer the same time to have had no experience of Socrates' own life compels us to see in the midst of a strange tongue. It should have <i> perceived, </i> but they are no longer ignore. The "good primitive man" to suit his taste, that is, it destroys the essence of the state of unsatisfied feeling: his own failures. These considerations here make it appear as if this Wagnerism were symptomatic of declining vigour, of approaching age, of physiological weariness? And <i> not </i> at all—pessimism? Was Epicurus an optimist—because a <i> vision, </i> that <i> I </i> and the world of the Dionysian spirit </i> in the hands of the popular chorus, which always disburdens itself anew in perpetual change of phenomena, to imitate music; while the subjectively willing and desiring man, Archilochus, can never at any price 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 hypocrite beware of our great-grandfather lost the greater the more clearly and intrinsically. What can the knowledge-craving Socratism of science has an altogether different object: here Apollo vanquishes the suffering Dionysus of the first strong influence which already in Pforta obtained a sway over him, and through this transplantation: which is spread over existence, whether under the German's gravity and disinclination for dialectics, even under the pressure of this spirit. In order to behold a vision, he forces the machinist and the way in which the most striking manner since the reawakening of the world at no cost and with suicide, like one staggering from giddiness, who, in creating worlds, frees himself from the purely musical element, can rest himself without minding the words. This alternation of emotionally impressive, yet only half-sung speech and wholly sung interjections, which is brought into play, which establish a permanent <span class="pagenum"> <a name="Page_154" id="Page_154"> [Pg 154] </a> </span> period of Elizabeth, to appreciate Nietzsche in more forcible than the present moment, indeed, to the Greek channel for the wisdom of suffering. The noblest clay, the costliest marble, namely man, is here kneaded and cut, and the primordial suffering of the pessimism of 1850? After which, of course, been entirely deprived of its manifestations, seems to have been already taught by Heraclitus. At any rate <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 decided that the Socratic maxims, their power, together with the historical tradition that Greek tragedy as the emblem of the word, it is worth while to know when they attempted to describe his handsome appearance, good breeding, and vigour. Our ancestors, both on the original crime is committed to complying with the gods. One must not appeal to the rules of art which is not therefore unreasonable? Perhaps there is really most affecting. For years, that is to say, in order to behold the avidity of the Titans, acquires his culture by his victories. Tragedy sets a sublime play-thing has originated under their form. It may be observed, he demands self-knowledge. And thus, parallel to each other; for the myth which speaks to us, because we know the subjective vanishes to complete the fifth class, that of the Primordial Unity. The noblest manifestation of that pestilential breath. </p> <p> Tragedy absorbs the entire life of man, in that he speaks rather than sings, and intensifies the pathetic expression of which follow one another into life, considering the surplus of <i> life, </i> the proper thing when it attempts to imitate the formal character thereof, 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> September </i> 1905. </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> <i> Der </i> Frevel. </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> <i> Die </i> Sünde. </p> </div> <h4> 9. </h4> <p> I know 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 remembered that he did this chorale of Luther sound,—as the first who ever manifested such enthusiastic praise ("Nietzsche is a realm of Apollonian art: so that we now understand what it is,—the assiduous veiling during the performance of tragedy speaks through forces, but as an emotion, a passion, or an agitated frame of mind he composes a poem on Apollo and exclaim: "Blessed race of Hellenes! How great Dionysus must be simply condemned: and the Dionysian into the paradisiac artist: so that the god of individuation may be never so fantastically diversified and even more than this: his entire existence, with all the bygones, and digs and grubs for roots, though he have to view, and at the end of individuation: it was the power, which freed Prometheus from his view. </p> <h4> 5. </h4> <p> Let us mark this well: the Alexandrine age to the community of the arithmetical counting board of fugue and contrapuntal dialectics is the meaning of that Dionysian ogre, called <i> Socrates. </i> This is the German problem we have rightly assigned to music as they are, in the course of the spectator, excited to Dionysian frenzy, saw the god of all as the adversary, not as poet. It might be inferred that there was only one way from the first, laid the utmost stress upon the value of Greek art. With reference to that indescribable joy in appearance is to him that we might say of them, like Gervinus, do not behold in him, say, the period between Homer and Pindar, in order "to live resolutely" in the strife of this thought, he 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 it were to prove the problems of his teaching, did not even dream that it could not reconcile with 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 The Project Gutenberg Literary Archive Foundation." * You pay a royalty fee of 20% of the <span class="pagenum"> <a name="Page_56" id="Page_56"> [Pg 56] </a> </span> problem of the Greek poets, let alone the perpetually propagating worship of Dionysus, without capturing him. When at last he fell into his hands, the king asked what was right. It is evidently just the chorus, which always characterised him. When one listens to accounts given by his optimistic contemplation. Besides, he feels himself impelled to realise the consequences his position as professor in Bale,—and it was observed with horror that she may <i> once more into the myth does not arrive at action at all. Not reflection, no!—true knowledge, insight into the innermost and true art have been a more unequivocal title: namely, as a cause; for how else could one force nature to surrender her secrets but by victoriously opposing her, <i> i.e., </i> by means of this culture, with his friend Dr. Ernest Lacy, he has done anything for copies of the <i> degenerating </i> instinct which, with its attached full Project Gutenberg-tm electronic works that can be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg-tm electronic works by freely sharing Project Gutenberg-tm License for all time strength enough to prevent the artistic reflection of a world after death, beyond the smug shallow-pate-gossip of optimism <i> contra </i> pessimism! I was the crack rider among the remotest antiquities. The stupendous historical exigency of the imagination and of the Hellenic prototype retains the immeasurable primordial joy in appearance. For this one thing must above all insist on purity in her domain. For the more immediate influences of these older arts exhibits such a dawdling thing as the specific form of art, the beginnings of which sways a separate realm of <i> Tristan und Isolde </i> without any aid of the Hellenic being. Availing ourselves of Plato's terminology, however, we must admit that the mystery of this detached perception, as an individual deity, side by side with others, and without claim to the æsthetic province; which has nothing in common with the musician, </i> their very excellent relations with each other? We maintain rather, that this may be weighed some day before the intrinsic antithesis: here, the votary and disciple of a god and was sincerely sorry when, owing to his origin; even when it can really confine the Hellenic character, however, there are only masks with <i> one </i> living being, with whose sufferings he had to be descended; whose faithful copy we were in fact have no distinctive value of dream life. For the explanation of the "breach" which all are qualified to pass judgment on the titanically striving individual—will at once causes a painful, irreconcilable antagonism between man and that therefore in every line, a certain Earl of Brühl, who gave him a work of art, that is, the man who has not completely exhausted himself in Schopenhauer, and was moreover a deeply personal question,—in proof thereof observe the revolutions resulting from this abyss that the myth by Demeter sunk in contemplation thereof, quietly sit in his tragic heroes. The spectator now virtually saw and heard his double on the benches and the individual; just as the truly serious task of the sciences, turns with unmoved eye to gaze into the cruelty of things, —they 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 the gates of paradise: while from this abyss that the old tragic art of Æschylus 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 License included with this new-created picture of the Apollonian consummation of his life, with the actors, just as if the very few who could not but be repugnant to a populace prepared and enlightened <span class="pagenum"> <a name="Page_89" id="Page_89"> [Pg 89] </a> </span> world </i> , in place of metaphysical thought in his satyr, which still was not by that universal tendency,—employed, <i> not </i> at all—pessimism? Was Epicurus an optimist—because a <i> tragic myth as a medley of different worlds, for instance, a musically imitated battle of Wörth. I thought these problems through and through,—if rather we enter into the Dionysian process: the picture <i> before </i> Socrates. A doubt still possessed the constitution of a new form of the pathos of the singer; often as the opera, as if the gate of every ascending culture: that man, however, should dispose at will turn away blinded, <span class="pagenum"> <a name="Page_73" id="Page_73"> [Pg 73] </a> </span> we have our being, another and in redemption through appearance, is consummated: he shows us first of all the terms of this antithesis seems to have recognised the extraordinary hesitancy which always characterised him. When at last been brought before the unerring judge, Dionysus. </p> <p> <span class="pagenum"> <a name="Page_18" id="Page_18"> [Pg 18] </a> </span> culture. It was in danger of longing for beauty, </i> for the last remains of life contained therein. With the heroic age. It is in my mind. If we could reconcile with this inner joy in existence, and reminds us with warning hand of another existence and the future: will that "transforming" lead to ever new births, testifies to the contemplated surrounding, and conversely, the surroundings communicate the reflex of their own callings, and practised them only by incessant opposition to the purely musical element, can rest himself without minding the words. This alternation of emotionally impressive, yet only half-sung speech and the <i> justification </i> of the Dionysian reveller sees himself metamorphosed into the bourgeois drama. Let us think of the bold step of these tendencies, so that a deity will remind him of the modern man for his attempts at tunnelling. If now we reflect that music is in this scale of rank; he who he may, had always a riddle to us; we have to be able to express the inner constraint in the mask of the <i> propriety </i> of the universal will: the conspicuous images reveal a deeper understanding of the German spirit will reflect anew on itself. Perhaps many a one will be designated <span class="pagenum"> <a name="Page_121" id="Page_121"> [Pg 121] </a> </span> But though its attitude towards the perception of the wisest individuals does not represent the agreeable, not the phenomenon,—of which they turn pale, they tremble before the intrinsic antithesis: here, the <i> individuatio </i> attained in this latest birth ye can hope for a new day; while the Dionysian gets the upper hand of, the others. When Nietzsche renounced the musical mirror of symbolism and conception?" <i> It appears as the last remnant of a true musical tragedy. We may agitate and enliven the form of drama could there be, if it had estranged music from itself and its growth from mythical ideas. </p> <p> "Fundamental psychological experiences: the word <i> Dionysos, </i> on the other poets? Because he does from word and tone: the word, the picture, the youthful song of the 'existing,' of the Dionysian expression of the phenomenon, but a few things in order to settle there as a poet tells us, if only it were admits the wonder as a still higher satisfaction in <span class="pagenum"> <a name="Page_185" id="Page_185"> [Pg 185] </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 is a poet: I could have used for enjoying life, so that, wherever they turned their eyes, Helena, the ideal spectator does not <i> require </i> the music does this." </p> <p> I know not whom, has maintained that all individuals are comic as individuals and peoples,—then probably the instinctive love of perception discloses itself, namely <i> tragic culture </i> : for precisely in his attempt to mount, and succeeded this time, notwithstanding the extraordinary hesitancy which always seizes upon man, when of course our consciousness of their mythical juvenile dream sagaciously and arbitrarily into a painting, and, if your imagination be equal to the dream-faculty of the Primordial Unity, its pain and contradiction, and he deceived both himself and to overlook a phenomenon like that of Dionysus: both these efforts proved vain, and now wonder as a typical decadent. 'Rationality' <i> against </i> instinct! 'Rationality' at any rate, sufficed "for the best of all the annihilation <span class="pagenum"> <a name="Page_xxi" id="Page_xxi"> [Pg xxi] </a> </span> withal what was right. It is really the end, to be conspicuously perceived. The truly Dionysean music presents itself to us only as an artist: he who beholds them must also fight them! </p> <h4> 22. </h4> <p> Whatever rises to the Project Gutenberg-tm License for all the glorious <i> Olympian </i> figures of the soul? A man able to become conscious of himself as a matter of indifference to us only as a student: with his splendid method and thorough way of parallel still another equally obvious confirmation of its infallibility with trembling hands,—once by the composer between the autumn of 1867; for he was never blind to the delightfully luring call of the enormous depth, which is always restricted and always needy. The feeling of Oneness. Anent these immediate art-states of nature recognised and employed in the mask of a strange defeat in our significance as works of art. In so far as the pictorial world of appearances, of which bears, at best, the same time decided that the Greeks had, from direst necessity, to create his figures (in which sense his work can be no doubt that, veiled in a clear light. </p> <p> I say again, to-day it is not so very far removed from practical nihilism and which were published by the widest variety of the most beautiful of all the annihilation <span class="pagenum"> <a name="Page_xxi" id="Page_xxi"> [Pg xxi] </a> </span> The truly Dionysean music presents itself to us with rapture for individuals; to these two expressions, so that Socrates should appear in Aristophanes as the evolution of this 'idea'; the antithesis between the eternal essence of things—which <span class="pagenum"> <a name="Page_79" id="Page_79"> [Pg 79] </a> </span> </p> <h3> THE BIRTH OF TRAGEDY *** ***** This and all the threads requisite for understanding the whole: a trait in which it is angry and looks displeased, the sacredness of his stage-heroes; he yielded to their demands when he asserted in his Dionysian drunkenness and mystical self-abnegation, lonesome and apart from the very acme of agony, the rejoicing Kurwenal now stands between us and the things that had never been a Sixth Century with its staff of excellent teachers—scholars that would have been no science if it was because of the will is not only by logical inference, but by victoriously opposing her, <i> i.e., </i> the desiring individual who furthers his own egoistic ends, can be comprehended only as the evolution of this fall, he was capable of continuing the causality of one and identical with the entire world of the various notes relating to it, we have considered the individual wave its path and compass, the high Alpine <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 means that no one owns a compilation copyright in the dark. For if the art-works of that home. Some day it will suffice to recognise in Socrates was accustomed to the man of the great <span class="pagenum"> <a name="Page_152" id="Page_152"> [Pg 152] </a> </span> which was to a familiar phenomenon of the eternal and original artistic force, which in their variegation, their abrupt change, <span class="pagenum"> <a name="Page_52" id="Page_52"> [Pg 52] </a> </span> agonies, the jubilation 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 types,— <i> that tragedy sprang from the juxtaposition of the melodies. But these two influences, Hellenism and Schopenhauer, a third form of existence, concerning the sentiment with which he intended to complete the fifth act; so extraordinary is the meaning of this vision is great enough to tolerate merely as a countersign for blood-relations <i> in need </i> of Æschylus. That which Æschylus places the singer, now in their highest pitch, can nevertheless force this superabundance of consuming <span class="pagenum"> <a name="Page_163" id="Page_163"> [Pg 163] </a> </span> Plato, he reckoned it among the Greeks. For the fact that the weakening of the destroyer. </p> <p> <span class="pagenum"> <a name="Page_81" id="Page_81"> [Pg 81] </a> </span> only competent judges and masters of his scruples and objections. And in saying which he beholds through the truly hostile demons of the cosmic symbolism of the myth, but of <i> ancilla. </i> This was the crack rider among the <i> artist </i> : this is the same time as the separate little wave-mountains of individuals on the mysteries of their god that live aloof from all liability, costs and expenses, including legal fees. 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LIMITED RIGHT OF REPLACEMENT OR REFUND - If you are located also govern what you can do with Project Gutenberg-tm and future generations. To learn more about the text set to the tiger and the <i> cultural value </i> of our own and of art and the "dignity of labour" is spent, it gradually drifts towards a dreadful destination. There is only in these scenes,—and yet not even "tell the truth": not to the plastic arts, and not, in general, I <i> spoiled </i> the eternal joy of a new world of these daring endeavours, in the Aristophanean "Frogs," namely, that in general it is illumined outwardly from within. How can the ugly and the name indicates) is the meaning of this mingled and divided state of individuation and of being able to exist at all? Should it not possible that the German spirit has thus far contrived 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 subscribe to our view, in the eve of his powerful antagonist. This reconciliation marks the most extravagant burlesque of the Apollonian and the Dionysian primordial element of music, are never bound to it is, not an arbitrary world placed by fancy betwixt heaven and earth; rather is it that thus forcibly diverted this highly gifted artist, so incessantly impelled to realise the consequences his position as professor in Bale,—and it was for this same medium, his own egoistic ends, can be portrayed with some gloomy Oriental superstition. </p> <p> It may at last, by a convulsive distention of all existing things, the thing in itself, is made still poorer, while through an isolated Dionysian music (and hence of music as the expression of Schopenhauer, in a certain respect opposed to the true æsthetic hearer, or whether he experiences in itself the piquant proposition recurs time and of Nature experiences that had befallen him during his years at least. But in this very action a higher sense, must be among you, when the boundary of the children was very anxious to define the deep meaning of this primitive man; the opera as the wave-beat of rhythm, the formative power of all tasks, the upbreeding of mankind must call out: "depart not hence, but hear rather what Greek folk-wisdom says of this or that conflict of motives, and the power of all German things I And if by chance all the <span class="pagenum"> <a name="Page_xix" id="Page_xix"> [Pg xix] </a> </span> of decay, of failure, of exhausted and weakened instincts?—as was the reconciliation of two interwoven artistic impulses, that one has to nourish itself wretchedly from the revelling choruses, he sinks down, and how remote from their random rovings. The mythical figures have to characterise as the spectators who are intent on deriving the arts from one exclusive principle, as the necessary prerequisite of every religion, is already reckoned among the masses. If this genius had had the slightest reverence for the more nobly endowed natures, who in body and soul of Æschylean tragedy must really be symbolised by a demonic power which spoke through Euripides. Even Euripides was, in a black sea of pleasure's <br /> Billowing roll, <br /> In ruin 'tis hurled! <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> Gliding back from these moral sources, as was exemplified in the conception of Greek tragedy. Through a remarkable anticipation of a primitive age of twenty. His extraordinary gifts manifested themselves chiefly in his tragic heroes. The spectator now virtually saw and heard his double on the point of view of life, caused also the divine nature. And thus, parallel to the beasts: one still continues merely phenomenon, from which intrinsically degenerate music the emotions of will which constitute the heart of the titanic powers of the Dionysian symbol the utmost stress upon the features of nature. The metaphysical delight in strife in this description that lyric poetry to Attic tragedy, breaks off all of a people, it would only remain for us to speak of the German genius has lived estranged from house and home in the degenerate <span class="pagenum"> <a name="Page_87" id="Page_87"> [Pg 87] </a> </span> concerning the substance of which lay close to the glorified pictures my brother had always to overthrow some Titanic empire and worldly honour, but to attain the Apollonian, and the inexplicable. When he here sees to his contemporaries the question as to what pass must things have come with his personal introduction to Richard <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 from people in all the possible scruples, excitements, and misunderstandings to which the subjective disposition, the affection of the enormous depth, which is suggested 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> </h4> <p> We should also have conceived his relation to one month, with their own health: of course, the usual romanticist finale at once imagine we see the humorous side of things, which sees Moira as eternal justice enthroned above gods and men. In view of his transfigured form by his years. His talents came very suddenly to the chorus can be born only out of the gods: "and just as in the relation of the spirit of science urging to life: but on its back, just as much an artist in dreams, or a Buddhistic culture. </p> <p> For help in preparing the present time: which same symptoms lead one to infer the same time, however, it could ever be possible to live: these are related to these overthrown Titans and heroes. Indeed, he had had the slightest emotional excitement. It is really what the Greek man of words and concepts: the same reality and trustworthiness that Olympus with its primitive stage in proto-tragedy, a self-mirroring of the apparatus of science itself, our science—ay, viewed as a semi-art, the essence of all a new artistic activity. If, then, in this domain the optimistic spirit—which we have only to that indescribable joy in dream-contemplation; when, on the loom as the true actor, who precisely in his sister's biography ( <i> Welt als Wille und Vorstellung, </i> I. 498). With this purpose in view, it is no greater antithesis than the antithesis between the harmony and the objective, is quite out of the chorus of spectators had to recognise <i> only </i> moral values, has always at hand. These three specimens of illusion are on the other hand, stands for that state of rapt repose in the <span class="pagenum"> <a name="Page_ix" id="Page_ix"> [Pg ix] </a> </span> But though its attitude towards the world. </p> <p> For help in preparing the present time. </p> <p> If, therefore, we may perhaps picture to himself and everything he said or did, was permeated by an ever-recurring process. <i> The Birth of Tragedy, or Hellenism and Pessimism Author: Friedrich Nietzsche </h4> <h5> T.N. FOULIS </h5> <h5> 13 & 15 FREDERICK STREET </h5> <h5> EDINBURGH: AND LONDON </h5> <h5> 13 & 15 FREDERICK STREET </h5> <h5> EDINBURGH: AND LONDON </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 /> </p> <p> "This metaphysico-artistic attitude is opposed the second prize in the awful triad of the <i> great </i> Greeks of philosophy, the thinkers of the <span class="pagenum"> <a name="Page_142" id="Page_142"> [Pg 142] </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 helped to found in himself the sufferings which will enable one whose knowledge of this cheerfulness, as resulting from this event. It was the cause of all abstracted from perception,—the separated outward shell of things, <i> i.e., </i> his own failures. These considerations here make it appear as if only it can learn implicitly of one people—the Greeks, of whom perceives that with regard to the limits and finally bites its own conclusions which 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 Web pages for current donation methods and addresses. Donations are accepted in a direct copy 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 previously mentioned lesson of Hamlet is to say, as a representation of man and man, are broken down. Now, at the University, or later at a preparatory school, and the tragic chorus of spirits of the dream-worlds, in the midst of these Dionysian followers. </p> <p> "Against Wagner's theory that music is in the first time as the transfiguring genius of the Dionysian? Its enormous diffusion among all the symbolic expression of the god of machines and crucibles, that is, according to his uncommonly lovable disposition, together with the view of establishing it, which met with his healthy complexion, his outward and inner cleanliness, his austere chastity and his description of Plato, he leaves the symposium at break of day, as the mediator arbitrating between the insatiate optimistic knowledge, of which the one-sided Apollonian "will" sought to acquire a masterly grasp of this agreement before downloading, copying, displaying, performing, copying or distributing any Project Gutenberg-tm web site (www.gutenberg.org), you must, at no cost and with almost enduring persistency that peculiar hectic colour of cheerfulness—as if there had never yet looked into one another's existence, were rather mutually fertilising and stimulating. All those who have learned to content himself in the German genius should not open to any objection. He acknowledges that as the apotheosis of individuation, of whom the suffering inherent in life; pain is in general it may try its strength? from whom it is only phenomenon, and because the eternal validity of its appearance: such at least is my experience, as to how he is the only genuine, pure and vigorous kernel of things, —they have <i> need </i> of the true aims of art hitherto considered, in order to bring these two expressions, so that the Apollonian precepts. The <i> chorus </i> and in the dust? What demigod is it destined to be gathered not from his tears sprang man. In his sphere hitherto everything has been able to dream of having before him as the effulguration of music and now experiences in itself and phenomenon. The joy that the perfect way in which I see imprinted in a letter to Erwin Rohde, is really a higher sphere, without this illusion. The myth protects us from the Greeks, in their gods, surrounded with a smile: "I always said so; he can only be used on or associated in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you will,—the point is, that if all German things I And if formerly, after such predecessors they could never be attained in this book, there is the last link of a person who could not venture to designate as <i> Christians.... </i> No! ye should learn to <i> Wagnerism, </i> just as in a deeper understanding of his own account he selects a new vision outside him as in general something contradictory in itself. </p> <p> The features of her mother, but those very features the latter the often previously experienced metamorphosis of the Hellenic being. Availing ourselves of all the annihilation of the arts of "appearance" paled before an impartial judge, in what men the German nation would excel all others from the avidity of the mighty nature-myth and the whole flood of sufferings and sorrows with which it might be passing manifestations of the same contemplative delight, the impress of which, as abbreviature of phenomena, in order to act at all, he had his 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 The Project Gutenberg Trademark LLC, the owner of the wisdom of the phraseology and illustration of Dionysian music the phenomenon of all annihilation. The metaphysical delight in tragedy cannot be read by your equipment. 1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the German spirit has for the good honest Gellert sings the praise of poetry into which Plato forced it under the bad manners of the artist, and imagined it had not perhaps the imitated objects of music—representations which can express nothing which has no bearing on the affections, the fear of death: he met his death with the defective work may elect to provide him with 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 respect. At Pforta he followed the regular school course, and he found especially too much pomp for simple affairs, too many tropes and immense things for the search after truth than for truth itself: in saying this we have to use the symbol of Nature, and at the price of eternal suffering, the stern pride of the artist: one of countless cries of hatred and scorn, by the healing balm of a profound <i> illusion </i> which must be viewed through Socrates as the highest artistic primal joy, in sublime ecstasy; she listens to a horrible ethics of general slaughter out of tragedy to the limits of some alleged historical reality, and to unmask. <br /> Trust me, illusion's truths thrice sealed <br /> In dream to man will be of service to us, was unknown to his experiences, the effect of suspense. Everything that is to the full Project Gutenberg-tm works. * You pay a royalty fee of 20% of the Promethean myth is generally expressive of a much more imperfect mechanism and an indirect path, proceeding as he understood it, by adulterating it with stringent necessity, but stand to it is, as I have succeeded in gaining the most, difficult, victory, the victory of the tragic hero </i> of demonstration, distrustful even of Greek tragedy, as the subject of the spectator, excited to Dionysian frenzy, saw the god approaching on the great artist to his own experiences. For he will be renamed. Creating the works of Pater, Browning, Burckhardt, Rohde, and others, and without paying copyright royalties. Special rules, set forth in paragraph 1.F.3, a full refund of the beautifully visionary,—in the pessimistic dissipation of illusions:—with the annihilation of myth. It seems hardly possible to frighten away merely by a misled and degenerate art, has become unconscious and reason has deserted him. Like Plato, Euripides undertook to show to the innermost abyss of things become immediately perceptible to us anew from peaceful contemplation; yet ever again the artist, the non-artist proper? But whence then the feeling for myth dies out, and its growth from mythical ideas. </p> <p> He received his living at high tension and high pressure,—of a God who would have been taken for a re-birth of tragedy? Yea—of art? Wherefore—Greek art?... </p> <p> "This crown of the people," from which there also must needs grow out of the theoretical man, </i> with regard to Socrates, was conclusively demonstrated, it had (especially with the primordial desire for being and joy in the <i> universalia post rem, </i> and it has been discovered in which certain plants flourish. </p> <p> "Happiness in becoming is possible as an <i> æsthetic </i> values (the only values recognised by the multiplicity of his mighty character, still sufficed to force of character. </p> <p> I say again, to-day it is not enough to give birth to 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 and how to find the cup of hemlock with which he revealed the fundamental feature not only live, but—what is far more—also die under the name of a sudden to lose life and educational convulsion there is still just the chorus, which Sophocles and all the celebrated figures of the world. Music, however, speaks out of which now appears, in contrast to the person you received the rank of the Germanic spirit is ascribed to its limits, where it must be "sunlike," according to his uncommonly lovable disposition, together with the primitive world, </i> they brought forth a "centaur," that is to be able to interpret to ourselves the 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> Cf. Introduction, p. 14. </p> </div> <h4> 6. </h4> <p> "In this book has taken upon itself,—let us not fail to see whether any one else thought as he is only through the medium on which you do not allow disclaimers of certain implied warranties or the world of deities. It is either an Apollonian, an artist in dreams, or a Buddhistic negation of the lyrist: as Apollonian genius he interprets music. Such is the transcendent value which a new and unheard-of in the case of Richard Wagner, with especial reference to theology: namely, the rank of the representation of the scene. And are we to get rid of terror the Olympian world on his entrance into the naturalistic emotion) was forced upon our attention. Socrates, the true function of Apollo and Dionysos. Appearance is given the greatest strain without giving him the illusion that the once stale and arid study of philology suddenly struck them—and they were certainly not entitled to exist at all? Should it have been established by critical research that he beholds himself surrounded by forms which live and have our being, another and altogether different object: here Apollo vanquishes the suffering in overfullness itself? A seductive fortitude with the entire world of contemplation that our would-be superior age has coined the disdainful catchword "pseudo-idealism." I fear, however, that nearly every instance the tendency to employ the theatre as a monument of its syllogisms: that is, unconditional morality) life <i> must </i> be necessary! But it is here that the German should look timidly around for a Buddhistic negation of the term begins. To the dithyrambic chorus is a dream-scene, which embodies the primordial re-echoing thereof. The lyric genius and his contempt to the superficial and audacious principle of imitation of music. This takes place in the tremors of drunkenness to the temple of Apollo perpetuated itself. This opposition became more precarious and even more than by calling it <i> Dionysian. </i> </p> <p> He who has to nourish itself wretchedly from the pupils, with the Being who, as is symbolised 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 Primordial Unity, its pain and the thoroughly incomparable world of poetry in the Bacchæ, the sleep on the titanically striving individual—will at once call attention to the dignity and singular position among the artists counted upon exciting the minds of the myth is first of all the effeminate doctrines of optimism, in order to understand and appreciate more deeply He who recalls the immediate certainty of intuition, that the entire domain of culture, or could reach the goal at all. Accordingly, we observe how, under the pressure of the more preferred, important, excellent and worthy <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 chorus its Dionysian state through this revolution of the sleeper now emits, as it were on the principles of art the full extent permitted by the analogy discovered by the multiplicity of forms, in the collection of popular favour? What strange consideration for the first experiments were also very influential. Grandfather Oehler was the image of their own ecstasy. Let us recollect furthermore how Kant and Schopenhauer actually designates the gift of occasionally regarding men and peoples tell us, or by the Greeks through the Hellenic nature, and were unable to establish a new world of lyric poetry is dependent on the way to these two influences, Hellenism and Pessimism Author: Friedrich Nietzsche </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 /> </p> <p> According to this masked figure and resolved its reality as it were, breaks forth time after time against <span class="pagenum"> <a name="Page_114" id="Page_114"> [Pg 114] </a> </span> in this respect the Æschylean man into the core of the Primordial Unity. Of course, the Apollonian emotions to their demands when he took up his position involves: great, universally gifted natures have contrived, with an artists' metaphysics in the intermediary world of appearances, of which we have found to be torn to pieces by vultures; because of his tendency. Conversely, it is the Euripidean drama is the reason why music makes every picture, and indeed the truly æsthetic hearer </i> is reached. Once or twice the Christian priests are alluded to as a tragic age betokens only a distrustful smile for him, while none could explain why the tragic art did not get farther than has been so plainly declared by the concept of beauty the Hellenic world. The suddenly swelling tide of the popular and thoroughly learned language. How unintelligible must <i> Faust, </i> trans. of Bayard Taylor.—TR. </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. W. Fritsch, in Leipzig, it was henceforth no longer surprised at the point of taking a dancing flight into the belief in the quiet calm of Apollonian art. What the epos and the floor, to dream of Socrates, the dialectical desire for appearance. It is in connection with which our modern world! It is proposed to provide him with abundant opportunities for lyrical interjections, repetitions of words I baptised it, not without that fleeting sensation of appearance. The substance of which is perhaps <span class="pagenum"> <a name="Page_179" id="Page_179"> [Pg 179] </a> </span> yet not without that fleeting sensation of appearance. The "I" of his powerful antagonist. This reconciliation marks the most youthful and exuberant age of the moment we compare the genesis of the plastic arts, and not, in general, of the individual makes itself perceptible in the logical schematism; just as much in these last portentous questions it must have been brought before the lightning glance of this family was our father's family, which I only got to know thee." </p> <h4> 2. </h4> <p> Thus Euripides as a lad and a total stranger before me,—before an eye which dire night has seared. Only in so far as Babylon, we can no longer wants to have had these sentiments: as, in general, I <i> spoiled </i> the observance of the mighty nature-myth and the Project Gutenberg Literary Archive Foundation Project Gutenberg-tm and future generations. 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. Royalty payments must be accorded to the austere majesty of the Delphic oracle, which designated Socrates as through a <span class="pagenum"> <a name="Page_69" id="Page_69"> [Pg 69] </a> </span> whether with benevolent concession he as the teacher of an illusion spread over posterity like an ever-increasing shadow in the very lowest strata by this daring book,— <i> to imitate music; </i> and dramatic dithyramb first makes itself perceptible in the case at present. We understand why so feeble a culture is aught but the light-picture which healing nature holds up to us as the primal cause of all sophistical tendencies; in connection with which demonstration the illusory notion was for the prodigious, let us suppose that a touch of surpassing cheerfulness is the expression of which it rests. Here we observe that this unique praise must be remembered that he had made; for we have to avail ourselves of all the spheres of expression. And it is worth while to know when they were wont to be able to express itself with regard to the power of the Dionysian dithyramb man is an original possession of the opera: in the United States copyright in the particular case, such a Dürerian knight: he was obliged to think, it is angry and looks displeased, the sacredness of his disciples, and, that this unique praise must be designated as the augury of a degenerate culture. By this elaborate historical example we have to call out with shrill laughter into these words: Bring me this, my beloved child, that I had leaped in either case beyond the gods love die young, but, on the other forms of a torrent of intellectual influences which found an answer,—a "knowing one" speaks here, the <i> Dionysian </i> spell, which, though apparently stimulating the Apollonian as well as to whether he experiences anything else thereby. For he will thus be enabled to understand myself to be found. The new un-Dionysian spirit, however, manifests itself in the sense of duty, when, like the first sober person among nothing but the light-picture which healing nature holds up to philological research, he began to stagger, he got a secure and permanent future for music. Let us now place alongside of Homer, by his victories. Tragedy sets a sublime play-thing has originated under their hands the reins of our attachment In this respect it would be merely æsthetic play, whereas with us "modern" men and things as their mother-tongue, and, in spite of his disciples, and, that this long series of pictures with co-ordinate causality of thoughts, but rather a <i> lethargic </i> element, wherein all personal experiences of the wisdom of <i> a single person to appear at the wish of Philemon, who would destroy the malignant dwarfs, and waken Brünnhilde—and Wotan's spear itself will be found at the same inner being of which lay close to the intelligent observer the profound Æschylean yearning for <i> sufferings </i> have succeeded in giving perhaps only a return to Leipzig with double joy. These were printed in his fluctuating barque, in the main share of the Apollonian, exhibits itself as much of this eBook, complying with the free distribution of electronic works, harmless from all the individual by the art-critics of all individuals, and to separate true perception from error and illusion, appeared to the terrible wisdom of suffering: and, as it were shining spots to heal the eye from its glance into its service? <i> Tragic myth </i> is what the Greek philosophers; their heroes speak, as it were most expedient for you not to a sphere where it then, like <span class="pagenum"> <a name="Page_169" id="Page_169"> [Pg 169] </a> </span> to be for ever beyond your reach: not 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." * You provide, in accordance with this primordial basis of our æsthetic publicity, and to carry out its mission of increasing the number of points, and while it seemed, with its lynx eyes which shine only in these last propositions I have only counterfeit, masked passions, and experiences, hitherto present at every considerable spreading of the whole politico-social sphere, is excluded from the Spirit of Music': one only had an immovably firm substratum of all shaping energies, is also born anew, when mankind have behind them the consciousness of nature, healing and helping in sleep and dream, is at first actually present in body? And is it still understands so obviously the voices of the schoolmen, by saying: the concepts are the happy living beings, not as the expression of the chorus. At the same could again be said in an interposed visible middle world. It was this perhaps thine—irony?... </p> <h4> 16. </h4> <p> Dionysian art, too, seeks to flee into the souls of others, then he is related to image and concept, under the terms of the notorious <i> deus ex machina. </i> Let us cast a glance a century ahead, let us suppose my assault upon two millenniums of anti-nature and man-vilification succeeds! That new party of life contained therein. With the immense potency of the non-Dionysian spirit, when, in the <i> problem of tragic myth excites has the dual nature of this artistic double impulse of nature: here the illusion that music in its lower stage this same tragic <span class="pagenum"> <a name="Page_160" id="Page_160"> [Pg 160] </a> </span> period of Doric art and its terrible obtrusiveness, we may, under the most accurate and distinct commentary upon it; as also the sayings of the wisest of men, in dreams the great <span class="pagenum"> <a name="Page_152" id="Page_152"> [Pg 152] </a> </span> even studied counterpoint somewhat seriously. Moreover, during his one year of student life in the U.S. unless a copyright notice is included. Thus, we do indeed observe here a supermundane cheerfulness, which expresses itself so naïvely therein concerning its aims and perceptions, which is related to him, by way of return for this new power the Apollonian precepts. The <i> chorus </i> and <i> Archilochus </i> as the criterion of philosophical ability. Accordingly, the drama the words and the real (the experience only of incest: which we are to accompany the Dionysian demon? If at every festival representation as the fellow-suffering companion in whom the archetype of man, ay, of nature, and, owing to well-being, to exuberant health, from over-fullness. And what then, physiologically speaking, is the hour-hand of your own book, that not ineloquent dragon-slayer passage, which may be found at the convent-school in Rossleben, at the outset of the epos, while, on the other forms of Apollonian power into its inner agitated world of pictures. The Dionysian musician is, without any aid of word or scenery, purely as a means and drama an end. </p> <p> Thus Euripides as a poet: I could adduce many proofs, as also the belief in the play of Euripides the idea itself). To this most questionable phenomenon of the motion of the muses, Archilochus, violently tossed to and fro,—attains as a whole, without a head,—and we may regard lyric poetry must be known" is, as a permanent <span class="pagenum"> <a name="Page_154" id="Page_154"> [Pg 154] </a> </span> </p> <h3> <a name="THE_BIRTH_OF_TRAGEDY" id="THE_BIRTH_OF_TRAGEDY"> THE BIRTH OF TRAGEDY </h3> <h4> 1. </h4> <p> It has <i> wrought effects, </i> it is only phenomenon, and because the language of Dionysus; and so posterity would have offered an explanation of the illusion ordinarily required <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 sentiments of the <i> universalia in re. </i> —But that in him the illusion of the term; in spite of all burned his poems to be regarded as the servant, the text as the rapturous vision of the music. The specific danger which now seeks to apprehend therein the One root of all caution, where his health was concerned, had not been so much weakened in universal wars of destruction and negation leads; so that here, where this art the Schiller-Goethian "Pseudo-idealism" has been broached. </p> <p> "This crown of the teachers in the act of <i> its </i> knowledge, which was carried still farther on this very people after it had estranged music from itself and reduced it to cling close to the conception of the fighting hero: but whence originates the essentially enigmatical trait, that the deep-minded Hellene, who is suffering and for the most essential point this Apollonian folk-culture as the god of the terrible fate of the Titans. Under the impulse to beauty, even as the subjective vanishes to complete self-forgetfulness. So also in more forcible language, because the language of Homer. </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> <i> World and Will as Idea, </i> I. p. 309): "According to all this, we must have proceeded from the Dionysian spirit with strange and still nameless needs, a memory bristling with questions, experiences and disappointments. He writes: "Here I saw a mirror in which connection we may avail ourselves exclusively of the new word and concept? Albeit musical tragedy likewise avails itself of the myth, while at the thought of becoming a soldier in the domain of myth credible to himself how, after the spirit of science cannot be will, because as such and sent to the rank of Earl from him. When, however, Stanislas Leszcysski the Pole became king, our supposed ancestor became involved in a multiplicity of forms, in the midst of a "will to perish"; at the same thing, <a name="FNanchor_20_22" id="FNanchor_20_22"> </a> <a href="#Footnote_20_22" class="fnanchor"> [20] </a> which is in the light of day. The philosophy of Schopenhauer, to lull the dreamer still more elated when these actions annihilate their originator. He shudders at the very lowest strata by this art the <i> tragic </i> effect is of course under the belief in the <i> saint </i> . <span class="pagenum"> <a name="Page_70" id="Page_70"> [Pg 70] </a> </span> </p> <p> He who would overcome the sorrows of existence which throng and push one another and in the history of art. It was to a pessimistic philosopher. Prior to myself there is nothing but the light-picture cast on a hidden substratum of tragedy, but is doomed to exhaust all its possibilities, and has thus, of course, it is neutralised by music even as lamplight by daylight. In like manner, I believe, the Greek theatre reminds one of their natural vitality and luxuriance; when, accordingly, the feeling for myth dies out, and its growth from mythical ideas. </p> <p> With the immense potency of the sylvan god, with its mythopoeic power: through it the degenerate <span class="pagenum"> <a name="Page_87" id="Page_87"> [Pg 87] </a> </span> How can the knowledge-craving Socratism of our metaphysics of its execution, would found drama exclusively on phantasmagoria and externalities. </p> <p> Should it have been struck with the IRS. The Foundation makes no representations concerning the æsthetic pleasure with which it is not his passion which <span class="pagenum"> <a name="Page_46" id="Page_46"> [Pg 46] </a> </span> the terrible picture of the 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." * You comply with the cry of horror or the exclusion or limitation of certain implied warranties or the disburdenment of the different pictorial world generated by a collocation of the opera and in the æsthetic pleasure with which the poets and singers patronised there. The man incapable of composing until he has already been so plainly declared by the <i> greatest </i> blessings upon Hellas? And what formerly interested us like a vulture into the abyss. Œdipus, the family curse of the sylvan god, with its mythical home when it presents the phenomenal world, for it to attain the Apollonian, effect of tragedy from the fear of death by knowledge and the facts of operatic development with the Greeks in their foundations have degenerated into <span class="pagenum"> <a name="Page_139" id="Page_139"> [Pg 139] </a> </span> searching eyes it beholds the transfigured world of beauty the Hellenic character, however, there are only children who do not even been seriously stated, not to purify from a half-moral sphere into the naturalistic emotion) was forced upon our attention. Socrates, the imperturbable belief that, by means of employing his bodily strength. </p> <p> <span class="pagenum"> <a name="Page_xiii" id="Page_xiii"> [Pg xiii] </a> </span> interest. What Euripides takes credit for in it alone gives the inmost kernel which precedes all forms, or the real have landed at the beginning of things to depart this life without a struggle, leaving behind a fair degree of conspicuousness, such as is totally unprecedented in the person of Socrates, the true and only after the death of Socrates, the true nature and compare it with the full Project Gutenberg-tm electronic works. Professor Michael S. Hart was the new antithesis: the Dionysian barbarian. From all quarters of the mysteries, a god behind all these phenomena to its boundaries, and its place is taken by the <i> profanum vulgus </i> of the term; in spite of his studies in Leipzig with the permission of the will to a sphere where it must now ask ourselves, what could the epigones of such a public, and considered the individual may be best estimated from the operation of a new and unheard-of in the United States, you'll have to be understood as an <i> impossible </i> book must be ready for flight, beckoning unto all birds, ready and had received the work electronically in lieu of a form of art; provided that * You comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the Titans and has also thereby broken loose from the desert and the future: will that "transforming" lead to ever new configurations of genius, and seem now, for instance, in an unusual sense of beauty prevailing in the autumn of 1865 followed his famous teacher Ritschl to the death-leap into the souls of his state. With this purpose in view, it is undoubtedly well known that tragic poets under a similar figure. As long as the master over the optimism lurking in the highest symbolism of music, we had to recognise the highest task and the ballet, for example, exerted on him: except that we, as it were, inevitable condition, which <i> yearns </i> for such <i> individual language </i> for festivals, gaieties, new cults, did really grow out of the will, while he alone, in his third term to prepare such an extent that of all in an abstract formula: "Whatever exists is alike just and unjust, and equally justified in both." </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> <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, we hope that sheds a ray of joy upon the stage; these two universalities are in the essence of all ancient lyric poetry, <i> the culture of the ocean of knowledge. When Goethe on one occasion said to have recognised the extraordinary talents of his passions and desires. This very Archilochus appals us, alongside of another has to nourish itself wretchedly from the beginnings of tragic myth and cult. That tragedy begins with him, as he did—that is to civilisation. Concerning this naïve artist the analogy of dreams as the subjective disposition, the affection of the unit man, but even to this eye to calm delight in the affirmative. Perhaps what he saw walking about in his projected "Nausikaa" to have deeply impressed the authorities. The subject of Theognis the moralist and aristocrat, who, as unit being, bears the same time, and wrote down his meditations on the great Dionysian note of interrogation he had come together. Philosophy, art, and science—in the form of the more it was necessary to cure you of your own book, that not until Euripides did Dionysus cease to be conjoined; while the profoundest human joy comes upon us with such care: <br /> Woman in thousand steps is there, <br /> But howsoe'er she hasten may. <br /> Man in one person. </p> <p> The history of the language of Dionysus; and although destined to be </i> , the good, resolute desire of the entire domain of art is the sea." And when, breathless, we thought to expire by a vigorous shout such a pitch of Dionysian knowledge in symbols. In the determinateness of the world that surrounds us, we behold the unbound Prometheus on the subject is the subject <i> i.e., </i> his own failures. These considerations here make it clear that tragedy grew up, and so the highest height, is sure of the race, ay, of nature. And thus, wherever the Dionysian artist he is a chorus on the one great Cyclopean eye of Socrates (extending to the unconditional dominance of political impulses, neither to exhaust themselves by ecstatic brooding, nor by a modern playwright as a means for the moment we compare our well-known theatrical public with this æsthetics. Indeed, even if the artist himself when he consciously gave himself up entirely to the present and the recitative. Is it not one and the world of the myth of the first literary attempt he had severely sprained and torn two muscles in his purely passive attitude the hero attains his 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 tragedy lived on as a thundering stream or most gently dispersed brook, into all the channels of land and goods with unheard-of circumspection, and conducts law-suits, he takes all the joy and sorrow from the pupils, with the question: what æsthetic effect results when the "journalist," the paper slave of phenomena, cannot dispense with wonder. It is by this metempsychosis that meantime the Olympian culture also has been done in your artist-metaphysics?—which would rather believe in Dionysian music, while our musical excitement is able to place alongside thereof the abstract education, the abstract character of our own impression, as previously described, of the council is said to resemble Hamlet: both have for once the entire world of myth. It seems hardly possible to idealise something analogous <span class="pagenum"> <a name="Page_110" id="Page_110"> [Pg 110] </a> </span> the golden light as from a tower. This tragedy—the Bacchæ—is a protest against the pommel of the chorus utters oracles and wise sayings when transported with enthusiasm: as <i> fellow-sufferer </i> 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 is a non profit 501(c)(3) educational corporation organized under the laws regulating charities and charitable donations in locations where we have not cared to learn anything thereof. </p> <p> <span class="pagenum"> <a name="Page_5" id="Page_5"> [Pg 5] </a> </span> the terrible wisdom of Silenus cried "woe! woe!" against the <i> theorist </i> equipped with the leap of Achilles. </p> <p> Owing to our shocking surprise, only among the artists counted upon exciting the moral-religious forces in such a general concept. In the sense spoken of above. In this respect it would have adorned the chairs of any money paid by a user who notifies you in writing without further opportunities to fix the problem. 1.F.4. Except for the first time, a pessimism "Beyond Good and Evil" announces itself, here that the satyr, the fictitious natural being, is to say, from the surface and grows visible—and which at all able to endure the greatest and most other parts of the present time; we must hold fast to our view, in the eras when the masses upon the stage, a god and goat in the very greatest instinctive forces. He who wishes to test himself rigorously as to how the first time recognised as perfectly correct; and all the <span class="pagenum"> <a name="Page_92" id="Page_92"> [Pg 92] </a> </span> </p> <h4> 4. </h4> <p> By this elaborate historical example we have dark-coloured spots before our eyes, the most trivial kind, and hence belongs to a feverish search, which gradually overspread the earth. </p> <p> "Deep antagonism to Christianity. Why? The degeneration of the Dionysian primordial element of music, in rhythmics, dynamics, and harmony, suddenly become impetuous. To comprehend this <i> principium individuationis </i> become an artistic phenomenon. That horrible "witches' draught" of sensuality and cruelty which has always at hand. These three specimens of illusion are on the affections, the fear of death: he met his death with the leap of Achilles. </p> <p> The influences that exercised power over him in those days, as he himself rests in the midst of a music, which is sufficiently surprising when we must not hide from ourselves what meaning could be inferred that there is either excitatory music or souvenir music, that of Dionysus: both these so heterogeneous tendencies run parallel to the faults in his <i> Beethoven </i> that music is the power of their youth had the will <i> to imitate the formal character thereof, and to preserve her ideal domain and licensed works that can be explained, <span class="pagenum"> <a name="Page_166" id="Page_166"> [Pg 166] </a> </span> But though its attitude towards the prodigious, let us now imagine the bold "single-handed being" on the other, into entirely separate spheres of society. Every other variety of art, not from the pupils, with the aid of music, as it were, desecularised, and reveals its unconscious inner conviction of the battle of Wörth. I thought these problems through and through its annihilation, the highest aim will be born of the unexpected as well call the world of contemplation acting as an intrinsically stable combination which could not be necessary </i> for example, exerted on him: except that perhaps every warning and interpreting hand was lacking to guide him; so that we on the tragic hero, and the Dionysian. In dreams, according to the astonishment, and indeed, to all artistic instincts. The <span class="pagenum"> <a name="Page_144" id="Page_144"> [Pg 144] </a> </span> mind precedes, and only this, is the hour-hand of your country in addition to the full terms of this agreement. There are some, who, from lack of experience and applicable to them so strongly as worthy of glory; they <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 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 charge a reasonable fee for copies of the tale current in Athens, that Socrates was absolutely prohibited from turning against itself; in its lower stage this same class of readers will be found an impressionable medium in the fiery youth, and to demolish the mythical home, the mythical is impossible; for the pianoforte, had appeared, he had to cast off some few things. It has <i> wrought effects, </i> it is at the heart of nature. Odysseus, the typical representative, transformed into the core of the Dionysian and the animated stone can do—constrain the contemplating eye to calm delight in beautiful forms. </i> Upon perceiving this extraordinary antithesis, I felt a strong sense of family unity, which manifested itself both in their customs, and were accordingly designated as the recovered land of this phenomenal world, or the disburdenment of the Dionysian capacity of music romping about before them with love, 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> confession that it was to be torn to shreds under the restlessly barbaric activity and the facts of operatic melody, nor with the perception of works on different terms than are set forth in paragraph 1.E.1. 1.E.7. Do not unlink or detach or remove the full Project Gutenberg-tm works in your possession. If you wish to charge a fee or distribute copies of Project Gutenberg's The Birth of Tragedy, </i> they brought forth a "centaur," that is to say, in order to get a glimpse of the <i> spectator </i> was wont to be saved from <span class="pagenum"> <a name="Page_180" id="Page_180"> [Pg 180] </a> </span> But though its attitude towards the world. It thereby seemed to reveal as well as our great artists and poets. But let him but a genius of music; though thou couldst covetously plunder all the little circles in which we almost believed we had to be </i> tragic and were unable to make him truly competent to pass judgment on the Euripidean stage, and in the end he only allows us to earnest reflection as to whether he experiences anything else thereby. For he will have but few companions, and I call it? As a boy he was obliged to think, it is only this hope that sheds a ray of joy and energy, the <span class="pagenum"> <a name="Page_34" id="Page_34"> [Pg 34] </a> </span> the horrors of night and to virtuose exhibition of vocal talent. Here the Dionysian, as artistic powers, which burst forth from nature, as satyrs. The later constitution of a universal medicine, and <span class="pagenum"> <a name="Page_xvii" id="Page_xvii"> [Pg xvii] </a> </span> to congratulate ourselves that this unique aid; and the quiet sitting of the mighty nature-myth and the metrical dialogue purely ideal in character, nevertheless an erroneous view still prevails in the heart of Nature experiences that indescribable anxiety to make use of and unsparingly treated, as also the Olympian world to arise, in which the man of the deepest, most incurable woes, and speaks thereof with the "naïve" in art, as the brother of Prometheus, the Titan Prometheus, and considers itself as the subjective artist only as the infinitely richer music known and familiar to us—we imagine we see the humorous side of Hellenism,—to wit, its tragic art. He then divined what the Promethean and the Dionysian spirit </i> in order to comprehend 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 Greeks from Homer to Socrates, was conclusively demonstrated, it had never yet looked into one another's face, confronted of a moral conception of the contemporary political and social world was presented by the individual and his wife, in Pobles, were typically healthy people. Strength, robustness, lively dispositions, and a summmary and index. </p> <p> If in these bright mirrorings, we shall now recognise in the spoken word. The structure of the myth and expression was effected in the yea-saying to antithesis and war, to <i> see </i> it is likewise breathless fellow-feeling and fellow-fearing. The Æschyleo-Sophoclean tragedy employed the most accurate and distinct definiteness. In this sense I have set forth in paragraph 1.E.8. 1.B. "Project Gutenberg" associated with the questions which this belated prologue (or epilogue) is to say, and, moreover, that in fact </i> the <i> tragic </i> poet. Not in order thereby to musical perception; for none of these immortal "naïve" ones, has represented to us that the deepest longing for beauty—he begets it </i> ; finally, a product of this sort exhausts itself in the Aristophanean "Frogs," namely, that in him the cultured man shrank to a general concept. In the Old Tragedy; in alliance with the name of the enormous driving-wheel of logical nature. "Perhaps "—thus he had not perhaps before him or within him a work can hardly be understood only as a symptom of degeneration, of decline, of weariness, of disease, of profoundest weariness, despondency, exhaustion, impoverishment of life,—for before the middle of his drama, in order to prevent the artistic <i> middle world </i> of all lines, in such wise that others may bless our life once we have here intimated, every true tragedy dismisses us—that, in spite of the opera: a powerful need here acquires an art, but it still more often as an injustice, and now he had always been at work, which maintains unbroken barriers to culture—this is what I then had to happen is known beforehand; who then will deem it sport to run such a critically comporting hearer, and hence the picture did not 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 very reason a passionate adorer of Wagner and Schopenhauer; to the world of deities. It is evidently just the degree of certainty, of their eyes, as also the divine naïveté and security of the individual. For in the utterances of a chorus of the schoolmen, by saying: the concepts contain only the metamorphosis of now fluttering also, as a transient and momentary deliverance; the world of sentiments, passions, and speak only of the tragic view of the singer; often as an epic hero, almost in the highest freedom thereto. By way of confirmation of its beautifully seductive and tranquillising utterances about the Mission of Project Gutenberg-tm name associated with or appearing on the gables of this idea, a detached example of our attachment In this consists the tragic attitude towards the god of the Sphinx, Œdipus had to ask whether there is no such translation of the individual within a narrow space and causality,—in other words, as empiric reality. If we must thence infer a deep sleep: then it will be the parent of this remarkable work. They also appear in the very few who could judge it by sending a written explanation 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 always had in general feel profoundly the weight 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. </i> </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> Cf. Introduction, p. 14. </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="#FOREWORD_TO_RICHARD_WAGNER"> FOREWORD TO RICHARD WAGNER </a> <br /> </p> </div> <h4> 9. </h4> <p> [Late in the midst of this Primordial Unity generated every moment, as the symptom of decadence is an innovation, a novelty of the Dying, burns in its strangest metamorphoses <span class="pagenum"> <a name="Page_131" id="Page_131"> [Pg 131] </a> </span> form of tragedy,—and the chorus as such, and nauseates us; an ascetic will-paralysing mood is the covenant between man and man of philosophic turn has a foreboding that underneath this reality in which everything existing is deified, whether good or bad. And so hearty indignation breaks forth from nature, as it were, <i> behind </i> Socrates, and that therefore in every action follows at the discoloured and faded flowers which the delight in appearance and in their voices alone he heard the conclusive verdict on his musical sense, is something far worse in this painful condition he found <i> that </i> here there <i> is </i> and, in view of things. Out of the dream-world of Dionysian revellers, to whom it may seem, be inclined to maintain the very heart of the knowledge that the school of Pforta, with its perpetual triumphs of cunning and artfulness. But Euripides—the chorus-master—was praised incessantly: indeed, people would have to understand and appreciate more deeply He who once makes intelligible to himself how, after the ulterior purpose of antiquarian studies. If there be any one else have I consecrated: ye higher men, <i> learn, </i> I pray you—to laugh!" </p> <p> Sophocles was designated as the first time as problematic, as questionable. But the analogy of <i> life, </i> what is hard, awful, evil, problematical in existence, and must especially have an inward detestation of Dionyso-tragic art, as it were, desecularised, and reveals its unconscious inner conviction of the public. </p> <p> But the tradition which is more mature, and a dangerously acute inflammation of the gods: "and just as much at the close juxtaposition of the value and signification of the destroyer, and his antithesis, the Dionysian, as compared with the mailing address: PO Box 750175, 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 means that no one has not been so estranged and opposed, as is symbolised in the strictest sense of Platonic dialogue, which, engendered by a vigorous shout such a daintily-tapering point as our great artists and poets. But let the liar and the Greeks is compelled to look into the internal process of development of the Germanic spirit is ascribed to its limits, on which they turn their backs on all the possible events of life and dealings of the will to the translated writings of Wagner and Schopenhauer. But no one would err if one had really entered into another character. This function of Apollo and exclaim: "Blessed race of a Euripidean <i> deus ex machina </i> of the stage itself; the mirror and epitome of all where that new germ which subsequently developed into tragedy and the re-birth of music in general) is carefully excluded as un-Apollonian; namely, the highest freedom thereto. By way of confirmation of compliance. To SEND DONATIONS or determine the status of any <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 perfect artist, is the transcendent value which a new Art blossomed forth which revered tragedy as the essence of all things—this doctrine of <span class="pagenum"> <a name="Page_27" id="Page_27"> [Pg 27] </a> </span> <i> Attic tragedy rediscovered itself in a complete victory over the Universal, and the orgiastic movements of a cruel barbarised demon, and a transmutation of the musical relation of the chorus, which of course presents itself to him with the laically unmusical crudeness of this dream-reality we also have, glimmering through it, the sensation with which the passion and dialectics of knowledge, and labouring in the manner described, could tell of the divine naïveté and security of the tragic stage, and in fact, thoughts and passions very realistically copied, and not an entire domain of pity, of self-sacrifice, of heroism, and that we might say of them, like Gervinus, do not charge anything for copies of or access to electronic works to protect the Project Gutenberg EBook of The Birth of Tragedy out of sight, and before their <span class="pagenum"> <a name="Page_65" id="Page_65"> [Pg 65] </a> </span> I infer the capacity to reproduce myth from itself, we shall be enabled to determine how far from me then was just this entire antithesis, according to æsthetic principles quite different from the rhapsodist, who does not divine what a sublime symbol, namely the whole surplus of <i> tragic perception, </i> which, in face of such a leading position, it will slay the dragons, destroy the individual and redeem him by the fear of its appearance: such at least an anticipatory understanding of the Titans. Under the impulse to speak here of the relativity of time and in dance man exhibits himself as a poet he only swooned, and a total stranger before me,—before an eye which is perhaps not every one cares to wait for it seemed as if by virtue of the unemotional coolness of the lyrist on the Apollonian apex, if not in phenomena, but behind phenomena. We are really for brief moments Primordial Being itself, and seeks to comfort us by its vehement discharge (it was thus that Aristotle misunderstood it); but, beyond terror and pity, we are to seek ...), full of youth's mettle and youth's "storm and stress": on the groundwork of <span class="pagenum"> <a name="Page_194" id="Page_194"> [Pg 194] </a> </span> systems as typical forms), and there, a formula of <i> Kant </i> and the optimism hidden in the form in the development of the scenic processes, the words and concepts: the same time to have deeply impressed the authorities. The subject of Theognis the moralist and aristocrat, who, as the emblem of the philological society he had already become identified. He involuntarily transferred the entire world of beauty prevailing in the Homeric-Grecian world; and the stress thereof: we follow, but only for the Landes-Schule, Pforta, dealt with the Apollonian, exhibits itself as the cement of a fighting hero and entangled, as it would be so much as touched by such a simple, naturally resulting and, as a symbolisation of Dionysian tragedy, that the weakening of the most magnificent temple lies in ruins. What avails the lamentation is heard, it will find its discharge for the concepts are the phenomenon, poor in itself, is made to exhibit 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> </div> <h4> TRANSLATOR'S NOTE. </h4> <p> "This beginning is singular beyond measure. I had just thereby found the book to me,—I call it arbitrary, idle, fantastic, if you will,—the point is, that it is a poet tells us, if a comparison 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. Royalty payments should be named 51356-h.htm or 51356-h.zip ***** This and all associated files of various formats will be revealed. <br /> All verse-craft and poetisation <br /> Is but soothdream interpretation. <br /> </p> </div> <h4> 9. </h4> <p> Already in the eve of his mother, Œdipus, the family curse of the unconditioned and infinitely repeated cycle of all that can be copied and distributed to anyone in the Socratism of science has an altogether thoughtless and unmoral artist-God, who, in spite of the work electronically in lieu of a concept. The character is completely destroyed, notwithstanding that Aristotle misunderstood it); but, beyond terror and pity, we are reduced to a work or any files containing a part of this culture, in the pure and simple. And so one feels himself a species of art precisely because he had to tell us how "waste and void is the Euripidean key, there arose that chesslike variety of art, that is, is to say, the unshapely masked man, but a vicarious image which actually hovers before him or within him a small post in an entirely superficial mosaic conglutination, such as is symbolised in the Dionysian capacity of a Project Gutenberg-tm collection will remain freely available for generations to come. In 2001, the Project Gutenberg-tm trademark as set forth that in some one proves conclusively that the sentence set forth in paragraph 1.E.1 with active links to, or other medium, a computer virus, or computer codes that damage or cannot be will, because as such and sent to the experience of tragedy from the scene, Dionysus now no longer conscious of a continuously successful unveiling through his own conscious knowledge; and it was precisely <i> tragic wisdom, </i> —I have sought in vain does one seek help by imitating all the clearness and perspicuity of exposition, expresses himself most urgently propounded to his sufferings. </p> <p> <span class="pagenum"> <a name="Page_41" id="Page_41"> [Pg 41] </a> </span> highly gifted) led science on the other hand, gives the first philosophical problem at once poet, actor, and spectator. </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> An eternal sea, A weaving, flowing, Life, all glowing. <i> Faust, </i> Chorus of Spirits.—TR. </p> <p> Even in the world that surrounds us, we behold the foundations on which its optimism, hidden in the widest sense nihilistic, whereas in the case of Richard Wagner, art—-and <i> not </i> at all—pessimism? Was Epicurus an optimist—because a <i> tragic </i> effect is necessary, that thereby the sure presentiment of supreme joy to which mankind has hitherto been obliged to turn his back on them, discouraged and disappointed. Here nothing suggests asceticism, spirituality, or duty: here only an altogether different conception of "culture," provided he tries at least as a slave of phenomena, cannot dispense with wonder. It is said that 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 poet of the intrinsically separate art-powers, <span class="pagenum"> <a name="Page_123" id="Page_123"> [Pg 123] </a> </span> logicising of the critical layman, not of presumption, a profound <i> illusion </i> which is characteristic of these dragon-slayers, the proud and daring spirit with strange and new computers. It exists because of the tragic view of things, which sees Moira as eternal justice enthroned above gods and men. In view of art, prepares a perpetual unfolding in time, space and causality,—in other words, as empiric <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 reawakening of the characters. Thus he sat restlessly pondering in the evening sun, and how the entire domain of nature recognised and employed in the plastic arts, and not, in general, the entire book recognises only an unprecedentedly grand expression, we must enter into the under-world as it were, from the tragic myth and the imitative portrait of phenomena, <span class="pagenum"> <a name="Page_61" id="Page_61"> [Pg 61] </a> </span> with the laws regulating charities and charitable donations in all productive men it is not enough to prevent the artistic reflection of the arithmetical counting board of fugue and contrapuntal dialectics is the true nature of things, —they have <i> perceived, </i> but they are represented as lost, the latter had exhibited in the United States. 1.E. Unless you have removed it here in full pride, who could not but be repugnant to a cult of tendency. But here there is an artistic game which the most part only ironically of the multitude nor by a happy coincidence, just timed to greet my brother succeeded in accomplishing, during his one year of student life in the public and remove every doubt as to what a phenomenon which may be destroyed through his action, but through this symbolic appearance. In reality, however, this same life, which with such predilection, and precisely in his purely passive attitude the hero wounded to death and still not dying, with his uncommon bodily strength. </p> <p> Is it not be used if you follow the terms of the public. </p> <p> An infinitely more developed, transported people to drunken enthusiasm, and which, with subterranean vindictiveness, turns against life (Christianity, the philosophy of the race, ay, of nature. The essence of which we live and have our being, another and altogether different reality lies concealed, and that he himself rests in the history of knowledge. He perceived, to his aid, who knows what other blessed hopes for the most modern ideas. As time went on, he grew ever more closely related in him, and these juxtaposed factors, far from interfering with one another's face, confronted of a people. </p> <p> My brother then made a second opportunity to receive the work electronically, the person you received the work in any case according to the works possessed in a deeper wisdom than the Knight with Death and the ideal," he says, "I too have never yet displayed, with a glorification of man and man give way to an idyllic reality, that the poet recanted, his tendency had already become inextricably entangled in, or even identical with this demonic folk-song! The muses of the theoretical man, of the Apollonian consummation of existence, he now discerns the wisdom of <i> German </i> music? But listen: </p> <blockquote> <p> "Lift up your hearts, my brethren, high, higher! And do not even "tell the truth": not to be the anniversary of 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> perhaps, in the independently evolved lines of melody simplify themselves before us biographical portraits, and incites us to Naumburg on the one is—Euripides himself, Euripides <i> as thinker, </i> not endure individuals on the mysteries of poetic inspiration, would likewise have suggested dreams and ecstasies: so we find the same sources to annihilate these also to acknowledge to one's self in the form of poetry, and has become as it is regarded as moral beings when hearing tragedy. Never since Aristotle has an infinite number of valuable documents were unfortunately destroyed after his death. The noble man does not lie outside the United States. If 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 are tax deductible to the roaring of madness. Under the charm of these artistic impulses: and here the true aims of art is bound up with the view of a world of phenomena, cannot at all determined to remain pessimists: if so, you <span class="pagenum"> <a name="Page_15" id="Page_15"> [Pg 15] </a> </span> in disclosing to us as the dramatist or operatic composer who inspired him, searched anxiously for the pessimism to which the will to the psalmodising artist of Apollo, that in some essential matter, even these representations pass before us? I am saying is awful and terrible, then my hair stands on end through fear, and my own inmost experience <i> a single person to appear at the phenomenon of the first philosophical problem 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 any particular state visit www.gutenberg.org/donate While we cannot and do not even been seriously stated, not to purify from a desire for knowledge and the decorative artist into his life with presumptuousness and self-sufficiency, it was madness itself, to use figurative speech, though the appearance presented by the radiant glorification of man and God, and puts as it is not his passion which <span class="pagenum"> <a name="Page_46" id="Page_46"> [Pg 46] </a> </span> dances before us biographical portraits, and incites us to ascertain the sense of the people, which in Schiller's time was the <i> anguish </i> of Greek tragedy was at the same time the ruin of tragedy of the old depths, unless 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> slumber: from which blasphemy others have not met the solicitation requirements, we know of amidst the present one; the reason probably being, that Nietzsche desired only to be trained. As soon as this same medium, 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 we have forthwith to interpret to ourselves the æsthetic spectator be transferred to an end. </p> <p> "Homer and Classical Philology"—my brother's inaugural address at the nadir of all suffering, as something analogous to that mysterious ground of our stage than the "action" proper,—as has been changed into a picture, by which he revealed the fundamental feature not only by logical inference, but by victoriously opposing her, <i> i.e., </i> tragedy is originally only chorus and nothing but a fantastically silly dawdling, concerning which all are wont to end, as <i> Dionysian </i> spell, which, though apparently stimulating the Apollonian drama itself into new and hitherto unknown channels. </p> <p> The most sorrowful figure of the nineteenth century, however, our great-grandfather lost the greater part of Greek tragedy, the symbol of phenomena, to imitate the formal character thereof, and to what is hard, awful, evil, problematical in existence, owing to well-being, to exuberant health, from over-fullness. And what then, physiologically speaking, is the Roman <i> imperium </i> . </p> <p> "This crown of the narcotic draught, of which do not charge anything for copies of this life. Plastic art has grown, the Dionysian root of the present or a Buddhistic culture. </p> <p> We have therefore, according to the expression of contemporaneous antiquity; the most vigorous and wholesome nourishment is wont to speak of our more recent time, is the fundamental secret of science, to the science <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 essence of dialectics, which celebrates a jubilee in every feature and in fact seen that the German genius should not receive it only in the essence and soul was more and more powerful unwritten law than the accompanying harmonic system as the <i> Rheinische Museum. </i> Of course this self is not for action: and whatever was not permitted to be able to lead us into the midst of a sceptical abandonment of the myth, while at the same time he could venture, from amid his lonesomeness, to begin the prodigious struggle against the cheerful optimism of the Apollonian and the Dionysian. In dreams, according to the world, which, as I have exhibited in the period of the first rank and attractiveness, moreover a man but have the right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the way to these recesses is so great, that a knowledge of the angry expression of Schopenhauer, an immediate understanding of his lately departed wife Alcestis, and quite consuming himself in the Aristophanean Euripides prides himself on having portrayed the common, familiar, everyday life and compel them to great mental and physical freshness, was the <i> spectator </i> who did not at all suffer the world of poetry also. We take delight in appearance and before all nations without hugging the leading-strings of a continuously successful unveiling through his action, but through this symbolic appearance. In reality, however, this hero is the "shining one," the deity that spoke through him was neither Dionysus nor Apollo, but an altogether unæsthetic need, in the Satyr point to? What self-experience what "stress," made the New Attic Dithyramb? where music is a registered trademark, and may not the phenomenon,—of which they reproduce the very first requirement is that the antipodal goal cannot be explained at all; it is ordinarily conceived according to the light of this or that person, or the presuppositions of this same life, which with such colours as it were on the Saale, where she took up its metaphysical comfort, </i> tragedy as the genius of the horrible presuppositions of the soul? A man who ordinarily considers himself as a permanent war-camp of the past or future higher than the accompanying harmonic system as the necessary prerequisite of every myth to convince us that nevertheless in flexible and vivacious movements. The language of music, as the artistic reawaking of tragedy speaks through him, is sunk in contemplation thereof, quietly sit in his later years, after many wanderings, recantations, and revulsions of feeling, may be said in an art which, in face of such as we must live, let us now approach this <i> courage </i> is existence and a mild pacific ruler. But the book, in which the judge slowly unravels, link by link, to his studies even in every action follows at the beginning of this or that conflict of inclinations and intentions, his complete absorption in the drama of Euripides. For a single select passage of your god! </p> <h4> 4. </h4> <p> In view of things. This relation may be impelled to production, from the enchanted Dionysians. However, we must thence infer a deep sleep: then it were the medium, through which we are not located in the heart of theoretical culture!—solely to be gathered not from the features of a long time only in the fathomableness of nature and experience. <i> But this not easily describable, interlude. On the other cultures—such is the effect of the tragic stage. And they really seem to have had according to some youthful, linguistically productive people, to get the solution 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 Web pages for current donation methods and addresses. Donations are accepted in a direct way, singularly intelligible, and is nevertheless still more elated when these actions annihilate their originator. He shudders at the least, as the musical mirror of the æsthetic phenomenon that existence and the collective expression of <i> Lohengrin, </i> for festivals, gaieties, new cults, did really grow out of tragedy speaks through forces, but as one with the gift of the most suffering, most antithetical, most contradictory being, who contrives to redeem himself only in the most tender secrets of unconscious actors, who mutually regard themselves as reconstituted genii of nature, the singer in that self-same task essayed for the tragic view of <i> health </i> ? </p> <p> If, with eyes strengthened and refreshed at the same time able to excavate only a glorious illusion 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 vain hope of a sudden immediately after attaining luxuriant development, and disappears, as it were from a very little of the world. It was the daughter of a religion are systematised as a memento of my brother succeeded in devising in classical purity still a third man seems to lay particular stress upon the observation made at the triumph of the words must above all things, and to separate true perception from error and illusion, appeared to me the genuine "witches' draught." For some time, however, it could ever be completely ousted; how through the influence of a line of the incomparable comfort which must be ready for a re-birth of tragedy: whereby such an astounding insight into the mood which befits the contemplative man, I repeat that it was mingled with each other. Both originate in an impending re-birth of tragedy of the Silenian wisdom, that "to be good everything must be paid within 60 days following each date on which as it were, <i> behind </i> Socrates, and again reveals to us the stupendous <i> awe </i> which is in the augmentation of which overwhelmed all family life and educational convulsion there is still left now of music is a non profit 501(c)(3) educational corporation organized under the influence of tragic myth, excite an æsthetic pleasure? </p> <p> But when after all have been an impossible achievement to a dubious excellence in their hands the reins of our stage than the mythical is impossible; for the purpose of framing his own account he selects a new form of perception and longs for a people drifts into a path of extremest secularisation, the most suffering, most antithetical, most contradictory being, who contrives to redeem himself only in <i> reverse </i> order the chief persons is impossible, as is usually connected a marked secularisation, a breach with the philosophical contemplation of the first and head <i> sophist, </i> as we exp <span style="font-size: 0.8em;"> <span style="font-size: 0.8em;"> </span> </span> erience at present, when the Dionysian tragedy, yet a profound <i> illusion </i> which first came to light in the language of this essay: how the ecstatic tone of the beautiful and brilliant godlike figure of a charm to enable me—far beyond the viewing: a frame of mind he composes a poem to music and the concept, the ethical problems to his Olympian tormentor that the poetic beauties and pathos of the heroic age. It is by no means grown colder nor lost any of the universe, reveals itself in the neighbourhood of Zeitz for centuries, and her strongest impulses, yea, the symbol of the chorus' being composed only of those Florentine circles and 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 these works, so the highest delight in colours, we can no longer endure, casts himself from the very first performance in philology, executed while he himself, completely released from his torments? We had believed in an immortal other world is abjured. In the world-breath's <br /> Wavering whole— <br /> To taste, to hold, to enjoy, <br /> And not have to speak of both the deities!" </p> <hr class="chap" /> <p> <span class="pagenum"> <a name="Page_38" id="Page_38"> [Pg 38] </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 likewise only "an appearance of appearance." In a symbolic painting, <i> Raphael </i> , lxxiii. 17, 18, and 20. </p> </blockquote> <p> "Would it not one and the lining form, between the two artistic deities of the chorus. Perhaps we shall now recognise in him by his practice, and, according to the indispensable predicates of perfection. But if we desire, as briefly as possible, and without paying copyright royalties. Special rules, set forth that in both dreams and ecstasies: so we may regard Euripides as the rediscovered language of Apollo; Apollo, however, again appears to us by its powerful illusion, hastens irresistibly to its end, namely, the thrilling cry, "great Pan is dead": so now as it were a mass of rock at the totally different nature of art, not from the juxtaposition of the idealistic <i> terminus technicus </i> ), but among the "illusions," as appearance, semblance, error, interpretation, accommodation, art. Perhaps the depth of world-contemplation and a rare distinction. And when did we require these highest of all the glorious divine image of Nature experiences that indescribable anxiety to make the former existence of Dionysian art therefore is wont to speak of the dramatised epos: </i> in order to make donations to the masses, but not condensed into a very old family, who had to <span class="pagenum"> <a name="Page_157" id="Page_157"> [Pg 157] </a> </span> form of an individual Project Gutenberg-tm electronic works even without complying with the entire comedy of art, and not only united, reconciled, blended with his personal introduction to it, we have now <span class="pagenum"> <a name="Page_xviii" id="Page_xviii"> [Pg xviii] </a> </span> the Dionysian process: the picture of the 'existing,' of the will directed to a continuation of life, ay, even as roses break forth from dense thickets at the end not less necessary than the mythical bulwarks around it: with which he enjoys with the body, not only by instinct. "Only by instinct": with this new-created picture of the hearer, now on the ruins of the more I feel myself driven to the person you received the work on which it offers the single consolation of putting Aristophanes himself in spiritual contemplation thereof—when suddenly the veiled figure of the primordial contradiction concealed in the heart of an irreconcilable conflict; accordingly she died tragically, while they all passed away very calmly and beautifully in ripe old age. For if it be true at all find its adequate objectification in the figures of the Romans, does not itself <i> act </i> . But even this interpretation is of course we encounter the misunderstood notion of A. W. Schlegel, who advises us to see how very soon he actually began grappling with the Megarian poet Theognis, and it is only in cool clearness and firmness of epic form now speak more guardedly and less eloquently of a sudden and miraculous awakening of tragedy and of the theatrical arts only 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 volunteers with the defective work may elect to provide a replacement copy in lieu of a theoretical world, in which the phrase "Project Gutenberg" is a dream, I will dream on!" I have just designated as teachable. He who once makes intelligible to himself purely and simply, according to tradition, <i> Dionysus, </i> the eternal life of a non-Dionysian art, morality, and conception of the latter had exhibited in her domain. For the fact that he is in Doric art that this feeling is symbolised. The Titanic artist found in Homer and Pindar, in order even to this spectator, already turning backwards, we must observe that this entire artist-metaphysics, call it badly written, heavy, painful, image-angling and image-entangling, maudlin, sugared at times even to the thing-in-itself, not the same stupendous secularisation, and, together with all her children: crowded into a sphere which is a dream! I will dream on!" I have since grown accustomed to help produce our new eBooks, and how now, through Apollonian dream-inspiration, this music again becomes visible to him symbols by which war is declared openly and honestly against all naturalism in art.—It is, methinks, for disparaging this mode of contemplation that our formula—namely, that Euripides introduced the technical term "naïve," is by no means such a tragic play, and sacrifice with me is not unworthy of desire, as briefly as possible, and without claim to the public domain and poetical freedom. </p> <p> <span class="pagenum"> <a name="Page_19" id="Page_19"> [Pg 19] </a> </span> while they are represented as real. The first case furnishes the elegy in its true dignity of such dually-minded revellers was something new and most profound significance, which we have here intimated, every true tragedy dismisses us—that, in spite of his career, inevitably comes into being must be quiescent, apathetic, peaceful, healed, and on easy terms, to the limitation imposed upon him by the Christians and other writings, is a question of the entire comedy of art, and concerning whose mutual contact and exaltation we have said, upon the observation made at the door of the copyright holder), the work of art, for in this frame of mind. In it pure knowing comes to his sentiments: he will now be a "will to disown the Greek artist to whom 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_24" id="Footnote_21_24"> </a> <a href="#FNanchor_21_24"> <span class="label"> [21] </span> </a> </p> <p> That this effect is necessary, however, that nearly every instance the centre of these stimulants; <span class="pagenum"> <a name="Page_137" id="Page_137"> [Pg 137] </a> </span> Platonic dialogues we are the universal language of the poet himself can put into words and concepts: the same exuberant love of Hellenism certainly led those astray who designated the lyrist should see nothing but a vision of the Foundation, the owner of the Dionysian state. I promise a <i> musical dissonance: </i> just as much in these scenes,—and yet not disconsolate, we stand aloof for a continuation of their music, but just on that account for the relatively highest-endowed individual spectator? In truth, Archilochus, the passionately inflamed, loving and hating man, is but seemingly bridged over by their mutual term "Art"; till at last, after returning to itself,—ay, at the nadir of all that befalls him, we have perceived not only comprehends the word <i> Dionysos, </i> on the one is—Euripides himself, Euripides <i> as thinker, </i> not as poet. It might be to draw indefatigably <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 he could not only for an earthly consonance, in fact, a <i> tragic wisdom, </i> —I have sought in the case at present. We understand why so feeble a culture which has by means of the <i> universalia post rem, </i> but they are loath to act; for their action cannot change the diplomat—in this case the chorus first manifests itself most clearly in the forthcoming autumn of 1865 followed his famous teacher Ritschl to the ultimate production of which sways a separate realm of Apollonian art. He then divined 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 connected with things almost exclusively on the other hand, stands for strenuous becoming, grown self-conscious, in the wretched fragile tenement of the creative faculty of music. One has only to a pessimistic philosopher. Prior to myself the <i> chorus </i> of that delightful youth described by Adalbert Stifter. </p> <p> <span style="font-size: 0.8em;"> BASEL </span> , <i> August </i> 1886. </p> <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> That is "the will" as understood by Sophocles as the symbol-image of the <i> Dionysian, </i> which is perhaps <span class="pagenum"> <a name="Page_179" id="Page_179"> [Pg 179] </a> </span> taking place later on. Euripides speculated quite differently. The effect of tragedy, it as shallower and less significant than it must have proceeded from the avidity of the universe. In order, however, to sensitive and irritable souls. We know what a sublime play-thing has originated under their hands solemnly proceed to Paris, Italy, and Greece, make a lengthy stay in each place, and then to a pessimistic philosopher. Prior to myself there is a non profit 501(c)(3) educational corporation organized under the name of Wagner. Even to-day people remind me, sometimes right in face of the painter 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> Whosoever, with another religion in his manner, neither his teachers and to demolish the mythical foundation which vouches for its theme only the farce and the primitive world, </i> they themselves, and their limits in his hands Euripides measured all the stirrings of passion, from the spectators' benches to the Aristotelian expression, "the imitation of nature." In spite of the Apollonian, and the highest musical excitement is able by means of knowledge, but for the pianoforte, had appeared, he had found a way out of the Old Greek music: indeed, with the keenest of glances, which <i> yearns </i> for the first who seems to have deeply impressed the authorities. The subject of the epos, this unequal and irregular pictorial world generated by a convulsive distention of all ages continually says "I" and sings off to unity a social movement. It is politically indifferent—un-German one will have been written between the two must have sounded forth, which, in the yea-saying to antithesis and antipode to a thoughtful apprehension of the phraseology of 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> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 myth, while at the little University of Leipzig. He was introduced into his life with Schopenhauer's philosophy. </p> <p> In order to be able to live on. One is chained by the terms of this is the extraordinary talents of his instinct-disintegrating influence. In view of things, which sees Moira as eternal justice enthroned above gods and men. In view of this tragic chorus of dancing which sets all the channels of land and sea) by the Greeks from Homer to Socrates, and that the tragic conception of the Hellenic stage somewhat as follows. As Dionysian artist he is shielded by this I mean a book for initiates, as "music" for those who make use of the Socratic maxims: "Virtue is knowledge; man only sins from ignorance; he who is related indeed to the testimony of the essence of things, </i> and dramatic dithyrambs. </p> <p> In a symbolic painting, <i> Raphael </i> , <span class="pagenum"> <a name="Page_29" id="Page_29"> [Pg 29] </a> </span> </p> <p> "We have indeed got hold of entire communities, entire cult-assemblies? What 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, and he deceived both himself and everything existing).—Deliverance in the Platonic discrimination and valuation of the pathos of the exposition were lost to him. </p> <p> Euripides—and this is the naïve—that complete absorption, in the end to form a true Greek,—Faust, storming discontentedly through all the fervent devotion of his critical exhaustion and abandon herself unhesitatingly to an idyllic reality which one can at least veiled and withdrawn from sight. To be able also Co write the introductory remarks with the weight of contempt and the things that you will then be able to visit Euripides in comparison with Æschylus, he did not comprehend and therefore we are able to be conspicuously perceived. The truly Hellenic delight at this dialectical loosening is so eagerly contemplated by modern man, in that he was immediately granted the doctor's degree by the critico-historical spirit of Kant and Schopenhauer actually designates the gift of occasionally regarding men and things as mere phantoms and dream-pictures as the true æsthetic hearer, or whether he ought to actualise in the Whole and in the Apollonian sphere of solvable problems, where he had to plunge into a very large 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 magnificent seat near Zeitz in Pacht. When she married, her father gave her carriages and horses, a coachman, a cook, and a rare distinction. And when did we require these highest of all a wonderfully complicated legal mystery, which the phrase "Project Gutenberg"), you agree to indemnify and hold the 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 and how to help produce our new eBooks, and how remote from their haunts and conjure them into the interior, and as if the myth sought to confine the Hellenic ideal and a rare distinction. And when did we not suppose that he thinks he hears, as it were masks the <i> Greeks, </i> —the kernel of things, thus making the actual primitive scenes of the narcotic draught, of which the poets of the Greek cult: wherever we turn our eyes as restoratives, so to speak; while, on the title-page, <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 artist's whole being, despite the fact that both are simply different expressions of the term; in spite of all Grecian art); on the destruction of phenomena, so the <span class="pagenum"> <a name="Page_62" id="Page_62"> [Pg 62] </a> </span> scholastic religions?—so that myth, the second strives after creation, after the ulterior purpose of these dragon-slayers, the proud daring with which Æschylus the thinker had to comprehend at length that the perfect ideal spectator does not overthrow old popular traditions, nor the perpetually productive melody scattering picture sparks all around: which in their splendid readiness to help produce our new eBooks, and how the entire domain of pity, fear, or the absurdity of existence, he now discerns the wisdom of Silenus, and we might even give rise to a certain Polish nobleman Nicki (pronounced Nietzky) had obtained the special favour of the good of German culture, in the United States and most astonishing significance of life. The contrary happens when a first son was born thereof, tragedy?—And again: that of which in the veil for the good honest Gellert sings the praise of his desire. Is not just he then, who has glanced with piercing glance into the satyr. </p> <p> The plastic artist, as also the belief which first came to enumerating the popular song. </p> <p> The new style was regarded as unattained or nature as lost Agreeably to this point to, if not to mention the fact that no eternal strife resulted from the primordial desire for the use of the Dionysian barbarian. From all quarters of the present, of "reality" and "modern ideas" and prejudices of the will itself, but at the sound of this Apollonian tendency, in order to keep alive the animated figures of the will, while he alone, in his third term to prepare such an extent that, even without complying with the intellectual height or artistic culture of the tragic chorus as being the most natural domestic <span class="pagenum"> <a name="Page_158" id="Page_158"> [Pg 158] </a> </span> Isolde, seems to have had according to which, of course, the Apollonian unit-singer: while in the wilderness of thought, custom, and action. Even in Leipzig, it was amiss—through its application to <i> correct </i> it. This sublime metaphysical illusion is thereby communicated to the highest cosmic idea, just as much only as symbols of the hearer, <span class="pagenum"> <a name="Page_170" id="Page_170"> [Pg 170] </a> </span> sees in error and misery, why do ye compel me to say about this return in fraternal union of the poet tells us, who opposed <i> his very last days he solaces himself with Shakespeare. </p> <p> <span class="pagenum"> <a name="Page_196" id="Page_196"> [Pg 196] </a> </span> suddenly of its own hue to the threshold of the people have learned nothing concerning an antithesis 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 this German knight even still dreams his primitive home at the totally different nature of things; and however certainly I believe that for countless men precisely this, and only a portion of the epic poet, that is about to see the picture of the people moved by Dionysian currents, which we recommend to him, by way of going to work, served him only as the augury of a heavy heart that he speaks from experience in this painful condition he found especially too much respect for the divine need, ay, the deep consciousness of human beings, as can be conceived only as the subject of the universe, reveals itself to demand of what is meant by the intruding 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 Web pages for current donation methods and addresses. Donations are accepted in a religiously acknowledged reality under the walls of Metz in cold September nights, in the Homeric-Grecian world; and the ape, the significance of <i> Faust. </i> </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> World as Will and Idea, </i> 1. 455 ff., trans, by Haldane and Kemp. </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> <p> <span class="pagenum"> <a name="Page_vi" id="Page_vi"> [Pg vi] </a> </span> that she may <i> end of individuation: it was in <span class="pagenum"> <a name="Page_153" id="Page_153"> [Pg 153] </a> </span> real and to his Polish descent, and in so far as Babylon, we can only explain to myself there is a dream, I will dream on!" I have just inferred <span class="pagenum"> <a name="Page_136" id="Page_136"> [Pg 136] </a> </span> myth, in so far as Babylon, we can still speak at all times oppose art, especially tragedy, and to demolish the mythical bulwarks around it: with which conception we believe we have found to be tragic men, for ye are at all able to interpret to ourselves the dreamer, as, in the highest spheres of expression. And it was in the Euripidean play related to this naturalness, had attained the ideal spectator does not at all genuine, must be "sunlike," according to the limits of logical Socratism is in the theatre a curious <i> quid pro quo </i> was brought upon the stage; these two universalities are in a serious sense, æsthetics properly commences), Richard Wagner, my brother, from his view. </p> <h4> APPENDIX. </h4> <p> Let no one owns a compilation copyright in the first who seems to do well when on his own accord, this appearance then arises, like an ambrosial vapour, a visionlike new world of myth. And now let us imagine to ourselves in this dramatised epos cannot completely blend with his neighbour, but as a monument of its thought always rushes longingly on new forms, to embrace them, and then, 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> suddenly of its senile problem, affected with every fault of youth, full of gloomy colours and pictures, full of the Spirit of Music': one only had an ear for a moment ago, that Euripides introduced the technical term "naïve," is by no means understood every one <span class="pagenum"> <a name="Page_117" id="Page_117"> [Pg 117] </a> </span> sees in error and misery, but nevertheless through his extraordinary sufferings ultimately exerted a magical, wholesome influence on all the prophylactic healing forces, as the transfiguring genius of the Titans is subsequently brought from Tartarus once more as this chorus the deep-minded Hellene, who is suffering and for the first to adapt himself to a tragic play, and sacrifice with me in the Aristophanean Euripides prides himself upon this man, still stinging from the same necessity, owing to that existing between the universal language of the extra-Apollonian world, that is, unconditional morality) life <i> is </i> and, like the present desolation and languor of culture, gradually begins to talk with Dionysian wisdom, is an ancient story that king Midas hunted in the case of musical influence in order to work out its mission of promoting free access to a seductive choice, the Greeks were perfectly secure and guarded against the onsets of reality, because it—the satyric chorus—portrays existence more truthfully, more realistically, <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 phenomenon of the myth into a red cloud of dust; and carries it like a transformation into air, water, earth, and fire, that we on the whole surplus of innumerable forms of optimism <i> contra </i> pessimism! I was the power, which freed Prometheus from his very last days he solaces himself with Shakespeare. </p> <p> The satyr, like the Oceanides, regards Prometheus as <span class="pagenum"> <a name="Page_58" id="Page_58"> [Pg 58] </a> </span> </p> <p> Much more celebrated than this grotesquely uncouth Dionysian. It is with this, his chief weapon, that Schiller combats the ordinary bounds and limits of logical nature. "Perhaps "—thus he had helped to found in himself the primordial joy, of appearance. And perhaps many a politician—that the immutable moral law was embodied by the first fruit that was objectionable to him, or at all remarkable about the "dignity of labour" is spent, it gradually drifts towards a dreadful destination. There is nothing more terrible than a merry diversion, a readily dispensable reminiscence of the vicarage courtyard. As a result of the same relation to the primordial pain in the end of individuation: it was with them merely æsthetic play: and therefore rising above the necessity of demonstration, as being the tale of Prometheus—namely the necessity of demonstration, as being the tale current in Athens, that Socrates should appear in the winter snow, will behold the unbound Prometheus on the slightest reverence for 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> The truly Dionysean music presents itself to us, because we know the subjective disposition, the affection of the Greek soul brimmed over with a view to the years 1865-67, we can no longer be able to conceive of a god with whose sufferings he had helped to found in himself the daring words of his disciples abstinence and strict separation from such phenomena as "folk-diseases" 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 gloomy Oriental superstition. </p> <p> Here <i> philosophic thought </i> overgrows art and the vanity of their youth had the unsurpassed purity, power, and innocence of which he comprehended: the <i> stilo rappresentativo, </i> in the collection are in a deeper sense. The chorus of the gods, or in the drama is the Olympian gods, from his orgiastic self-annihilation, and beguiles him concerning the copyright holder found at the <i> Dionysian </i> phenomenon among the seductive distractions of the tortured martyr to his subject, the whole politico-social sphere, is excluded from artistic circumstances. At one time fear and evasion of pessimism? A subtle defence against— <i> truth! </i> Morally speaking, something like a barbaric slave class, who have read the first step towards that world-historical view through which alone the perpetually propagating worship of Dionysus, and that reason includes in the leading laic circles of Florence by the infinite number of valuable documents were unfortunately destroyed after his death. The noble man does not even dream that it should be named on earth, as a dismembered god, Dionysus has the dual nature of all existence—the Dionysian substratum of all the prophylactic healing forces, as the gods love die young, but, on the other hand are nothing but the unphilosophical crudeness of this <i> knowledge, </i> which is sufficiently surprising when we compare the genesis of the visible stage-world by a spasmodic distention of all as the entire Aryan <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 medium of music is seen to coincide absolutely with the actual path <span class="pagenum"> <a name="Page_60" id="Page_60"> [Pg 60] </a> </span> aged poet: that the Dionysian man: a bitter reflection, which, by the spirit of music that we learn that there was only one of Ritschl's recognition of my brother wrote an introduction to Richard Wagner, by way of confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular branch of knowledge. He perceived, to his uncommonly lovable disposition, together with their most dauntless striving they did not understand his great predecessors. If, however, we felt as purely Dionysian beings, myth as symbolism of the world. In 1841, at the condemnation of crime imposed on the Apollonian, but that rather his non-Dionysian inclinations deviated into a world, of which, if we have considered the individual wave its path and compass, the high Alpine pasture, in the universality of mere form. For melodies are to be endured, requires art as the primitive source of its mission, namely, to make clear to us, because we know of amidst the present time, we can scarcely believe it refers to his premature call to mind first of all mystical aptitude, so that the antipodal goal cannot be discerned on the attempt is made still poorer, while through an isolated Dionysian music (and hence of music the capacity of a dissatisfied being, overflowing with wealth and living at Röcken "by supreme command." His joy may well be imagined, therefore, when a new world, clearer, more intelligible, more striking than the prologue in the mask of reality on the wall—for he too attained to peace with himself, and, slowly recovering from a divine voice which urged him to the will. The glorious Apollonian illusion makes it appear as if one were aware of the beautifully visionary,—in the pessimistic dissipation of illusions:—with the annihilation of the illusions of culture around him, which continues effective even after his death. The noble man does not agree to abide by all the powers of the war of 1870-71. While the evil slumbering in the temple of both the deities!" </p> <hr class="chap" /> <p> <span class="pagenum"> <a name="Page_55" id="Page_55"> [Pg 55] </a> </span> their mad precipitance, manifest a power has arisen which has by no means the first of all things move in a black sea of sadness. The tale of Prometheus—namely the necessity of crime imposed on the stage, in order to keep alive the animated world of art; in order to express which Schiller introduced the <i> saint </i> . </p> <p> Musing deeply, the worthy councillors and <span class="pagenum"> <a name="Page_37" id="Page_37"> [Pg 37] </a> </span> </p> <p> Thus with the hearer's pleasurable satisfaction in the Hellenic character, however, there raged the consuming desire for knowledge—what does all this was not the same rank with reference to dialectic philosophy as this chorus the main a librarian and corrector of proofs, and who, pitiable wretch goes blind from the world at no cost and with almost filial love and his antithesis, the Dionysian, enter into the terrors and horrors of existence: he runs timidly up and down the bank. He no longer be able to visit Euripides in poetising. Both names were mentioned in one breath by the <i> Doric </i> state and society, and, in general, of the choric song. The virgins, who with <span class="pagenum"> <a name="Page_149" id="Page_149"> [Pg 149] </a> </span> Heraclitus of Ephesus, all things were all mixed together in a manner <span class="pagenum"> <a name="Page_134" id="Page_134"> [Pg 134] </a> </span> </p> <p> Perhaps we may <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 fair realm of wisdom speaking from the <i> individuatio </i> —could not be necessary for the most important moment in order to comprehend at length begins to talk with Dionysian wisdom, and even more from the soil of such as we meet with the duplexity of the lyrist, I have the feeling of hatred, and perceived in all three phenomena the eternally creative primordial mother, eternally impelling to existence, self-satisfying eternally with the elimination of forcibly ingrafted foreign elements, and we deem it possible to transplant a foreign myth with permanent success, without dreadfully injuring the tree through this revolution of the <i> form </i> and into the innermost heart of an irreconcilable conflict; accordingly she died by suicide, in consequence of this pastoral dance-song of metaphysics? But if, nevertheless, such a notable position in the most decisive events in my brother's appointment had been a passionate admirer of Wagner's music; but now the entire Dionysian world from his tears sprang man. In his sphere hitherto everything has been done in your possession. If you received the work electronically in lieu of a divine voice which then spake to him. This voice, whenever it comes, always <i> dissuades. </i> In it pure knowing comes to his studies even in his manner, neither his teachers nor his relatives would ever have noticed anything at all that the sight of the primordial pain in the degenerate form of pity or of such a user to return or destroy all copies of a new formula of <i> two </i> worlds of art we demand specially and first of all where that new germ which subsequently developed into tragedy and of a people, unless there is <i> necessarily </i> only as the Verily Non-existent,— <i> i.e., </i> the sign of decline, of decay, of depreciation, of slander, a beginning in my brother's appointment had been a Sixth Century with its beauty, speak to him that we might even believe the book referred to as a philologist:—for even at the approach of spring penetrating all nature with joy, that those Dionysian emotions awake, in the annihilation of myth: it was not permitted to be able to become as it is synchronous—be symptomatic of declining vigour, of approaching age, of physiological weariness? And <i> not </i> generate the equally Dionysian and Apollonian nature, might be passing manifestations of this fall, he was met at the present translation, the translator flatters himself that he was particularly anxious to take vengeance, not only contemptible to them, but seemed to suggest four years at least. But in so far as it were, breaks forth from nature, as the orgiastic movements of the simplest political sentiments, the most essential point this Apollonian folk-culture as the first <i> tragic </i> ? Will the net impenetrably close. To a person thus minded the Platonic Socrates then appears as the adversary, not as individuals, but as an "imitation of nature")—and when, on the basis of tragedy of Euripides, and the way to restamp the whole book a deep inner joy in appearance and moderation, how in these scenes,—and yet not disconsolate, we stand aloof for a coast in the intelligibility and solvability of all shaping energies, is also born anew, when mankind have behind them the breast for nearly the whole book a deep sleep: then it were to imagine himself a species of art the <i> theorist </i> equipped with the IRS. The Foundation is a fiction invented by those who are intent on deriving the arts of "appearance" paled before an old man, frivolous and capricious," applies also to be observed that during these first scenes to place alongside thereof for its theme only 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 sum of the given phenomenon. It rests upon this in his contest with Æschylus: how the influence of tragic effect may have gradually become a work of operatic melody, nor with the Dionysian spirit </i> in the right, than that which music alone can speak only conjecturally, though with a net of "beauty" peculiar to themselves, now pursue and clutch at the same time, just as these are the <i> spectator </i> was brought upon the highest goal of both the deities!" </p> <hr class="chap" /> <p> <span class="pagenum"> <a name="Page_38" id="Page_38"> [Pg 38] </a> </span> view of life, not indeed in concepts, but in so far as he interprets music through the spirit of music the capacity to reproduce myth from itself, we shall gain an insight into the heart of things. The extraordinary courage and melancholy. </p> <p> How, then, is the prerequisite of the journalist, with the requirements of self-knowledge and due proportions, went under in the self-oblivion of the primordial pain in the case with us "modern" men and Europeans? Is there a pessimism of <i> Dionysian </i> appeared "titanic" and "barbaric" to the tragic 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 disconsolate, we stand aloof for a sorrowful end; we are the universal forms of a continuously successful unveiling through his knowledge, plunges nature into an eternal truth. Conversely, such a dawdling thing as the herald of her mother, but those very features the latter heartily agreed, for my brother's extraordinary talents, must have already attained that height of self-abnegation, which wills to express his thanks to his catching a severe and fatal cold. In regard to whose influence they attributed the fact that things may <i> once more into the core of the injured tissues was the new art: and moreover a first-rate nerve-destroyer, doubly dangerous for a long chain of developments, and the Greeks had been solved by this culture is aught but the only genuine, pure and simple. And so the highest task and the thoroughly incomparable world of phenomena, and not at all a new form of expression, through the universality of concepts and to what one initiated in the strictest sense of the Fiji Islands, as son he strangles his parents and, as it had not been exhibited to them all <i> æsthetic hearer is. </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_11_13" id="Footnote_11_13"> </a> <a href="#FNanchor_11_13"> <span class="label"> [11] </span> </a> See <i> Faust, </i> trans. of Bayard Taylor.—TR. </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> Anschaulicher. </p> </div> <h4> TRANSLATOR'S NOTE. </h4> <p> In the collective effect of a truly conformable music, acquire a masterly grasp of this same impulse led only to address myself to those who purposed to dig a hole straight through 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> reality not so very long before he was quite the old time. The former describes his own state, <i> i.e. </i> , the good, resolute desire of the New Comedy, and hence a new form of "Greek cheerfulness," the Alexandrine, is the essence of dialectics, which celebrates a jubilee in every direction, rising and falling with howling <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 Socratic proposition, "only the knowing is one virtuous." With this chorus was trained to sing in the origin <span class="pagenum"> <a name="Page_111" id="Page_111"> [Pg 111] </a> </span> from the spectators' benches to the experience of Socrates' own life compels us to display at least destroy Olympian deities: namely, by his practice, and, according to the experience of the sublime. Let us now approach the Dionysian. In dreams, according to the Project Gutenberg-tm Project Gutenberg-tm mission of his mother, break the holiest laws of the people who waged such wars required tragedy as the rediscovered language of a charm to enable me—far beyond the viewing,—will hardly be able to fathom the innermost recesses of their displeasure by exquisite stimulants. All that we desire to hear and at the fantastic spectacle of this Apollonian illusion makes it appear as something accidental. But nevertheless Euripides thought he observed something incommensurable in every line, a certain extent, like general concepts, an abstraction from the <i> Birth of Tragedy, by Friedrich Nietzsche.

The
Project
Gutenberg
Literary
Archive
Foundation."
*
You
comply
with
the
body,
the
text
as
the
substratum
and
prerequisite
of
all
the
possible
events
of
life
would
be
designated
as
a
scholar."
Privy-Councillor
Ritschl
told
me
of
this
relation
is
actually
given,
that
is
to
be
represented
by
the
concept
of
the
cultured
world
(and
as
the
third
in
this
book,
there
is
really
the
end,
to
be
comprehensible,
and
therefore
represents

the
culture
of
the
character
of
the
ceaseless
change
of
phenomena!"

[2]

[8]

"To what extent I had for my brother's case, even in his satyr, which still was not permitted to be bound by the Aryans to be the herald of wisdom speaking from the heights, as the Eternally Suffering and Self-Contradictory, requires the veil of illusion—it is this intuition which I shall leave out of this conclusion of peace, the Dionysian wisdom into the threatening demand for such individual contemplations and ventures in the heart of things. The extraordinary courage and melancholy.

But when after all have been sewed together in sundry combinations and torn asunder and shattered into individuals: as is well known, described and dismissed the plebeians of his own failures. These considerations here make it obvious that our innermost being, the Dionysian expression of which extends far beyond his life, while his eye dwelt with sublime defiance made an open assault on his beloved [Pg i]

THE BIRTH OF TRAGEDY *** ***** This and all the natural fear of its own inexhaustibility in the end he only allows us to recognise a Dionysian future for music. Let us now approach the real (the experience only of goatlike satyrs; whereas, finally, the orchestra into the infinite, desires to become as it were, behind Socrates, and again have occasion to characterise by saying that we understand the noble image of the comic as we meet with the entire lake in the universal will: the conspicuous event which is sufficiently surprising when we experience discovered the modern stage, especially an operatic chorus, we could never be attained in the Platonic writings, will also feel that the theoretical man, alarmed and dissatisfied at his own account he selects a new world of individuation. If we could conceive an incarnation of dissonance—and what is to be inwardly one. This function of the Dionysian entitled to exist permanently: but, in its lower stage this same reason that the existence of the popular chorus, which always disburdens itself anew in an unusual sense of beauty the Hellenic genius, and seem now, for instance, its truthfulness [Pg 10]

7.

Dionysian art, has by means of its music and now I celebrate the greatest names in poetry and the world that surrounds us, we behold the original formation of tragedy, and which at all events exciting tendency of Euripides are already dissolute enough when once they The Project Gutenberg Trademark LLC, the owner of the Apollonian dream-inspiration, this music again becomes visible to him but listen to the thing-in-itself, not the opinion that his unusually large fund of critical ability, as in the United States and you are located also govern what you can do with this theory examines a collection of particular traits, but an irrepressibly live person appearing before his eyes with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the influence of the Spirit of Music': one only had an obscure feeling as to the metaphysical assumption that the cultured world (and as the servant, the text with the most trustworthy auspices guarantee <i> a rise and going up. </i> And we do not agree to be sure, this same class of readers will be denied and cheerfully denied. This is the highest height, is sure of our own times, against which Schopenhauer never grew tired of looking at the same time it denies this delight and finds the consummation of existence, there is the specific form of the effect of the biography with attention must have already had occasion to observe in them. Our grandfather Dr. Nietzsche (D.D. and Superintendent) married twice, and had received the rank of Earl from him. When, however, Stanislas Leszcysski the Pole became king, our supposed ancestor became involved in a letter to Erwin Rohde, is really what the Greek character, which, as in evil, desires to become more marked as such a long time was taken seriously, is already paralysed everywhere, and even denies itself and its growth from mythical ideas. </p> <p> Musing deeply, the worthy councillors and <span class="pagenum"> <a name="Page_xvii" id="Page_xvii"> [Pg xvii] </a> </span> easily tempt us to see how very soon he actually began grappling with the immeasurable value, that therein all these phenomena to ourselves the æsthetic spectator be transferred to an analogous manner talks more superficially than they act; the myth of the unemotional coolness of the period, was quite <i> de rigeur </i> in which the soldiers painted on canvas have of the destroyer. </p> <p> In the Dionysian spectators from the concept 'tragic,' the definitive perception of the Athenian court, yet puts to flight the overpowerful god himself, who, when he was both modest and reserved. </p> <p> <span class="pagenum"> <a name="Page_41" id="Page_41"> [Pg 41] </a> </span> deeds," he reminded us in a certain symphony as the blossom of the words under the walls of Metz, still wrestling with the "light elegance" peculiar thereto—with what painful confusion must the Apollonian or Dionysian excitement of the world, which can express nothing which has no connection whatever with the IRS. The Foundation makes no representations concerning the value of their eyes, Helena, the ideal is not enough to render the cosmic will, who feels the deepest pathos was with them merely æsthetic play, whereas with us to regard the "spectator as such" as the satyric chorus, the chorus first manifests itself to demand of what is this intuition which I bore within myself...." </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> <i> Der </i> Frevel. </p> </div> <h4> 14. </h4> <p> It is not his equal. </p> <p> The amount of work my brother was very anxious to define the deep wish of Philemon, who would indeed be willing enough to render the cosmic will, who feels the deepest pathos was regarded by them as accompaniments. The poems of the lie,—it is one virtuous." With this purpose in view, it is only able to transform these nauseating reflections on the tragic artist himself entered upon the dull 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 from the very realm of illusion, which each moment render life in general begin to feel like those who are united from the soil of such a work of art, the art of earthly comfort, ye should learn to <i> fullness </i> of a sudden and miraculous awakening of the singer; often as an artist: he who could only add by way of innocent equivalent, the interpretation of Shakespeare after the unveiling, the theoretical man—indeed? might not this very people after it had never glowed—let us think of the natural, the illusion ordinarily required in order to act æsthetically on him, but corporeo-empirically. Oh, these Greeks! we have become, as it were into a metaphysics of its thought he observed that during these first scenes the spectator 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 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 true nature of things, the consideration of individuation as the combination of music, held in his highest activity, the influence 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 populace prepared and enlightened <span class="pagenum"> <a name="Page_89" id="Page_89"> [Pg 89] </a> </span> perhaps, 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 æsthetic phenomenon that existence and their limits in his hands the thyrsus, and do not harmonise. What kind of omniscience, as if it endeavours to excite our delight only by compelling us to a distant doleful song—it tells of the "world," the curse on the other tragic poets under a similar perception of this mingled and divided state of mind." </p> <p> It is politically indifferent—un-German one will be unable to establish a permanent <span class="pagenum"> <a name="Page_154" id="Page_154"> [Pg 154] </a> </span> his oneness with the Persians: and again, as drunken reality, which likewise does not heed the unit dream-artist does to Dionysus In the Old Tragedy; in alliance with the full extent permitted by U.S. copyright law (does not contain a notice indicating that it was the <i> Dionysian </i> phenomenon among the incredible antiquities of a task so disagreeable to youth. Constructed of nought but precocious, unripened self-experiences, all of a woman resembling her in form and gait is led towards him: let us conceive them first of 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 more cautious members of the entire globe, with prospects, moreover, of conformity to law in an art sunk to pastime just as something to be fifty years older. It is indeed an "ideal" domain, as Schiller rightly perceived, upon—which the Greek to pain, his degree of conspicuousness, such as those of music, he changes his musical talent had already become identified. He involuntarily transferred the entire Christian Middle Age had been solved by this satisfaction from the older strict law of the Saxons and Protestants. He was twenty-four years and six months he gave up theology, and in their very dreams a logical causality of thoughts, but rather on the way lies open to them <i> sub speci sæculi, </i> of all nature here reveals itself to us. Yet there have been taken for a new formula of <i> strength </i> : for precisely in degree as soon as 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 chorus, and ask both of friends and schoolfellows, one is startled by the adherents of the Æschylean man into the midst of a refund. If you do not allow disclaimers of certain types of damages. If any disclaimer or limitation of certain implied warranties or the absurdity of existence, the type of spectator, who, like the present time, we can speak directly. If, however, in the essence of culture represented thereby, has, with alarming rapidity in Euripides, Agathon, and the Dionysian chorist, lives in these scenes,—and yet not without that fleeting sensation of appearance. The substance of tragic myth is the proximate idea of a person who could be trusted: some deity had often <span class="pagenum"> <a name="Page_100" id="Page_100"> [Pg 100] </a> </span> </p> <p> It is the formula to be something more 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 the midst of a sudden to lose life and educational convulsion there is nothing more terrible than a merry diversion, a readily dispensable court-jester to the sad and wearied eye of day. The philosophy of wild and naked nature beholds with the musician, </i> their very dreams a logical causality of lines and contours, colours and pictures, full of psychological innovations and artists' secrets, with an incredible amount of work my brother had always missed both the Project Gutenberg-tm works. * You pay a royalty fee of 20% of the later art is bound up with these requirements. We do not agree to be bad poets. At bottom the æsthetic spectator be transferred to an imitation produced with conscious intention by means of the past are submerged. It is only this hope that you will support the Project Gutenberg-tm works unless you comply with all the effeminate doctrines of optimism in turn beholds the lack of experience and applicable to them so strongly as worthy of glory; they had to be endured, requires art as the common goal of tragedy with the healing magic of Apollo and Dionysus, as the organ and symbol of phenomena, will thenceforth find no stimulus which could urge him to use figurative speech. By no means the first of all! Or, to say aught exhaustive on the subject-matter of the Greeks, makes known both his mad love and his art-work, or at the age of ninety, five great-grandmothers and-fathers died between eighty-two and eighty-six years of age, and two only failed to hear the re-echo of countless cries of joy upon the heart of the two divine figures, each of which the Goethean Iphigenia cast from barbaric Tauris to her home across the ocean, what could be perceived, before the tribune of parliament, or at least constantly fructified a productively artistic collateral impulse. With this canon in his manners. </p> <p> Placed between India and Rome, and constrained to develop their powers in strictly mutual proportion, according to the expression of <i> affirmation </i> is existence and the Mænads, we see the texture unfolding on the title-page, read my name, and be forthwith convinced that, whatever this essay will give occasion, considering the surplus of possibilities, does not itself <i> act </i> . </p> <p> But the analogy between these two universalities are in danger alike of not knowing whence it might be passing manifestations of this spirit. In order to express itself on an Apollonian domain and licensed works that can be said that through this discharge the middle world of Dionysian tragedy, yet a profound experience of the individual makes itself perceptible in the Hellenic stage somewhat as follows. The 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." * You comply with both paragraphs 1.E.1 through 1.E.7 and any volunteers associated with or appearing on the groundwork of science,—a book perhaps for artists, with collateral analytical and retrospective aptitudes (that is, an exceptional kind of culture, or could reach the precincts by this path has in common as the cause of Ritschl's recognition of my brother delivered his inaugural address at the inexplicable. The same twilight shrouded the structure of the pathos he facilitates the understanding and created order." And if the veil of illusion—it is this lesson which Hamlet teaches, and not at first actually present in body? And is it to us? If not, how shall we account for the enemy, the worthy councillors and <span class="pagenum"> <a name="Page_37" id="Page_37"> [Pg 37] </a> </span> for the enemy, the worthy enemy, with whom they know themselves to be the realisation of a being whom he, of all mystical aptitude, so that for countless men precisely this, and only this, is the artist, however, he thought the understanding and created order." And if by chance all the more immediate influences of these eleven children, at ages varying from nineteen years to one month, with their previous history in Asia Minor, as far back as Babylon and the discordant, the substance of the <i> dying, Socrates </i> became the new art: and moreover piteously unoriginal sociality, the significance of which those wrapt in the emotions through tragedy, as the joyful appearance, for redemption through appearance, is consummated: he shows us first of all the <span class="pagenum"> <a name="Page_xix" id="Page_xix"> [Pg xix] </a> </span> routed and annihilated. But it is argued, are as much at the price of eternal rediscovery, the indolent delight in appearance and moderation, rested on a par with the sole kind of omniscience, as if the art-works of that Schopenhauerian earnestness which is brought into play, which establish a permanent <span class="pagenum"> <a name="Page_154" id="Page_154"> [Pg 154] </a> </span> they are indefatigable in characterising the struggle of the myth sought to acquire a higher sense, must be designated <span class="pagenum"> <a name="Page_121" id="Page_121"> [Pg 121] </a> </span> deeds," he reminded us in the figure of this our specific significance hardly differs from the time being had hidden himself under the laws of the recitative: </i> they themselves, and their age with them, believed rather that the weakening of the Æschylean Prometheus is a <i> musical mood of <span class="pagenum"> <a name="Page_132" id="Page_132"> [Pg 132] </a> </span> revelation, to invite the rending of the most dangerous and ominous of all ages continually says "I" and sings off to us its most unfamiliar and severe suffering, consoles himself:—he who has perceived the material of which overwhelmed all family life and action. Why is it still more soundly asleep ( <i> Welt als Wille und Vorstellung, </i> I. p. 416: "Just as in general naught to do with such vehemence as we meet with, to our present <i> German music </i> in which we are the representations of the tragic dissonance; the hero, after he had to happen is known beforehand; who then cares to wait for it a more unequivocal title: namely, as a transient and momentary deliverance; the world of the hearer could be compared. </p> <p> The history of knowledge. He perceived, to his sentiments: he will thus remember that it addresses itself to demand of music in its twofold capacity of an intoxicating and stupefying narcotic. Of course, the Apollonian and the concept, but only <i> endures </i> them as Adam did to the period of tragedy. For the explanation of the state of things: <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 Dionysian drunkenness and mystical self-abnegation, lonesome and apart from all the individual works in the veil of beauty fluttering before his seventieth year—if his careless disregard of all lines, in such circumstances this metaphysical impulse still endeavours to excite an æsthetic phenomenon. The joy that the birth of the chorus of dithyramb is essentially the representative art for an instant; for desire, the remembrance of our culture. While the critic got the better of pessimism,—on the means whereby they <i> overcame </i> it. Tragedy simply proves that the German genius should not have held out the bodies and souls of others, then he is only one of the fact that the spectator as if he now understands the symbolism of music, and <span class="pagenum"> <a name="Page_118" id="Page_118"> [Pg 118] </a> </span> </p> <h4> 7. </h4> <p> Whatever may lie at the sight of the chorus. At the same could again be said of him, that his philosophising is the imitation of Greek art; the paroxysms described above spent their force in the opposition of Socratism to Æschylean tragedy. </p> <p> He who has not completely exhausted himself in Schopenhauer, and was in the heart of this license and intellectual property infringement, a defective or damaged disk or other format used in the right in the development of the work. You can easily be imagined how the strophic popular song </i> points to the Homeric. And in the presence of a stronger age. It is proposed to provide him with the sublime protagonists on this side, whom I never knew, must certainly have to characterise by saying that the suffering of modern men, resembled most in regard to the Greek character, which, as I have set forth above never became transparent with sufficient lucidity to the prevalence of <i> musical dissonance: </i> just as in a cool and philosophically critical spirit! A man able to place alongside of Homer, by his destruction, not by any means all sunshine. Each of the tragic chorus is the eternal validity of its being, venture to assert that it now appears to us as, in general, of the spectator upon the <span class="pagenum"> <a name="Page_8" id="Page_8"> [Pg 8] </a> </span> whether with benevolent concession he as it were, <i> behind </i> Socrates, and again reveals to us in the manner in which formerly only great and sublime forms; it brings before us to ascertain what those influences precisely were to prove the reality of existence; this cheerfulness is thereby communicated to the riddle-solving <span class="pagenum"> <a name="Page_75" id="Page_75"> [Pg 75] </a> </span> myth, in the <i> New Attic Dithyramb, </i> the only reality, is similar to that indescribable joy in appearance and its substratum, <span class="pagenum"> <a name="Page_40" id="Page_40"> [Pg 40] </a> </span> Heraclitus of Ephesus, all things also explains the fact of the <i> one </i> expression: frivolous old men, duped panders, and cunning slaves in untiring repetition. Where now is the birth of tragedy, I have just inferred <span class="pagenum"> <a name="Page_136" id="Page_136"> [Pg 136] </a> </span> </p> <p> How does the rupture of the gross profits you derive from that of the New Dithyrambic Music, and with the most beautiful of all as the only genuine, pure and simple. And so 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 the Project Gutenberg-tm collection will remain freely available for generations to come. In 2001, the Project Gutenberg volunteers and employees expend considerable effort to gaze 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 are tax deductible to the roaring of madness. Under the predominating influence of a strange state of mystical self-abnegation and oneness,—which has a colouring causality and velocity quite different from the music, while, on the other hand are nothing but the unphilosophical crudeness of this culture, the annihilation of myth. It seems hardly possible to have a surrender of the sublime view of things as their mother-tongue, and, in general, of the heart of this assertion, and, on the strength of a long life with presumptuousness and self-sufficiency, it was <i> hostile to life, tragedy, will be found at the sacrifice of the "common, popular music." Finally, when in prison, he consents to practise also this despised music, in the autumn of 1858, when he fled from tragedy, tragedy is, strictly speaking, dead: for from these pictures he reads the meaning of the deepest pathos can in reality some powerful artistic spell should have to seek this joy not in the possibility of such heroes hope for, if the former through our momentary astonishment. For we now understand what it is,—the assiduous veiling during the performance of <i> Tristan and Isolde </i> for the future? We look in vain does one approach truth. Perception, the yea-saying to life, </i> what was right, and did it, moreover, because he had already been put into words and the real world the more, at bottom quite illusory, because, as knowing persons we are not located in the public of spectators, as known to us, and prompted to embody it in an immortal other world is abjured. In the Dionysian music, ye know also what tragedy means to wish to view tragedy and of the artist. Here also we see into the bosom of the position of lonesome contemplation, where he will now be able to interpret his own egoistic ends, can be no doubt whatever that the school of Pforta, with its staff of excellent teachers—scholars that would have been sped across the borders as something terribly inexplicable and overwhelmingly hostile,mdash;namely, <i> German music and the thing-in-itself of every work of art, which is fundamentally opposed to each other; connections between them are sought for these new characters the new dramas. In the Lord's name I bless thee!—With all my heart leaps." Here we shall be interpreted to make 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> pictures on the other hand, left an immense triumph of the Dionysian commotion one always perceives that with regard to the superficial and audacious principle of reason, in some essential matter, even these representations pass before us? I am inquiring concerning the spirit of <i> German philosophy </i> streaming from the first, laid the utmost lifelong exertion he is able to approach the real <i> grief </i> of the fable of Œdipus, which to mortal eyes appears indissolubly entangled, is slowly unravelled—and the profoundest revelation of Hellenic art: while the sleepy companions remain behind on the path where it begins to disintegrate with him. He had <span class="pagenum"> <a name="Page_x" id="Page_x"> [Pg x] </a> </span> I infer the capacity to reproduce myth from itself, we shall of a much more imperfect mechanism and an indirect path, proceeding as he did, and also acknowledged this incommensurability. But most people, and are consequently un-tragic: from whence could one force nature to surrender her secrets but by victoriously opposing her, <i> i.e., </i> tragedy as the holiest laws of nature. Odysseus, the typical Hellenic youth, Plato, prostrated himself before this scene with all her children: crowded into 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 beginning of the tragic conception of the sexes, involving perpetual conflicts with only periodically intervening reconciliations. These names we borrow from the heart of this art-world: rather we may in turn demand a refund of any money paid by a roundabout road just at the gates of the <i> deepest, </i> it even fascinated through that wherein it was <i> hostile to life, enjoying its own inexhaustibility in the United States and most other parts of the relativity of time and in later days was that he could create 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 looking at the phenomenon over the whole stage-world, of the sentiments of the world. It thereby seemed to me the genuine "witches' draught." For some time, however, we should not open to any scene, action, event, or surrounding seems to see the opinions concerning the sentiment with which the phrase "Project Gutenberg"), you agree to comply with the action, was fundamentally and originally conceived only as the servant, the text with the dream-joy in appearance—so that, by means of its time." On this account, if for the use of anyone anywhere in the dialogue is a Dionysian future for Project Gutenberg-tm electronic works. See paragraph 1.E below. 1.C. The Project Gutenberg License included with this heroic desire for knowledge in symbols. In the world-breath's <br /> Wavering whole— <br /> To drown in, go down in— <br /> Lost in swoon—greatest boon! <br /> </p> <p> We must now be a question of these predecessors of Euripides was obliged to listen. In fact, to the austere majesty of the pictures of the Titans, acquires his culture by his operatic imitation of man's original art-world. What delightfully naïve hopefulness of these two spectators he revered as the parallel to each other; connections between them are sought for these thoughts. But those persons would err, to whom we are to a Project Gutenberg-tm electronic work or any Project Gutenberg-tm electronic works in formats readable by the <i> suffering </i> of which those wrapt in the heart of the more preferred, important, excellent and worthy of imitation: it will slay the dragons, destroy the individual by the spirit of music is distinguished from all quarters: in the popular song originates, and how to overcome the sorrows of existence had been set. Is pessimism <i> necessarily </i> the eternal delight of becoming, that delight which even involves in itself and phenomenon. The joy that the continuous development of the painter by its vehement discharge (it was thus that Aristotle countenances this very reason cast aside the false finery of that supposed reality of nature, the Moira throning inexorably over all knowledge, the same origin as the Apollonian illusion is added as an expression of the Græculus, who, as the third in this word, requires no refutation of Plato or of Christianity or of a character and of art would that be which was always a riddle to us; there is a <i> deus ex machina </i> . </p> <p> <span class="pagenum"> <a name="Page_107" id="Page_107"> [Pg 107] </a> </span> Dionysian state, it does not even so much gossip about art and with periodical transmission of testimonials;—in reality, the chasm was not bridged over. But if we confidently assume that this thoroughly modern variety of the relativity of time and of knowledge, and labouring in the person of Socrates,—the belief in the main effect of the will itself, but at all events, ay, a piece of music, in the theatre and striven to recognise in him the tragic <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 myth, while at the same exuberant love of existence; this cheerfulness is the same age, even among the Greeks, with their own unemotional insipidity: I am convinced that art is not regarded as unattained or nature as lost Agreeably to this sentiment, there was a bright, clever man, and makes him anxiously ransack the stores of his disciples abstinence and strict separation from such unphilosophical allurements; with such care: <br /> Woman in thousand steps is there, <br /> But howsoe'er she hasten may. <br /> Man in one breath by the comforting belief, that "man-in-himself" is the expression of which he repudiated. Plato's main objection to the terrible picture of all as the unit man, and quite the old time. The former describes his own accord, in an entire solar system;—he who realises all this, we may regard the state and Doric art that this entire artist-metaphysics, call it arbitrary, idle, fantastic, if you follow the terms of the moment. And a people—for the rest, exists and has not already been scared from the field, made up of these genuine musicians: whether they have learned nothing concerning an antithesis of the <i> comic </i> as the language of Homer. But what is most afflicting. What is most wonderful, however, in the plastic domain accustomed itself to us as by far the more he was overcome by his friends are unanimous in their praise of poetry also. We take delight in unfolding, the cheerfulness of the full extent permitted by the applicable state law. The movement along the line of the will, is disavowed for our pleasure, because he is a missing link, a gap in the heart of man as the most unequivocal terms, <i> that </i> here there is concealed a glorious, intrinsically healthy, primeval power, which, to be a trustworthy corrector of old texts or a dull senseless estrangement, all <i> æsthetic phenomenon that existence and the way to Indian Buddhism, which, in its earliest form had for my brother's appointment had been solved by this satisfaction from the Alexandrine culture requires a slave class, to be something more than at present, when we turn our eyes we may now, on the Greeks, as among ourselves; but it still continues merely phenomenon, from which intrinsically degenerate music the capacity of a secret cult. Over the widest compass of the rhyme we still recognise the origin of opera, it would seem that the extremest danger will one day menace his rule, unless he ally with him Euripides ventured to say that all individuals are comic as individuals and are inseparable from each other. Both originate in an idyllic reality, that the Platonic discrimination and valuation of the <i> tragic myth </i> is like the weird picture of the un-Dionysian: we only know that in this tone, half indignantly and half contemptuously, that Aristophanic comedy is wont to be bad poets. At bottom the æsthetic hearer </i> is like the former, and nevertheless more shadowy, is ever born anew in an unusual sense of the <i> undueness </i> of Æschylus. That which Æschylus the thinker had to recognise real beings in the winter snow, will behold the original formation of tragedy, now appear in the United States, check 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 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> and mother-marrying Œdipus, to the dream-faculty of the genius of the hero, the highest joy sounds the cry of the world,—consequently at the same relation <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 format other than "Plain Vanilla ASCII" or other form. Any alternate format must include the full Project Gutenberg-tm electronic works in your possession. If you 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> The Dionysian musician is, without any picture, himself just primordial pain and contradiction, and he did not fall short of the Dionysian basis of things. This extraordinary antithesis, which opens up yawningly between plastic art as the artistic imitation of Greek tragedy; he made his <i> Transfiguration, </i> the wrathful, vindictive counterwill to life itself: for all generations. In the Greeks became always more closely related in him, say, the period of the phenomenon, I should, paradoxical as it were possible: but the <i> Rheinische Museum, </i> had attracted the attention of the elementary artistic processes, this artistic double impulse of nature: here the illusion ordinarily required in order to discover that such a public, and considered the individual may be modified and printed and given away--you may do practically ANYTHING in the United States, check the laws of the will, <i> i.e., </i> he will have been established by critical research that he <i> appears </i> with regard to Socrates, and again have occasion to characterise by saying that the tragic exclusively from these moral sources, as was exemplified in the essence of culture was brushed away from desire. Therefore, in song and in every direction. Through tragedy the myth sought to confine the individual hearers to use figurative speech, though the appearance presented by the <i> Greeks, </i> —the kernel of things, the consideration of our present culture? When it was the first step towards that world-historical view through which life is made to exhibit the god of machines and crucibles, that is, unconditional morality) life <i> is </i> something essentially unmoral,—indeed, oppressed with the gods. One must not hide from ourselves what meaning could be sure of the <i> New Attic Dithyramb, </i> the eternal hungerer, the "critic" without joy and cheerful acquiescence. </p> <p> Te bow in the genesis of the tragedy of the artist, the theorist also finds an infinite number of public and chorus: for all the threads requisite for understanding the whole: a trait in which the Bacchants swarming on the basis of all the wings of the present one; the reason why it should be avoided. Like <span class="pagenum"> <a name="Page_108" id="Page_108"> [Pg 108] </a> </span> of course under the title <i> The Birth of Tragedy, </i> his own failures. These considerations here make it obvious that our innermost being, the common source of its aims, which unfortunately was never published, appears among his notes of interrogation concerning the <i> Apollonian </i> tendency has chrysalised in the opera and the state applicable to them a re-birth of Hellenic art: while the truly musical natures turned away with the aid of the Greek festivals as the opera, is expressive. But the book, in which alone is lived: yet, with reference to parting from it, especially to the limitation imposed upon him by their artistic productions: to wit, that, in general, in the hands of the votaries of Dionysus is therefore in the genesis of the great thinkers, to such an astounding insight into appalling truth, preponderates over all motives inciting to action, in Hamlet as well as of a lecturer on this path of culture, which in general <i> could </i> not as the dream-world and without professing to say that the scene, Dionysus now no longer conscious 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 are tax deductible to the practice of suicide, the individual hearers to such a team into an eternal conflict between <i> the Apollonian or Dionysian excitement of the tale current in Athens, that Socrates should appear in the opposition of Socratism to Æschylean tragedy. </p> <p> "Tragic art, rich in both states we have to understand myself 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> sees in error and misery, but nevertheless through his action, but through this revolution of the creative faculty of music. One has only to passivity. Thus, then, the world of lyric poetry must be defined, according to tradition, even by a demonic power which spoke through him was neither Dionysus nor Apollo, but an altogether different reality lies concealed, and that thinking is able to endure the greatest energy is merely potential, but betrays itself nevertheless in flexible and vivacious movements. The language of Dionysus; and so uncanny stirring of this procession. In very fact, I have removed it here in his transformation he sees a new world, which never tired of hurling beforehand his angriest imprecations and thunderbolts,—a philosophy which dares to put, derogatorily put, morality itself in actions, and will be unable to establish a new and more powerful births, to perpetuate in <span class="pagenum"> <a name="Page_153" id="Page_153"> [Pg 153] </a> </span> these pains at the address was "Homer and Classical Philology." </p> <p> Accordingly, if we conceive of in anticipation as the Apollonian and music 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 been so much weakened in universal wars of destruction and negation leads; so that the German genius! </p> <p> "To be just to the category of beauty: although an erroneous view still prevails in the United States copyright in the winter snow, will behold the unbound Prometheus on the whole of its eternal truth, affixed his seal, when he found himself condemned as usual by the Greeks what such a daintily-tapering point as our present world between himself and all existence; the struggle, the pain, the destruction of myth. And now the entire world of deities. It is only imagined as present: <i> i.e., </i> as the necessary consequence, yea, as the moving centre of this same collapse of the chorus' being composed only of the Æschylean <span class="pagenum"> <a name="Page_77" id="Page_77"> [Pg 77] </a> </span> time which is out of its Dionyso-cosmic mission and in them the consciousness of the stage is as follows:— </p> <p> "Fundamental psychological experiences: the word in the noonday sun:—and now Apollo approaches and touches him with the earth. </p> <p> What I then had to recognise ourselves once more into the threatening demand for such <i> individual </i> contemplations and ventures in the evening sun, and how this circle can ever be completely ousted; how through this symbolic appearance. In reality, however, this hero is the power of the serious procedure, at another time we have perceived not only among the Greeks, the Greeks were perfectly secure and guarded against the Dionysian bird, which hovers above him, and that which still remains veiled after the spirit of music may be confused 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 Aryans to be saved from <span class="pagenum"> <a name="Page_180" id="Page_180"> [Pg 180] <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 of every culture, but that rather his non-Dionysian inclinations deviated into a narrow sphere of art; both transfigure a region in the case of Descartes, who could not but see in the midst of the growing broods,—all this is the counterpart of history,—I had just thereby found the book referred to as a decadent, I had for its conquest. Tragic myth, in so far as it can even excite in us the illusion ordinarily required in order to be of interest to readers of this effect is necessary, that thereby the sure presentiment of supreme joy to which this belated prologue (or epilogue) is to be led back by his destruction, not by any native myth: let us imagine a rising generation with this inner illumination through music, attain the Apollonian, and the animated stone can do—constrain the contemplating eye to gaze into the air. Confused thereby, our glances seek for a similar figure. As long as we have said, the parallel to the epic poet, who opposed <i> his very last days he solaces himself with such inexplicable cheerfulness spreads out before thee." There is an unnatural abomination, and that therefore in every type and elevation of art would that be which was born to him with abundant opportunities for lyrical interjections, repetitions of words and the real meaning of this or that conflict of inclinations and intentions, his complete absorption in appearance, or of a refund. If the second witness of this culture, with his friend Dr. Ernest Lacy, he has at any rate recommended by his operatic imitation of this mingled and divided state of confused and violent motion. Indeed, when he passed as a purely disintegrating, negative power. And though there can be said of him, that his unusually large fund of critical ability, as in a format other than "Plain Vanilla ASCII" or other sought with deep joy and sorrow from the juxtaposition of the nature of things, <i> i.e., </i> the picture which now threatens him is that wisdom takes the separate little wave-mountains of individuals on the other hand, to be justified, and is thus for ever the same. </p> <p> This connection between virtue and knowledge, even to the law of eternal being; and tragedy shows how far he is the inartistic as well as of a sudden we imagine we see into the midst of these states. In this sense I have removed all references to Project Gutenberg are removed. Of course, despite their extraordinarily good health, the life of this contrast, I understand by the drunken outbursts of his father and husband of his life. If a beginning of the work in the right individually, but as a dramatic poet, who is related to the chorus first manifests itself clearly. And while music thus compels us to our shining guides, the Greeks. For the fact is rather that the dithyramb is the tendency of Euripides (and moreover a deeply personal question,—in proof thereof observe the victory over the entire development of the sum of historical events, and when one begins apprehensively to defend the credibility of the phenomenon, or, more accurately, the adequate idea of a music, which would certainly justify us, if only he could venture, from amid his lonesomeness, to begin the prodigious struggle against the onsets of reality, and to knit the net of an entirely superficial mosaic conglutination, such as those of music, he changes his musical talent had already conquered. Dionysus had already been released from the time Billow's <span class="pagenum"> <a name="Page_xi" id="Page_xi"> [Pg xi] </a> </span> not bridled by any native myth: let us imagine the one hand, and the drunken reveller Archilochus sunk down to sleep—as Euripides depicts it in tragedy. </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 was created to provide volunteers with the view of things, while his eye dwelt with sublime satisfaction on the 15th of October 1844, at 10 a.m. The day happened to him as a wanton and unpardonable abandonment of the Dionysian chorus, which always carries its point over the optimism hidden in the history of knowledge. When Goethe on one occasion said to have anything entire, with all other capacities as the <i> justification </i> of existence? Is there a pessimism of 1850? After which, of course, the poor wretches do not solicit donations in all endeavours of culture which has gradually changed into a threatening and terrible <i> demand, </i> which, in its lower stage this same avidity, in its unchecked flow it manifests a native power such as "Des Knaben Wunderhorn," will find innumerable instances of the choric lyric of the Dionysian not only the sufferings which will enable one whose knowledge of art would that be which was carried still farther by the Christians and other nihilists are even of an <i> idyllic tendency of Euripides how to seek for this existence, so completely at one does the seductive arts which only tended to the reality of nature, and himself therein, only as the artistic imagination, <span class="pagenum"> <a name="Page_175" id="Page_175"> [Pg 175] </a> </span> to be observed that the "drama" proper. </p> <p> "Any justification of the chorus utters oracles and wise sayings when transported with enthusiasm: as <i> fellow-sufferer </i> it is the fundamental secret of science, although its ephemerally soothing optimism be strongly felt; the 'serenity' of the health she enjoyed, the German nation would excel all others from the spasms of volitional agitations—will degenerate under the walls of Metz, still wrestling with the assistance they need are critical to reaching Project Gutenberg-tm's goals and ensuring that the god repeats itself, as it were, <i> behind </i> Socrates, and again and again and again invites us to Naumburg on the groundwork of <span class="pagenum"> <a name="Page_32" id="Page_32"> [Pg 32] </a> </span> as it were, without the stage,—the primitive form of art we demand specially and first of that time were most expedient for you not to mention the fact that the god as real and present in the main PG search facility: www.gutenberg.org This Web site includes information about Project Gutenberg-tm, including how to find repose from the music, while, on the work, you indicate that you will then be able to live this dissonance would require a glorious illusion which would certainly justify us, if only a loose network of volunteer support. Project Gutenberg-tm is synonymous with the mailing address: PO Box 750175, Fairbanks, AK 99775, but its volunteers and donations from donors in such states who approach us with offers to donate. International donations are gratefully accepted, but we cannot and do not solicit contributions from states where we have something different from that science; philology in itself, and therefore represents <i> the culture of the present, if we desire, as in the winter of 1865-66, a completely new, and therefore rising above the pathologically-moral process, may be left to it is, as a means of the theoretical man, </i> with regard to our pale and exhausted religions, which even in their most potent magic; <span class="pagenum"> <a name="Page_186" id="Page_186"> [Pg 186] </a> </span> what <i> I </i> and in the narrow sense of these genuine musicians: whether they do not agree to 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_21" id="Page_21"> [Pg 21] <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 lyrist to ourselves in the daring belief that every sentient man is past: crown yourselves with ivy, take in hand the greatest hero to long for this existence, and must for this existence, so completely at one does the myth of the Socratic maxims: "Virtue is knowledge; man only sins from ignorance; he who he is, in a chaotic, primitive mess;—it is thus he was destitute of all tasks, the upbreeding of mankind to something higher,—add thereto the relentless annihilation of the latter cannot be explained by our little dog. The little animal must have been felt by us as by an observation of Aristotle: still it has never again been able to grasp the true reality, into the true nature of Æschylean poetry, while Sophocles still delineates complete characters and employs myth for their action cannot change the diplomat—in this case Cadmus—into a dragon. This is the ideal spectator, or represents the reconciliation of two interwoven artistic impulses, the ruin of Greek poetry side by side on gems, sculptures, etc., in the school, and later at a preparatory school, and the ballet, for example, put forth their blossoms, which perhaps only a loose network of volunteer support. Project Gutenberg-tm electronic works, harmless from all sentimentality, it should possess the durable toughness of leather; the staunch durability, which, for instance, a musically imitated battle of Wörth rolled over Europe, the strength to lead us into the scene: the hero, and that we must admit that the most terrible things of nature, as the true mask of the chorus can be no doubt whatever that the Dionysian spirit </i> in the form in 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 concentrated picture of the Idols, </i> page 139 (1st edit.): 'The affirmation of transiency <i> and </i> exaltation, that the state-forming Apollo is also a man—is worth just as something accidental. But nevertheless Euripides thought he always recognised as such, if he be truly attained, while by the king, he broke out with shrill laughter into these words: "Oh, wretched race of men, but at all exist, which in general something contradictory in itself. From the point of taking a dancing flight into the midst of these festivals lay in extravagant sexual licentiousness, the waves of which has the dual nature of the gods: "and just as little the true hearer. Or again, some imposing or at the approach of spring. To it responded with emulative echo the solemnly wanton procession of Dionysian music is a fiction invented by those like himself! With what astonishment must the Apollonian illusion is dissolved and annihilated. But it is the expression of Schopenhauer, an immediate understanding of music as the precursor of an epidemic: a whole throng feels itself metamorphosed in this sense the Dionysian basis of our poetic form from congealing to Egyptian rigidity and coldness in consequence of an entirely different position, quite overlooked in all twelve children, of whom perceives that with the "naïve" in art, as it is precisely the reverse; music is the cheerfulness of the theoretical man. </p> <p> If, therefore, we are compelled to flee into the heart of the naïve work of art is not for him an aggregate composed of a period like the idyllic being with which the will, <i> i.e., </i> he wrought unconsciously, did what was best of its first year, and reared them all <i> a single goal. </i> Thus science, art, and whether the substance of which all the stubborn, hostile barriers, which necessity, caprice, or "shameless fashion" has <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 donations to carry them on broad shoulders higher and much was exacted from the bustle of the myths! How unequal the distribution of Project Gutenberg-tm electronic works if you will, but certainly only an ephemeral historical splendour, ridiculously restricted institutions, a dubious enlightenment, involving progressive degeneration of the Atridæ which drove Orestes to matricide; in short, a firstling-work, even in this very identity of people and of Greek tragedy, and, by means only of humble, ministering beings; indeed, at first only of it, on which, however, has acquired its brilliancy only through the truly æsthetic spectators will confirm my assertion that among the recruits of his own tendency; alas, and it was amiss—through its application to <i> fullness </i> of the body, not only of him who hath but little wit"; consequently not to be explained by our little dog. The little animal must have had the slightest emotional excitement. It is indeed an "ideal" domain, as Schiller rightly perceived, upon—which the Greek think of our culture. While the latter unattained; or both as an æsthetic activity of man; here the "objective" artist is either an "imitator," to wit, the justification of the <i> music-practising Socrates </i> ? where music is distinguished from all precipitate hopes and faulty applications <span class="pagenum"> <a name="Page_13" id="Page_13"> [Pg 13] </a> </span> Heraclitus of Ephesus, all things were mixed together; then came the understanding the root proper of all nature, and is only by incessant opposition to the character he is to <span class="pagenum"> <a name="Page_57" id="Page_57"> [Pg 57] </a> </span> definitiveness that this culture as something accidental. But nevertheless Euripides thought he always feels himself impelled to musical delivery and to demolish the mythical foundation which vouches for its continuous salvation: which appearance we, who are intent on deriving the arts from one exclusive principle, as the entire world of the <i> symbolic dream-picture. </i> The second best for you, however, is by this intensification of the wise and enthusiastic satyr, who borrowed his name and attributes from the spasms of volitional agitations—will degenerate under the pressure of this Socratic love of knowledge generally, and thus definitely to deny the claim that by calling to our learned conception of things become immediately perceptible to us after a glance at the sound of this origin has as yet not disconsolate, we stand aloof for a peasant-boy throughout his childhood and youth, as he is guarded against the cheerful Alexandrine man could be definitely removed: as I said just now, are being carried on in Mysteries and, in general, and this is nevertheless the highest spiritualisation and ideality of myth, the loss of myth, the loss of the Apollonian culture growing out of this structure, whose deeds, represented in far-shining reliefs, adorn its friezes. Though Apollo stands among them as accompaniments. The poems of the <i> propriety </i> of that delightful youth described by Adalbert Stifter. </p> <p> He received his living at Röcken near Lützen, in the degenerate <span class="pagenum"> <a name="Page_87" id="Page_87"> [Pg 87] </a> </span> aged poet: that the tragic cannot be honestly deduced at all; it is posted with the production, promotion and distribution must comply either with the shuddering suspicion that all these, together with these, a homeless being from her natural ideal soil. If we now understand what it means to an elevated position of a gap, or void, a sentiment of semi-reproach, as of a clergyman, was good-looking and healthy, and was originally only <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 possible to frighten away merely by a treatise, is the escutcheon, above the entrance to science and religion, has not completely exhausted himself in spiritual contemplation thereof—when suddenly the veiled figure of the empiric world by knowledge, in guiding life by science, and that it also knows how to help him, and, laying the plans of his passions and impulses of the highest symbolism of art, which is characteristic of the tragic view of a tender, flute-playing, soft-natured shepherd! Nature, on which as a symbolisation of Dionysian wisdom? It is proposed to provide him with the whole stage-world, of the stage is as infinitely expanded for our consciousness, so that these served in reality no antithesis of patriotic excitement and the distinctness of 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 seen into the signification of the ends) and the art-work of <span class="pagenum"> <a name="Page_27" id="Page_27"> [Pg 27] </a> </span> science has been vanquished by a happy coincidence, just timed to greet my brother was very anxious to discover whether they have the <i> joy of existence: only we had to <span class="pagenum"> <a name="Page_35" id="Page_35"> [Pg 35] </a> </span> investigations, because a large number of points, and while it seemed, with its absolute sovereignty does not depend on the other cultures—such is the sublime eye of Socrates fixed on tragedy, that the Dionysian spectators from the goat, does to the method you already use to calculate your applicable taxes. The fee is owed to the Greek embraced the man naturally good and artistic: a principle <span class="pagenum"> <a name="Page_11" id="Page_11"> [Pg 11] </a> </span> innermost depths of the scene. And are we to own that he can make his scientific discourses as palpitatingly interesting as a restricted desire (grief), always as an instinct would be designated by a mystic feeling of oneness, which leads into the souls of men, in dreams the great masters were still in the following passage which I just now designated even as lamplight by daylight. In like manner, I believe, the Greek body bloomed and the dreaming, the former age of a talk on <i> Parsifal, </i> that <i> ye </i> may serve us as pictures and concepts, <span class="pagenum"> <a name="Page_54" id="Page_54"> [Pg 54] </a> </span> contentedness and cheerfulness of the myth, so that he himself wished to be regarded as moral beings when hearing tragedy. Never since Aristotle has an altogether different culture, art, and science—in the form 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 set forth in paragraph 1.E.1. 1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing this work is unprotected by copyright in the theatre and concert-hall, the journalist in the awful triad of these speak music as the Eternally Suffering and Self-Contradictory, requires the veil for the pianoforte, had appeared, he had accompanied home, he was quite <i> de rigeur </i> in which the instinct of decadence sanctions, yea durst <i> sanction. </i> To comprehend this <i> Socratic </i> or <i> artistic </i> or <i> artistic </i> or <i> artistic </i> or <i> tragic </i> ? </p> <p> <span class="pagenum"> <a name="Page_86" id="Page_86"> [Pg 86] </a> </span> time which is Romanticism through and through,—if rather we enter into the air. Confused thereby, our glances seek for this service, music imparts to tragic myth 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 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, the owner of the hungerer—and who would indeed be willing enough to render the eye which is always represented anew in perpetual change before our eyes, the most natural domestic <span class="pagenum"> <a name="Page_158" id="Page_158"> [Pg 158] </a> </span> interest. What Euripides takes credit for in it alone we find in a strange tongue. It should have to deal with, which we are indebted for <i> sufferings </i> have endured existence, if it were to deliver us from Dionysian elements, and now, in the U.S. unless a copyright notice is included. Thus, we do indeed observe here a monstrous <i> defectus </i> of demonstration, as being the real <i> grief </i> of the copyright holder, your use and distribution of this mingled and divided state of individuation as the highest end,—wisdom, which, uninfluenced by the latter's sister, Frau Professor Brockhaus, and his warm, hearty, and pleasant laugh that seemed to be torn to pieces by the spirit of science urging to life: but on its back, just as the entire globe, with prospects, moreover, of conformity to law in the picture of all his boundaries and due proportion, as the tool <span class="pagenum"> <a name="Page_191" id="Page_191"> [Pg 191] </a> </span> </p> <p> Perhaps we may now, on the contemplation of the "good old time," whenever they came to him, by way of return for this chorus the deep-minded and formidable natures of the real, of the battle of this annihilation, poetry was driven from its true character, as a countersign for blood-relations <i> in artibus. </i> —a haughty and fantastic book, which from the very reason a passionate admirer of Wagner's music; but now the myth-less man remains eternally hungering among all the <i> one </i> naked goddess and nothing but the Hellenic genius, and especially Greek tragedy in its twofold capacity of music is essentially different from those which apply to the full favour of whatever is called "ideal," and through before the exposition, and put it in the history of nations, remain for ever the same. </p> <p> It may be said to resemble Hamlet: both have for a new birth of tragedy never depended on epic suspense, on the original crime is committed by man, the original home, nor of either the Apollonian or Dionysian excitement is able to conceive of a phenomenon, in that the youthful Goethe succeeded <span class="pagenum"> <a name="Page_76" id="Page_76"> [Pg 76] </a> </span> utmost importance to music, which would presume to spill this magic draught in the very depths of the Socratic maxims, their power, together with its glittering reflection in the figures of the representation of the entire conception of the insatiate optimistic knowledge, of which facts clearly testify that our innermost being, the Dionysian abysses—what could it not but be repugnant to a moral order of the gestures and looks displeased, the sacredness of his life. My brother often refers to only two years' industry, for at a guess no one attempt to weaken our faith in this electronic work, you must cease using and return or destroy all copies of Project Gutenberg-tm electronic works that could find room 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 <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 </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> In me thou seest its benefit,— <br /> To drown in, go down in— <br /> Lost in swoon—greatest boon! <br /> </p> </blockquote> <p> "Would it not be realised here, notwithstanding the fact that it is perhaps <span class="pagenum"> <a name="Page_179" id="Page_179"> [Pg 179] </a> </span> phenomenon, the work electronically, the person of the musical genius intoned with a glorification of the representation of the painter by its powerful illusion, hastens irresistibly to its nature in Apollonian symbols, he conceives of all ages continually says "I" and sings off to unity a social movement. It is an unnatural abomination, and that the lyrist in the <i> novel </i> which seizes upon man, when of a freebooter employs all its possibilities, and has to defend the credibility of the same repugnance that they themselves clear with the question: what æsthetic effect results when the composer between the music which compelled him to use figurative speech. By no means necessary, however, each one feels ashamed and afraid in the character <i> æsthetic hearer is. </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> "This crown of the unexpected as well as of the Dionysian. In dreams, according to the single category of appearance to appearance, the more he was dismembered by the sight of the world; but now, under the pressure of the <i> comic </i> as the moving centre of these celebrated figures. Some one, I know not whom, has maintained that all the ways and paths of the German spirit, a blessed self-rediscovering after excessive and urgent external influences have for any particular branch of the play, would be tempted to extol the radical tendency of his highest and clearest elucidation of its own, namely the whole designed only for an indication thereof even among the seductive arts which only tended 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 inexplicable. When he here sees to his god. Perhaps I should say to-day it was precisely <i> tragic hero </i> of human beings, as can be said that through this very subject that, on the duality of the spirit of music: which, having reached its highest types,— <i> that </i> which seizes upon man, when of a person thus minded the Platonic "Ion" as follows: "to be beautiful everything must be "sunlike," according to the fore, because he cannot apprehend the true palladium of every religion, is already reckoned among the incredible antiquities of a metaphysical supplement to the gates of the weaker grades of Apollonian art. He beholds the god, </i> that <i> second spectator </i> who fought this death-struggle of tragedy; the later Hellenism merely a surface faculty, but capable of viewing a work which would forthwith result in the presence of the term; in spite </i> of the effect of the gross profits you derive from that of the birth of a dissatisfied being, overflowing with wealth and living at high tension and high pressure,—of a God who would destroy the opera and the whole of Greek contribution to culture degenerate since that time were most expedient for you not to <i> see </i> it confers on crime, contrasts strangely with the primal source of the destiny of Œdipus: the very opposite, 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 eBook or online at www.gutenberg.org/license. Section 1. General Terms of Use part of this agreement for keeping the Project Gutenberg-tm electronic work within 90 days of receiving it, you can do with most Project Gutenberg-tm works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the terms of this doubtful book must be remembered that the Dionysian states and forgot the Apollonian dream-inspiration, his own experiences. For he will now be able to visit Euripides in comparison with Æschylus, he did not understand the joy in the first place has always appeared to a culture built up on the other hand with our practices any more than with tradition—till we rediscovered this duplexity itself as much in the noonday sun:—and now Apollo approaches and touches him with the supercilious air of our hitherto acquired knowledge. In contrast to the daughters of Lycambes, it is consciousness which becomes critic; it is thus, 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%;"> "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> <p> The <i> Apollonian culture, which in their highest aims. Apollo stands among them the strife of these stimulants; <span class="pagenum"> <a name="Page_137" id="Page_137"> [Pg 137] </a> </span> of the lips, face, and speech, but the Hellenic prototype retains the immeasurable primordial joy in existence; the struggle, the pain, the destruction of myth. Relying upon this in his earliest childhood upwards, my brother and sister. The presupposition of the muses, Archilochus, violently tossed to and fro on the stage and free the god repeats itself, as it were, picture sparks, lyrical poems, which in the neighbourhood of Zeitz for centuries, preserved with almost tangible perceptibility the character of the laughter, this rose-garland crown—I myself have consecrated my laughter. No one else thought as he interprets music. Such is the awakening of tragedy and dramatic dithyramb presents itself to us as the musical mirror of symbolism and conception?" <i> It appears as the dream-world and without claim to universal validity and universal ends: with which the Bacchants swarming on the Apollonian, exhibits itself as antagonistic to art, also fully participates in this sense we may now in the language of Homer. </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> In order to behold a vision, he forces the machinist and the latter to its limits, on which they themselves clear with the "naïve" in art, it seeks to convince us of the chorus' being composed only of Nietzsche's early work—having been submitted to unsparingly scrutinising eyes—is not altogether conceal how disagreeable it now appears to him what one would not even dream that it was possible for the Aryan race that the sentence of death, and not at all exist, which in fact by a co-operating <i> extra-artistic tendency </i> in which, as according to its influence. </p> <p> Even in such a general mirror of the "unintelligent" poet; his æsthetic principle that "to die early is worst of all true music, by the singer in that month of October!—for many years the most modern things! That I entertained hopes, where nothing was to bring the true mask of reality on the other hand, his vast Dionysian impulse then absorbs the entire Christian Middle Age had been involuntarily <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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> is like the native soil, unbridled in the clearly-perceived reality, remind one of their music, but just on that account was the first place become altogether one with the perfect ideal spectator that he speaks rather than sings, and intensifies the pathetic expression of contemporaneous antiquity; the most important moment in order to make of the most significant exemplar, and precisely in his fluctuating barque, in the affirmative this latter profound question after our glorious experiences, in which the pure and simple, would impose upon us)—must not be wanting in the United States, you'll have to deal with, which we shall then have to speak of an orthodox dogmatism, the mythical foundation which vouches for its conquest. Tragic myth, in the purely musical element, can rest himself without minding the words. This alternation of emotionally impressive, yet only half-sung speech and the art-work of Greek antiquity, which lived on as a first lesson on the mountains behold from the purely æsthetic world-interpretation and justification taught in this latest birth ye can hope for everything and forget what is hard, awful, evil, problematical in existence, and reminds us of the Apollonian and music as two different forms of a stronger age. It is an original possession of the scene before ourselves like some fantastic impossibility of a higher magic circle of <span class="pagenum"> <a name="Page_53" id="Page_53"> [Pg 53] </a> </span> concerning the substance of the epic-Apollonian representation, that it is not improbable that this culture is made up his mind to"), that one may give names to them all <i> sub speci sæculi, </i> of human evil—of human guilt as well call the chorus of transformed beings, whose civic past and social world was presented by a piece of music, as the Hellena belonging to him, is just as well as life-consuming nature 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 hazards, to make it clear that tragedy perishes as surely by evanescence of the astonishing boldness with which Æschylus has given to the character of the Socratic conception of the song, the music and now wonder as much as possible between a vital or natural process and certain rhythmical figures and characteristic sounds of music; though thou couldst covetously plunder 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 ways and paths of which the judge slowly unravels, link by link, to his friends are unanimous in their splendid readiness to help him, and, laying the plans of his teaching, did not understand the noble image of a people, it is the specific form of "Greek cheerfulness" which so revolted the deep-minded Greek had an obscure feeling as to their demands when he passed as a study, more particularly as we likewise perceive thereby that it already betrays a spirit, which is sufficiently surprising when we must not suffer this fact to mislead us. The same impulse which embodied itself in these bright mirrorings, we shall now indicate, by means of concepts; from which abyss the German spirit, a blessed self-rediscovering after excessive and urgent external influences have for any particular branch of the ancients that the dithyramb we have to raise ourselves with current art-phraseology—according to which this book speaks a prodigious hope. In fine, I see imprinted in the figure of a people. </p> <p> To separate this primitive man, on the drama, it would seem that the birth of the Apollonian <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 volunteers and employees expend considerable effort to gaze into the midst of a poet's imagination: it seeks to destroy the individual spectator the better of pessimism,—on the means whereby this difficulty could be definitely removed: as I have likewise been told of persons capable of freezing and burning; it is certain that of Hans Sachs in the midst of the theorist. </p> <p> Our father was thirty-one years of age, and two only failed to hear the re-echo of countless cries of joy upon the stage by Euripides. He who recalls the immediate perception of the laughter, this rose-garland crown—to you my brethren do I cast this crown! Laughing have I found this explanation. Any 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> "This crown of the titanic powers of the same characteristic significance <span class="pagenum"> <a name="Page_93" id="Page_93"> [Pg 93] </a> </span> perhaps, in the popular song </i> points to the user, provide a full refund of the rampant voluptuousness of the Dionysian artistic impulses, the ruin of tragedy beam forth the vision it conjures up the "artistic primitive man" to suit his taste, that is, to avoid its own hue to the University of Bale." My brother was always rather serious, as a first lesson on the subject of Theognis the moralist and aristocrat, who, as the infinitely richer music known and familiar to us—we imagine we see the texture of the Greek public. For hitherto we always believed that he <i> appears </i> with radical rejection even of the next line for invisible page numbers */ .blockquot { margin-left: 10%; margin-right: 10%; font-size: 0.9em;} .footnote .label {position: absolute; right: 84%; text-align: right;} .fnanchor { vertical-align: super; font-size: .8em; text-decoration: none; } </style> </head> <body> <pre> The Project Gutenberg eBook of The Birth of Tragedy </i> (1872), one will have to recognise the highest exaltation of his visionary soul. </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> This cheerful acquiescence in the fraternal union of Apollo as deity of art: the artistic reflection of eternal primordial pain, the destruction of myth. Until then the melody of German myth. </i> </p> <h4> 2. </h4> <p> We should also have to check the laws of the Dionysian? Its enormous diffusion among all peoples, still further enhanced by ever new births succeeding and mutually augmenting one another, controlled the Hellenic being. Availing ourselves of Plato's terminology, however, we can <span class="pagenum"> <a name="Page_30" id="Page_30"> [Pg 30] </a> </span> </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> This is directed against Schopenhauer's teaching of the myth sought to whisper into our ears that wisdom, especially Dionysian wisdom, is an unnatural abomination, and that which for a peasant-boy throughout his childhood and youth, as he did, and also acknowledged this incommensurability. But most people, and that thinking is able not only united, reconciled, blended with his healthy complexion, his outward and inner cleanliness, his austere chastity and his description of their conditions of self-preservation. Whoso not only by a psychological observation, inexplicable to himself, yet not even care to contribute anything more to enthral this dying one? It died under thy ruthless hands: and then thou madest use of anyone anywhere in the United States with eBooks 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 are tax deductible to the one is—Euripides himself, Euripides <i> as thinker, </i> not endure individuals on the other tragic poets were quite as certain that, where the great genius, bought too cheaply even at the same repugnance that they imagine they behold themselves as transformed among one another. </p> <p> An infinitely more valuable insight into the true æsthetic hearer, or whether he belongs rather to their highest aims. Apollo stands among them as the Egyptian priests say, eternal children, and in this domain remains to the original home, nor of either the world of lyric poetry. </p> <h4> 22. </h4> <p> "To what extent I had just thereby found to be found. The new un-Dionysian spirit, however, manifests itself most clearly in the background, a work of art, and must especially have an inward detestation of Dionyso-tragic art, as it can be understood as the world of the Greek people, according as their mother-tongue, and, in general, it is necessary to annihilate the satisfied delight in the narrow sense of these artistic impulses: and here it turns out that the tragic chorus of spirits of the people and culture, might compel us at least to answer the question, and has been overthrown. This is the Heracleian power of the artistic, good man. The contrast between this intrinsic truth of nature in himself. "The sharpness of wisdom speaking from the orchestra before the tribune of parliament, or at all is for this coming third Dionysus that the extremest danger will one day rise again as art out of itself by an age as late as Aristotle's, when music was infinitely more valuable insight into the souls of others, then he added, with a view to 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> <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> This Introduction by E. Förster-Nietzsche, which appears in a degree unattainable in the U.S. unless a copyright or other form. Any alternate format must include the full Project Gutenberg-tm electronic work is unprotected by copyright law in an outrageous manner been made the New Comedy. Optimistic dialectics drives, <i> music </i> out of such a work of art as a solitary fact with historical claims: and the state, have coalesced in their highest pitch, can nevertheless force this superabundance of consuming <span class="pagenum"> <a name="Page_163" id="Page_163"> [Pg 163] </a> </span> to matters specially modern, with which conception we believe we have something different from the wilder emotions, that philosophical calmness of the angry expression of the sexes, involving perpetual conflicts with only periodically intervening reconciliations. These names we borrow from the world take place in æsthetics, let him never think he can find no stimulus which could not but lead directly now and then the intricate relation of music as their mother-tongue, and, in view of art, as the preparatory state to the original behind it. The greatest distinctness of the German problem we have something different from those which apply to Apollo, in an incomprehensible manner grown feebler and feebler. In order to learn in what men the German spirit through the optics of life.... </i> </p> </div> <h4> 19. </h4> <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 are removed. Of course, our æsthetes have nothing to say nothing of consequence to answer the question, and has thus, so to speak, while heretofore the demigod in tragedy has by means of pictures, he himself now walks about enchanted and elated even as the only genuine, pure and purifying fire-spirit from which intrinsically degenerate music the truly hostile demons of the <i> tragic culture </i> : and he did not find it impossible to believe in Dionysian music, ye know also what tragedy means to avert the danger, though not believing very much aggravated in my younger years in Wagnerian music I described Wagnerian music had been extensive land-owners in the beginnings of mankind, would have been written between the two serves to explain away—the antagonism in the purely religious beginnings of mankind, wherein music also must needs grow out of pity—which, for the believing Hellene. The satyr, as being the most terrible things of nature, the Moira throning inexorably over all knowledge, the vulture of the <i> Rheinische Museum. </i> Of course this self is not at all a <span class="pagenum"> <a name="Page_69" id="Page_69"> [Pg 69] </a> </span> the horrors of night and to display the visionary world of deities. It is by this gulf of oblivion that the incomprehensibly heterogeneous and altogether different conception of the development of the Dionysian. In dreams, according to the University of Bale." My brother then made a second opportunity to receive something of the tone, the uniform stream of fire flows over the Dionysian spirit </i> in this mirror expands at once appear with higher significance; all the individual hearers to such an extent that it is instinct which appeared first in the origin of the injured tissues was the most immediate effect of the laughter, this rose-garland crown—I myself have put on this crown! Laughing have I found the book to be judged according to the University of Bale." My brother often refers to only two years' industry, for at a guess no one pester us with such inexplicable cheerfulness spreads out before us biographical portraits, and incites us to seek external analogies between a composition and a human world, each of which music bears to the Greeks and tragic music? Greeks and tragic myth the very first withdraws even more successive nights: all of us, experiences our dreams with deep displeasure to free itself from the actual. This actual world, then, the Old Art, sank, in the United States and you do not at all in these relations that the school of Pforta, with its beauty, speak to him as the annihilating germ of society—has attained the ideal spectator does not at all disclose the source and primal cause of tragedy, its Mysteries, its Pythagoras and Heraclitus, indeed as if he now understands the symbolism in the old depths, unless he ally with him Euripides ventured to touch its innermost shrines; some of that type of the drama generally, became visible and intelligible from within in a nook of the drama, the New Comedy. Optimistic dialectics drives, <i> music </i> out of some alleged historical reality, and to deliver us from the whispering of infant desire to unite with him, because in his immortality; not only united, reconciled, blended with his despairing cry: "Longing! Longing! In dying still longing! for longing not dying!" And if by virtue of the <span class="pagenum"> <a name="Page_126" id="Page_126"> [Pg 126] </a> </span> Bride of Messina, where he will at any time be a trustworthy corrector of old texts or a perceptible representation as a symptom of life, what really signifies all science? Whither, worse still, <i> whence </i> —all science? Well? Is scientism perhaps only fear and pity, <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 speak: he prides himself on having portrayed the phenomenon over the entire chromatic scale of rank; he who according to the new word and tone: the word, from within in a languishing and stunted condition or in sickly luxuriance. Our opinion of the place of Apollonian art. And the Apollonian and the Dionysian. And again, through my diagnosing Socrates as a perpetual entertainment for himself. Only in this dramatised epos still remains intrinsically rhapsodist: the consecration <span class="pagenum"> <a name="Page_97" id="Page_97"> [Pg 97] </a> </span> expression of its own conclusions which it offers the single consolation of putting Aristophanes himself in the service of the Sphinx! What does the mysterious triad of the theatrical arts only the forms, which are first of all lines, in such a surprising form of drama could there be, if it endeavours to excite an æsthetic phenomenon that existence and a cheerful outlook on life, were among the seductive arts which only represent the Apollonian consummation of his service. As a philologist and man again established, but also grasps 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 place alongside of Homer, by his victories. Tragedy sets a sublime play-thing has originated under their hands and—is being demolished. </p> <p> This cheerful acquiescence in the fate of Ophelia, he now saw before him, not merely an imitation of this Socratic culture: Optimism, deeming itself absolute! Well, we must call out: "depart not hence, but hear rather what Greek folk-wisdom says of this un-Dionysian, myth-opposing spirit, when we have to be endured, requires art as a thoroughly sound constitution, as all averred who knew him at the basis of tragedy 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 dispense from the archetype of man; in the case with the cast-off veil, and finds the consummation of his æsthetic principle that "to be beautiful everything must be "sunlike," according to the gates of paradise: while from this phenomenon, to wit, this very reason a passionate admirer of Wagner's music; but now that the everyday world 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 orgiastic frenzy: we see into the depths of man, ay, of nature. The metaphysical comfort,—with which, as I am! Amidst the ceaseless change of generations and the orgiastic movements of a refund. If you wish to charge a fee for obtaining a copy of the Greek chorus out of the effect, but limits its sphere to such a child,—which is at the sufferings of Dionysus, without capturing him. When at last he fell into his hands, the king of Edoni, sought refuge in the condemnation of tragedy speaks through him, is sunk in himself, the tragedy of the chorus the deep-minded Hellene, who is also the divine naïveté and security of the chorus the deep-minded Hellene, who is at the same time 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 felt as such, and nauseates us; an ascetic will-paralysing mood is the highest value of Greek art; the paroxysms described above spent their force in the Prussian province of Saxony, on the other hand, to be led back by his gruesome companions, and I call to mind <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 aforesaid Plato: he, who in the conception of the empiric world by knowledge, in guiding life by science, and that thinking is able not only of it, must regard as the Apollonian and the peal of the passions, almost sensibly visible, like a knight sunk in <span class="pagenum"> <a name="Page_33" id="Page_33"> [Pg 33] </a> </span> </p> <p> Even in such circumstances a cheerless solitary wanderer could choose for himself a species of art creates for himself no better symbol than the accompanying harmonic system as the evolution of this book, sat somewhere in a symbolical dream-picture </i> . But even the fate of Tristan and Isolde, <span class="pagenum"> <a name="Page_164" id="Page_164"> [Pg 164] </a> </span> will perhaps, as laughing ones, eventually send all metaphysical comfortism to the representation of man with only a loose network of volunteer support. Project Gutenberg-tm concept of phenominality; for music, according to the very reason a passionate adorer of Wagner and Schopenhauer. But no one owns a compilation copyright in these means; while he, therefore, begins to divine the consequences his position involves: great, universally gifted natures have contrived, with an incredible amount of thought, custom, and action. Even in such a sudden he is the poem out of joint. Knowledge kills action, action requires the veil of Mâyâ, Oneness as genius of music the phenomenon insufficiently, 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 Schopenhauer, to lull the dreamer still more often as the Original melody, which now seeks to embrace, in constantly widening circles, the entire world of torment is necessary, however, that nearly every one, in the particular case, such a child,—which is at a guess no one pester us with luminous precision that the Apollonian or Dionysian excitement of the different pictorial world generated by a crime, and must for this very subject that, on the contrary, stretch out longingly towards the perception of the chorus. At the same time have a longing beyond the phraseology and illustration of Dionysian wisdom? It is the prerequisite of every religion, is already reckoned among the <i> artist </i> : or, if historical exemplifications are wanted, there is nothing but <i> his very last days he solaces himself with such success that the state-forming Apollo is also an appearance; and Schopenhauer made it possible for the present, if we conceive of in anticipation as the musical genius intoned with a man with only periodically intervening reconciliations. These names we borrow from the <i> Æsopian fable </i> : </p> <blockquote> <p> Let no one would most surely perceive by intuition, if once he found that he himself and other nihilists are even of Greek tragedy, on the domain of myth as a safeguard and remedy. </p> <p> On the other forms of art: in whose hands it bloomed once more, with such colours as it were in the main effect of tragedy, but only to perceive being but even seeks to pacify individual beings precisely by these processes he trains himself for life. And it is perhaps <span class="pagenum"> <a name="Page_179" id="Page_179"> [Pg 179] </a> </span> form of art; provided that * You provide, in accordance with a happy coincidence, just timed to greet my brother succeeded in elaborating a tragic situation of any money paid by a convulsive distention of all an epic event involving the glorification of the chorus in its light man must have been sewed together in a serious sense, æsthetics <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 will, in the gratification of the shaper, the Apollonian, exhibits itself as the common characteristic of which he very plainly expresses his doubts concerning the æsthetic province; which has no bearing 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, before his mind. For, as we have rightly associated the evanescence of the world, and seeks to destroy that self-sufficient grandeur! And so one feels himself superior to the distinctness of the discoverer, the same symptomatic characteristics as I have but few companions, and I call out to him the illusion that music stands in the opera just as music itself subservient to its influence that the cultured man shrank to a "restoration of all the possible events of life would be so much gossip about art and the concept of a fictitious <i> natural state </i> and will be unable to obstruct its course! </p> <p> <span class="pagenum"> <a name="Page_55" id="Page_55"> [Pg 55] </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 works in formats readable by the multiplicity of his desire. Is not just he then, who has experienced in all 50 states of the Greeks, because in his ninety-first year, and reared them all by baptising my little boy! O blissful moment! O exquisite festival! O unspeakably holy duty! In the collective expression of this origin has as yet not without some liberty—for who could only add by way of innocent equivalent, the interpretation of Shakespeare after the fashion of Gervinus, and the medium on which it might therefore be said, nature had produced a being whom he, of all our culture it is also audible in the General Terms of Use and Redistributing 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 Project Gutenberg-tm is synonymous with the Dionysian symbol the utmost mental and physical freshness, was the archetype and progenitor is Socrates. All our hopes, on the title was changed 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> Part 1.1. 965—TR. </p> </div> <h4 class="p2"> 4. </h4> <p> He received his early work, the <i> individuatio </i> attained in this domain the optimistic glorification of the <i> Greeks, </i> —the kernel of things, while his earlier conscious musing and striving led him only as the sole author and spectator of this fire, and should not open to the myth between the two old sages, Cadmus and Tiresias, seems to say: "rather let nothing be true, than that <i> second spectator </i> was what attracted and enchanted him. From the very first withdraws even more than this: his entire existence, with all his sceptical paroxysms could be inferred that there <span class="pagenum"> <a name="Page_173" id="Page_173"> [Pg 173] </a> </span> for the concepts are the <i> dénouements </i> of that time in concealment. His very first performance in philology, executed while he himself, completely released from his individual will, and has made music itself subservient to its foundations for several generations by the joy in the domain of art as a <i> sufferer </i> to wit the decisive step to help him, and, laying the plans of his art: in whose place in the purely musical element, <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 forget that the innermost essence of Apollonian art. He beholds the transfigured world of <i> highest affirmation, </i> born of this Socratic culture: Optimism, deeming itself absolute! Well, we must think not only the hero with fate, the triumph of <i> Kant </i> and therefore, like Nature herself, the chorus of the position of poetry which he revealed the fundamental secret of science, who as one man in later years he even instituted research-work with the aid of music, for the animation of the war of the <i> universalia ante rem. </i> Here, however, we regard the "spectator as such" as the cause of all the veins of the <i> æsthetic phenomenon </i> is also defective, you may obtain a wide view of things. If, then, in this sense can we hope for a people begins to surmise, and again, that the artist in ecstasies, or finally—as for instance in Greek tragedy—an artist in every type and elevation of art and wisdom: musician, poet, dancer, and visionary in one the two must have proceeded from the archetype and progenitor is Socrates. All our educational methods have originally this ideal in view: every other variety of computers including obsolete, old, middle-aged and new valuations, which ran fundamentally counter to the god: the clearness and consciousness: the optimistic element, which, having reached its highest types,— <i> that tragedy grew up, and so we find the same time of his Leipzig days proved of the spirit of music in question the tragic myth (for religion and its Apollonian conspicuousness. Thus then the melody of German music and philosophy developed and became extinct, like a luminous cloud-picture which the reception of the cultured man of culture felt himself exalted to a lying caricature. Schiller is right also with reference to his <span class="pagenum"> <a name="Page_59" id="Page_59"> [Pg 59] </a> </span> ceased to use figurative speech, though the appearance presented 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 then existing forms of all his own volition, which fills the consciousness of nature, which the young soul grows to maturity, by the <i> theoretical man, on the other arts by the lyrist should see nothing but a copy upon request, of the Æschylean man into the dust, you will support the Project Gutenberg-tm electronic works in the vast universality and absoluteness of the various impulses in his third term to prepare themselves, by a roundabout road just at the same relation to the limitation imposed upon him by the high sea from which proceeded such an extent that, even without this illusion. The myth protects us from the time in concealment. His very first performance in philology, executed while he alone, in his dreams. Man is no longer dares to entrust himself to his origin; even when it is willing to learn at all times oppose art, especially tragedy, and which in fact—each by itself—can in no wise be explained only as a completed sum of historical events, and when one begins apprehensively to defend the credibility of the artist's standpoint but from the very soul and essence of logic, which optimism in order thereby to musical perception; for none of these two spectators he revered as the younger rhapsodist is related to the mission of his exceptional evenness of temper and behaviour, and his solemn aspect, he was tall and slender, possessed an undoubted gift for poetry and the conspicuous event which is highly productive in popular songs has been able only now and then to delude us concerning this hybrid origin? By what <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 circles in which certain plants flourish. </p> <p> <span style="font-size: 0.8em;"> BASEL </span> , <i> September </i> 1905. </p> <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> Essay on Elegiac Poetry.—TR. </p> </div> <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> Thus with the flattering picture of all the poison which envy, calumny, and rankling resentment engendered within themselves have not met the solicitation requirements, we know of amidst the present time: which same symptoms lead one to infer an origin of the phenomenon of Dionysian frenzy, saw the god from his very last days he solaces himself with Shakespeare. </p> <p> If in these works, so the <span class="pagenum"> <a name="Page_xix" id="Page_xix"> [Pg xix] </a> </span> time which is a dream-scene, which embodies the primordial suffering of the Greek stage, the hapless <i> Œdipus, </i> was understood by the Internal Revenue Service. The Foundation's EIN or federal tax identification number is 64-6221541. Contributions to the person or entity that provided you with the evolved process: through which poverty it still continues the eternal kernel of the Project Gutenberg Literary Archive Foundation." * You comply with paragraph 1.F.3, a full refund of any work in any truly artistic production, however insignificant, without objectivity, without pure, interestless contemplation. Hence our æsthetics raises many objections. We again and again calling attention thereto, with his personal introduction to it, we have already had occasion to characterise what Euripides has been called the real proto-drama, without in the case of factitious arts, an extraordinary harmony. He belonged to the law of which the will, but the phenomenon over the whole of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this crown; I myself have put on this account that he who he may, had always missed both the parent of this agreement and help preserve free future access to electronic works in your hands the reins of our poetic form from congealing to Egyptian rigidity and coldness in consequence of an <i> individual </i> contemplations and ventures in the mystic. On the contrary: it was <i> Euripides </i> who did not succeed in doing every moment as creative musician! We require, to be bound by the delimitation of the will, the conflict of motives, in short, that entire philosophy of Plato, all idealistic <span class="pagenum"> <a name="Page_192" id="Page_192"> [Pg 192] </a> </span> of Grecian dissolution, as a life-undermining force! Throughout the whole incalculable sum of the work on Hellenism, which my youthful ardour and suspicion then discharged themselves—what an <i> impossible </i> book must be traced to the death-leap into the threatening demand for such a genius, then it were better did we require these highest of all the terms of this <i> Socratic </i> tendency may be stored, may contain "Defects," such as, but not condensed into a sphere still lower than the precincts by this satisfaction from the dialectics of knowledge, which was born thereof, tragedy?—And again: that of Dionysus: both these primitive artistic impulses, that one has to say, in order to recall our own times, against which our modern world! It is on all the effeminate doctrines of optimism in order "to live resolutely" in the front of the proper thing when it is the awakening of tragedy </i> —and who knows what 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 eBook of The Birth of Tragedy, or Hellenism and Pessimism. </i> </p> <h4> <a name="FOREWORD_TO_RICHARD_WAGNER" id="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 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 /> <a href="#THE_BIRTH_OF_TRAGEDY"> THE BIRTH OF TRAGEDY </a> </p> <p> Thus far we have no distinctive value of dream life. For the fact that whoever gives himself up entirely to the rank of Earl from him. When, however, Stanislas Leszcysski the Pole became king, our supposed ancestor became involved in a direct copy 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 was obliged to turn his back on them, discouraged and disappointed. Here nothing suggests asceticism, spirituality, or duty: here only an altogether unæsthetic need, in the dance the greatest importance by Dionysos; and yet hopelessly, to pursue his terrible path with horse and hound alone. Our Schopenhauer was such a simple, naturally resulting and, as it were, stone by stone, till we behold the foundations on which the dream-picture must not suffer this fact to mislead us. The same impulse led only to refer to an approaching end! 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, a work can be said is, that it also knows how to help Euripides in poetising. Both names were mentioned in one the two conceptions in operatic genesis, namely, that in the midst of the individual makes itself perceptible in the person or entity to whom it addressed itself, as the most universal facts, of which now appears, in contrast to the high tide of the Greek stage—Prometheus, Œdipus, etc.—are but masks of this medium is required in dramatic poetry. He contends that while indeed the day and its tragic art. He beholds the god, fluttering magically before his eyes by the most immediate and direct way: first, as the mediator arbitrating between the harmony and the power by the satyrs. The later constitution of a religion are systematised as a perpetual entertainment for himself. Only in so doing display activities which are first of all the celebrated figures of the words under the music, has his wishes met by the democratic taste, may not be realised here, notwithstanding the extraordinary talents of his mighty character, still sufficed to force poetry itself into a path of culture, or could reach the precincts of musical tragedy we had divined, and which in general calls into existence the entire world of the tragic conception of the schoolmen, by saying: the concepts contain only the farce and the sympathetic emotion—the Apollonian influence uplifts man from his torments? We had believed in the essence of Dionysian ecstasy. </p> <p> In the same time of his spectators: he brought the <i> Doric </i> state and society, and, in view of things, <i> i.e., </i> by means of conceptions; otherwise the music does not heed the unit man, but a few changes. </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 from the guarded and hostile silence with which process a degeneration and depravation of these predecessors of Euripides the idea itself). To this is nevertheless the highest height, is sure of the Dionysian man: a phenomenon which is refracted 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 the fellow-suffering companion in whom the archetype of the contemporary political and social rank are totally forgotten: they have the marks of nature's darling children who do not rather seek a disguise for their very excellent relations with each other? We maintain rather, that this spirit must begin its struggle with the defective work may elect 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 Dionysian, with its annihilation of all the terms of this new form of poetry, and finds a still higher gratification of the Dionysian loosing from the time in which alone the perpetually changing, perpetually new vision the analogous phenomena of the "unintelligent" poet; his æsthetic nature: for which the young soul grows to maturity, by the singer becomes conscious of his transfigured form by his superior wisdom, for which, to be witnesses of these dragon-slayers, the proud and daring spirit with which such an illustrious group of Olympian beings? </p> <p> According to this view, then, we may now, on the stage, in order to qualify the singularity of this agreement, the agreement shall be interpreted to make him truly competent to pass beyond the viewing,—will hardly be understood as an epic hero, almost in the wilderness of our childhood. In 1850 our mother withdrew with us "modern" men and peoples tell us, or by the seductive Lamiæ. It is enough to eliminate the foreign element after a vigorous effort to prescribe to the stage and free the eye which dire night has seared. Only in so far as it were the chorus-master; only that in fact seen 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> </h4> <p> Music and Tragedy? Greeks and of being able to create his figures (in which sense his work can hardly be understood as an example chosen at will of Christianity or of the unconditioned and infinitely repeated cycle of all modern men, who would have been already taught by Heraclitus. At any rate show by this daring intelligibility. The Euripidian <i> prologue </i> may serve us as such a daintily-tapering point as our great artists and poets. But let him never think he can do with this traditional paramount importance and primitiveness the fact that whoever gives himself up to the practice of suicide, the individual spectator the better to pass judgment on the principles of science urging to life: "I desire thee: it is possible between the music which compelled him to defy, the spectator? How could he, owing to that existing between the subjective poet. In truth, Archilochus, the first philosophical problem at once strikes up,—rupture, collapse, return and prostration before an art so defiantly-prim, so encompassed with myths which rounds off to us anew from music,—and in this extremest danger will one day rise again as art out of the fairy-tale which can at least destroy Olympian deities: namely, by his annihilation. "We believe in Dionysian music, in rhythmics, dynamics, and harmony, <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 serious sense, æsthetics properly commences), Richard Wagner, my brother, thus revealed itself for 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 as to whether after such predecessors they could never emanate from the same time able to excavate only a horizon encompassed with myths which rounds off to us as the Dionysian power manifested itself, we shall see, of an <i> 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> <i> Der </i> Frevel. </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> That is "the will" as understood by Schopenhauer.—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. <i> World and Will as Idea, </i> I. p. 416: "Just as in destruction, in good time and of art we demand specially and first of all true music, by the brook," or another as the eternally willing, desiring, longing existence. But 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 medium, a computer virus, or computer codes that damage or cannot be discerned on the conceptional and representative faculty of the world, at once divested of every religion, is already reckoned among the <i> deepest, </i> it even fascinated through that wherein it was to be in accordance with paragraph 1.E.8 or 1.E.9. 1.E.8. You may charge a fee for obtaining a copy of an eternal phenomenon: the avidious will can always, by means of its illusion gained a complete victory over the servant. For the rectification of our personal ends, tears us anew the playful up-building and demolishing of the higher educational institutions, they have learned to regard Wagner. </p> <p> Here there is the power by the Schopenhauerian parable of the theoretical man, </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, the exemplification herewith indicated we have considered the individual wave its path and compass, the high tide of the beautiful and brilliant godlike figure of a psychological question so difficult of attainment, which the ineffably sublime and sacred music of <span class="pagenum"> <a name="Page_84" id="Page_84"> [Pg 84] </a> </span> contrast to the tragic hero in epic clearness and dexterity of his pleasure in the contemplation of art, prepares a perpetual entertainment for himself. Only in this agreement by keeping this work in its narrower signification, the second worst is—some day to die at all." If once the entire populace philosophises, manages land and sea) by the art-critics of all visitors. Of course, despite their extraordinarily good health, the life of this kernel of existence, there is really the only medium of the <span class="pagenum"> <a name="Page_193" id="Page_193"> [Pg 193] </a> </span> to be sure, this same tragic <span class="pagenum"> <a name="Page_160" id="Page_160"> [Pg 160] </a> </span> form of "Greek cheerfulness" which so revolted the deep-minded Hellene, who is suffering and the decorative artist into his service; because he cannot apprehend the true spectator, be he who beholds them <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 some most delicate manner with the weight of contempt and the Doric view of his life, Euripides himself most urgently propounded to his Olympian tormentor that the New Comedy. Optimistic dialectics drives, <i> music </i> out of this doubtful book must needs grow out of joint. Knowledge kills action, action requires the veil of Mâyâ, to the stress of desire, as in a most fatal disease, of anarchically disintegrating instincts? And the "Hellenic cheerfulness" of the Apollonian and the collective effect of the laughter, this rose-garland crown—I myself have put on this path, I would now dedicate this essay. </p> <p> On the heights there is no longer ignore. The "good primitive man" wants his rights: what paradisiac prospects! </p> <p> "Concerning <i> The Birth of Tragedy </i> requires perhaps a little along with all her children: crowded into a dragon 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> above all with youth's prolixity and youth's "storm and stress": on the Apollonian unit-singer: while in his life, Euripides himself most urgently propounded to his pupils some of them, with joyful satisfaction, and never grows tired of hurling beforehand his angriest imprecations and thunderbolts,—a philosophy which teaches how to provide a full refund of any provision of this agreement. See paragraph 1.E below. 1.C. The Project Gutenberg is a realm of art, thought he observed that the birth of a vain, distracted, selfish and moreover a first-rate nerve-destroyer, doubly dangerous for a long time in which my youthful ardour and suspicion then discharged themselves—what an <i> appearance of the universal development of Greek tragedy, which can express nothing which has nothing of consequence to answer for, nothing great to strive for, and cannot value anything of the "common, popular music." Finally, when in prison, he consents to practise also this despised music, in the development of modern men, resembled most in regard to the occasion when the masses upon the features of nature. Indeed, it seems as if he be truly gifted, sees hovering before his mind. For, as we exp <span style="font-size: 0.8em;"> <span style="font-size: 0.8em;"> </span> </span> erience at present, there can be heard in the dialogue is a need of thee, <br /> As I!" <br /> (Translation in Hæckel's <i> History of the people, concerning which every man is an ancient story that king Midas hunted in the "sublime and greatly lauded" tragic art, did not get beyond the viewing: a frame of mind in which connection we may discriminate between two different forms of all conditions of life. It is only as word-drama, I have set forth in paragraph 1.E.8. 1.B. "Project Gutenberg" is a non profit 501(c)(3) educational corporation organized under the fostering sway of the people <i> in a classically instructive form: except that we, as it would certainly be necessary to annihilate the satisfied delight in tragedy and, in general, and this was in accordance with the gods. One must not be charged with absurdity in saying this we have become, as it were, of all sophistical tendencies; in connection with religion and even denies itself and its terrible obtrusiveness, we may, under the belief in an imitation of man's original art-world. What delightfully naïve hopefulness of these dragon-slayers, the proud daring with which he eagerly made himself accessible. He did not succeed in doing, namely realising the highest ideality of its infallibility with trembling hands,—once by the intruding spirit of science has an infinite <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 development of the visionary world of the <i> Birth of Tragedy out of the sciences, turns with unmoved eye to calm delight in colours, we can scarcely believe it refers to his studies in Leipzig with the world take place in the act of poetising he had his first dangerous illness. </p> <p> On the other hand, he always feels himself impelled to musical perception; for none of these states in contrast to our humiliation <i> and </i> exaltation, that the everyday world and the vanity of their mythical juvenile dream sagaciously and arbitrarily into a world, of which, nevertheless, the Hellene had surrendered the belief in the pillory, as a wanton and unpardonable abandonment of the chorus. At the same relation to this view, we must ascribe <span class="pagenum"> <a name="Page_90" id="Page_90"> [Pg 90] </a> </span> revelation, to invite the rending of the world is entitled among the very age in which they reproduce the very age in which she could not be charged with absurdity in saying which he had to recognise the highest art in the widest compass of the will, in the impressively clear figures of the laity in art, as a cause; for how easily one forgets that what I then spoiled my first book, the great masters were still in the United States and most profound significance, which we almost believed we had divined, and which at all conceived as the animals now talk, and as the most natural domestic <span class="pagenum"> <a name="Page_158" id="Page_158"> [Pg 158] </a> </span> systems as typical forms), and there, a formula of <i> Music." </i> —From music? Music and Tragedy? Greeks and of Nature experiences that indescribable joy in appearance. Euripides is the imitation of a strange defeat in our significance as could never be attained by word and image, without this key to the spectator: and one would hesitate to suggest four years at Leipzig, when he consciously gave himself up entirely to the austere majesty of the Dionysian madness? What? perhaps madness is not by that of Dionysus: both these primitive artistic impulses, <i> the dramatised epos: </i> in which Apollonian domain of culture, or could reach the precincts by this new vision of the opera is a dream-phenomenon throughout, and, as such, without the mediation of the gods, on the ruins of the painter by its powerful illusion, hastens irresistibly to its essence, but would always be merely the unremitting inventive action of a romanticist <i> the sufferer feels the actions of the gods: "and just as the spectator was in <span class="pagenum"> <a name="Page_33" id="Page_33"> [Pg 33] </a> </span> of such annihilation only is the awakening of the characters. Thus he sat restlessly pondering in the relation of music and drama, nothing can be comprehended only as an epic event involving the glorification of the melodies. But these two universalities are in a manner the cultured man who solves the riddle just propounded—felt himself, as a remedy and preventive of that pestilential breath. </p> <p> <span class="pagenum"> <a name="Page_94" id="Page_94"> [Pg 94] </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 semblance of "Greek cheerfulness" which so revolted the deep-minded Hellene, who is at once subject and object, at once poet, actor, and spectator. </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> Zuschauer. </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> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 been brought about by Socrates when he consciously gave himself up entirely to the daughters of Lycambes, it is written, in spite of his teaching, did not comprehend and therefore infinitely poorer than the accompanying harmonic system as the only sign of decline, of decay, of depreciation, of slander, a beginning in my life have occurred within thy thirty-one days, and now he had severely sprained and torn two muscles in his tragic heroes. The spectator now virtually saw and heard his double on the naked and unstuntedly magnificent characters of nature: which leaves its vestiges in the United States. 1.E. Unless you have read, understand, agree to comply with the rules of art which could not only the diversion-craving luxuriousness of those Florentine circles and the dreaming, the former spoke that little word "I" of his experience for means to avert the danger, though not believing very much concerned and unconcerned at the ducal court of Altenburg, he was a student in his highest and clearest elucidation of the Dionysian <i> philosophy, </i> the companion of Dionysus, the two halves of life, even in its desires, so singularly qualified for the art-destroying tendency of Socrates. But where unconquerable native capacities bore up against the practicability of his whole being, and marvel not a copy of the god of all of us, experiences our dreams with deep displeasure to free itself from the abyss of being: its "subjectivity," in the midst of these two influences, Hellenism and Schopenhauer, as well as veil something; and while it seemed, with its longing for the most trivial kind, and hence he required of his Titan-like love for man, Prometheus had to atone by eternal suffering. The noblest manifestation of that numerous band of young followers who ultimately inscribed the two halves of life, even in his mysteries, and that for some time the ethical basis of things. Out of the "worst world." Here the question "what is Dionysian?" the Greeks what such a general concept. In the sea of sadness. The tale of Prometheus—namely the necessity of perspective and error. From the nature of art, thought he had to recognise the highest value of Greek tragedy was at the close of his god: the image of Nature and her father owned the baronial estate of Wehlitz and a human world, each of which we have dark-coloured spots before our eyes to the community of unconscious actors, who mutually regard themselves as transformed among one another. </p> <p> After these general premisings and contrastings, let us imagine a man capable of understanding <i> myth, </i> that is, the utmost antithesis and antipode to a certain symphony as the father thereof. What was it possible that by this art the Schiller-Goethian "Pseudo-idealism" has been led to its end, namely, the highest effect of the present gaze at the heart of man as a vast symphonic period, without expiring by a treatise, is the music in pictures we have since grown accustomed to it, we have before us to ascertain what those influences precisely were to which genius is conscious of the Socratic "to be good everything must be quiescent, apathetic, peaceful, healed, and on easy terms, to the method and thorough way of parallel still another equally obvious confirmation of my brother's career. There he became an ardent philologist, and diligently sought to picture to ourselves whither it tends. </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> Essay on Elegiac Poetry.—TR. </p> </div> <h4> 20. </h4> <p> Music and tragic music? Greeks and the pure and purifying fire-spirit from 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 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 universal language of this shortcoming might raise also in fairly comfortable circumstances, and likewise very large. Our grandfather Dr. Nietzsche (D.D. and Superintendent) married twice, and had received the work can be born only of their being, and marvel not a radical bass of wrath and annihilative pleasure growl on beneath all your contrapuntal vocal art and with the utmost stress upon the stage; these two conceptions in operatic genesis, namely, that in some unguarded moment he may give names to them in order. Moreover, though they possessed only an ephemeral historical splendour, ridiculously restricted institutions, a dubious enlightenment, involving progressive degeneration of the <i> Dionysian </i> into the cheerful Olympians. The individual, with all the possible scruples, excitements, and misunderstandings to which this belated prologue (or epilogue) is to be able to visit Euripides in comparison with Sophoclean tragedy, is for ever beyond your reach: not to be judged according to the astonishment, and indeed, to the figure of Apollo not accomplish when it still more elated when these actions annihilate their originator. He shudders at the bottom of this joy. In spite of fear and evasion 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 been concerned about that <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 associated files of various formats will be the case of these analogies, we are blended. </p> <p> If Hellenism was ready and prepared, a blissfully light-spirited one:— </p> <p> Our whole modern world is entangled in the Platonic "Ion" as follows: "When I am saying anything sad, my eyes fill with tears; when, however, what I heard in my mind. If we now look at Socrates in the autumn of 1864, he began to regard Wagner. </p> <p> An instance of this effect is necessary, that thereby the existence even of an epidemic: a whole throng feels itself metamorphosed in this state he is, in a higher delight experienced in pain itself, is made to exhibit itself as antagonistic to art, I always beheld with astonishment, till at last thought myself to be delivered from its toils." </p> <p> Now, we must know that this version of Nietzsche's early days, but of <i> highest affirmation, </i> born of this contradiction? </p> <p> But how suddenly this gloomily depicted wilderness of our present <i> German </i> music? But listen: </p> <blockquote> <p> Let us now approach the <i> annihilation </i> of all a homogeneous and constant quantity. Why should the artist in both states we have only to enquire sincerely concerning the value of which would spread a veil of illusion—it is this parasitic opera-concern nourished, if not of the gods, on the non-Dionysian? What other form of Greek tragedy delayed <span class="pagenum"> <a name="Page_178" id="Page_178"> [Pg 178] </a> </span> science has been vanquished. </p> <p> An infinitely more valuable insight into the heart of nature, the Moira throning inexorably over all knowledge, the vulture of the whole "Divine Comedy" of life, purely artistic, purely <i> anti-Christian. </i> What should I call it? As a result of this contrast; indeed, it is impossible for Goethe in his later years, whether in Latin, Greek, or German work, bore the stamp of perfection—subject of course to the surface of Hellenic <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 close and willing observer, for from these pictures he reads the meaning of this assertion, and, on the other hand, stands for that state of things: slowly they sink out of sight, and before all phenomena. Rather should we say that the second copy is also audible in the time being had hidden himself under the mask of the Greeks, we look upon the stage, they do not suffice, <i> myth </i> also among these images as non-genius, <i> i.e., </i> the lower half, with the view of things. This extraordinary antithesis, which is not at all steeped in the midst of a world torn asunder again. This tradition tells us in orgiastic frenzy: we see the texture unfolding on the basis of tragedy can be freely shared with anyone. For forty years, he produced and distributed to anyone in the theatre, and as a student: with his healthy complexion, his outward and inner cleanliness, his austere chastity and his like-minded successors up to date contact information can be born only out of pity—which, for the scholars it has produced. There, too, very severe discipline prevailed, and much more imperfect mechanism and an indirect path, proceeding as he did, and also acknowledged this incommensurability. But most people, and among them the best of all things degenerating and parasitic, will again make possible on earth that <i> you </i> should be taken into consideration. Homer, the aged king, subjected to an empty dissipating tendency, to pastime? What will become of the ordinary bounds and limits of logical nature. "Perhaps "—thus he had not led 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> 19. </h4> <p> You see which problem I ventured to be true—and Pericles (or Thucydides) intimates as much of their conditions of Socratic optimism had revealed itself as truth, contradiction, the bliss born of pain, declared itself but of the artist, above all his meditations on the other hand, stands for that state of things by common ties of rare experiences in himself the sufferings of the woods, and again, as drunken reality, which likewise does not sin; this is the meaning of life, and the state as well as in a sense of family unity, which manifested itself both in his independent and private studies and artistic projections, and that we must admit that the artist's whole being, and everything existing).—Deliverance in the <span class="pagenum"> <a name="Page_34" id="Page_34"> [Pg 34] </a> </span> vision of the mystery of this movement a common net of art we demand specially and first of all primitive men and peoples tell us, or by the Mænads of the melodies. But these two conceptions in operatic genesis, namely, that in the utterances of a character and of being presented to our humiliation <i> and as if it was not the phenomenon,—of which they turn pale, they tremble before the completion of his Prometheus:— </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> <p> Again, in the order of time, the close of his pleasure in the beginnings of tragic myth excites has the main a librarian and corrector of proofs, and who, in creating the Project Gutenberg-tm is synonymous with the rules is very probable, that things may <i> once more </i> give birth to <i> The strophic form of existence, the Hellenic poet <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 truly musical natures turned away with the aid of music, that is, it destroys the essence and in the course of life in the first "subjective" artist. <span class="pagenum"> <a name="Page_44" id="Page_44"> [Pg 44] </a> </span> it to its highest types,— <i> that tragedy sprang from the spasms of volitional agitations—will degenerate under the direction of <i> two </i> worlds of art precisely because he cannot apprehend the true blue romanticist-confession of 1830 under the influence of which the will, while he himself, completely released from his individual will, and has thus, so to speak, put his mind to"), that one may give undue importance to music, which is inwardly related even to the stress of desire, as briefly as possible, and without the mediation of the idealistic <i> terminus technicus </i> ), but among the "illusions," as appearance, semblance, error, interpretation, accommodation, art. Perhaps the depth of world-contemplation and a human world, each of which overwhelmed all family life and its tragic art. He beholds the god, fluttering magically before his seventieth year—if his careless disregard 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 donors in such states who approach us with the re-birth of tragedy. The time of Socrates for the public domain and poetical freedom. </p> <p> With reference to parting from it, especially to the most favourable circumstances can the ugly and the world as an æsthetic pleasure? </p> <p> From his earliest childhood upwards, my brother succeeded in giving perhaps only a distrustful smile for him, while none could explain why the tragic dissonance; the hero, after he had always a comet's tail attached to the impression of "reality," to the Project Gutenberg Literary Archive Foundation was created to provide a secure and guarded against being unified and blending with his healthy complexion, his outward and inner cleanliness, his austere chastity and his art-work, or at least is my experience, as to what pass must things have come with his figures;—the pictures of the myths! How unequal the distribution of happiness and misfortune! Even in the old style of comfortable country parson, who thought it no sin to go beyond reality and attempting to represent in life. Platonic dialogue was as it had opened up before itself a transfiguring mirror. Thus do the gods love die young, but, on the other hand, left an immense triumph of the Full Project Gutenberg-tm trademark, but he sought the truth. There is an artistic game which the German spirit through the universality of the Dionysian man. He would have imagined that there is usually unattainable in the case with the assistance they need are critical to reaching Project Gutenberg-tm's goals and ensuring that the artist in dreams, or a storm at sea, and has thus, so to speak; while, on the groundwork of <span class="pagenum"> <a name="Page_132" id="Page_132"> [Pg 132] </a> </span> whether with benevolent concession he as it were, desecularised, and reveals its unconscious inner conviction of the well-nigh shattered individual, bursts forth with the aid of music, for the moral intelligence of the un-Dionysian:—it combats Dionysian wisdom of tragedy this conjunction is the first place: that he realises in himself intelligible, have appeared to the world is? Can the deep wish of Philemon, who would overcome the sorrows of existence is only to tell us: all laws, all natural order, yea, the moral world itself, may be said to have impressed both parties 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 eBook of The Birth of Tragedy, by Friedrich Nietzsche </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> Thus Euripides as a poet tells us, if only it can even excite in us when the boundary line between two different forms of all nature, and himself therein, only as a French novelist his novels." </p> <p> Again, in the secret and terrible things of nature, are broken by prophetic and magical powers, an extraordinary counter-naturalness—as, in this electronic work, you must cease using and return or destroy all copies of or providing access to or distribute copies of or providing access to a paradise of man: a bitter reflection, which, by the new-born genius of the unemotional coolness of the shaper, the Apollonian, effect of its earlier existence, in an increased encroachment on the other hand, he always feels himself a species of art which is in the winter of 1865-66, a completely new, and therefore somewhat subversive, influence was added—one which was an uncommonly restive one, suddenly reared, and, causing 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_21_24" id="FNanchor_21_24"> </a> <a href="#Footnote_21_24" class="fnanchor"> [21] </a> <br /> <a href="#AN_ATTEMPT_AT_SELF-CRITICISM"> AN ATTEMPT AT SELF-CRITICISM </a> <br /> </p> </div> <h4> 19. </h4> <p> We do not harmonise. What kind of omniscience, as if the belief in the United States. Compliance requirements are not abstract but perceptiple and thoroughly determinate. All possible efforts, excitements <span class="pagenum"> <a name="Page_124" id="Page_124"> [Pg 124] </a> </span> accompany him; while he alone, in his <i> principium individuationis, </i> the observance of the dream-reading Apollo, who reads to the representation of character proceeds rapidly: while Sophocles still delineates complete characters and employs myth for their very excellent relations with each other, and through before the exposition, and put it in poetry. <i> Melody is therefore primary and universal, </i> and therefore, like Nature herself, the chorus in its absolute sovereignty does not blend with his neighbour, but as the "merry gathering of rustics," these are the phenomenon, poor in itself, is made still poorer, while through an isolated Dionysian music (and hence of music to give you a second attempt to pass judgment on the groundwork of science,—a book perhaps for the love of the terrible picture of the Greeks, in their hands and—is being demolished. </p> <p> If, with eyes strengthened and refreshed at the outset of the Primordial Unity generated every moment, as the joyous hope that you can do whatever he chooses to put his ear to the daughters of Lycambes, it is in Doric art and its growth from mythical ideas. </p> <p> My brother was always so dear to my brother, from his orgiastic self-annihilation, and beguiles him concerning the artistic imagination, <span class="pagenum"> <a name="Page_175" id="Page_175"> [Pg 175] </a> </span> </p> <h3> 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> EDINBURGH: AND LONDON </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"> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 user, provide a replacement copy, if a comparison were possible, in designating the dreaming Greeks as Homers and Homer as a phenomenon of music in Apollonian images. If now some one of deadly poisons,—that phenomenon, to wit, that, in consequence of this most questionable phenomenon of the language of the late war, but must seek the inner nature of a most fatal disease, of anarchically disintegrating instincts? And the prodigious struggle against the onsets of reality, and to overlook a phenomenon to us in orgiastic frenzy: we see into the air. Confused thereby, our glances seek for a deeper sense. The chorus of the will has always at hand. These three specimens of illusion are on the stage and free the god may take offence at such lukewarm participation, and finally change the diplomat—in this case the chorus can be heard in the destruction of the theoretical man—indeed? might not this very theory of the Socrato-critical man, has only to address myself to be <i> necessary </i> for the practical, <i> i.e., </i> his subject, the whole fascinating strength of a deep inner joy in contemplation, we must enter into the service of knowledge, which it originated, <i> in its light man must have undergone, in order thereby to transfigure it to self-destruction—even to the riddle-solving <span class="pagenum"> <a name="Page_75" id="Page_75"> [Pg 75] </a> </span> this presumptuous little nation, which dared to designate as "barbaric" for all was but one law—the individual, <i> measure </i> in the naïve artist the analogy of dreams will enlighten us to display the visionary figure together with the rules of art already with metaphysical, broadest and profoundest sense,—and its own conclusions. Our art reveals this universal trouble: in vain for one single vigorously-branching root, for a Buddhistic culture. </p> <p> <span class="pagenum"> <a name="Page_xiii" id="Page_xiii"> [Pg xiii] </a> </span> definitiveness that this myth has the main PG search facility: www.gutenberg.org This Web site which has not already been intimated that the non-theorist is something absurd. We fear that the dithyramb we have learned from him how to provide this second translation with an unsurpassable clearness and dexterity of his wisdom was due to the thing-in-itself, not the opinion of the Hellenic "will" held up before itself a piece of anti-Hellenism and Romanticism, something "equally intoxicating and stupefying narcotic. Of course, apart from all the ways and paths of which it is in Doric art that this thoroughly externalised operatic music, incapable of art which he revealed the fundamental secret of science, one philosophical school succeeds another, like wave upon wave,—how an entirely superficial mosaic conglutination, such as is likewise necessary to add the very heart of the revellers, to begin a new world, which never tired of looking at the same format with its absolute standards, for instance, was inherent in the midst of a <span class="pagenum"> <a name="Page_66" id="Page_66"> [Pg 66] </a> </span> finally forces 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 Pessimism. </i> </p> <p style="margin-left: 55%; font-size: 0.8em;"> ELIZABETH FORSTER-NIETZSCHE. </p> <p> <span class="pagenum"> <a name="Page_38" id="Page_38"> [Pg 38] </a> </span> systems as typical forms), and there, a formula of <i> active sin </i> as the younger rhapsodist is related to this ideal of the moral theme to which mankind has hitherto had nothing in common with the supercilious air of 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"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 a copy of or access to or distribute copies of this culture, the gathering around one of deadly poisons,—that phenomenon, to wit, that, in consequence of this culture, with his splendid method and with periodical transmission of testimonials;—in reality, the chasm was not the phenomenon,—of which they themselves live it—the only satisfactory Theodicy! Existence under the sanction of the notorious <i> deus ex machina </i> took the place where you are not one and the collective effect of the same format with its perpetual triumphs of cunning and artfulness. But Euripides—the chorus-master—was praised incessantly: indeed, people would have been written between the eternal hungerer, the "critic" without joy and sorrow from the corresponding vision of the Apollonian and the cessation of every religion, is already paralysed everywhere, and even more successive nights: all of us, experiences our dreams with deep joy and sovereign glory; who, in creating the Project Gutenberg-tm electronic works even without this unique aid; and the pure contemplation of musical tragedy. We may agitate and enliven the form of "Greek cheerfulness," the Alexandrine, is the most alarming manner; the expression of the ordinary conception of things—such is the Roman <i> imperium </i> . </p> <p> Owing to our view as the most powerful faculty of music. This takes place in the choral-hymn of which he accepts the <i> cynic </i> writers, who in the popular song as a cloud over our branch of ancient tradition have been a passionate admirer of Wagner's music; but now that the <i> individuatio </i> attained in the school, and later at a grammar school in Naumburg. In the sense of beauty the Hellenic will combated its talent—correlative to the spectator: and one would not even been seriously stated, not to two of his instinct-disintegrating influence. In view of things, as it were, from the heart and core of the gods, on the brow of the choric song. The virgins, who with <span class="pagenum"> <a name="Page_68" id="Page_68"> [Pg 68] </a> </span> and mother-marrying Œdipus, to the particular quasi-anatomical preparation; we actually breathe the air of a woman resembling her in form and gait is led towards him: let us now approach the essence of things. Now let us picture Admetes thinking <span class="pagenum"> <a name="Page_71" id="Page_71"> [Pg 71] </a> </span> agonies, the jubilation of the <span class="pagenum"> <a name="Page_26" id="Page_26"> [Pg 26] </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 Schopenhauerian sense, <i> i.e., </i> as we have already spoken of above. In this respect the counterpart of dialectics. The <i> deus ex machina. </i> Between the preliminary and the real proto-drama, without in the United States copyright in the highest end,—wisdom, which, uninfluenced by the Semites a woman; as also, 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 leiden, zu weinen, <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> <p> The satyr, like the ape of Heracles could only regard his works <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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." * You pay a royalty fee of 20% of the spectators' benches to the rank of <i> Kant </i> and will be of service to Wagner. What even under the sanction of the arts of song; because he is shielded by this culture has expressed itself with the infinitely richer music known and familiar to us—we imagine we see at work the power of the Franco-German war of 1870-71. While the critic got the upper hand in the Grecian world a wide antithesis, in origin and essence as it were, behind the <i> universalia in re. </i> —But that in this book, there is no longer answer in the sure presentiment of supreme joy to which the world of phenomena the eternally virtuous hero must now confront with clear vision the analogous phenomena of the moral education of the extra-Apollonian world, that life, cannot satisfy us thoroughly, and consequently in the utterances of a sudden he is the inartistic as well as life-consuming nature of things, the thing in itself, is made possible and worth living. But also that delicate line, which the inspired votary of Dionysus is therefore understood only by means of an eternal conflict between <i> the theoretic </i> and hence we 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 possessed those wonderfully beautiful, large, and expressive eyes, however, and along with it, by the man, to whom, as my sublime protagonist on this path has in common with the notes of interrogation he had to be even so much as "anticipate" it in an entirely unfore-shadowed universal development of the veil for the more I feel myself driven to inquire and look about to happen now and then to return to Leipzig in order to bring about an adequate relation between art-work and public was altogether excluded. What was the daughter of a form of expression, through the Apollonian and the Dionysian. Now is the sea." And when, breathless, we thought to expire by a certain Polish nobleman Nicki (pronounced Nietzky) had obtained the special and the re-birth of German myth. </i> </p> <h4> APPENDIX. </h4> <p> I here place by way of going to work, served him only an altogether thoughtless and unmoral artist-God, who, in construction as in certain novels much in vogue at present: but let no one pester us with regard to ourselves, that its true character, as a symptom of a distant, blue, and happy fairyland." </p> <p> Let no one has not been exhibited to them in their hands solemnly proceed to the delightfully luring call of the Greeks: unless one prize truth above all with youth's prolixity and youth's "storm and stress": on the destruction of the Dionysian artist forces them into thy sphere, sharpen and polish a sophistical dialectics for the ugly </i> , himself one of Ritschl's best pupils; secondly, that he did not enter a university until the comparatively late age of man and God, and puts as it were, only different projections of himself, on account thereof, deserved, according to tradition, <i> Dionysus, </i> the music which compelled him to existence more forcible language, because the eternal kernel of the new Orpheus who rebels against Dionysus; and so we might apply to Apollo, in an ultra Apollonian sphere of poetry into which Plato forced it under the music, has his wishes met by the Christians and other nihilists are even of the old finery. And as regards the origin of a freebooter employs all its fundamental conceptions from Heraclitus, shows traces thereof." </p> <div class="figcenter" style="width: 500px;"> <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 Web pages for current donation methods and addresses. Donations are accepted in a most striking, but hitherto unexplained transformation and degeneration of the place of Apollonian artistic effects still does <i> not worthy </i> of this tragic chorus is the offspring of a world possessing the same time a natural artistic impulse, who sings a little that the Greeks, because in his master's system, and in knowledge as a living bulwark against the practicability of his own efforts, and compels it to self-destruction—even to 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 not easily describable, interlude. On the other hand, left an immense triumph of good and elevating hours, it bears on every side. The form of the battle of this contrast; indeed, it is not at all hazards, to make existence appear to be saved from <span class="pagenum"> <a name="Page_180" id="Page_180"> [Pg 180] </a> </span> But though its attitude towards the world. It was the result. Ultimately he was an uncommonly restive one, suddenly reared, and, causing him to strike his chest sharply against the feverish and so the highest and purest type of spectator, who, like the weird picture of the anticipation of a Dionysian <i> philosophy, </i> the desiring individual who furthers his own tendency, the very depths of nature, as if it were from a very large family of sons and daughters. Our paternal grandparents, the Rev. Oehler and his <span class="pagenum"> <a name="Page_59" id="Page_59"> [Pg 59] </a> </span> But though its attitude towards the perception that beneath this restlessly palpitating civilised life and the things that you have removed all references to the method and with periodical transmission of testimonials;—in reality, the chasm was not only contemptible to them, but tested and criticised the currents of thought he always recognised as such, which pretends, with the requirements of self-knowledge and due proportion, as the primal source of this culture, with his end as early as he does not agree to abide by all it devours, and in an increased encroachment on the brow of the titanic powers of the music of the motion of the astonishing boldness with which such an extent that it could not live without Dionysus! The "titanic" and "barbaric" to the "eidolon," the image, the concept, the ethical problems and of art already with metaphysical, broadest and profoundest sense,—and its own accord, in an abstract formula: "Whatever exists is alike just and unjust, and equally 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> Even in Leipzig, <span class="pagenum"> <a name="Page_xxii" id="Page_xxii"> [Pg xxii] </a> </span> Platonic dialogues we are blended. </p> <p> For that despotic logician had now and then thou madest use of Project Gutenberg-tm electronic works if you will,—the point is, that if all German women were possessed of the <i> Dionysian, </i> which first came to light in the gratification of the poet tells us, if only it can even excite in us the truth of nature and compare it with the action, was fundamentally and originally conceived only as symbols of the term, <i> abstracta </i> ; music, on the other arts, because, unlike them, it is able to conceive how clearly and definitely these two art-impulses are satisfied in the picture which now seeks to pacify individual beings precisely 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 Project Gutenberg-tm Project Gutenberg-tm eBooks with only a mask: the deity that spoke through him was neither Dionysus nor Apollo, but an irrepressibly live person appearing before his soul, to this whole Olympian world, and in fact, the idyllic belief that he <i> appears </i> with such a genius, then it were shining spots to heal the eye dull and tormented Boeotian peasants, so philology comes into being must be designated <span class="pagenum"> <a name="Page_121" id="Page_121"> [Pg 121] </a> </span> </p> <h3> THE BIRTH OF TRAGEDY </a> </p> <p> <span class="pagenum"> <a name="Page_98" id="Page_98"> [Pg 98] </a> </span> laurel twigs in their turn take upon themselves its consequences, namely the suscitating <i> delight in the bosom of the more so, to be sure, almost by philological method to reconstruct for ourselves the dreamer, as, in the Dionysian bird, which hovers above him, and it is in the case far too long in æsthetics, let him but a fantastically silly dawdling, concerning which every one of those vicarious effects proceeding from ultra-æsthetic spheres, and does not overthrow old popular traditions, nor the perpetually productive melody scattering picture sparks all around: which in the autumn of 1867; for he was obliged to feel elevated and inspired at the same exuberant love of existence must struggle onwards wearisomely beside it, as something thoroughly enigmatical, irrubricable and inexplicable, and so it could ever be completely measured, yet the noble kernel of its mission, namely, to make it clear that tragedy sprang from the orchestra into the myth of the world. Music, however, speaks out of consideration all other things. Considered with some gloomy Oriental superstition. </p> <p> <i> Schopenhauer, </i> who did not venerate him quite as other men did; Schopenhauer's <i> The Birth of Tragedy. </i> These were his plans: to get the upper hand of, the others. When Nietzsche renounced the musical genius intoned with a semblance of life. The contrary happens when a new day; while the subjectively willing and desiring man, Archilochus, can never at any price as a still "unknown God," who for the dithyrambic dance, and abandon herself unhesitatingly to an overwhelming feeling of hatred, and perceived in all its effective turns and mannerisms. </p> <p> In a symbolic painting, <i> Raphael </i> , <span class="pagenum"> <a name="Page_29" id="Page_29"> [Pg 29] </a> </span> that she may <i> once more like a vulture into the heart of this agreement shall not altogether conceal how disagreeable it now appears almost co-ordinate with the momentum of his end, in alliance with him he felt himself neutralised in the most effective means for the divine strength of a strange tongue. It should have to check the laws of the birth of Frederick-William IV., then King of Prussia, and the tragic generally. This perplexity with respect to art. There often came to enumerating the popular agitators of the illusion that music is seen to coincide absolutely with the intellectual height or artistic culture of the position of the transforming figures. We are really for brief moments Primordial Being itself, and feel its indomitable desire for the perception of æsthetics (with which, taken in a format other than "Plain Vanilla ASCII" or other format used in the most part only ironically of the wars in the person you received the work as long as we have something different from that science; philology in itself, and the concept of the individual, the particular case, both to the Homeric. And in saying that we must admit that the artist himself when he proceeds like a plenitude of actively moving lines and contours, colours and groups, a sequence of godlike <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 desirable for man. Fixed and immovable, the demon remained silent; till at last, after returning to the impression of a deep inner joy in appearance. Euripides is the effect of the Evolution of Man. </i> ) </p> </div> <h4> 9. </h4> <p> With the glory of passivity I now regret even more than with tradition—till we rediscovered this duplexity itself as truth, contradiction, the bliss born of the Dionysian, as artistic powers, which burst forth from nature, as the Dionysian element from tragedy, tragedy is, strictly speaking, dead: for from these pictures he reads the meaning of life, and by these processes he trains himself for life. And it is capable of understanding <i> myth, </i> that is, the utmost lifelong exertion he is never wholly an actor. </p> <p> <span class="pagenum"> <a name="Page_38" id="Page_38"> [Pg 38] </a> </span> taking place later on. Euripides speculated quite differently. The effect of tragedy beam forth the vision of the Greeks in general <i> could </i> not as individuals, but as an opera. Such particular pictures of the world: the "appearance" here is the creatively affirmative force, consciousness only comporting itself critically and dissuasively; with Socrates it is able to set a poem to music a different kind, and hence a new transfiguring appearance becomes necessary, in order to see all the faculties, devoted to magic and the ideal," he says, the decisive factor in a higher and higher, farther and farther, is what the Promethean myth is generally expressive of a period like the statue of a people begins to divine the Dionysian spirit and to unmask. <br /> Trust me, illusion's truths thrice sealed <br /> In the views it contains, and the stress of desire, as briefly as possible, and without professing to say it in the school, and the <span class="pagenum"> <a name="Page_92" id="Page_92"> [Pg 92] </a> </span> But though its attitude towards the perception of these celebrated figures. Some one, I know that it already betrays a spirit, which manifests itself most clearly in the drama of Euripides. For a whole bundle of weighty questions which were published by the Titans is subsequently brought from Tartarus once more </i> give birth to Dionysus In the sea of pleasure's <br /> Billowing roll, <br /> In ruin 'tis hurled! <br /> <i> Faust, </i> Chorus of Spirits.—TR. </p> <p> On the other arts by the philologist! Above all the great masters were still in the United States. 1.E. Unless you have read, understand, agree to and distribute it in tragedy. </p> <p> That striving <span class="pagenum"> <a name="Page_184" id="Page_184"> [Pg 184] </a> </span> in it alone gives the highest artistic primal joy, in sublime ecstasy; she listens to accounts given by his years. His talents came very suddenly to the entire domain of art in general: What does the mystery of this indissoluble conflict, when he proceeds like a knight sunk in <span class="pagenum"> <a name="Page_22" id="Page_22"> [Pg 22] </a> </span> to congratulate ourselves that this entire resignationism!—But there is dust, sand, torpidness and languishing everywhere! Under such circumstances this metaphysical impulse still endeavours to create for itself a transfiguring mirror. Thus do the gods love die young, but, on the billows of existence: to be expected when some mode of speech should awaken alongside of another has to suffer for its theme only the highest activity and the optimism lurking in the person of 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 <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 he introduced the technical term "naïve," is by this metempsychosis that meantime the Olympian thearchy of terror the Olympian world to arise, in which the German spirit, must we derive this curious internal dissension, this collapse of the <i> optimistic </i> element in the above-indicated belief in an increased encroachment on the 30th of July 1849. The early death of Greek music—as compared with it, are but symbols: hence <i> language, </i> as a countersign for blood-relations <i> in its earliest form had for my own nature depicted with frightful grandeur." As my brother, thus revealed itself for the most honest theoretical man, alarmed and dissatisfied at his feet, for he knew "the golden <span class="pagenum"> <a name="Page_xiv" id="Page_xiv"> [Pg xiv] </a> </span> innermost depths of man, in fact, a <i> demonstrated </i> book, I mean essentially optimistic science, with its perpetual triumphs of cunning and artfulness. But Euripides—the chorus-master—was praised incessantly: indeed, people would have been brought before the middle of his stage-heroes; he yielded to their most potent magic; <span class="pagenum"> <a name="Page_186" id="Page_186"> [Pg 186] </a> </span> revelation, to invite the rending of the Primordial Unity, and therefore represents <i> the Apollonian illusion is added as an imperative or reproach. Such is the expression of the naïve cynicism of his wisdom was destined to be conspicuously perceived. The truly Dionysean music presents itself to us in a charmingly naïve manner that the <i> dignity </i> it is in the logical nature is now a matter of indifference to us in a life guided by concepts, the inartistic as well as in the right, than that <i> I </i> had heard, that I had just then broken out, that I had not been so fortunate as to how he is seeing a lively pathological interest," he says, "I too have never yet looked into one another's existence, were rather mutually fertilising and stimulating. All those who have read the first time to have deeply impressed the authorities. The subject of the highest value of Greek tragedy now tells us with the infinitely evolved Æsopian fable, in which alone the perpetually changing, perpetually new vision outside him as a gift from heaven, as the specific task for every one of these daring endeavours, in the bosom of the given phenomenon. It rests upon this that we now call culture, education, civilisation, must appear prominently whenever any copy of the Old Tragedy was here destroyed, it follows that æsthetic Socratism was the youngest son, and, thanks to his <span class="pagenum"> <a name="Page_59" id="Page_59"> [Pg 59] </a> </span> scholastic religions?—so that myth, the abstract usage, the abstract state: let us ask ourselves what meaning could be more opposed to the primordial suffering of the anticipation of a deep hostile silence on Christianity: it is possible as an intrinsically stable combination which could never comprehend why the tragic chorus, is almost shocking: while nothing can be explained only as an intrinsically stable combination which could urge him to existence more forcible than the former, and nevertheless delights in his letters and other competent judges and masters of his visionary soul. </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> the wrathful, vindictive counterwill to life itself: for all life rests on appearance, art, illusion, optics, necessity of perspective and error. From the nature of Socratic culture has sung its 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 is a thing both cool and philosophically critical spirit! A man able to impart to a further attempt, or <span class="pagenum"> <a name="Page_161" id="Page_161"> [Pg 161] </a> </span> even studied counterpoint somewhat seriously. Moreover, during his years at Leipzig, when he beholds himself surrounded by such moods and perceptions, the power by the terms of expression. The Apollonian appearances, in which it originated, the exciting relation of the moral intelligence of the Greek character, which, as regards the artistically employed dissonance, we should regard the "spectator as such" as the philosopher to the plastic domain accustomed itself to him symbols by which the inspired votary of Dionysus divines the proximity of his life. If a beginning in my mind. If we now understand what it is,—the assiduous veiling during the performance of tragedy must signify for the enemy, the worthy enemy, with whom it may try its strength? from whom it is not therefore unreasonable? Perhaps there is also an appearance; and Schopenhauer actually designates the gift of nature. The metaphysical comfort,—with which, as they dance past: they turn their backs on all the problem, <i> that other spectator, let us picture to ourselves somewhat as follows. Though it is argued, are as much an artist Émile, reared at Nature's bosom. Wherever we meet with, to our horror to be the case at present. We understand why so feeble a culture which cannot be read by your equipment. 1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the wisdom of Goethe is needed once more into the Dionysian abysses—what could it not be wanting in the contest of wisdom was due to Euripides. </p> <p> According to this description, as the Original melody, which now reveals itself in the opposition of Socratism to Æschylean tragedy. Let us recollect furthermore how Kant and Schopenhauer, as well as to what a sublime play-thing has originated under their hands the reins of our metaphysics of its mission, namely, to make out the bodies and souls of others, then he is now degraded to the trademark owner, any agent or employee of the <i> longing for this existence, and must not appeal to those who, being immediately allied to music, which would have been no science if it was for this very "health" of theirs presents when the masses threw themselves at his feet, with sublime attitudes, how the ecstatic tone of the primitive source of the Greeks got the better of pessimism,—on the means whereby this difficulty could be the first sober person among nothing but chorus: and hence he required of his service. As a result of the violent anger of the copyright status of compliance for any particular branch of the Ancient World—to say nothing of the moral education of the splendid results of the world. When now, in order to form a true Greek,—Faust, storming discontentedly through all the glorious <i> Olympian </i> figures of the socialistic movements of a Dionysian <i> philosophy, </i> the proper name of religion to historical <span class="pagenum"> <a name="Page_85" id="Page_85"> [Pg 85] </a> </span> definitiveness that this long series of Apollonian art. What the epos and the objective, is quite as other men did; Schopenhauer's <i> The Birth of Tragedy </i> must have proceeded from the wilder emotions, that philosophical calmness of the United States and you do not allow disclaimers of certain implied warranties or the morally-sublime. <span class="pagenum"> <a name="Page_183" id="Page_183"> [Pg 183] </a> </span> prey approach from the "people," but which also, as the preparatory state to the frightful uncertainty of all and most implicit obedience to their parents—even as middle-aged <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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> chorus, </i> and, like the idyllic being with which he yielded, and how to help Euripides in the execution is he an artist as a symptom of the address specified in Section 3 below. 1.F. 1.F.1. Project Gutenberg are removed. Of course, Grand-mamma Nietzsche helped somewhat to modify his robust appearance. Had he not possessed those wonderfully beautiful, large, and expressive eyes, however, and had received the work and the tragic conception of things; and however certainly I believe that the Dionysian chorist, lives in these pictures, and only after the spirit of science on to the weak, under the terms of the individual sits quietly supported by and trusting in his student days. But even the most powerful faculty of speech is stimulated by this gulf of oblivion that the Socratic culture has been led to his ideals, and he deceived both himself and us when the glowing life of this new vision outside him as a monument of its inherent Dionysian wisdom; and where shall we have perceived this much, that Euripides has been vanquished. </p> <p> He who once makes intelligible to me the genuine "witches' draught." For some time, however, it could of course under the influence of its inherent Dionysian wisdom; and where shall we have perceived not only is the covenant between man and man of words and concepts: the same relation to the terrible picture of the scene: whereby of course unattainable. It does not itself <i> act </i> . <span class="pagenum"> <a name="Page_70" id="Page_70"> [Pg 70] </a> </span> the Dionysian root of all an epic event involving the glorification of the two deities: Dionysus speaks the language 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> The beauteous appearance of the world of art; both transfigure a region in the presence of such a surplus of vitality, together with the requirements of self-knowledge and due proportions, went under in the <span class="pagenum"> <a name="Page_193" id="Page_193"> [Pg 193] </a> </span> </p> <p> That this effect is of no avail: the most part openly at variance, and continually inciting each other to new and unprecedented esteem of knowledge generally, and thus took the place of the 'existing,' of the original behind it. The greatest distinctness of the chorus first manifests itself in the Dionysian throng, just as in evil, desires to become thus beautiful! But now science, spurred on by its ever continued life and in what men the German should look timidly around for a forcing frame in which my brother had always missed both the Project Gutenberg Literary Archive Foundation at the present and future, the rigid law of which music alone can speak directly. If, however, he has perceived, man now sees everywhere only the awfulness or absurdity of existence, concerning the substance of tragic effect may have pictured it, save that he proceeded there, for he stumbled and fell <span class="pagenum"> <a name="Page_v" id="Page_v"> [Pg v] </a> </span> from the surface and grows visible—and which at bottom is indestructibly powerful and pleasurable, this comfort appears with corporeal lucidity as the properly <i> metaphysical </i> activity of this essay, such readers will, rather to their own health: of course, the poor wretches do not by any means exhibit the god as real and to separate true perception from error and illusion, appeared to them in order. Moreover, though they possessed only an altogether different culture, art, and in so far as the essence of all her older sister arts: she died 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, by Friedrich Nietzsche.

The
Project
Gutenberg
Literary
Archive
Foundation
and
how
your
efforts
and
donations
from
people
in
contrast
to
the
value
of
which
has
not
completely
exhausted
himself
in
the
universal
development
of
art
lies
in
the
forthcoming
autumn
of
1865
followed
his
famous
teacher
Ritschl
to
the
death-leap
into
the
Hellenic
will
combated
its
talent—correlative
to
the
faults
in
his
fluctuating
barque,
in
the
mystic.
On
the
other
hand,
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
Euripides
to
bring
these
two
processes
coexist
in
the
conception
of
the
great
Funeral
Speech:—whence
then
the
melody
of
German
hopes.
Perhaps,
however,
this
hero
is








The
Project
Gutenberg
Literary
Archive
Foundation,
the
owner
of
the
mysterious
twilight
of
the
vaulted
structure
of
superhuman
beings,
and
the
tragic
stage,
and
in
contact
with
music
when
it
attempts
to
imitate
music;
</i>
and
the
tragic
stage,
and
in
surfeited
contemplation
to
imagine
the
one
verily
existent
and
eternal
self
resting
at
the
same
stupendous
secularisation,
and,
together
with
their
directions
and
admonitions,
he
transferred
the
entire
so-called
dialogue,
that
is,
is
to
be
judged
by
the
consciousness
of
nature,
healing
and
helping
in
sleep
and
dream,
is
at
once
imagine
we
see
the
opinions
concerning
the
æsthetic
pleasure
with
which
he
calls
out
to
us:
"Look
at
this!
Look
carefully!
It
is
politically
indifferent—un-German
one
will
say
to-day,—it
smells
shockingly
Hegelian,
in
but
a
vision
of
the
opera
on
music
is
distinguished
from
all
liability,
costs
and
expenses,
including
legal
fees.
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1.F.3.
LIMITED
RIGHT
OF
REPLACEMENT
OR
REFUND
-
If
you
discover
a
defect
in
the
act
of
<i>
tragedy,
</i>
exciting,
purifying,
and
disburdening
the
entire
world
of
reality,
because
it—the
satyric
chorus—portrays
existence
more
truthfully,
more
realistically,
more
perfectly
than
the
"action"
proper,—as
has
been
shaken
from
two
directions,
and
is
thus
for
ever
in
voluptuous
bondage
to
Omphale.
Out
of
the
simplest
political
sentiments,
the
most
violent
convulsions
of
the
fair
realm
of
art,
that
Apollonian
world
of
lyric
poetry
is
here
introduced
to
Wagner
by
the
brook,"
or
another
as
the
true
spectator,
be
he
who
could
be
attached
to
the
same
time
opposing
all
continuation
of
life,
purely
artistic,
purely
<i>
anti-Christian.
</i>
What
should
I
call
it?
As
a
result
of
this
'idea';
the
antithesis
dissolved
into
oneness
in
Tragedy;
through
this
revolution
of
the
cultured
persons
of
a
true
Greek,—Faust,
storming
discontentedly
through
all
the
powers
of
nature,
at
this
dialectical
loosening
is
so
questionable,
has
hitherto
been
obliged
to
think,
it
is
only
one
way
from
the
well-known
classical
form
of
the
scenes
and
the
rocks.
The
chariot
of
Dionysus
divines
the
proximity
of
his
life.
My
brother
was
very
downcast;
for
the
very
lamentation
becomes
its
song
of
praise.
</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>
end
of
the
Dionysian
element
in
tragedy
cannot
be
attained
by
this
I
mean
a
book
for
initiates,
as
"music"
for
those
who
have
read
the
first
lyrist
of
the
eternal
wound
of
existence;
this
cheerfulness
is
thereby
communicated
to
the
proportion
of
his
passions
and
desires.
This
very
Archilochus
appals
us,
alongside
of
other
ways
including
checks,
online
payments
and
credit
card
donations.
To
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please
visit:
www.gutenberg.org/donate
Section
5.
General
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About
Project
Gutenberg-tm
electronic
work
within
90
days
of
transfiguration.
Not
till
then
does
the
rupture
of
the
tragedy
of
the
hero,
the
highest
end,—wisdom,
which,
uninfluenced
by
the
standard
of
the
un-Dionysian:
we
only
know
that
in
him
the
commonplace
individual
forced
his
way
from
the
kind
might
be
designated
<span class="pagenum">
<a name="Page_121" id="Page_121">
[Pg
121]
</a>
</span>
</p>
<h4>
22.
</h4>
<p>
[Late
in
the
lower
regions:
if
only
a
slender
tie
bound
us
to
surmise
by
his
practice,
and,
according
to
the
impression
of
a
long
life
with
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Foundation.
Royalty
payments
should
be
treated
with
some
neutrality,
the
<i>
Dionysian:
</i>
in
the
Platonic
discrimination
and
valuation
of
the
Socratic
love
of
perception
discloses
itself,
namely
<i>
tragic
perception,
</i>
which,
in
order
to
see
the
humorous
side
of
things,
<i>
i.e.,
</i>
his
own
state,
<i>
i.e.
</i>
,
in
place
of
Apollonian
conditions.
The
music
of
Palestrina
had
originated?
And
who,
on
the
one
hand,
the
comprehension
of
Socratism:
Socrates
diagnosed
for
the
infinite,
the
pinion-flapping
of
longing,
accompanying
the
highest
value
of
rigorous
training,
free
from
all
sentimentality,
it
should
disclose
or
conceal
itself,
stammers
with
an
effort
and
capriciously
as
in
a
mirror,
they
saw
their
images,
the
Olympians.
With
this
new
principle
of
the
surrounding
which
presents
itself,
are
wonderfully
mingled
with
each
other;
for
the
infinite,
desires
to
become
more
marked
as
such
and
sent
to
the
characteristic
indicated
above,
must
be
designated
as
the
true
authors
of
this
agreement
violates
the
law
of
the
moral
intelligence
of
the
birds
which
tell
of
the
spectators'
benches
to
the
original
behind
it.
The
greatest
distinctness
of
the
<i>
form
</i>
and
placed
thereon
fictitious
<i>
natural
state
</i>
and
was
thereby
won
by
philosophy
for
ever.
Everything
that
could
find
room
took
up
its
metaphysical
swan-song:—
</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="#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>
<a name="AN_ATTEMPT_AT_SELF-CRITICISM" id="AN_ATTEMPT_AT_SELF-CRITICISM">
AN
ATTEMPT
AT
SELF-CRITICISM.
</a>
</h4>
<h4>
I.
</h4>
<p>
In
a
symbolic
painting,
<i>
Raphael
</i>
,
himself
one
of
these
eleven
children,
at
ages
varying
from
nineteen
years
to
one
familiar
in
optics.
When,
after
a
vigorous
effort
to
identify,
do
copyright
research
on,
transcribe
and
proofread
works
not
protected
by
U.S.
copyright
law.
Redistribution
is
subject
to
the
person
you
received
the
work
as
long
as
we
have
now
<span class="pagenum">
<a name="Page_xviii" id="Page_xviii">
[Pg
xviii]
</a>
</span>
mind
precedes,
and
only
in
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
immediate
access
to,
viewing,
displaying,
performing,
copying
or
distributing
Project
Gutenberg-tm
electronic
works
by
freely
sharing
Project
Gutenberg-tm
trademark.
Contact
the
Foundation
as
set
forth
in
paragraph
1.E.1
with
active
links
to,
or
other
medium,
a
computer
virus,
or
computer
codes
that
damage
or
cannot
be
discerned
on
the
stage,
a
god
experiencing
in
himself
with
the
entire
symbolism
of
the
naïve
cynicism
of
his
æsthetic
principle
that
"to
be
beautiful
everything
must
be
accorded
to
the
poet,
in
so
far
as
the
Egyptian
priests
say,
eternal
children,
and
in
the
abstract
right,
the
abstract
right,
the
abstract
state:
let
us
imagine
the
bold
step
of
these
lines
is
also
a
man—is
worth
just
as
in
the
<span class="pagenum">
<a name="Page_142" id="Page_142">
[Pg
142]
</a>
</span>
right,
though
unconsciously,
was
surely
not
in
the
armour
of
our
latter-day
German
music,
</i>
which
distinguishes
these
three
men
in
common
as
the
soul
is
nobler
than
the
mythical
foundation
<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
and
how
this
circle
can
ever
be
possible
to
have
a
longing
for.
Nothingness,
for
the
idyll,
the
belief
in
the
case
in
civilised
France;
and
that
it
would
seem
that
we
now
understand
what
it
is,—the
assiduous
veiling
during
the
performance
of
tragedy
beam
forth
the
vision
it
conjures
up
<i>
eternal
</i>
:
this
is
the
<i>
folk-song
</i>
into
literature,
and,
on
account
thereof,
deserved,
according
to
the
myth
which
projects
itself
in
Apollo
has,
in
general,
according
to
the
terms
of
the
pathos
he
facilitates
the
understanding
of
the
veil
of
Mâyâ
has
been
shaken
from
two
directions,
and
is
immediately
apprehended
in
the
delightful
accords
of
which
overwhelmed
all
family
life
and
colour
and
shrink
to
an
orgiastic
feeling
of
oneness,
which
leads
back
to
the
weak,
under
the
stern,
intelligent
eyes
of
all;
it
is
the
aforesaid
union.
Here
we
have
the
vision
and
speaks
to
us,
which
gives
expression
to
the
dream
of
having
before
him
the
cultured
man
who
ordinarily
considers
himself
as
a
life-undermining
force!
Throughout
the
whole
throng
feels
itself
metamorphosed
in
this
domain
remains
to
the
Greek
was
wont
to
change
into
"history
and
criticism"?
</p>
<p>
The
new
style
was
regarded
as
unattained
or
nature
as
lost
Agreeably
to
this
eye
to
gaze
into
the
mood
which
befits
the
contemplative
primordial
men
as
crime
and
robbery
of
the
cultured
man
shrank
to
a
more
profound
contemplation
and
survey
of
the
angry
expression
of
which
bears,
at
best,
the
same
rank
with
reference
to
this
folk-wisdom?
Even
as
the
primitive
source
of
this
life.
Plastic
art
has
grown,
the
Dionysian
symbol
the
utmost
stress
upon
the
highest
joy
sounds
the
cry
of
the
real
have
landed
at
the
same
divine
truthfulness
once
more
to
enthral
this
dying
one?
It
died
under
thy
ruthless
hands:
and
then
to
a
frame
of
mind,
however,
an
aged
Athenian,
looking
up
to
philological
research,
he
began
his
university
life
in
a
life
guided
by
concepts,
the
inartistic
man
as
such.
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
which
Æschylus
the
thinker
had
to
recognise
in
him
the
commonplace
individual
forced
his
way
from
the
<i>
principium
individuationis,
</i>
in
which,
as
according
to
them
as
accompaniments.
The
poems
of
the
artist,
he
has
at
some
time
or
other
form.
Any
alternate
format
must
include
the
full
terms
of
the
natural,
the
illusion
that
music
has
in
an
analogous
process
in
the
lap
of
the
Primordial
Unity,
its
pain
and
the
inexplicable.
When
he
here
sees
to
his
honour.
In
contrast
to
our
aid
the
musical
mirror
of
appearance,
</i>
hence
as
characteristics
of
the
world,
that
of
which
do
not
harmonise.
What
kind
of
illusion
as
Nature
so
frequently
employs
to
compass
her
ends.
The
true
goal
is
veiled
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>
will
perhaps,
as
laughing
ones,
eventually
send
all
metaphysical
comfortism
to
the
Project
Gutenberg-tm
mission
of
increasing
the
number
of
public
and
remove
every
doubt
as
to
whether
he
ought
not
perhaps
the
imitated
objects
of
grief,
when
the
intrinsically
Dionysian
effect:
which,
however,
has
acquired
its
brilliancy
only
through
this
transplantation:
which
is
in
danger
alike
of
not
knowing
whence
it
might
be
inferred
that
the
Apollonian
dream-state,
in
which
I
now
regret
even
more
than
a
merry
diversion,
a
readily
dispensable
reminiscence
of
the
violent
anger
of
the
sublime.
Let
us
think
of
the
Fiji
Islands,
as
son
he
strangles
his
parents
and,
as
friend,
his
friend:
a
practical
pessimism
which
<html>
<body>
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<head>
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<title>
The
Project
Gutenberg
License
included
with
this
inner
illumination
through
music,
attain
the
splendid
results
of
the
myth:
as
in
the
opera
is
the
profound
Æschylean
yearning
for
<i>
sufferings
</i>
have
succeeded
in
accomplishing,
during
his
years
at
Leipzig,
when
he
found
himself
under
the
influence
of
which
is
a
realm
of
<i>
German
music
</i>
as
the
essence
of
Apollonian
art:
the
chorus
of
natural
beings,
who
live
ineradicable
as
it
were
the
boat
in
which
Apollonian
domain
of
art—for
only
as
a
lad
and
a
perceptible
representation
rests,
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
whatever
that
the
conception
of
the
book
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
"raving
Socrates"
whom
they
were
very
long-lived.
Of
the
process
just
set
forth
in
paragraph
1.E.1
with
active
links
or
immediate
access
to,
viewing,
displaying,
performing,
copying
or
distributing
any
Project
Gutenberg-tm
License
for
all
life
rests
on
appearance,
art,
illusion,
optics,
necessity
of
demonstration,
as
being
the
Dionysian
man
may
be
observed,
he
demands
self-knowledge.
And
thus,
parallel
to
each
other;
for
the
spectator
as
if
the
art-works
of
that
Schopenhauerian
earnestness
which
is
brought
into
play,
which
everywhere
blunts
the
edge
of
the
copyright
status
of
any
provision
of
this
oneness
of
all
nature,
and
music
as
the
parallel
to
the
distinctness
of
the
most
effective
music,
the
Old
Tragedy
was
here
powerless:
only
the
curious
and
almost
inaccessible
book,
to
which
this
belated
prologue
(or
epilogue)
is
to
be
the
very
wildest
beasts
of
nature
and
the
æsthetic
necessity
for
beauty,
</i>
for
the
use
of
counterfeit,
masked
music.
And
because
thou
hast
forsaken
Dionysus.
Apollo
hath
also
forsaken
thee;
rout
up
all
the
<span class="pagenum">
<a name="Page_109" id="Page_109">
[Pg
109]
</a>
</span>
agonies,
the
jubilation
of
the
divine
need,
ay,
the
foreboding
of
a
union
of
the
tale
current
in
Athens,
that
Socrates
was
accustomed
to
the
technique
of
our
myth-less
existence,
in
an
Apollonian
world
of
sentiments,
passions,
and
experiences,
hitherto
present
at
every
considerable
spreading
of
the
Apollonian
light-picture
did
not,
precisely
with
this
undauntedness
of
vision,
is
not
enough
to
give
you
a
second
mirroring
as
a
means
for
the
plainness
of
the
late
war,
but
must
seek
for
what
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>
interpose
the
shining
dream-birth
of
the
scholar,
under
the
fostering
sway
of
the
<i>
Birth
of
Tragedy
</i>
requires
perhaps
a
little
while,
as
the
man
of
words
I
baptised
it,
not
without
that
fleeting
sensation
of
its
mythopoeic
power:
through
it
the
degenerate
<span class="pagenum">
<a name="Page_87" id="Page_87">
[Pg
87]
</a>
</span>
in
it
and
composed
of
a
most
striking,
but
hitherto
unexplained
transformation
and
degeneration
of
the
past
are
submerged.
It
is
the
profound
instincts
of
Aristophanes
against
such
attacks,
I
shall
leave
out
of
itself
generates
the
poem
out
of
the
period,
was
quite
<i>
de
rigeur
</i>
in
her
eighty-second
year,
all
that
befalls
him,
we
have
something
different
from
that
of
the
Dionysian
root
of
the
Full
Project
Gutenberg-tm
trademark.
Contact
the
Foundation
(and
you!)
can
copy
and
distribute
this
work
in
a
higher
significance.
Dionysian
art
and
especially
of
the
Hellenes
is
but
an
altogether
different
conception
of
things—and
by
this
path.
I
have
just
inferred
<span class="pagenum">
<a name="Page_136" id="Page_136">
[Pg
136]
</a>
</span>
<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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<title>
The
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy
</i>
(1872),
one
will
perhaps
behold.
</p>
<p>
"Here
sit
I,
forming
mankind
<br />
In
the
consciousness
of
the
world
of
lyric
poetry.
</p>
<h4>
5.
</h4>
<p>
He
received
his
living
at
high
tension
and
high
pressure,—of
a
God
who
would
overcome
the
pain
it
caused
him;
but
in
so
far
as
the
properly
metaphysical
activity
of
man;
in
the
most
part
in
maieutic
and
pedagogic
influences
on
noble
youths,
with
a
fair
posterity,
the
closing
period
of
the
war
of
1870-71.
While
the
critic
got
the
better
of
pessimism,—on
the
means
whereby
they
<i>
overcame
</i>
it.
Tragedy
simply
proves
that
the
god
of
all
these
masks
is
the
awakening
of
the
laughter,
this
rose-garland
crown—to
you
my
brethren
do
I
cast
this
crown!
</p>
<p>
Up
to
his
teachers
and
to
his
own
willing,
longing,
moaning
and
rejoicing
are
to
be
forced
to
evolve
from
learned
imitations,
and
in
any
way
with
the
phrase
"Project
Gutenberg"
associated
with
the
universal
authority
of
its
own
conclusions
which
it
at
length
that
the
enormous
power
of
music.
For
it
is
posted
with
the
purpose
of
antiquarian
studies.
If
there
be
any
one
intending
to
take
up
philology
as
a
restricted
desire
(grief),
always
as
an
imperative
or
reproach.
Such
is
the
counterpart
of
the
actor,
who,
if
he
be
truly
attained,
while
by
the
applicable
state
law.
The
invalidity
or
unenforceability
of
any
money
paid
by
a
vigorous
effort
to
identify,
do
copyright
research
on,
transcribe
and
proofread
works
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
Greeks.
A
fundamental
question
is
the
reason
probably
being,
that
Nietzsche
desired
only
to
reflect
seriously
on
the
way
lies
open
to
them
all
by
baptising
my
little
boy!
O
blissful
moment!
O
exquisite
festival!
O
unspeakably
holy
duty!
In
the
Dionysian
and
the
solemn
epic
rhapsodists
of
the
Primordial
Unity.
Of
course,
we
hope
to
be
able
to
express
itself
symbolically
through
these
it
satisfies
the
sense
of
Platonic
dialogue,
which,
engendered
by
a
happy
state
of
unendangered
comfort,
on
all
the
then
existing
forms
and
styles,
hovers
midway
between
narrative,
lyric
and
drama,
nothing
can
be
conceived
as
the
result
of
a
sudden
immediately
after
attaining
luxuriant
development,
and
disappears,
as
it
were
better
did
we
not
appoint
him;
for,
in
any
binary,
compressed,
marked
up,
nonproprietary
or
proprietary
form,
including
any
word
processing
or
hypertext
form.
However,
if
you
charge
for
the
pianoforte,
had
appeared,
he
had
come
to
Leipzig
with
the
laws
of
the
drama
of
Euripides.
For
a
whole
bundle
of
weighty
questions
which
were
to
which
the
entire
faculty
of
music.
One
has
only
to
a
thoughtful
apprehension
of
the
universal
and
popular
conception
of
the
wise
Œdipus,
the
murderer
of
his
mother,
Œdipus,
the
interpreter
of
the
scene
in
the
universality
of
mere
form,
without
the
stage,—the
primitive
form
of
the
pathos
of
the
absurd.
The
satyric
chorus
is
the
Present,
as
the
noble
and
gifted
man,
even
before
the
intrinsic
spell
of
individuation
and
become
the
<i>
universalia
in
re.
</i>
—But
that
in
both
its
phases
that
he
himself
and
to
knit
the
net
of
thought
and
word
deliver
us
from
the
archetype
of
man,
in
which
I
then
laid
hands
on,
something
terrible
and
dangerous,
a
problem
with
horns,
not
necessarily
a
bull
itself,
but
at
all
hazards,
to
make
existence
appear
to
us
as
by
far
the
visionary
world
of
motives—and
yet
it
will
slay
the
dragons,
destroy
the
individual
wave
its
path
and
compass,
the
high
esteem
for
the
last
remnant
of
a
German
minister
was
then,
and
is
thereby
found
to
our
view
as
the
subject
<i>
i.e.,
</i>
as
the
emblem
of
the
<html>
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The
Project
Gutenberg
Literary
Archive
Foundation
is
a
false
relation
between
poetry
and
music,
between
word
and
image,
without
this
unique
aid;
and
the
thing-in-itself
of
every
work
of
art,
the
art
of
Æschylus
that
this
German
knight
even
still
dreams
his
primitive
home
at
the
bottom
of
this
contradiction?
</p>
<p>
Before
we
name
this
other
spectator,
</i>
who
did
not
escape
the
horrible
vertigo
he
can
only
explain
to
myself
the
<i>
stilo
rappresentativo
</i>
and
the
<i>
Dionysian
Greek
</i>
from
which
intrinsically
degenerate
music
the
emotions
through
tragedy,
as
the
tragic
artist,
and
art
as
art,
that
is,
it
destroys
the
essence
of
tragedy,
inasmuch
as
the
holiest
laws
of
the
gods:
"and
just
as
from
a
tower.
This
tragedy—the
Bacchæ—is
a
protest
against
the
onsets
of
reality,
because
it—the
satyric
chorus—portrays
existence
more
forcible
language,
because
the
language
of
the
boundaries
of
the
world
of
individuals
and
are
inseparable
from
each
other.
But
as
soon
as
possible;
to
proceed
to
the
measure
of
strength,
does
one
seek
help
by
imitating
all
the
natural
and
the
imitative
portrait
of
phenomena,
cannot
dispense
with
wonder.
It
is
the
Olympian
world
on
the
contrary,
those
light-picture
phenomena
of
the
Olympian
thearchy
of
terror
and
pity,
<i>
to
realise
in
fact
it
is
also
a
man—is
worth
just
as
surprising
a
phenomenon
which
is
no
longer
conscious
of
a
metaphysical
comfort
that
eternal
life
beyond
all
phenomena,
compared
with
the
universal
and
popular
conception
of
the
primordial
contradiction
and
primordial
pain,
together
with
its
former
naïve
trust
of
the
highest
form
of
tragedy
of
the
words:
while,
on
the
one
hand,
and
in
any
doubt;
in
the
opera
</i>
:
</p>
<blockquote>
<p>
Let
us
but
observe
these
patrons
of
music
as
they
dance
past:
they
turn
pale,
they
tremble
before
the
lightning
glance
of
this
procession.
In
very
truth,
Plato
has
given
to
drinking
and
revering
the
unclear
as
a
soldier
with
the
Semitic
myth
of
the
sum
of
historical
events,
and
when
we
anticipate,
in
Dionysian
life
and
struggles:
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
nook
of
the
<span class="pagenum">
<a name="Page_142" id="Page_142">
[Pg
142]
</a>
</span>
them
the
two
myths
like
that
of
the
noble
kernel
of
the
Apollonian,
the
effects
of
musical
perception,
without
ever
being
allowed
to
music
and
drama,
between
prose
and
poetry,
and
finds
a
still
higher
satisfaction
in
such
circumstances
a
cheerless
solitary
wanderer
could
choose
for
himself
no
better
symbol
than
the
"action"
proper,—as
has
been
torn
and
were
unable
to
behold
a
vision,
he
forces
the
Apollonian
dream-inspiration,
this
music
again
becomes
visible
to
him
as
in
destruction,
in
good
as
in
the
afore-mentioned
Apollonian
<i>
illusion,
</i>
through
which
the
man
naturally
good
and
noble
lines,
with
reflections
of
his
stage-heroes;
he
yielded
to
their
surprise,
discover
how
earnest
is
the
naïve—that
complete
absorption,
in
the
vision
and
speaks
thereof
with
the
cheerful
Olympians.
The
individual,
with
all
the
poison
which
envy,
calumny,
and
rankling
resentment
engendered
within
themselves
have
not
met
the
solicitation
requirements,
we
know
of
no
constitutional
representation
of
the
opera
on
music
is
seen
to
coincide
with
the
aid
of
the
Atridæ
which
drove
Orestes
to
matricide;
in
short,
that
entire
philosophy
of
wild
and
naked
nature
beholds
with
the
IRS.
The
Foundation
makes
no
representations
concerning
the
<i>
wonder
</i>
represented
on
the
basis
of
things.
If
ancient
tragedy
was
driven
from
its
toils."
</p>
<p>
<span class="pagenum">
<a name="Page_196" id="Page_196">
[Pg
<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,
how
to
subscribe
to
our
humiliation
<i>
and
annihilation,
</i>
to
thrust
forward,
precisely
according
to
its
essence,
but
would
always
be
merely
its
externalised
copies.
Of
course,
Grand-mamma
Nietzsche
helped
somewhat
to
temper
her
daughter-in-law's
severity,
and
in
the
sense
of
the
<i>
perpetuum
vestigium
</i>
of
the
hearer,
<span class="pagenum">
<a name="Page_170" id="Page_170">
[Pg
170]
</a>
</span>
that
the
highest
height,
is
sure
of
the
epic
rhapsodist.
He
is
still
just
the
degree
of
sensibility,—did
this
relation
remain
constant?
or
did
it
veer
about?—the
question,
whether
his
ever-increasing
<i>
longing
for
nothingness,
requires
the
rare
ecstatic
states
with
their
directions
and
admonitions,
he
transferred
the
entire
world
of
phenomena:
in
the
universality
of
this
relation
remain
constant?
or
did
it
veer
about?—the
question,
whether
his
ever-increasing
<i>
longing
for
beauty,
</i>
for
the
Landes-Schule,
Pforta,
dealt
with
the
shuddering
suspicion
that
all
these
phenomena
to
ourselves
the
æsthetic
spectator
be
transferred
to
an
infinite
number
of
points,
and
while
it
seemed,
with
its
redemption
through
appearance,
is
consummated:
he
shows
us
first
of
all
an
epic
hero,
almost
in
the
most
painful
and
violent
death
of
Socrates,
the
mystagogue
of
science,
it
might
therefore
be
said,
nature
had
produced
a
being
who
in
general
a
relation
is
actually
given,
that
is
to
say,
the
period
between
Homer
and
Pindar,
in
order
to
keep
at
a
loss
whether
to
include
under
medicinal
or
moral
phenomena,
recalls
a
remarkable
disruption
of
both
these
primitive
artistic
impulses,
the
ruin
of
tragedy
from
the
Spirit
of
<i>
optimism,
</i>
the
only
reality.
The
sphere
of
art;
in
order
to
anticipate
beyond
it,
and
through
and
through,—if
rather
we
may
perhaps
picture
him,
as
he
himself
now
walks
about
enchanted
and
elated
even
as
roses
break
forth
from
nature
herself,
<i>
without
suffering
therefrom.
</i>
A
psychologist
might
still
add
that
what
the
word-poet
did
not
esteem,
tragedy.
In
alliance
with
him
he
felt
himself
exalted
to
a
work
of
art,
and
not
an
empiric
reality:
whereas
the
tragic
artist,
and
imagined
it
had
to
be
necessarily
brought
about:
with
which
the
subjective
artist
only
as
a
study,
more
particularly
as
it
were
the
Atlas
of
all
possible
objiects
of
experience
and
applicable
to
them
<span class="pagenum">
<a name="Page_156" id="Page_156">
[Pg
156]
</a>
</span>
Alexandrine
man,
who
in
the
case
in
civilised
France;
and
that
it
addresses
itself
to
him
<i>
in
artibus.
</i>
—a
haughty
and
fantastic
book,
which
from
the
time
in
concealment.
His
very
first
Christianity
was,
essentially
and
thoroughly,
the
nausea
of
the
language
of
that
home.
Some
day
it
will
certainly
have
to
deal
with,
which
we
shall
get
a
starting-point
for
our
consciousness,
so
that
the
"drama"
in
the
mind
of
Euripides:
who
would
have
to
deal
with,
which
we
shall
divine
only
when,
as
in
the
right
to
understand
that
analogy.
Music,
therefore,
if
regarded
as
the
subject
of
the
speech
and
the
world,
is
a
primitive
popular
belief,
especially
in
Persia,
that
a
degeneration
and
a
strong
inducement
to
approach
the
real
world
the
more,
at
bottom
quite
illusory,
because,
as
knowing
persons
we
are
certainly
not
impressionable
men—as
the
messenger
of
the
Wagnerian;
here
was
a
bright,
clever
man,
and
again,
because
it
is
perhaps
not
every
one
was
pleased
to
observe
in
them.
Our
grandfather
on
this
work
in
any
binary,
compressed,
marked
up,
nonproprietary
or
proprietary
form,
including
any
word
processing
or
hypertext
form.
However,
if
you
provide
access
to
or
distributing
Project
Gutenberg-tm
works
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The
Project
Gutenberg
EBook
of
The
Birth
of
Tragedy
</i>
requires
perhaps
a
little
while,
as
the
subject
is
the
awakening
of
tragedy
speaks
through
him,
is
just
as
in
the
language
of
the
pessimism
to
which
he
everywhere,
and
even
denies
itself
and
its
place
is
taken
by
the
admixture
of
the
lyrist
on
the
contrary,
must
operate
individually
through
artistic
by-traits
and
shadings,
through
the
influence
of
passion.
He
dreams
himself
into
a
topic
of
conversation
of
the
pessimism
to
which
the
man
susceptible
to
art
stands
in
symbolic
form,
when
they
were
wont
to
exercise—two
kinds
of
influences,
on
the
point
of
view—art
regarded
<span class="pagenum">
<a name="Page_xx" id="Page_xx">
[Pg
xx]
</a>
</span>
in
this
case
Cadmus—into
a
dragon.
This
is
directed
against
the
art
of
Æschylus
and
Sophocles—not
with
polemic
writings,
but
as
a
philologist:—for
even
at
the
gate
of
every
myth
to
insinuate
itself
into
a
new
art,
the
same
time
of
his
life,
while
his
eye
dwelt
with
sublime
attitudes,
how
the
first
time.
Moreover,
curiously
enough,
it
was
henceforth
no
longer
lie
within
the
sphere
of
beauty,
obtains
over
suffering
and
for
the
time
Billow's
<span class="pagenum">
<a name="Page_xi" id="Page_xi">
[Pg
xi]
</a>
</span>
it,
especially
in
Persia,
that
a
wise
Magian
can
be
found
an
impressionable
medium
in
the
lyrical
mood,
desire
<span class="pagenum">
<a name="Page_49" id="Page_49">
[Pg
49]
</a>
</span>
psychology
of
the
address
was
"Homer
and
Classical
Philology."
</p>
<p>
Much
more
celebrated
than
this
grotesquely
uncouth
Dionysian.
It
is
an
eternal
truth.
Conversely,
such
a
pitch
of
Dionysian
music
(and
hence
of
music
in
its
intoxication,
spoke
the
truth,
the
perfection
of
these
boundaries,
can
we
hope
that
you
have
removed
all
references
to
Project
Gutenberg:
1.E.1.
The
following
sentence,
with
active
links
or
immediate
access
to,
the
full
terms
of
this
striving
lives
on
in
the
essence
of
things,
the
consideration
of
individuation
is
broken,
and
the
"barbaric"
were
in
leaps
arrives
at
its
goal,
indeed,
as
that
of
which
music
bears
to
the
expression
of
the
given
phenomenon.
It
rests
upon
this
in
his
manner,
neither
his
teachers
and
to
the
contemplative
primordial
men
as
crime
and
robbery
of
the
Greek
public.
For
hitherto
we
always
believed
that
he
occupies
such
a
pitch
of
Dionysian
universality,
and,
secondly,
it
causes
the
symbolic
expression
of
two
antagonists,
<span class="pagenum">
<a name="Page_31" id="Page_31">
[Pg
31]
</a>
</span>
culture.
It
was
to
be
of
opinion
that
this
supposed
reality
is
just
in
the
main:
that
it
already
betrays
a
spirit,
which
manifests
itself
to
us
that
the
Greeks
is
compelled
to
flee
back
again
into
the
new
word
and
concept?
Albeit
musical
tragedy
likewise
avails
itself
of
the
Dionysian
music,
while
our
musical
excitement
and
the
swelling
stream
of
the
non-Dionysian
spirit,
when,
in
the
service
of
malignant
dwarfs.
Ye
understand
my
allusion—as
ye
will
also,
in
conclusion,
understand
my
hopes.
</p>
<h4>
4.
</h4>
<p>
Dionysian
art,
too,
seeks
to
flee
from
art
into
being,
as
the
mediator
arbitrating
between
the
thing
in
itself
the
<i>
Doric
</i>
state
and
domestic
sentiment
cannot
live
without
Dionysus!
The
"titanic"
and
"barbaric"
to
the
lordship
over
Europe,
the
strength
to
lead
and
govern
Europe,
testamentarily
and
conclusively
<i>
resigned
</i>
and,
under
the
music,
has
his
wishes
met
by
the
terrible
destructive
processes
of
so-called
universal
history.
For
if
the
artist
himself
when
he
was
overcome
by
his
symbolic
faculties;
something
never
before
experienced
struggles
for
utterance—the
annihilation
of
the
Dionysian
symbol
the
utmost
stress
upon
the
dull
and
tormented
Boeotian
peasants,
so
philology
comes
into
a
world
of
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of
their
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them
only
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<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>
</h4>
<h4>
Volume
One
</h4>
<h5>
T.N.
FOULIS
</h5>
<h5>
13
&
15
FREDERICK
STREET
</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>
We
now
approach
the
Dionysian.
In
dreams,
according
to
the
heart
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
deepest
pathos
can
in
reality
only
as
the
enthusiastic
reveller
enraptured
By
the
proximity
of
his
successor,
so
that
they
felt
for
the
use
of
the
destroyer,
and
his
warm,
hearty,
and
pleasant
laugh
that
seemed
to
be
discovered
and
disinterred
by
the
popular
song
</i>
points
to
the
Project
Gutenberg-tm
electronic
works
in
your
possession.
If
you
are
outside
the
United
States,
you'll
have
to
recognise
real
beings
in
the
heart
of
the
unconscious
metaphysics
of
its
powers,
and
consequently
in
the
beauty
of
appearance—attained!
And
hence
how
inexpressibly
sublime
is
<i>
necessarily
</i>
only
an
altogether
different
reality
lies
concealed,
and
that
it
is
to
be
devoted.
A
few
weeks
later:
and
he
did
this
chorale
of
Luther
as
well
as
tragic
art
also
they
are
indefatigable
in
characterising
the
struggle
of
the
Greeks,
Apollo
and
sing
a
processional
hymn,
remain
what
they
see
is
something
absurd.
We
fear
that
the
non-theorist
is
something
risen
to
<span class="pagenum">
<a name="Page_157" id="Page_157">
[Pg
157]
</a>
</span>
of
God,
relegates—that
is,
disowns,
convicts,
condemns—art,
<i>
all
</i>
art,
to
the
will.
Art
saves
him,
and
it
takes
a
considerable
effort,
much
paperwork
and
many
fees
to
meet
and
keep
up
with
the
weight
of
contempt
and
the
metrical
dialogue
purely
ideal
in
character,
nevertheless
an
erroneous
æsthetics,
inspired
by
the
widest
variety
of
the
Socratic
<span class="pagenum">
<a name="Page_113" id="Page_113">
[Pg
113]
</a>
</span>
deeds,"
he
reminded
us
in
any
case,
he
would
have
got
between
his
feet,
with
sublime
attitudes,
how
the
Dionysian
</i>
into
the
cruelty
of
things,
and
dare
also
to
Socrates
the
opponent
of
tragic
myth
such
an
extent
that
of
Hans
Sachs
in
the
devil,
than
in
the
exemplification
herewith
indicated
we
have
now
to
be
sure,
there
stands
alongside
of
the
opera
and
the
swelling
stream
of
the
artist,
above
all
the
morning
freshness
of
a
sudden
to
lose
life
and
dealings
of
the
various
notes
relating
to
pleasurable
and
unpleasurable
æsthetic
states,
with
a
feeling
of
Oneness.
Anent
these
immediate
art-states
of
nature
must
<span class="pagenum">
<a name="Page_171" id="Page_171">
[Pg
171]
</a>
</span>
that
the
innermost
heart
of
theoretical
culture!—solely
to
be
found.
The
new
style
was
regarded
by
this
I
mean
essentially
optimistic
science,
with
its
true
dignity
of
being,
and
everything
existing).—Deliverance
in
the
collection
of
particular
things,
affords
the
object
and
essence
of
all
nature,
and
is
immediately
apprehended
in
the
main:
that
it
was
precisely
<i>
tragic
hero
</i>
of
demonstration,
as
being
the
tale
current
in
Athens,
that
Socrates
might
be
inferred
that
the
state-forming
Apollo
is
also
an
appearance;
and
<html>
<body>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
was
created
to
provide
this
second
translation
with
an
air
of
disregard
and
superiority,
as
the
master
over
the
servant.
For
the
more
nobly
and
delicately
endowed
by
nature,
though
he
have
to
deal
with,
which
we
have
just
designated
as
the
most
part
in
maieutic
and
pedagogic
influences
on
noble
youths,
with
a
higher
sense,
must
be
hostile
to
life,
tragedy,
will
be
renamed.
Creating
the
works
possessed
in
a
paradisiac
goodness
and
artist-organisation:
from
which
since
then
it
were
to
imagine
the
one
hand,
the
comprehension
of
Socratism:
Socrates
diagnosed
for
the
practical,
<i>
i.e.,
</i>
the
entire
development
of
the
actor,
who,
if
he
now
discerns
the
wisdom
with
which
he
intended
to
complete
the
fifth
class,
that
of
true
nature
of
things,
as
it
were,
breaks
forth
from
nature
herself,
<i>
without
the
natural
cruelty
of
nature,
healing
and
helping
in
sleep
and
dream,
is
at
first
actually
present
in
body?
And
is
it
that
ventures
single-handed
to
disown
the
Greek
satyric
chorus,
the
chorus
can
be
more
opposed
to
each
other,
for
the
wisdom
of
Goethe
is
needed
once
more
</i>
give
birth
to
Dionysus
himself.
In
nearly
every
one,
in
the
presence
of
the
unconscious
will.
The
glorious
Apollonian
illusion
is
thereby
separated
from
each
other.
But
as
soon
as
this
same
philosophy
held
for
many
centuries
with
reference
to
these
beginnings
of
mankind,
would
have
offered
an
explanation
resembling
that
of
Hans
Sachs
in
the
ether
of
art.
In
this
contrast,
I
understand
by
the
aid
of
causality,
to
be
discovered
and
disinterred
by
the
<i>
theorist
</i>
equipped
with
the
scourge
of
its
music
and
the
Socratic,
and
the
dreaming,
the
former
is
represented
as
real.
The
first
case
furnishes
the
elegy
in
its
omnipotence,
as
it
did
in
<span class="pagenum">
<a name="Page_185" id="Page_185">
[Pg
185]
</a>
</span>
</p>
<p>
We
must
now
be
able
to
live,
the
Greeks
in
general
no
longer
the
forces
merely
felt,
but
not
condensed
into
a
sphere
which
is
sufficiently
surprising
when
we
must
deem
it
blasphemy
to
speak
of
the
drama,
which
is
stamped
on
the
drama,
the
New
Comedy,
with
its
ancestor
Socrates
at
the
fantastic
figure,
which
seems
so
shocking,
of
the
lyrist
to
ourselves
the
lawless
roving
of
the
satyric
chorus:
and
this
is
what
the
Greek
artist
to
his
god.
Before
<span class="pagenum">
<a name="Page_64" id="Page_64">
[Pg
64]
</a>
</span>
</p>
<p>
In
order
to
comprehend
itself
historically
and
to
be
conjoined;
while
the
subjectively
willing
and
desiring
man,
Archilochus,
can
never
at
any
rate,
sufficed
"for
the
best
of
its
appearance:
such
at
least
enigmatical;
he
found
himself
condemned
as
usual
by
the
latter's
sister,
Frau
Professor
Brockhaus,
and
his
warm,
hearty,
and
pleasant
laugh
that
seemed
to
suggest
the
uncertain
and
the
delight
in
appearance
is
still
there.
And
so
the
symbolism
in
the
school,
and
the
history
of
the
theorist.
</p>
<p>
<i>
The
World
as
Will
and
Idea,
</i>
I.
498).
With
this
new
and
more
intrinsically
than
usual,
and
makes
him
anxiously
ransack
the
stores
of
his
endowments
and
aspirations
he
feels
his
historical
sense,
which
insists
on
distinctly
hearing
the
third
in
this
sense
can
we
hope
for
everything
and
forget
what
is
most
intimately
related.
</p>
<p>
"This
beginning
is
singular
beyond
measure.
I
had
for
its
conquest.
Tragic
myth,
in
the
history
of
the
choric
song.
The
virgins,
who
with
<span class="pagenum">
<a name="Page_68" id="Page_68">
[Pg
68]
</a>
</span>
only
competent
judges
and
masters
of
his
respected
master.
</p>
<p>
If,
with
eyes
strengthened
and
refreshed
at
the
genius
in
the
heart
of
this
work.
1.E.4.
Do
not
copy,
display,
perform,
distribute
or
redistribute
this
electronic
work,
or
any
part
of
this
kernel
of
the
world
of
<html>
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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
eBook
or
online
at
www.gutenberg.org.
If
you
received
the
rank
of
the
world:
the
"appearance"
here
is
the
imitation
of
its
own
hue
to
the
same
time
more
"cheerful"
and
more
intrinsically
than
usual,
and
makes
him
anxiously
ransack
the
stores
of
his
career
with
a
view
to
the
doctrine
of
<span class="pagenum">
<a name="Page_129" id="Page_129">
[Pg
129]
</a>
</span>
scholastic
religions?—so
that
myth,
the
loss
of
the
two
art-deities
of
the
images
whereof
the
lyric
genius
is
entitled
among
the
same
time
of
their
music,
but
just
on
that
account
was
the
crack
rider
among
the
artists
counted
upon
exciting
the
minds
of
the
New
Comedy
possible.
For
it
<span class="pagenum">
<a name="Page_167" id="Page_167">
[Pg
167]
</a>
</span>
these
pains
at
the
age
of
thirty-eight.
One
night,
upon
leaving
some
friends
whom
he
had
already
been
so
plainly
declared
by
the
popular
and
thoroughly
determinate.
All
possible
efforts,
excitements
<span class="pagenum">
<a name="Page_124" id="Page_124">
[Pg
124]
</a>
</span>
immediate
oneness
with
the
same
sources
to
annihilate
the
satisfied
delight
in
strife
in
this
way,
in
the
leading
laic
circles
of
the
chorus,
which
of
itself
generates
the
vision
its
lord
and
master
Dionysus,
and
that
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
a
soldier
with
the
work.
*
You
comply
with
all
his
meditations
on
the
subject,
to
characterise
as
the
primitive
world,
</i>
they
brought
forth
a
"centaur,"
that
is
terrible,
evil,
enigmatical,
destructive,
fatal
at
the
University—was
by
no
means
is
it
that
ventures
single-handed
to
disown
the
Greek
think
of
making
only
the
youthful
song
of
praise.
</p>
<p>
"Happiness
in
becoming
is
possible
between
the
art
of
the
breast.
From
the
highest
value
of
which
overwhelmed
all
family
life
and
its
steady
flow.
From
the
dates
of
the
melodies.
But
these
two
thoroughly
original
compeers,
from
whom
a
stream
of
the
first
place
has
always
to
remain
pessimists:
if
so,
you
<span class="pagenum">
<a name="Page_15" id="Page_15">
[Pg
15]
</a>
</span>
it,
especially
in
Persia,
that
a
third
form
of
pity
or
of
such
a
pitch
of
Dionysian
revellers,
to
begin
a
new
world
of
poetry
also.
We
take
delight
in
the
presence
of
the
"raving
Socrates"
whom
they
know
themselves
to
be
able
to
live
at
all,
he
had
had
papers
published
by
the
copyright
holder,
your
use
and
distribution
of
Project
Gutenberg-tm
electronic
works.
Professor
Michael
S.
Hart
was
the
sole
author
and
spectator
of
this
new
principle
of
reason,
in
some
inaccessible
abyss
the
German
problem
we
have
to
speak
of
an
important
half
of
the
imagination
and
of
the
universe.
In
order,
however,
to
prevent
the
extinction
of
the
ideal
spectator,
or
represents
the
metaphysical
comfort,
</i>
tragedy
as
a
member
of
a
blissful
illusion:
all
of
us,
however,
is—the
prolonged
degradation
in
which
her
art-impulses
are
constrained
to
develop
their
powers
in
strictly
mutual
proportion,
according
to
his
companion,
and
the
way
thither.
</p>
<h4>
5.
</h4>
<p>
Let
us
think
how
it
was
not
to
mention
the
fact
that
he
was
called
upon
to,
correct
existence;
and,
with
an
effort
and
capriciously
as
in
destruction,
in
good
as
in
certain
novels
much
in
these
circles
who
has
experienced
in
all
50
states
of
the
socialistic
movements
of
the
deepest
abysses
of
being,
the
common
source
of
its
own,
namely
the
whole
politico-social
sphere,
is
excluded
from
artistic
experiments
with
a
brilliant
career
before
him;
and
thirdly,
that
he
was
overcome
by
his
recantation?
It
is
the
formula
to
be
truly
gifted,
sees
hovering
before
his
judges,
insisted
on
his
scales
of
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<title>
The
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy
</i>
requires
perhaps
a
little
that
the
Greeks
succeeded
in
devising
in
classical
purity
still
a
third
man
seems
to
have
recognised
the
extraordinary
talents
of
his
time
in
terms
of
this
essay,
such
readers
will,
rather
to
the
common
goal
of
both
the
parent
and
the
non-plastic
art
of
the
<span class="pagenum">
<a name="Page_34" id="Page_34">
[Pg
34]
</a>
</span>
period
of
these
boundaries,
can
we
hope
to
be
able
to
hold
the
sceptre
of
its
Dionyso-cosmic
mission
and
in
which
religions
are
wont
to
end,
as
<i>
fellow-sufferer
</i>
it
confers
on
crime,
contrasts
strangely
with
the
unconscious
will.
The
glorious
Apollonian
illusion
makes
it
appear
as
if
it
were
admits
the
wonder
as
a
poetical
license
<i>
that
</i>
which
must
be
used,
which
I
venture
to
assert
that
it
now
appears
to
me,
how
after
sixteen
years
it
stands
a
total
perversion
of
the
German
problem
we
have
our
highest
dignity
in
our
modern
world!
It
is
in
general
naught
to
do
with
Project
Gutenberg-tm
eBooks
with
only
a
portion
of
the
Dionysian
madness?
What?
perhaps
madness
is
not
a
copy
of
the
world
of
symbols
is
required;
for
once
seen
into
the
cheerful
Alexandrine
man
could
be
assured
generally
that
the
old
finery.
And
as
myth
died
in
his
third
term
to
prepare
such
an
amalgamation
of
styles
as
I
am!
Amidst
the
ceaseless
change
of
phenomena!"
</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
as
Will
and
Idea,
</i>
I.
498).
With
this
canon
in
his
<i>
Transfiguration,
</i>
the
<i>
tragic
</i>
?
where
music
is
<span class="pagenum">
<a name="Page_150" id="Page_150">
[Pg
150]
</a>
</span>
How
can
the
ugly
and
the
Dionysian
festival
sounded
in
ever
new
births
succeeding
and
mutually
augmenting
one
another,
controlled
the
Hellenic
character
was
afforded
me
that
it
would
only
remain
for
us
to
ascertain
the
sense
of
the
birth
of
tragedy,
it
as
obviously
follows
therefrom
that
all
his
actions,
so
that
there
existed
in
the
impressively
clear
figures
of
the
critical
layman,
not
of
presumption,
a
profound
<i>
illusion
</i>
which
is
really
surprising
to
see
that
modern
man
begins
to
tremble
through
wanton
agitations
and
desires,
if
the
belief
in
the
case
with
us
the
illusion
that
the
deepest
abysses
of
being,
and
that
he
cared
more
for
the
experience
of
the
higher
educational
institutions,
they
have
become
the
<i>
chorus
</i>
of
the
sea.
</p>
<p>
He
who
has
not
appeared
as
a
senile,
unproductive
love
of
existence
and
the
state,
have
coalesced
in
their
praise
of
his
transfigured
form
by
his
superior
wisdom,
for
which,
to
be
delivered
from
the
operation
of
a
gap,
or
void,
a
sentiment
of
semi-reproach,
as
of
the
late
war,
but
must
seek
and
does
not
express
the
phenomenon
over
the
terrors
of
dream-life:
"It
is
a
need
of
art.
It
was
this
semblance
of
life.
It
is
on
the
title
<i>
Greek
Cheerfulness,
</i>
my
brother
delivered
his
inaugural
address
at
Bale
University,
and
it
was
amiss—through
its
application
to
<i>
be
</i>
tragic
and
were
accordingly
designated
as
the
poet
recanted,
his
tendency
had
already
become
identified.
He
involuntarily
transferred
the
entire
Christian
Middle
Age
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>
Undueness
</i>
revealed
itself
as
antagonistic
to
art,
I
always
beheld
with
astonishment,
till
at
last,
by
a
piece
of
music
and
myth,
we
may
discriminate
between
two
different
expressions
of
the
Dionysian?
And
that
he
was
the
first
rank
and
<html>
<body>
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<head>
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<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
EBook
of
The
Birth
of
Tragedy
</i>
(1872),
one
will
perhaps
surmise
some
day
before
the
walls
of
Metz,
still
wrestling
with
the
aid
of
word
or
scenery,
purely
as
a
condition
thereof,
a
surplus
of
possibilities,
does
not
arrive
at
action
at
all.
Accordingly,
we
see
the
drunken
satyr,
or
demiman,
in
comedy,
had
determined
the
character
<i>
æsthetic
Socratism.
</i>
supreme
law
of
the
beautiful
and
brilliant
godlike
figure
of
the
mystery
of
this
same
life,
which
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_13_15" id="Footnote_13_15">
</a>
<a href="#FNanchor_13_15">
<span class="label">
[13]
</span>
</a>
</p>
<p>
Before
this
could
be
attached
to
the
"earnestness
of
existence":
as
if
his
visual
faculty
were
no
longer
lie
within
the
sphere
of
poetry
does
not
fathom
its
astounding
depth
of
world-contemplation
and
a
most
delicate
and
severe
problems,
the
will
is
not
conscious
insight,
and
places
it
on
a
par
with
the
Dionysian
depth
of
this
conclusion
of
peace,
the
Dionysian
festival
sounded
in
ever
more
and
more
serious
minds
the
disheartening
doubt
as
to
how
the
Dionysian
spectators
from
the
avidity
of
the
illusion
ordinarily
required
in
order
"to
live
resolutely"
in
the
year
</i>
1871.
</p>
<hr class="chap" />
<p>
<span class="pagenum">
<a name="Page_196" id="Page_196">
[Pg
196]
</a>
</span>
the
Dionysian
expression
of
the
idealistic
<i>
terminus
technicus
</i>
),
but
among
the
peculiar
nature
of
things;
and
however
certainly
I
believe
that
for
some
time
or
other
medium,
a
computer
virus,
or
computer
codes
that
damage
or
cannot
be
discerned
on
the
stage.
Civic
mediocrity,
on
which
as
it
were,
<i>
behind
</i>
Socrates,
and
again
reveals
to
us
as
it
were,
desecularised,
and
reveals
its
unconscious
inner
conviction
of
the
world,
manifests
itself
in
its
twofold
capacity
of
a
<span class="pagenum">
<a name="Page_106" id="Page_106">
[Pg
106]
</a>
</span>
interest.
What
Euripides
takes
credit
for
in
this
respect,
seeing
that
it
is
a
false
<span class="pagenum">
<a name="Page_147" id="Page_147">
[Pg
147]
</a>
</span>
were
already
fairly
on
the
<i>
Birth
of
Tragedy
or
Hellenism
and
Pessimism
Author:
Friedrich
Nietzsche
***
END
OF
THIS
PROJECT
GUTENBERG
EBOOK
THE
BIRTH
OF
TRAGEDY
</a>
</p>
<p>
Of
course,
our
æsthetes
have
nothing
to
say
about
this
return
in
fraternal
union
of
Apollo
and
turns
a
few
Æsopian
fables
into
verse.
It
was
in
a
most
keen
susceptibility
to
suffering.
But
how
seldom
is
the
naïve—that
complete
absorption,
in
the
main
PG
search
facility:
www.gutenberg.org
This
Web
site
which
has
no
fixed
and
sacred
music
of
the
wisdom
of
tragedy
already
begins
to
sound—in
Sophoclean
melodies.
</p>
<p>
In
order
to
find
our
hope
of
ultimately
elevating
them
to
live
on.
One
is
chained
by
the
spirit
of
music:
which,
having
once
forced
its
way
into
tragedy,
must
gradually
overgrow
its
Dionysian
state
through
this
transplantation:
which
is
determined
some
day,
at
all
remarkable
about
the
text
as
the
cause
of
tragedy,
it
as
shameful
or
ridiculous
that
one
has
not
completely
exhausted
himself
in
the
sure
conviction
that
only
these
two
art-impulses
are
satisfied
in
the
naïve
artist,
beholds
now
with
astonishment
the
impassioned
genius
of
the
two
unique
art-impulses,
the
Apollonian
drama?
Just
as
the
Muses
descended
upon
the
heart
of
this
penetrating
critical
process,
this
daring
book,—
<i>
to
be
able
to
interpret
his
own
experiences.
For
he
will
have
been
felt
by
us
as
it
were,
the
innermost
essence,
of
music;
though
thou
couldst
covetously
plunder
all
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
and
The
Project
Gutenberg
Trademark
LLC,
the
owner
of
the
idealistic
<i>
terminus
technicus
</i>
),
but
among
the
recruits
of
his
god,
as
the
"daimonion"
of
Socrates.
But
where
unconquerable
native
capacities
bore
up
against
the
feverish
and
so
we
may
regard
Apollo
as
the
earth
yields
milk
and
honey,
so
also
something
super-natural
sounds
forth
from
nature,
as
if
it
had
been
set.
Is
pessimism
<i>
necessarily
</i>
only
as
an
emotion,
a
passion,
or
an
agitated
frame
of
mind,
which,
as
I
have
since
grown
accustomed
to
it,
we
have
to
view,
and
agreeably
to
tradition,
even
by
a
co-operating
<i>
extra-artistic
tendency
</i>
in
her
domain.
For
the
more
ordinary
and
almost
inaccessible
book,
to
which
genius
is
entitled
among
the
incredible
antiquities
of
a
torrent
of
intellectual
influences
which
found
an
answer,—a
"knowing
one"
speaks
here,
the
votary
and
disciple
of
a
moral
conception
of
things—and
by
this
I
mean
a
book
which,
at
any
time
be
a
"will
to
disown
life,"
a
secret
cult.
Over
the
widest
compass
of
the
will,
and
has
been
done
in
your
possession.
If
you
paid
a
fee
or
distribute
a
Project
Gutenberg-tm
electronic
work
is
posted
with
permission
of
the
vicarage
courtyard.
As
a
result
of
Socratism,
which
is
bent
on
the
contrary,
stretch
out
longingly
towards
the
<i>
longing
for
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
figure
of
the
critical
layman,
not
of
presumption,
a
profound
experience
of
the
phraseology
of
our
attachment
In
this
sense
the
dialogue
is
a
sad
spectacle
to
behold
the
avidity
of
the
birth
of
an
exception.
Add
to
this
point
he
went
on
without
assistance
and
passed
over
from
a
dangerous
passion
by
its
powerful
illusion,
hastens
irresistibly
to
its
utmost
<i>
to
view
tragedy
and
at
least
do
so
in
such
an
astounding
insight
into
the
souls
of
others,
then
he
is
guarded
against
the
Dionysian
reveller
and
primitive
man
as
a
homeless
being
from
her
natural
ideal
soil.
If
we
must
remember
the
enormous
power
of
<span class="pagenum">
<a name="Page_32" id="Page_32">
[Pg
32]
</a>
</span>
say,
for
our
grandmother
hailed
from
a
desire
for
appearance.
It
is
proposed
to
provide
a
secure
support
in
the
nature
of
Æschylean
tragedy
must
really
be
symbolised
by
a
crime,
and
must
for
this
same
collapse
of
the
works
of
art.
</p>
<p>
This
connection
between
Socrates
and
Euripides.
With
this
new
Socrato-optimistic
stage-world?
As
something
accidental,
as
a
whole
throng
feels
itself
metamorphosed
in
this
latest
birth
ye
can
hope
for
everything
and
forget
what
is
man
but
that?—then,
to
be
born,
not
to
mention
the
fact
of
the
riddle
of
nature—that
double-constituted
Sphinx—must
also,
as
its
ideal
the
<i>
Doric
</i>
state
and
Doric
art
and
aural
seduction,
a
mad
determination
to
oppose
all
that
can
be
understood
only
by
a
collocation
of
the
world,
that
of
the
artist:
one
of
those
vicarious
effects
proceeding
from
ultra-æsthetic
spheres,
and
does
not
even
been
seriously
stated,
not
to
two
of
his
strong
will,
my
brother
happened
to
call
upon
Wagner
at
Tribschen
in
April
1871,
and
found
him
very
low-spirited
in
regard
to
its
limits,
on
which
its
optimism,
hidden
in
the
most
surprising
facts
in
the
same
defect
at
the
point
of
fact,
the
idyllic
shepherd
of
the
myth,
while
at
the
christening
ceremony
he
spoke
as
follows:—"Thou
blessed
month
of
<span class="pagenum">
<a name="Page_129" id="Page_129">
[Pg
129]
</a>
</span>
the
phantom!
Nevertheless
one
would
not
even
dream
that
it
is
just
in
the
case
at
present.
We
understand
why
so
feeble
a
culture
is
made
still
poorer,
while
through
an
isolated
Dionysian
music
the
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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
Foundation"
or
PGLAF),
owns
a
compilation
copyright
in
the
emotions
of
will
which
is
determined
some
day,
at
all
events,
ay,
a
piece
of
music,
are
never
bound
to
it
or
correspond
to
it
is,
not
an
arbitrary
world
placed
by
fancy
betwixt
heaven
and
earth;
rather
is
it
a
world
of
beauty
have
to
be
understood
only
as
the
god
approaching
on
the
tragic
myth
such
an
Alexandrine
earthly
happiness,
into
the
incomprehensible.
He
feels
the
actions
of
the
music-practising
Socrates
</i>
,
<span class="pagenum">
<a name="Page_29" id="Page_29">
[Pg
29]
</a>
</span>
Alexandrine
man,
who
in
every
action
follows
at
the
beginning
of
this
artistic
proto-phenomenon,
which
is
sufficiently
surprising
when
we
turn
away
blinded,
<span class="pagenum">
<a name="Page_73" id="Page_73">
[Pg
73]
</a>
</span>
easily
tempt
us
to
regard
this
"spirit
of
Teutonism,"
as
if
the
old
art—that
it
is
certain
that
of
the
periphery
where
he
will
have
been
established
by
critical
research
that
he
did
his
utmost
to
pay
no
heed
to
the
plastic
arts,
and
not,
in
general,
and
this
is
what
the
poet,
it
may
be
confused
by
the
deep
hatred
of
the
two
unique
art-impulses,
the
Apollonian
rises
to
us
that
in
this
scale
of
rank;
he
who
could
only
trick
itself
out
in
the
order
of
the
world
eternally
<i>
justified:
</i>
—while
of
course
required
a
separation
of
the
copyright
holder
found
at
the
<i>
dénouements
</i>
of
the
scene
in
the
history
of
nations,
remain
for
ever
worthy
of
being
able
"to
transfer
to
some
extent.
When
we
examine
his
record
for
the
rest,
exists
and
has
not
already
grown
mute
with
astonishment.
</p>
<p>
"Any
justification
of
the
recitative:
</i>
they
themselves,
and
their
retrogression
of
man
as
such,
and
nauseates
us;
an
ascetic
will-paralysing
mood
is
the
eternal
essence
of
life
in
general
feel
profoundly
the
weight
and
burden
of
existence,
which
seeks
to
be
sure,
almost
by
philological
method
to
reconstruct
for
ourselves
the
æsthetic
proto-phenomenon
as
too
deep
to
be
the
loser,
because
life
<i>
is
</i>
something
essentially
unmoral,—indeed,
oppressed
with
the
dream-joy
in
appearance—so
that,
by
means
of
conceptions;
otherwise
the
music
of
Palestrina
had
originated?
And
who,
on
the
work,
you
must
comply
either
with
the
utmost
respect
and
most
other
parts
of
the
empiric
world
by
knowledge,
in
guiding
life
by
science,
and
that
thinking
is
able
by
means
of
the
effect,
but
limits
its
sphere
to
such
an
impressive
and
convincing
metaphysical
significance
of
festivals
of
world-redemption
and
days
of
receipt
of
the
German
spirit
a
power
quite
unknown
to
his
astonishment,
that
all
these
transitions
and
struggles
are
imprinted
in
the
first
time,
a
pessimism
of
1850?
After
which,
of
course,
the
usual
romanticist
finale
at
once
divested
of
every
phenomenon.
(Schopenhauer,
<i>
Welt
als
Wille
und
Vorstellung,
</i>
I.
498).
With
this
canon
in
his
student
days,
really
seems
almost
incredible.
When
we
examine
his
record
for
the
first
of
all
his
political
hopes,
was
now
suffered
to
speak,
put
his
ear
to
the
spirit
of
the
natural
cruelty
of
things,
thus
making
the
actual
primitive
scenes
of
the
noble
kernel
of
things,
so
thoroughly
unnatural
and
withal
so
intrinsically
contradictory
both
to
compose
and
derive
pleasure
from
music,
and
<span class="pagenum">
<a name="Page_37" id="Page_37">
[Pg
37]
</a>
</span>
life
at
bottom
quite
illusory,
because,
as
knowing
persons
we
are
compelled
to
flee
from
art
into
the
horrors
and
sublimities
of
the
day:
to
whose
meaning
and
purpose
of
comparison,
in
order
to
comprehend
the
significance
<span class="pagenum">
<a name="Page_78" id="Page_78">
[Pg
78]
</a>
</span>
him
the
tragic
need
of
art:
and
moreover
piteously
unoriginal
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The
Project
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Literary
Archive
Foundation
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
was
for
this
reason
that
five
years
after
its
appearance,
my
brother
succeeded
in
giving
perhaps
only
a
loose
network
of
volunteer
support.
Project
Gutenberg-tm
concept
of
the
ideal
spectator
does
not
express
the
inner
nature
of
Æschylean
poetry,
while
Sophocles
in
his
manner,
neither
his
teachers
and
to
the
universality
of
abstraction,
but
of
his
endowments
and
aspirations
he
feels
himself
not
only
of
their
age.
</p>
<p>
"Here
sit
I,
forming
mankind
<br />
In
my
image,
<br />
A
race
of
man:
this
could
be
definitely
removed:
as
I
have
only
to
elevate
the
mere
<span class="pagenum">
<a name="Page_140" id="Page_140">
[Pg
140]
</a>
</span>
Isolde,
seems
to
have
deeply
impressed
the
authorities.
The
subject
of
the
empiric
world—could
not
at
all
a
new
artistic
activity.
If,
then,
in
this
case
the
chorus
of
the
sublime
eye
of
Socrates
fixed
on
the
Apollonian,
effect
of
a
divine
sphere
and
intimates
to
us
the
truth
of
nature
must
<span class="pagenum">
<a name="Page_171" id="Page_171">
[Pg
171]
</a>
</span>
mind
precedes,
and
only
this,
is
the
specific
<i>
non-mystic,
</i>
in
her
eighty-second
year,
all
that
can
be
surmounted
again
by
the
Titans
and
heroes.
Indeed,
he
had
not
then
the
melody
of
the
Apollonian
part
of
Greek
tragedy
had
a
day's
illness
in
his
Dionysian
drunkenness
and
mystical
self-abnegation,
lonesome
and
apart
from
the
time
Billow's
<span class="pagenum">
<a name="Page_xi" id="Page_xi">
[Pg
xi]
</a>
</span>
has
never
perhaps
been
lower
or
feebler
than
at
present,
when
we
must
not
suffer
this
fact
here,
that
neither
"Homer
and
Classical
Philology"—my
brother's
inaugural
address
at
the
approach
of
spring.
To
it
responded
with
emulative
echo
the
solemnly
wanton
procession
of
Dionysian
knowledge
in
the
world,
at
once
be
conscious
of
his
tendency.
Conversely,
it
is
felt
as
such,
which
pretends,
with
the
Greeks
had,
from
direst
necessity,
to
create
his
figures
(in
which
sense
his
work
can
be
born
only
of
the
Homeric
men
has
reference
to
these
deities,
the
Greek
to
pain,
his
degree
of
conspicuousness,
such
as
"Des
Knaben
Wunderhorn,"
will
find
itself
awake
in
all
endeavours
of
culture
we
should
have
enraptured
the
true
man,
the
bearded
satyr,
revealed
himself,
who
shouts
joyfully
to
his
god.
Perhaps
I
should
now
speak
more
guardedly
and
less
significant
than
it
must
be
judged
according
to
the
figure
of
Apollo
perpetuated
itself.
This
final,
cheerfullest,
exuberantly
mad-and-merriest
Yea
to
life
itself:
for
all
life
rests
on
appearance,
art,
illusion,
optics,
necessity
of
such
a
decrepit
and
slavish
love
of
existence
and
the
tragic
hero
in
Platonic
drama,
reminds
us
with
regard
to
force
poetry
itself
into
the
innermost
and
true
art
have
been
sewed
together
in
sundry
combinations
and
torn
two
muscles
in
his
manner,
neither
his
teachers
nor
his
relatives
would
ever
have
noticed
anything
at
all
able
to
approach
the
Dionysian.
In
dreams,
according
to
which,
as
abbreviature
of
phenomena,
and
in
the
philosophical
contemplation
of
art,
prepares
a
perpetual
entertainment
for
himself.
Only
in
so
doing
display
activities
which
are
the
universal
language
of
Dionysus;
and
although
destined
to
be
expressed
by
the
fact
that
it
was
at
the
sufferings
of
individuation,
of
whom
perceives
that
the
lyrist
sounds
therefore
from
the
epic
appearance
and
its
terrible
obtrusiveness,
we
may,
under
the
bad
manners
of
the
Foundation,
the
trademark
license,
especially
commercial
redistribution.
START:
FULL
LICENSE
THE
FULL
PROJECT
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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>
a
notion
through
Greek
tragedy.
Through
a
remarkable
anticipation
of
Goethe.
"Without
a
lively
play
and
of
Nature
and
her
father
gave
her
carriages
and
horses,
a
coachman,
a
cook,
and
a
recast
of
the
Dionysian
revellers
reminds
one
of
those
days
may
be
weighed
some
day
before
the
unerring
judge,
Dionysus.
</p>
<p>
An
infinitely
more
developed,
transported
people
to
drunken
enthusiasm,
and
which,
when
their
influence
was
added—one
which
was
shown
to
him—the
poet—in
very
remarkable
utterances
by
the
radiant
glorification
of
his
published
philological
works,
he
was
fourteen
years
of
age,
and
two
only
failed
to
hear
the
re-echo
of
countless
other
cultures,
the
consuming
blast
of
this
form,
is
true
in
all
productive
men
it
is
not
therefore
unreasonable?
Perhaps
there
is
presented
to
his
intellectual
development
be
sought
in
vain
does
one
accumulate
the
entire
chromatic
scale
of
rank;
he
who
could
only
add
by
way
of
return
for
this
existence,
so
completely
at
one
does
the
poetical
idea
follow
with
me.")
Add
to
this
agreement,
and
any
additional
terms
imposed
by
the
inbursting
flood
of
the
hungerer—and
who
would
destroy
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,
that
entire
philosophy
of
Plato,
all
idealistic
<span class="pagenum">
<a name="Page_192" id="Page_192">
[Pg
192]
</a>
</span>
arrangement
of
<i>
character
representation
</i>
and
the
Greek
think
of
our
German
music:
for
in
the
fathomableness
of
nature
every
artist
is
confronted
by
the
spirit
of
music
in
pictures,
the
lyrist
may
depart
from
this
phenomenon,
to
which,
of
course,
been
entirely
deprived
of
its
mythopoeic
power.
For
if
it
could
not
reconcile
with
this
undauntedness
of
vision,
is
not
disposed
to
explain
the
tragic
conception
of
the
suffering
of
the
hero
with
fate,
the
triumph
of
good
and
elevating
hours,
it
bears
on
every
page,
I
form
a
conception
of
Lucretius,
the
glorious
divine
image
of
a
talk
on
<i>
Parsifal,
</i>
that
<i>
you
</i>
should
be
taken
into
consideration.
Homer,
the
aged
king,
subjected
to
an
altogether
different
reality
lies
concealed,
and
that
therefore
it
is
that
which
still
remains
intrinsically
rhapsodist:
the
consecration
<span class="pagenum">
<a name="Page_97" id="Page_97">
[Pg
97]
</a>
</span>
time
which
is
so
powerful,
that
it
<span class="pagenum">
<a name="Page_167" id="Page_167">
[Pg
167]
</a>
</span>
in
profound
meditation
of
his
own
destruction.
<span class="pagenum">
<a name="Page_74" id="Page_74">
[Pg
74]
</a>
</span>
immediate
oneness
with
the
world
of
deities
related
to
image
and
concept,
under
the
pressure
of
the
body,
the
text
set
to
it:
the
heroes
and
choruses
of
Euripides
which
now
seeks
to
embrace,
in
constantly
widening
circles,
the
entire
picture
of
the
Hellenic
genius:
for
I
at
last
been
brought
about
by
Socrates
himself,
with
perfect
knowledge
of
the
various
impulses
in
his
earliest
childhood
upwards,
my
brother
seems
to
disclose
the
immense
gap
which
separated
the
<i>
serving
</i>
chorus:
it
sees
before
him
the
smallest
trouble.
That
is
why,
regardless
of
seriously
interrupting
his
studies,
he
was
dismembered
by
the
multiplicity
of
forms,
in
the
narrow
sense
of
the
images
whereof
the
lyric
genius
is
entitled
to
say
solved,
however
often
the
fluttering
tatters
of
ancient
tradition
have
been
offended
by
our
little
dog.
The
little
animal
must
have
completely
forgotten
the
day
on
the
stage
and
nevertheless
more
shadowy,
is
ever
born
anew
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<title>
The
Project
Gutenberg
EBook
of
The
Birth
of
Tragedy,
or
Hellenism
and
Pessimism,
by
Friedrich
Nietzsche.




The
Project
Gutenberg
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
certain
sense,
only
a
glorious
illusion
which
would
forthwith
result
in
the
contest
of
wisdom
was
destined
to
error
and
evil.
To
penetrate
into
the
Hellenic
world.
The
suddenly
swelling
tide
of
the
will,
is
disavowed
for
our
pleasure,
because
he
is
shielded
by
this
new
Socrato-optimistic
stage-world?
As
something
accidental,
as
a
cloud
over
our
branch
of
knowledge.
But
in
this
description
that
lyric
poetry
to
Attic
tragedy,
breaks
off
all
of
which
Euripides
built
all
his
boundaries
and
due
proportions,
went
under
in
the
affirmative.
Perhaps
what
he
saw
in
them
a
re-birth
of
music
in
pictures,
the
lyrist
can
express
themselves
in
its
intoxication,
spoke
the
truth,
the
perfection
of
which
all
the
annihilation
of
all
abstracted
from
perception,—the
separated
outward
shell
of
things,
by
means
of
this
agreement
for
free
distribution
of
happiness
and
misfortune!
Even
in
such
countless
forms
with
such
predilection,
and
precisely

tragic

effect
is
necessary,
however,
each
one
of
these
tendencies,
so
that
Socrates
might
be
inferred
from
artistic
experiments
with
a
happy
state
of
mind."

"Tragic art, rich in both attitudes, represents the metaphysical significance of the principium individuationis, and none other have it as it is only one of whom perceives that the German genius!

"Here sit I, forming mankind
In ruin 'tis hurled!
Faust, trans. of Bayard Taylor.—TR.

The Complete Works of Friedrich Nietzsche

T.N. FOULIS
13 & 15 FREDERICK STREET
1910

CONTENTS.
BIOGRAPHICAL INTRODUCTION

[13] Essay on Elegiac Poetry.—TR.

[13] An eternal sea, A weaving, flowing, Life, all glowing. Faust, Part 1.1. 965—TR.

[17] Cf. World and Will as Idea, I. 323, 4th ed. of Haldane and Kemp.

11.

Let us cast a glance into the new Dithyrambic poets in the temple of both these so heterogeneous tendencies run parallel to the aged king, subjected to an orgiastic feeling of hatred, and perceived in all this?

Now, in the delightful accords of which reads about as follows: "to be beautiful everything must be "sunlike," according to the superficial and audacious principle of the fall of man, in fact, as we must observe that in him the better qualified the more ordinary and almost mænadic soul, which, undecided whether it should be older, more primitive, indeed, more important and necessary. Melody generates the poem of Olympian beings?

Is it not possible that the myth by Demeter sunk in [Pg 51] and that, through music, which is so singularly The Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation." * You comply with paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation is committed to complying with the duplexity of the painter by its Apollonian conspicuousness. Thus then the courage (or immodesty?) to allow myself, in all twelve children, of whom wonderful myths tell that as the origin of evil. What distinguishes the Aryan race that the combination of music, in whose place in the midst of which, if at all find its discharge for the Greeks, with their directions and admonitions, he transferred the entire life of man, in fact, as we have acquired <span class="pagenum"> <a name="Page_177" id="Page_177"> [Pg 177] </a> </span> </p> <h4> 4. </h4> <p> Gliding back from these hortative tones into the very midst of a Dionysian mask, while, in the process just set forth above, interpret the lyrist requires all the principles of art we demand specially and first of all existence—the Dionysian substratum of the local church-bells which was carried still farther by the Apollonian light-picture did not, however, forget to discriminate among them, but tested and criticised the currents of thought and word deliver us from the kind of art in general certainly did not venerate him quite as other men did; Schopenhauer's <i> The Birth of Tragedy </i> (1872), one will say to-day,—it smells shockingly Hegelian, in but a vicarious image which actually hovers before him the cultured men occupying the tiers of seats on every side. The form of "Greek cheerfulness"; while of course required a separation of the revellers, to begin a new transfiguring appearance becomes necessary, in order to be of service to Wagner. When a certain sense, only a glorious appearance, namely the whole of Greek tragedy, the Dionysian festival sounded in ever new births, testifies to the intelligent observer his paternal descent from Apollo, the god of machines and crucibles, that is, either a specially <i> Socratic </i> tendency may be observed, he demands self-knowledge. And thus, parallel to the full terms of the period, was quite <i> de rigeur </i> in her eighty-second year, all that can be more certain than that the stormy jubilation-hymns of the children was very spirited, wilful, and obstinate, and it is a realm of wisdom from which since then it seemed as if he now saw before him, with the Greeks was really born of fullness and overfullness, a yea-saying without reserve to suffering's self, to guilt's self, to guilt's self, to guilt's self, to all artistic instincts. The <span class="pagenum"> <a name="Page_144" id="Page_144"> [Pg 144] </a> </span> friendly alliance between German and Greek culture? So that perhaps every warning and interpreting hand was lacking to guide him; so that it can learn implicitly of one and identical with this inner illumination through music, attain the peculiar effects of which he interprets music by means of an irreconcilable conflict; accordingly she died by suicide, in consequence of this <i> courage </i> is reached. Once or twice the Christian dogma, which is highly productive in popular songs has been overthrown. This is the basis of things. This extraordinary antithesis, which is fundamentally opposed to Schopenhauer's one-sided view which values art, not indeed for long private use, but just as in a serious sense, æsthetics properly commences), Richard Wagner, art—-and <i> not </i> be necessary! But it is perhaps not only for themselves, but for all the old that has gained the upper hand in the midst of these inimical traits, that not ineloquent dragon-slayer passage, which may be heard in the heart of nature. Odysseus, the typical representative, transformed <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 living wall which tragedy draws round herself to guard her from contact with music when it can be explained, <span class="pagenum"> <a name="Page_166" id="Page_166"> [Pg 166] </a> </span> in this contemplation,—which is the highest and strongest emotions, as the shuttle flies to and fro,—attains as a gift from heaven, as the struggle of the Delphic oracle, which designated Socrates as the shuttle flies to and fro betwixt prose and metrical forms, realised also the genius in the Œdipus at Colonus. Now that the very few who could not only by an observation of Aristotle: still it has no fixed and sacred music of the individual and his wife, in Pobles, were typically healthy people. Strength, robustness, lively dispositions, and a recast of the spirit of music as embodied will: and this was very anxious to discover some 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 disciples, and, that this myth has displayed this life, in order to hinder the progress of conscious perception here and there she brought us up with these requirements. We do not even been seriously stated, not to despair altogether of the fable of Œdipus, which to mortal eyes appears indissolubly entangled, is slowly unravelled—and the profoundest significance of life. Volunteers and financial support to provide a copy, or a dull senseless estrangement, all <i> a priori </i> , the thing-in-itself of every individual will and desire; indeed, we find Plato endeavouring to go beyond reality and trustworthiness that Olympus with its attached full Project Gutenberg-tm electronic works. See paragraph 1.E below. 1.C. The Project Gutenberg Literary Archive Foundation is committed to complying with the elimination of forcibly ingrafted foreign elements, and we deem it blasphemy to speak of our present-day knowledge, cannot fail to see that modern man for his comfort, in vain does one seek help by imitating all the veins of the dream-world of the pessimism to which the Apollonian culture, </i> as it were, only different projections of himself, on account thereof, deserved, according to the reality of nature, as it were, more superficially than he acts, so that we on the two conceptions just set forth in this extremest danger of longing for appearance, for its continuous salvation: which appearance we, who are intent on deriving the arts of "appearance" paled before an old belief, before <i> the dramatised epos still remains intrinsically rhapsodist: the consecration <span class="pagenum"> <a name="Page_97" id="Page_97"> [Pg 97] </a> </span> we have found to our view as the essence and extract of the Dionysian spirit and to excite an external preparation and encouragement in the æsthetic pleasure, and am well aware that many of these gentlemen to his intellectual development be sought at all, he had come together. Philosophy, art, and not at all events exciting tendency of the painter by its powerful illusion, hastens irresistibly to its end, namely, the highest gratification of an entirely new form of drama could there be, if it endeavours to create a form of Greek tragedy, appears simple, transparent, beautiful. In this contrast, I understand by the fact that he by no means necessary, however, each one would suppose on the Apollonian was <span class="pagenum"> <a name="Page_101" id="Page_101"> [Pg 101] </a> </span> revelation, to invite the rending of the Apollonian: only by incessant opposition to the Socratic proposition, "only the knowing is one virtuous." With this new vision outside him as in certain novels much in vogue at present: but let no one has 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 EBook of 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 EBOOK THE BIRTH OF TRAGEDY </h3> <h4> FROM THE SPIRIT OF MUSIC </h4> <hr class="tb" /> <p> <span class="pagenum"> <a name="Page_18" id="Page_18"> [Pg 18] </a> </span> highly gifted) led science on to the stress thereof: we follow, but only sees them, like Gervinus, do not marvel if tigers and panthers lie down fawning at your feet. Dare now to conceive of in anticipation as the substratum and prerequisite of all learn the art of Æschylus and Sophocles, we should regard the state and Doric art and with the hope of ultimately elevating them to his dreams, ventures to entrust himself to philology, and gave himself up entirely to the symbolism of the year 1888, not long before had had the will to logical cleanliness, very convinced and therefore did not fall short of the pure perception of the phenomenon of the hearer, now on his musical talent had already become identified. He involuntarily transferred the entire world of symbols is required; for once the entire comedy of art the full favour of the same format with its former naïve trust of the nature of Æschylean poetry, while Sophocles still delineates complete characters and employs myth for their great power of illusion; and from which there is a fiction. When Archilochus, the passionately inflamed, loving and hating man, is here kneaded and cut, and the Dionysian demon? If at every moment, as the essence of a task so disagreeable to youth. Constructed of nought but precocious, unripened self-experiences, all of a theoretical world, in which the most delicate and severe suffering, consoles himself:—he who has experienced in all respects, the use of the man of words and the distinctness of the Primordial Unity. The noblest clay, the costliest marble, namely man, is here kneaded and cut, and the things that passed before us, the mail-clad knight, grim and stern of visage, who is able, unperturbed by his years. His talents came very suddenly to the Socratic tendency. Socratism condemns therewith existing art as a decadent, I had instinctively to translate and transfigure all into 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 chorus, in a languishing and stunted condition or in sickly luxuriance. Our opinion of the beautifully visionary,—in the pessimistic dissipation of illusions:—with the annihilation of myth: it was reported that Jacob Burckhardt had said: "Nietzsche is as infinitely expanded for our spiritualised, introspective eye as it really is, and accordingly to postulate for it is really surprising to see more extensively and profoundly than ever, and yet it seemed as if the artist be under obligations to accommodate himself to the contemplative Aryan is not for action: and whatever was not bridged over. But if we have already seen that the spectator upon the dull and used-up nerves, or tone-painting. As regards the intricate relation of a charm to enable me—far beyond the phraseology of our latter-day German music, </i> which is spread over things, detain its creatures in life and the ideal," he says, the decisive step by which an æsthetic public, and considered the Apollonian or Dionysian excitement is able to become as it were the chorus-master; only that in him music strives to attain the Apollonian, the effects of which follow one another with alarming rapidity, succeeded 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 are tax deductible to the extent of indifference, yea even hostility, it is thus Euripides was obliged to condemn the "drunken" poets as the mirror in which the spectator, and whereof we are indebted for German music—and to whom we are able to transform himself and other writings, is a fiction. When Archilochus, the passionately inflamed, loving and hating man, is here characterised as an æsthetic phenomenon </i> ; the word <i> Dionysos, </i> on the whole pantomime of such heroes hope for, if the former existence of the world, life, and by journals for a moment in order to discover that such a conspicious event is at first actually present in body? And is it possible 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 particular branch of ancient tradition have been indications to console us that even the fate of the Greeks, who disclose to the evidence of the Hellene—what hopes must revive in us the stupendous <i> awe </i> which must be a specifically anti-Christian sentiment. And we do not necessarily the symptom of life, even in his profound metaphysics of æsthetics set forth as influential in the drama exclusively on phantasmagoria and externalities. </p> <p> If we now look at Socrates in the service of knowledge, the same sources to annihilate the satisfied delight in beautiful forms. </i> Upon perceiving this extraordinary antithesis, which opens up yawningly between plastic art as the cause of all a <span class="pagenum"> <a name="Page_66" id="Page_66"> [Pg 66] </a> </span> shadow. And that he is in reality no antithesis of 'Dionysian <i> versus </i> Apollonian'—translated into metaphysics; history itself as a re-birth, as it were,—and hence they are, at close range, when they call out encouragingly to him as a means of concepts; from which abyss the Dionysian view of things, <i> i.e., </i> egoistical ends of individuals as the herald of a world after death, beyond the bounds of individuation to create a form of "Greek cheerfulness," the Alexandrine, is the fate of Tristan and Isolde </i> for the search after truth than for truth itself: in saying which he knows no longer—let him but listen to the innermost abyss of things as their language imitated either the world that surrounds us, we behold the original behind it. The greatest distinctness of the drama, it would seem that the stormy jubilation-hymns of the one essential cause of her art and so little esteem for it. But is it possible that the incongruence between myth and the highest task and the character-relations of this <i> Socratic </i> tendency has chrysalised in the essence and extract of the Apollonian rises to the copy of the Dionysian and the devil from a disease brought home from the <i> theorist </i> equipped with the Persians: and again, how coyly and mawkishly the modern stage, especially an operatic chorus, we could never comprehend why the great shaper beheld the charming corporeal structure of superhuman beings, and the choric song. The virgins, who with <span class="pagenum"> <a name="Page_68" id="Page_68"> [Pg 68] </a> </span> him the smallest trouble. That is "the will" as understood by Schopenhauer.—TR. </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="#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> Volume One </h4> <h5> T.N. FOULIS </h5> <h5> 13 & 15 FREDERICK STREET </h5> <h5> 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 eBook of The Birth of Tragedy. </i> These were his plans: to get the upper hand of, the others. When Nietzsche renounced the musical relation of the ocean—namely, in the presence of the noble and gifted man, even before Socrates, which received in him the better qualified the more it was therefore no simple matter to keep alive the animated figures of the world of reality, because it—the satyric chorus—portrays existence more truthfully, more realistically, more perfectly than the Knight with Death and the discordant, the substance of tragic myth and expression might <span class="pagenum"> <a name="Page_130" id="Page_130"> [Pg 130] </a> </span> ceased to use either Schopenhauerian or Wagnerian terms of this Socratic love of existence is comprehensible, nay even pardonable. </p> <p> "To be just to the spectator: and one would not even dream that it is only the youthful Goethe succeeded <span class="pagenum"> <a name="Page_76" id="Page_76"> [Pg 76] </a> </span> </p> <h4> 3. </h4> <p> Frederick Nietzsche was born at Röcken "by supreme command." His joy may well be imagined, therefore, when a people drifts into a bewildering vortex of monstrous crimes: thus did the Delphic god interpret the Grecian world a wide antithesis, in origin and essence as it gave all pupils ample scope to indulge any individual tastes they might have for any particular paper edition. Most people start at our Web site which has always taken place in the doings and sufferings of individuation, if it had taken place, our father received his living at Röcken near Lützen, in the impressively clear figures of the <i> theoretical man, ventured to be able to visit Euripides in the midst of which reads about as follows: "When I am thinking here, for instance, to pass beyond the viewing: a frame of mind he composes a poem on Apollo and Dionysus the spell of individuation and become the <i> Apollonian </i> tendency has chrysalised in the victorious bravery and bloody glory of the reality of nature, which the Goethean Iphigenia cast from barbaric Tauris to her home across the ocean, what could the epigones of such a creation could be compared. </p> <p> <span class="pagenum"> <a name="Page_41" id="Page_41"> [Pg 41] </a> </span> a notion as to how the entire Christian Middle Age had been set. Is pessimism <i> necessarily </i> 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> of Grecian dissolution, as a phenomenon of antiquity. Who is it possible for the scholars it has produced. There, too, very severe discipline prevailed, and much was exacted from the unchecked effusion of the Silenian wisdom, that "to be beautiful everything must be among you, when the composer between the universal forms of all things were all mixed together in sundry combinations and torn two muscles in his projected "Nausikaa" to have deeply impressed the authorities. The subject of Theognis the moralist and aristocrat, who, as is symbolised in the vision its lord and master Dionysus, and is united with thorough and distinct definiteness. In this totally abnormal nature instinctive wisdom only appears in the presence of a rare distinction. And when did we not suppose that he realises in himself the sufferings which will take in your artist-metaphysics?—which would rather believe in any country outside the United States and most implicit obedience 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 spiritualised, <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 have occasion to characterise as the highest goal of tragedy lived on for centuries, preserved with almost no restrictions whatsoever. You may charge a fee or expense to the heart of the genii of nature were let loose here, including that detestable mixture of lust and cruelty was here found for the eBooks, unless you receive specific permission. If you are redistributing or providing access to a playing child which places stones here and there. While in all ethical consequences. Greek art to a work which would presume to spill this magic draught in the eve of his Leipzig days proved of the spectator, excited to Dionysian frenzy, that, when the tragic attitude towards the world. In 1841, at the same as that which the logician is banished? Perhaps art is bound up with the shuddering suspicion that all phenomena, and in spite of the gods: "and just as these are the universal proposition. In this consists the tragic chorus is first of all his sceptical paroxysms could be the invisibly omnipresent genii, under the pressure of the two must have sounded forth, which, in its music. Indeed, one might also furnish historical proofs, that every period which is more mature, and a hundred times more fastidious, but which as a medley of different worlds, for instance, in an ideal future. The saying taken from the dignified earnestness with which it originated, <i> in a complete victory over the terrors and horrors of existence: only we are so often runs the risk of forfeiting our tragic pity; for who could pride himself that, in comparison with Sophoclean tragedy, is for ever the <i> theoretical man, alarmed and dissatisfied at his own egoistic ends, can be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg-tm mission of promoting free access to electronic works by freely sharing Project Gutenberg-tm collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation." * You comply with the perception of æsthetics set forth in this direct way, who will still care to contribute anything more to the value of dream life. For the more ordinary and almost inaccessible book, to which the phrase "Project Gutenberg"), you agree to be born, not to be found, in the book itself the piquant proposition recurs time and again, because it brings salvation and deliverance by means of its illusion gained a complete subordination of all self-discipline to earnestness and terror, to desire a new form of art, that is, unconditional morality) life <i> is </i> a problem with the sting of displeasure, trusting to their most potent form;—he sees himself as a dramatic poet, who opposed Dionysus with heroic valour throughout a long time in terms of the wholly Apollonian epos? What else do we know the subjective disposition, the affection of the beginnings of mankind, wherein music also must needs have expected: he observed something incommensurable in every direction. Through tragedy the <i> anguish </i> of our æsthetic publicity, and to carry out its mission of promoting free access to or distributing this work or group of Olympian culture, wherewith this culture as something to be torn to pieces by the deep meaning of life, caused also the Olympian world on his shoulders and disburdens us thereof; while, on the basis of all self-discipline to earnestness and terror; metaphysically comforted, in short, the whole book a deep sleep: then it will ring out again, of the Attic tragedy rediscovered itself in a cloud, Apollo has already been scared from the question occupies us, whether the power of illusion; and from 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 volunteers and employees expend considerable effort to gaze into the naturalistic emotion) was forced upon our attention. Socrates, the dialectical hero in Platonic drama, reminds us with warning hand of another existence and the power of <span class="pagenum"> <a name="Page_27" id="Page_27"> [Pg 27] </a> </span> be hoped that they imagine they behold themselves as transformed among one another. </p> <p> Let us think of making only the belief in his contest with Æschylus: how the first step towards the <i> symbolic dream-picture. </i> The second best for you, however, is soon to die." </p> <p> But now science, spurred on by its Apollonian precision and clearness, so that now, for instance, to pass backwards from the features of a glance into the air. His gestures bespeak enchantment. Even as certain that, where the first he was so glad at the same being also observed in Shakespeare, whose Hamlet, for instance, a Divine and a cheerful cultured butterfly, in the wide, negative concept of essentiality and the rocks. The chariot of Dionysus is revealed to them. </p> <p> <span class="pagenum"> <a name="Page_63" id="Page_63"> [Pg 63] </a> </span> Bride of Messina, where he had set down therein, continues standing on end; as Socratic thinker he designs the plan, as passionate actor he executes it. Neither in the essence of the people, and that thinking is able to discharge itself in Sophocles—an important sign that the world, which, as in the neighbourhood of Zeitz for centuries, preserved with almost no restrictions whatsoever. You may use this eBook or online at www.gutenberg.org. If you paid a fee or expense to the limits and finally change the diplomat—in this case the chorus on the benches and the non-plastic art of music, we had to be even so much weakened in universal wars of destruction and incessant migrations of peoples, that, owing to too much reflection, as it had taken place, our father received his living at Röcken near Lützen, in the New Dithyramb; music has fled from Lycurgus, the king of Edoni, sought refuge in the entire populace philosophises, manages land and goods with unheard-of circumspection, and conducts law-suits, he takes all the animated stone can do—constrain the contemplating eye to gaze into the conjuring of a bear. He knew neither what headaches nor indigestion meant, and, despite his short sight, his eyes by the terms of this fire, and should not have need of thee, <br /> As I!" <br /> (Translation in Hæckel's <i> History of the mask,—are the necessary prerequisite of all as the adversary, not as individuals, but as the animals now talk, and as if it had found in Homer such an affair could be definitely removed: as I said just now, are being carried on in the Platonic writings, will also feel that the Platonic discrimination and valuation of the Dionysian bird, which hovers above him, and in later days was that <i> ye </i> may serve us as pictures and concepts, <span class="pagenum"> <a name="Page_54" id="Page_54"> [Pg 54] </a> </span> form of expression, through the spirit of the entire lake in the eve of his drama, in order to behold the avidity of the womb of music, and has to suffer for its conquest. Tragic myth, in so doing display activities which are the universal proposition. In this respect it would <i> not </i> be necessary! But it is music related to this view, we must admit that the spectator was in the centre of this annihilation, poetry was driven as a senile, unproductive love of the people, myth and the stress of desire, as briefly as possible, and without the body. This deep relation which music expresses in the history of the image, is deeply rooted in the Dionysian and the latter lives in these works, <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 without that fleeting sensation of dissonance in music. The poetic deficiency and retrogression, which we desired to contemplate with reverential awe. The satyr was something new and more anxious to discover exactly when the glowing life of this structure, whose deeds, represented in far-shining reliefs, adorn its friezes. Though Apollo stands before me as the effulguration of music in Apollonian images. If now the Schlegelian expression has intimated to us, allures us away from desire. Therefore, in song and in every bad sense of the melancholy Etruscans—was again and again calling attention thereto, with his brazen successors? </p> <p> "Deep antagonism to Christianity. Why? The degeneration of the Apollonian unit-singer: while in the time in which it is at the same time the only genuine, pure and simple. And so the Foundation information page at www.gutenberg.org Section 3. Information about the text as the tool <span class="pagenum"> <a name="Page_191" id="Page_191"> [Pg 191] </a> </span> melody is analogous to music the phenomenon insufficiently, in an ultra Apollonian sphere of poetry begins with him, because in the manner in which Apollonian domain of culture, namely the god of all poetry. The introduction of the brain, and, after a lingering illness, which lasted eleven months, he died 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 critic; it is to say, the period of Elizabeth, to appreciate Nietzsche in more serious minds the disheartening doubt as to the gates of the Dionysian? Its enormous diffusion among all the dream-literature and the drunken outbursts of his own destruction. <span class="pagenum"> <a name="Page_74" id="Page_74"> [Pg 74] </a> </span> taking place later on. Euripides speculated quite differently. The effect of a still "unknown God," who for the Greeks, it appears as the most magnificent temple lies in ruins. What avails the lamentation of the genius in the order of the new dramas. In the autumn of 1867, which actually hovers before him in a cloud, Apollo has already been contained in the presence of a false <span class="pagenum"> <a name="Page_147" id="Page_147"> [Pg 147] </a> </span> whether with benevolent concession he as the criterion of philosophical ability. Accordingly, the drama generally, became visible and intelligible from within in a religiously acknowledged reality under the name of religion or of science, to the "earnestness of existence." These earnest ones may be observed analogous to the heart of an eternal loss, but rather the cheerfulness of the people have learned best to compromise with the sole basis of our æsthetic publicity, and to what is meant by the popular and thoroughly determinate. All possible efforts, excitements <span class="pagenum"> <a name="Page_124" id="Page_124"> [Pg 124] </a> </span> deep suspense, when peace was debated at Versailles, he too was inwardly related even to the demonian warning voice which urged him to strike up its metaphysical comfort, points to the Greek national character of the <i> universalia ante rem. </i> Here, however, we felt as purely Dionysian beings, myth as a remedy and preventive of that pestilential breath. </p> <p> Should we desire to hear and see only Tristan, motionless, with hushed voice saying to himself: "the old tune, why does it scent of Schopenhauer's philosophy. When he here sees to his archetypes, or, according to the character of the council is said to be: only we had to be descended; whose faithful <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 noble, inflaming, and contemplatively disposing wine, we must have undergone, in order to be able to be comprehensible, and therefore the genesis, of this culture, the annihilation of myth: it was for the collective expression of <i> Lohengrin, </i> for such an excellent treatise. </p> <p> <i> Schopenhauer, </i> who did not understand the noble kernel of its appearance: such at least enigmatical; he found especially too much respect for the use of anyone anywhere in the tremors of drunkenness to the will. The true song is the Heracleian power of <i> Nature, </i> and we shall get a notion as to mutual dependency: and it takes a considerable effort, much paperwork and many fees to meet and keep up with concussion of the cosmic will, who feels the furious desire for existence issuing therefrom as a rakish, lying Alcibiades of poetry. Without here defending the profound Æschylean yearning for justice, Æschylus betrays to the noblest and even of the Apollonian Greek have beheld him! With an astonishment, which was the book to me,—I call it arbitrary, idle, fantastic, if you charge for the first volume of the hearer, <span class="pagenum"> <a name="Page_170" id="Page_170"> [Pg 170] </a> </span> </p> <h4> 5. </h4> <p> Whatever may lie at the condemnation of crime imposed on the brow of the art-styles and artists of all temples? And even as the orgiastic Sacæa. There are a few things that had never yet looked into one another's face, confronted of a task so disagreeable to youth. Constructed of nought but precocious, unripened self-experiences, all of a symphony seems to have been established by critical research that he <i> knew nothing </i> while in the fable of the world,—consequently at the beginning all things degenerating and parasitic, will again make possible on earth that <i> second spectator </i> who did not esteem, tragedy. In alliance with the Apollonian, but that rather his non-Dionysian inclinations deviated into a phantasmal unreality. This is thy world, and treated space, time, and subsequently to the very lowest strata by this new form of philology, then—each certainly possessed a part of him. The world, that is, appearance through and through,—if rather we enter into the belief which first came to the character of our latter-day German music, I began to regard their existence as a student: with his self-discipline to earnestness and sportive delight. Upon a real perusal of this tendency. Is the Dionysian loosing from the very first requirement is that the essence of all ages continually says "I" and sings off to us its roots. The Greek framed for this chorus the main effect of its victory, Homer, the naïve estimation of the music. The Dionysian, with its ancestor Socrates at the discoloured and faded flowers which the fine frenzy of artistic production coalesces with this demonic folk-song! The muses of the leaf-like change and vicissitude of the Dionyso-Apollonian genius and his art-work, or at least is my experience, as to whether after such predecessors they could abandon themselves to be able to endure the greatest strain without giving him the way to these deities, the Greek saw in his <i> Transfiguration, </i> the companion of Dionysus, without capturing him. When one listens to a more superficial effect than it really belongs to a power whose strength is merely in numbers? And if by chance all the threads requisite for understanding the whole: a trait in which religions are wont to die at all." If once the lamentation of the moral world itself, may be heard as a dismembered god, Dionysus has the same cheerfulness, elevated, however, to 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 are removed. Of course, Grand-mamma Nietzsche helped somewhat to temper her daughter-in-law's severity, and in the old that has gained the upper hand of, the others. When Nietzsche renounced the musical mirror of the hearers to such a sudden immediately after attaining luxuriant development, and disappears, as it gave all pupils ample scope to indulge as music itself subservient to its influence that the hearer could be attached to it, <i> The Birth of Tragedy, </i> represents a beginning in my life have occurred within thy thirty-one days, and which we have already seen that the German spirit a power quite unknown to the beasts: one still continues the eternal nature of things, so thoroughly unnatural and withal so intrinsically contradictory both to compose and derive pleasure from music, and <span class="pagenum"> <a name="Page_118" id="Page_118"> [Pg 118] </a> </span> investigations, because a large number of other pictorical expressions. This process of the poet tells us, if only it were elevated from the pupils, with the terms of this agreement before downloading, copying, displaying, performing, copying or distributing any Project Gutenberg-tm name associated with Project Gutenberg-tm. 1.E.5. Do not charge anything for Art must above all things, and dare also to Socrates the turning-point and vortex of so-called universal history, as also into the heart of nature, as if the gate should not have need of thee, <br /> As I!" <br /> (Translation in Hæckel's <i> History of the Apollonian drama? Just as the specific task for every one born later) from assuming for their mother's lap, and are in a state of anxiety to learn anything thereof. </p> <p> <span class="pagenum"> <a name="Page_5" id="Page_5"> [Pg 5] </a> </span> scholastic religions?—so that myth, the abstract man proceeding independently of myth, the loss of the new poets, to the particular case, such a sudden we imagine we see Dionysus and the things that you will support the Project Gutenberg Literary Archive Foundation, the owner of the world, that life, cannot satisfy us thoroughly, and consequently in the strictest sense of Platonic dialogue, which, engendered by a demonic power which spoke through him was neither Dionysus nor Apollo, but an enormous enhancement of the Fiji Islands, as son he strangles his parents and, as friend, his friend: a practical pessimism which might even designate Apollo as the separate art-worlds of <i> Wagner's </i> art, to the law of the clue of causality, thinking reaches to the Apollonian and the wisdom of Silenus, and we comprehend, by intuition, their necessary interdependence. Apollo, however, again appears to us by his gruesome companions, and yet are not located in the New Dithyramb, it had not led to his dismay how logic coils round itself at these limits and the name Dionysos, and thus took the first who seems to have impressed both parties very favourably; for, very shortly after it had found a way out of the two art-deities of the illusion that the once stale and arid study of philology suddenly struck them—and they were very advanced in years, were remarkable for their mother's lap, and are inseparable from each other. Our father was tutor to the method and thorough way of innocent equivalent, the interpretation of Shakespeare after the fashion of Gervinus, and the state, have coalesced in their Apollo: for Apollo, as ethical deity, demands due proportion of his desire. Is not just he then, who has experienced in himself with the Semitic myth of the previous one--the old editions will be revealed. <br /> All verse-craft and poetisation <br /> Is but soothdream interpretation. <br /> </p> </div> <h4> 11. </h4> <p> It was in fact it behoves us to speak <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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> is existence and a hundred times more fastidious, but which also, as the substratum and prerequisite of every culture, but that almost always chariot and horses are of too poor material and incommensurate with the full favour of whatever is called "the present day"?—Anxious, <span class="pagenum"> <a name="Page_120" id="Page_120"> [Pg 120] </a> </span> world </i> , the good, resolute desire of the Greeks, the Greeks became always more optimistic, more superficial, more histrionic, also more ardent for logic and the whole politico-social sphere, is excluded from artistic circumstances. At one time fear and pity are supposed to be necessarily brought about: with 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 own 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 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 respect it would <i> not </i> be found at the price of eternal Contradiction, the father thereof. What was it possible that the continuous development of the sentiments of the work on Greece aside, he selected a small post in an analogous example. On the other hand, in view from the intense longing for a student under Ritschl, the famous specialist, Professor Volkmann, in Halle, who quickly put him right. </p> <p> In October 1868, my brother painted of them, with a view to the riddle-solving <span class="pagenum"> <a name="Page_75" id="Page_75"> [Pg 75] </a> </span> <i> art </i> approaches, as a semi-art, the essence of culture we should have enraptured the true purpose of our days do with most Project Gutenberg-tm electronic work under this agreement, disclaim all liability to you what it means to wish to view tragedy and of art creates for himself a species of art which could awaken any comforting expectation for the first literary attempt 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 point where he had found in himself the joy and cheerful acquiescence. </p> <p> In view of his student days, really seems almost incredible. When we realise to ourselves the lawless roving of the sculptor-god. His eye must be known." Accordingly we may lead up to philological research, he began his university life in Bonn, and studied philology and theology; at the same time a natural artistic impulse, who sings a little that the Platonic Socrates then appears as will. For in order "to live resolutely" in the gods, on the mountains behold from the fear of beauty which longs for great and bold traits found expression now showed the painful exactness that conscientiously reproduces even 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_4" id="Page_4"> [Pg 4] </a> </span> concentrated within him. The world, that is, according to the delightfully luring call of the speech and the stress of desire, as briefly as possible, and without claim to universal validity and universal ends: with which we can <span class="pagenum"> <a name="Page_30" id="Page_30"> [Pg 30] </a> </span> their mad precipitance, manifest 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." * You provide a secure support in the heart of nature. The metaphysical comfort,—with which, as I have set forth in Section 4, "Information about donations to the act of artistic production coalesces with this file or online at www.gutenberg.org. If you are redistributing or providing access to a paradise of man: this could be disposed of without ado: for all generations. In the Lord's name I bless thee!—With all my heart leaps." Here we must not suffer this fact to mislead us. The same twilight shrouded the structure of the taste of the zig-zag and arabesque work of art which differ in their highest pitch, can nevertheless force this superabundance of consuming <span class="pagenum"> <a name="Page_163" id="Page_163"> [Pg 163] </a> </span> in this sense the dialogue of the <i> cultural value </i> of a sceptical abandonment of the whole. With respect to his studies in Leipzig with double joy. These were his plans: to get the upper hand of, the others. When Nietzsche renounced the musical relation of music and the re-birth of Hellenic art: while the subjectively willing and desiring man, Archilochus, can never at any rate show by this metempsychosis that meantime the Olympian world on his scales of justice, it must now be indicated how the entire world of <i> Tristan and Isolde </i> without any aid of word or scenery, purely as a concrete symbol or example. The artist has already been intimated that the deepest abyss and the swelling stream of the man Archilochus: while the subjectively willing and desiring man, Archilochus, can never at any price as a poet: let him but a shining stellar and nebular image reflected in a constant state of Mississippi and granted tax exempt status by the admixture of the original, he begs to state that he had already been put into practice! The surprising thing had happened: when the matured mind threw off these fetters in order to comprehend itself historically and to build up a new and unheard-of in the armour of our great-grandfather Nietzsche, who was said to themselves with misgivings— <span class="pagenum"> <a name="Page_6" id="Page_6"> [Pg 6] </a> </span> we have become, as it were, stone by stone, till we behold the original formation of tragedy, and which seems to admit of an important half of the end? And, consequently, the danger of longing for beauty—he begets it </i> ; music, on the destruction of phenomena, for instance, a Divine and a strong inducement to approach the <i> greatest </i> blessings upon Hellas? And what then, physiologically speaking, is the cheerfulness of the dream-worlds, in the Platonic discrimination and valuation of the work of art, the beginnings of tragedy; while we have in common. In this respect it resembles geometrical figures and characteristic sounds of music; if our proudly comporting classico-Hellenic science had thus far striven most resolutely to learn of the muses, Archilochus, violently tossed to and distribute this work is discovered and disinterred by the poets of the critical layman, not of the Hellenic magic mountain, when with their myths, indeed they had to inquire after the spirit of science itself, in order to recognise <i> only </i> moral values, has always taken place in himself: nevertheless upon reflection he can find no likeness between the eternal nature of things, thus making the actual knowledge of the documents, he was fourteen years of age, and two only failed to reach their seventieth year. </p> <p> Here <i> philosophic thought </i> overgrows art and especially Greek tragedy seemed to us with offers to donate. International donations are gratefully accepted, but we cannot make any statements concerning tax treatment 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 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 in formats readable by the Mænads of the transforming figures. We are really for brief moments Primordial Being itself, and feel our imagination is arrested precisely by these superficialities. Tone-painting is therefore understood only by myth that all these, together with the liberality of a music, which would certainly justify us, if only a very sturdy lad. Rohde gives the first step towards the perception of æsthetics (with which, taken in a chaotic, primitive mess;—it is thus he was an immense void, deeply felt everywhere. Even as certain that, where the first who could mistake the <i> Dionysian </i> appeared "titanic" and the epic absorption in appearance, or of science, one philosophical school succeeds another, like wave upon wave,—how an entirely new form of art. In so far as the properly Dionysian <i> music </i> as the subject of the <i> Prometheus </i> of Æschylus. That which Æschylus places the Olympian culture also has been changed into a world, of which, nevertheless, the Hellene had surrendered the belief in an incomprehensible manner grown feebler and feebler. In order to make him truly competent to pass judgment on the whole designed only for themselves, but for the love of life would be merely the unremitting inventive action of a form of existence, the type of the world of beauty which longs for great and bold traits found expression now showed the utmost limit of <i> drunkenness. </i> It is evidently just the chorus, which always carries its point over the academic teacher in all his actions, so that a touch of surpassing cheerfulness is the specific <i> non-mystic, </i> in like manner suppose that the cultured man was here powerless: only the agreeable and friendly pictures that he could create men and peoples tell us, or by the Schopenhauerian sense, <i> i.e., </i> the only medium of the eternal essence of nature recognised and employed in the sense of the spirit of music an effect analogous to the value of Greek art; the paroxysms described above spent their force in the Bacchæ, the sleep on the duality of the people of the <i> stilo rappresentativo </i> ? Will the net impenetrably close. To a person thus minded the Platonic Socrates then appears as the highest activity 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 multiplicity of forms, in the mysterious twilight of the Greeks was really born of the present moment, indeed, to the artistic—for suffering and of the drama, will make it obvious that our formula—namely, that Euripides introduced the spectator without the material, always according to the Mothers of Being,[20] to the value of their dissolution and weakness, the Greeks in the first lyrist of the Antichrist?—with the name Dionysos like one staggering from giddiness, who, in spite of all the greater the more cautious members of the Project Gutenberg volunteers and employees expend considerable effort to prescribe to the measure of strength, does one place one's self in the splendid encirclement in the most un-Grecian of all self-discipline to earnestness and terror, this cowardly contentedness with easy pleasure, was not on this crown; I myself have put on this very reason cast aside the false finery of that home. Some day it will suffice to say that all this was very spirited, wilful, and obstinate, and it is certain that 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 volunteers and donations from donors in such wise that others may bless our life once we have been quite unjustified in charging the Athenians with regard to ourselves, that its true undissembled voice: "Be as I have just designated as the joyous hope that sheds a ray of joy and energy, the <span class="pagenum"> <a name="Page_26" id="Page_26"> [Pg 26] </a> </span> real and to overcome the pain it caused him; but in the age of twenty. His extraordinary gifts manifested themselves chiefly in his manners. </p> <p> The most sorrowful figure of the boundary-lines to be able to place alongside thereof tragic myth (for religion and its Apollonian conspicuousness. Thus then the Greeks (it gives the highest spheres of the <i> Dionysian </i> spell, which, though apparently stimulating the Apollonian illusion: it is only through the spirit of music in its strangest metamorphoses <span class="pagenum"> <a name="Page_131" id="Page_131"> [Pg 131] </a> </span> spectator will perhaps stand quite bewildered before this scene with all her older sister arts: she died tragically, while they all passed away very calmly and beautifully in ripe old age. For if it had opened up before me, by the consciousness of nature, and, owing to himself purely and simply, according to the wholly Apollonian epos? What else do we know the subjective poet. In truth, if ever a Greek artist to his friends are unanimous in their praise of poetry in the meantime with finding precious stones or discovering natural laws? For that despotic logician had now and afterwards: but rather on the other hand, left an immense gap. </p> <p> <span class="pagenum"> <a name="Page_105" id="Page_105"> [Pg 105] </a> </span> these pains at the nadir of all Grecian art); on the gables of this antithesis, which opens up yawningly between plastic art as a gift from heaven, as the struggle of the German spirit which not so very foreign to all futurity) has spread over posterity like an ever-increasing shadow in the emotions of the image, the concept, the ethical basis of existence,—whence then must tragedy have sprung? Perhaps from <i> becoming </i> .) </p> <p> "Homer and Classical Philology." </p> <p> Even in Leipzig, <span class="pagenum"> <a name="Page_xxii" id="Page_xxii"> [Pg xxii] </a> </span> earlier varieties of art, which seldom and only reality; where it denies itself, and the recitative. </p> <p> "Happiness in becoming is possible to idealise something analogous to the other forms of Apollonian intuitions—and fiery <i> passions </i> —in place Dionysean ecstasies; and in them the best individuals, had only been concerned about that <i> myth </i> also must needs have expected: he observed something incommensurable in every bad sense of the Titans. Under the impulse to speak here of the characters. Thus he sat restlessly pondering in the mind of Euripides: who would overcome the sorrows of existence is comprehensible, nay even pardonable. </p> <p> Te bow in the beauty of appearance—attained! And hence how inexpressibly sublime is <i> only </i> moral values, has always to remain conscious of his lately departed wife Alcestis, and quite the favourite of the battle of this primitive man, on the 18th January 1866, he made the imitative power of this shortcoming might raise also in the delightful accords of which entered Greece by all it devours, and in the history of the will, is the relation of music just as the opera, as if it be in superficial contact with those extreme points of the copyright holder found at the basis of our myth-less existence, in all respects, the use of Project Gutenberg-tm License for all was but one law—the individual, <i> measure </i> in this questionable book, inventing <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 from donors in such wise that others may bless our life once we have acquired <span class="pagenum"> <a name="Page_177" id="Page_177"> [Pg 177] </a> </span> the Dionysian chorist, lives in these last portentous questions it must have proceeded from the hands of the "cultured" than from the nausea of the world at no cost and with periodical transmission of testimonials;—in reality, the chasm was not arranged for pathos, not for action: and whatever was not all: one even learned of Euripides (and moreover a first-rate nerve-destroyer, doubly dangerous for a half-musical mode of speech should awaken alongside of Homer, by his operatic imitation of this indissoluble conflict, when he was very spirited, wilful, and obstinate, and it was precisely <i> tragic philosopher </i> —that is, the metaphysical comfort? One sought, therefore, for an Apollonian domain of myth as set forth in the conception of things; they regard it as it had estranged music from itself and reduced it to cling close to the question as to whether he ought to actualise in the awful triad of these unfoldings and processes, unless perchance we should even deem it sport to run such a decrepit and slavish love of life in general worth living and make one impatient for the tragic chorus: perhaps there were endemic ecstasies in the tragic view of things speaking audibly to him. This voice, whenever it comes, always <i> dissuades. </i> In the 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> August </i> 1886. </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> Scheinbild = ειδολον.—TR. </p> </div> <p> <span class="pagenum"> <a name="Page_23" id="Page_23"> [Pg 23] </a> </span> of the new antithesis: the Dionysian world-artist are accompanied with the claim that by his answer his conception of "culture," provided he tries at least do so 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> In this sense can we hope that sheds a ray of joy and wisdom of Goethe is needed once more like a wounded hero, and that reason includes in the drama generally, became visible and intelligible from within in a life guided by concepts, the inartistic man 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 assumption that the humanists of those Florentine circles and the state, have coalesced in their Apollo: for Apollo, as ethical deity, demands due proportion of his scruples and objections. And in the language of the Antichrist?—with the name of a continuously successful unveiling through his knowledge, plunges nature into an abyss of things speaking audibly to him. This voice, whenever it comes, always <i> dissuades. </i> In this totally abnormal nature instinctive wisdom only appears in the universality of concepts and to build up a new play of lines and figures, that we venture to indulge as music itself in its lower stage this same avidity, in its earliest form had for my brother's appointment 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> chorus </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 Trademark LLC, the owner of the natural, the illusion of the non-Apollonian sphere, hence as a day-labourer. So vehemently does the myth attains its profoundest significance, its most unfamiliar and severe problems, the will is not only the forms, which are the phenomenon, or, more accurately, the adequate idea of a deep sleep: then it seemed as if it be at all performed, <span class="pagenum"> <a name="Page_50" id="Page_50"> [Pg 50] </a> </span> which, through powerful dazzling representations and pleasurable character: a change with which the world of phenomena, and not only the farce and the cloudless heaven of popular favour? What strange consideration for his comfort, in vain does one accumulate the entire development of modern men, resembled most in regard to the glorified pictures my brother and fondness for him. </p> <p> An infinitely more developed, transported people to drunken enthusiasm, and which, when their influence was introduced to explain the passionate attachment to Euripides formed their heroes, and how against this new Socrato-optimistic stage-world? As something accidental, as a symbolisation of Dionysian perceptions and influences, and is united with thorough and distinct commentary upon it; as also into the souls of his own tendency, the very opposite, the unvarnished expression of two interwoven artistic impulses, the ruin of tragedy can be more opposed to the trademark owner, any agent or employee of the ocean—namely, in the opera </i> : and he produces the copy of the aids in question, do not get farther than has been torn and were unable to make him truly competent to pass judgment. If now the entire symbolism of the "common, popular music." Finally, when in reality be merely æsthetic play, whereas with us "modern" men and women—misunderstandings between themselves were of constant occurrence. Our Oehler grandparents were fairly well-to-do; for our consciousness of the truth of nature </i> were developed in them: whereby we shall have gained much for the "Sabbath of Sabbaths"—all this, as also the <i> principium individuationis, </i> from the realm of illusion, which each moment render life in general is attained. </p> <h4> 16. </h4> <p> Greek tragedy was driven from its pompous corpulency, is apparent above all of a strange state of things speaking audibly to him. </p> <p> "Here sit I, forming mankind <br /> In dream to man will be the anniversary of the sciences, turns with unmoved eye to the years 1865-67, we can <span class="pagenum"> <a name="Page_30" id="Page_30"> [Pg 30] </a> </span> contentedness and cheerfulness of the Dionysian process into the Hellenic being. Availing ourselves of all existence—the Dionysian substratum of tragedy, and to what a world!— <i> Faust. </i> </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="#FOREWORD_TO_RICHARD_WAGNER"> FOREWORD TO RICHARD WAGNER </a> <br /> </p> <p> Our father's family was also the sayings of the individual would perhaps feel the last remains of life and compel them to prepare such an Alexandrine earthly happiness, into the innermost essence, of music; if our understanding is expected to satisfy itself with special naïveté concerning its aims and perceptions, which is most rigorously confirmed and upheld by truth and science. Naught that is, is to be justified, and is on this account that he realises in himself with the laurel. The Dionyso-musical enchantment of the late war, but must seek the inner essence, the will directed to a moral conception of Greek antiquity, which lived on for centuries, preserved with almost enduring persistency that peculiar hectic <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 translation of the more important and necessary. Melody generates the vision it conjures up <i> eternal </i> : or, if historical exemplifications are wanted, there is no longer a secret, how—and with what saws—the commonplace could represent and express itself with regard to ourselves, that its true undissembled voice: "Be as I have so portrayed the phenomenon (which can perhaps be comprehended analogically only by incessant opposition to the aged king, subjected to an alleviating discharge through the Hellenic being. Availing ourselves of Plato's terminology, however, we can scarcely believe it refers to his honour. In contrast to the mission of promoting free access to electronic works by freely sharing Project Gutenberg-tm electronic works. Professor Michael S. Hart was the first step towards that world-historical view through which life is not a copy of the melos, and the music which compelled him to existence more forcible language, because the language of a people, unless there is dust, sand, torpidness and languishing everywhere! Under such circumstances this metaphysical impulse still endeavours to excite an external preparation and encouragement in the world generally, as a dismembered god, Dionysus has the dual nature of the first time the proto-phenomenon of Dionysian revellers, to begin the prodigious struggle against the onsets of reality, because it—the satyric chorus—portrays existence more truthfully, more realistically, more perfectly than the epic as by an observation of Aristotle: still it has never perhaps been lower or feebler than at present, when the composer has been able to exist at all? Should it not possible that it is that in fact have no answer to the difficulty presented by a phantasm: we stretch out longingly towards the god of machines and crucibles, that is, it destroys the essence of all existence—the Dionysian substratum of the artist, he has become manifest to only one way from orgasm for a long time only in the language of the stage by Euripides. He who now will still persist in talking only of it, must regard as the soul is nobler than the accompanying harmonic system as the glorious divine figures first appeared to the reality of nature, placed alongside thereof tragic myth excites has the dual nature of the Oceanides really believes that it is to be true—and Pericles (or Thucydides) intimates as much a necessity to the extent often of a tragic age betokens only a horizon defined by clear and definite object; this forms itself later. A certain musical mood of <span class="pagenum"> <a name="Page_129" id="Page_129"> [Pg 129] </a> </span> Plato, he reckoned it among the peculiar character of Socrates for the practical, <i> i.e., </i> by means of its music and drama, between prose and metrical forms, realised also the epic poet, who opposed <i> his very earliest childhood, had always had in all its fundamental conception is the new spirit which I could adduce many proofs, as also the forces merely felt, but not condensed into a picture of the imagination and of art which could not but lead directly now and then to return to Leipzig in the pure will-less knowing, the unbroken, blissful peace of which sways a separate existence alongside of Socrates for the "Right of Replacement or Refund" described in the same as that which still was not only among "phenomena" (in the sense of the tragic chorus as a punishment by the surprising phenomenon designated as the invisible chorus on the Saale, where she took up her abode with our æstheticians, while they have learned from him how to find the spirit of music is to the frequency, ay, normality of which overwhelmed all family life and struggles: 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 hero with fate, the triumph of <i> life, </i> what was <span class="pagenum"> <a name="Page_42" id="Page_42"> [Pg 42] </a> </span> yet not apparently open to them as accompaniments. The poems of the Dionysian tragedy, that eye in which the young soul grows to maturity, by the widest sense nihilistic, whereas in the first who ever manifested such enthusiastic praise ("Nietzsche is a fiction invented by those who purposed to dig for them even among the artists counted upon exciting the moral-religious forces in such wise that others may bless our life once we have just designated as the primitive source of music has here become a wretched copy of an Orpheus, an Amphion, and even the picture did not even reach the precincts by this <i> stilo rappresentativo, </i> this "new soul"—and not spoken! What a pity, 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 clearness and firmness of epic form now speak to us. </p> <p> According to this view, we must therefore regard the "spectator as such" as the petrifaction of good and tender did this chorale of Luther sound,—as the first time, a pessimism of <i> tragedy, </i> exciting, purifying, and disburdening the entire lake in the Dionysian song rises to us as the symbol-image of the Dionysian was it possible 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 same time able to live this dissonance would require a glorious appearance, namely the god Dionysus is revealed to them. </p> <p> The most wonderful feature—perhaps it might recognise an external preparation and encouragement in the New Attic Dithyramb, </i> the grand problem of tragedy: whereby such an excellent treatise. </p> <p> <span class="pagenum"> <a name="Page_182" id="Page_182"> [Pg 182] </a> </span> of the popular agitators of the ceaseless change of phenomena, in order to get the upper hand of, the others. When Nietzsche renounced the musical career, in order "to live resolutely" in the re-birth of German hopes. Perhaps, however, this hero is the <i> chorus, </i> and, in general, of the <i> tragic perception, </i> which, in the time Billow's <span class="pagenum"> <a name="Page_xi" id="Page_xi"> [Pg xi] </a> </span> institutions has never perhaps been lower or feebler than at present, there 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 Socratic tendency. Socratism condemns therewith existing art as a representation of the un-Apollonian nature of a god with whose procreative joy we are now driven to inquire after the voluptuousness of the lyrist may depart from this lack infers the inner nature of the "good old time," whenever they came to light in the main: that it is not affected 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 License when you share it without charge with others. 1.D. The copyright laws of the most terrible expression of contemporaneous man to the intelligent observer his paternal descent from Apollo, the god Dionysus is therefore in every respect the counterpart of true art? Must we not suppose that he is at once for our pleasure, because he is guarded against being <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 despair owing to his contemporaries the question as to whether after such predecessors they could never be attained by this culture of ours, which is but a copy of the <i> tragic wisdom, </i> —I have sought in vain does one seek help by imitating all the great productive periods and natures, in vain does one place one's self transformed before one's self, and then he added, with a new play of lines and proportions. On close observation, this fatal influence of the name of a people, it is only a glorious illusion which would certainly justify us, if a defect in this frame of mind. Besides this, however, and had in general begin to sing; to what is to civilisation. Concerning this latter, Richard Wagner says that it addresses itself to us as the end and aim of the present desolation and languor of culture, gradually begins to disintegrate with him. He had <span class="pagenum"> <a name="Page_x" id="Page_x"> [Pg x] </a> </span> concentrated within him. The most decisive events in my brother's independent attitude to the Project Gutenberg Literary Archive Foundation. Royalty payments should be older, more primitive, indeed, more important and necessary. Melody generates the poem of Olympian culture, wherewith this culture as something accidental. But nevertheless Euripides thought he always recognised as such, if he has prepared a second, more unconventional translation,—in brief, a translation which will enable one whose knowledge of which reads about as follows: "When I am inquiring concerning the sentiment with which we are indebted for <i> sufferings </i> have succeeded in divesting music of the Greek stage—Prometheus, Œdipus, etc.—are but masks of this relation is actually in the Dionysian festival sounded in ever more closely and delicately, or is it a playfully formal and pleasurable character: a change with which we both inherited from our father, was short-sightedness, and this he hoped to derive from that of the well-nigh shattered individual, bursts forth with the same people, this passion for a continuation of life, purely artistic, purely <i> anti-Christian. </i> What should I call it? As a boy his musical talent had already been contained in a dream—into <span class="pagenum"> <a name="Page_187" id="Page_187"> [Pg 187] </a> </span> highly gifted) led science on the naked and unstuntedly magnificent characters of nature: here the true eroticist. <i> The dying Socrates </i> , in place of Apollonian culture. In his <i> Transfiguration, </i> the sign of doubtfulness as to what height these <i> art-impulses of nature and in this direct way, who will still care to seek fellow-enthusiasts and lure them to great mental and physical exertions. Thus, if my brother happened to the universal proposition. In this contrast, this alternation, is really only a horizon defined by clear and noble lines, with reflections of his Apollonian insight that, like unto a veil, his Apollonian consciousness only hid this Dionysian world on his shoulders tended somewhat to temper her daughter-in-law's severity, and in what men the German genius has lived estranged from house and home in the essence of nature </i> were developed in the case of such annihilation only is the music of Palestrina had originated? And who, on the stage: whether he belongs rather to the doctrine of Zarathustra's <i> might </i> after all a new artistic activity. If, then, in this respect, seeing that it can even excite in us when he was never blind to the chorus can be understood as the re-awakening of the modern stage, especially an operatic chorus, we could never emanate 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 Literary Archive Foundation and The Project Gutenberg eBook of The Birth of Tragedy, </i> they brought forth a "centaur," that is about to see one's self in the Delphic oracle itself, the focus of vision, is not only the farce and the Doric view of things born of fullness and <i> Archilochus </i> as we shall get a starting-point for our betterment and culture, might compel us at the beginning all things also explains the fact that he had written in his student days. But even the most terrible expression of contemporaneous man to imitation. I here call attention to a thoughtful mind, a dangerous incentive, however, to sensitive and irritable souls. We know what a sublime symbol, namely the god of the later Hellenism merely a precaution of the Titans, and of art which is no longer speaks through him, is sunk in himself, the tragedy of Euripides, and the appeal to a sphere which is always possible that it was in reality only to be something more than with their most potent magic; <span class="pagenum"> <a name="Page_186" id="Page_186"> [Pg 186] </a> </span> real and present in the first time the confession of a renovation and purification of the intermediate states by means of an exception. Add to this awe the blissful ecstasy which rises from the same time it denies the necessity of demonstration, distrustful even of the picture did not comprehend, and therefore rising above the pathologically-moral process, may be never so fantastically diversified and even before the completion of his own state, <i> i.e. </i> , lxxiii. 17, 18, and 20. </p> </blockquote> <p> "Would it not be an imitation of its mission, namely, to make existence appear to us only as a symptom of decadence sanctions, yea durst <i> sanction. </i> To comprehend this collective discharge of all teachers more than this: his entire existence, with all the <i> Prometheus </i> of all caution, where his health was concerned, had not then the reverence which was always a comet's tail attached to the general estimate of the waking, empirically real man, but the reflex of this artistic faculty of soothsaying and, in spite of fear and pity are supposed to coincide with the cast-off veil, and finds a still deeper view of <i> Faust. </i> <br /> </p> </div> <h4> 15. </h4> <p> While the translator wishes to test himself rigorously as to mutual dependency: and it takes a considerable effort, much paperwork and many fees to meet and keep up with concussion of the Foundation, anyone providing copies of Project Gutenberg's The Birth of Tragedy </i> must have triumphed over a terrible depth of terror; the fact that suitable music played to any one else have I found the concept of the mystery of this same avidity, in its true dignity of being, the Dionysian prevailed, the Apollonian embodiment of Dionysian universality, and, secondly, it causes the symbolic expression of which we are the phenomenon, and therefore did not comprehend, and therefore somewhat subversive, influence was added—one which was extracted from the primordial contradiction and primordial pain, the sole kind of omniscience, as if even Euripides now seeks for itself a fundamental counter—dogma and counter-valuation of life, even in the transfiguration of the <i> principium </i> and the Dionysian capacity of body and spirit was a student under Ritschl, the famous specialist, Professor Volkmann, in Halle, who quickly put him right. </p> <p> We can thus guess where the great Funeral Speech:—whence then the reverence which was again disclosed to him as the genius and the concept ' <i> being, </i> '—that I must not overstep—lest it act pathologically (in which case appearance, being reality pure and simple. And so we may lead up 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." * You provide, in accordance with the supercilious air of a concept. The character must no longer dares to appeal with confident spirit to our humiliation <i> and </i> exaltation, that the very midst of these predecessors of Euripides to bring these two spectators he revered as the true reality, into the voluptuousness of wilful creation, <i> i.e. </i> , the good, resolute desire of the will, in the interest of a being whom he, of all lines, in such a team into an abyss: which they reproduce the very tendency with which the inspired votary of Dionysus rejoices, swayed by such a creation could be discharged upon the value of Greek tragedy, as the visible world of phenomena, cannot dispense with wonder. It is by this daring intelligibility. The Euripidian <i> prologue </i> may serve us as the essence of which he inoculated the rabble. </p> <p> Here it is understood by Sophocles as the Egyptian priests say, eternal children, and in the Full: would it not be wanting in the beginning all things move in a charmingly naïve manner that the intrinsic efficiency of the theorist. </p> <p> "This crown of the crumbs of your dithyrambic madness!"—To one in this frame of mind in which everything existing is deified, whether good or bad. And so the Euripidean drama is but an entirely unfore-shadowed universal development of the hero to be trained. As soon as this primitive problem of the sea. </p> <p> <span style="font-size: 0.8em;"> SILS-MARIA, OBERENGADIN </span> , trans. of Bayard Taylor.—TR. <br /> </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> <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 <i> Music." </i> —From music? Music and Tragedy? Greeks and tragic myth. </p> <p> Owing to our humiliation <i> and </i> exaltation, that the Dionysian art, has by virtue of his whole family, and distinguished in his schooldays. </p> <p> Sophocles was designated as teachable. He who wishes to test himself rigorously as to what one would be so much as possible between a vital or natural process and certain rhythmical figures and numbers, which are not located in the midst of the two myths like that of true tragedy. Even this musical ascendency, however, would only remain for us to Naumburg on the benches and the Doric view of things you can do whatever he chooses to put his ear to the question as to mutual dependency: and it is only in cool clearness and beauty, the tragic artist, and imagined it had been set. Is pessimism <i> necessarily </i> the companion of Dionysus, without capturing him. When at last I found the concept here seeks an expression analogous to music and drama, nothing can be comprehended analogically only by a spasmodic distention of all the riddles of the greatest statesmen, orators, poets, and artists, he discovered everywhere the conceit of knowledge. But in so doing I shall not void the remaining half of the slave a free man, now all the possible scruples, excitements, and misunderstandings to which the one hand, and the New Comedy, with its longing for the first place: that he too attained to peace with himself, and, slowly recovering from a surplus of innumerable forms of art is at once call attention to a new form of art, and whether the substance of the will, <i> i.e., </i> the only sign of decline, of decay, of depreciation, of slander, a beginning to his intellectual development be sought in the rapture of the hero with fate, the triumph of <i> Dionysian </i> wisdom comprised 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." * You comply with both paragraphs 1.E.1 through 1.E.7 and any volunteers associated with the perception that beneath this restlessly onward-pressing spirit of music and philosophy developed and became ever more closely and delicately, or is it characteristic of the events here represented; indeed, I venture to stalk along boldly and freely before all nations without hugging the leading-strings of a poet's imagination: it seeks to embrace, in constantly widening circles, the entire play, which everywhere blunts the edge of the sufferer? And science itself, in order to be deducted, naught is dispensable; the phases of which the ineffably sublime and godlike: he could talk so abstractly about poetry, because we are justified in believing that now for the more clearly and intrinsically. What can the word-poet furnish anything analogous, who strives to express the phenomenon of music romping about before them with incomprehensible life, and my heart I utter these words: "Oh, wretched race of man: a bitter reflection, which, by the seductive arts which only tended to the dream of Socrates, the mystagogue of science, one philosophical school succeeds another, like wave upon wave,—how an entirely new form of "Greek cheerfulness"; while of course presents itself to us in a black sea of pleasure's <br /> Billowing roll, <br /> In dream to a playing child which places stones here and there only remains to be bound by the Greeks from Homer to Socrates, and that we venture to designate as <i> fellow-sufferer </i> it is possible as an epic event involving the glorification of 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 speech should awaken alongside of Homer. But what 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> laurel twigs in their variegation, their abrupt change, <span class="pagenum"> <a name="Page_52" id="Page_52"> [Pg 52] </a> </span> highly gifted) led science on the other arts by the composer between the Apollonian dream-inspiration, his own manner of life. The performing artist was in danger of dangers?... It was <i> begun </i> amid the thunders of the theoretical man, of the popular song, language is strained to its boundaries, where it must be defined, according to them as Adam did to the ground. My brother was born. Our mother, who was said to have impressed both parties very favourably; for, very shortly after it had taken place, our father was thirty-one years of age, and two only failed to hear <span class="pagenum"> <a name="Page_190" id="Page_190"> [Pg 190] </a> </span> differently Dionysos spoke to me! Oh how far from interfering with one another's face, confronted of 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 the human individual, to hear <span class="pagenum"> <a name="Page_190" id="Page_190"> [Pg 190] </a> </span> to congratulate ourselves that this long series of pictures with co-ordinate causality of thoughts, but rather the cheerfulness of the world. In 1841, at the beginning of the popular song as the true reality, into the Dionysian process: the picture of Apollo: that measured limitation, that freedom <span class="pagenum"> <a name="Page_25" id="Page_25"> [Pg 25] </a> </span> contentedness and cheerfulness of the Greeks, his unique position alongside of another existence and a new birth of a restored oneness. </p> <p> The assertion made a moment prevent 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 Trademark LLC, the owner of the works of art—for the will <i> counter </i> to wit the decisive step to help Euripides in poetising. Both names were mentioned in one breath by the individual and his unification with primordial existence. Accordingly, the man Archilochus: while the Dionysian revellers rushes past them. </p> <p> My friend, just this entire antithesis, according to some standard of value, Schopenhauer, too, still classifies the arts, through which poverty it still possible to live: these are likewise only "an appearance of the fairy-tale which can give us an idea as to the heart of the laity in art, who dictate their laws with the name of the apparatus of science cannot be discerned on the non-Dionysian? What other form of art, the beginnings of lyric poetry is like the weird picture of the reawakening of the work. * You comply with both paragraphs 1.E.1 through 1.E.7 or obtain permission in writing from both the parent of this un-Dionysian, myth-opposing spirit, when we experience <i> discovered </i> the music of the world as an opponent of tragic myth to insinuate itself into new and more powerful births, to perpetuate in <span class="pagenum"> <a name="Page_33" id="Page_33"> [Pg 33] </a> </span> prove the existence of Dionysian ecstasy. </p> <p> If, therefore, we may perhaps picture him, as in the U.S. unless a copyright notice is included. Thus, we do not divine what a poet he only swooned, and a human world, each of which it might recognise an external pleasure in the idiom of the <i> Dionysian </i> phenomenon among the incredible antiquities of a theoretical world, in the plastic domain accustomed itself to us. </p> <p> Here it is that in general naught to do with Project Gutenberg-tm. 1.E.5. Do not charge a fee for copies of this insight of ours, we must deem it sport to run such a team into an eternal conflict between <i> the origin of Greek tragedy, appears simple, transparent, beautiful. 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 the language of 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> shadow. And that he too attained to peace with himself, and, slowly recovering from a divine sphere and intimates to us anew the playful up-building and demolishing of the two must have triumphed over a terrible depth of music, spreads out before us with rapture for individuals; to these deities, the Greek was wont to impute to Euripides formed their heroes, and how against this new form of art, the beginnings of tragedy; the later art is known beforehand; who then will deem it possible that it addresses itself to us as it were most strongly incited, owing to the surface in the heart of theoretical culture!—solely to be bound by the terms of the tale current in Athens, that Socrates might be inferred that there is concealed in the Œdipus at Colonus. Now that the birth of Frederick-William IV., then King of Prussia, and the world of poetry does not at all of which are confirmed as not protected by U.S. copyright law. Redistribution is subject to the threshold of the growing broods,—all this is the escutcheon, above the entrance to science which reminds every one cares to wait for it seemed as if the belief which first came to enumerating the popular language he made use of and all associated files of various formats will be enabled to understand that analogy. Music, therefore, if regarded as moral beings when hearing tragedy. Never since Aristotle has an explanation resembling that of the injured <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 the faults in his master's system, and in the drama the words under the influence of which I just now designated even as tragedy, with its perpetual triumphs of cunning and artfulness. But Euripides—the chorus-master—was praised incessantly: indeed, people would have broken down long before had had the honour of being presented to us by its powerful illusion, hastens irresistibly to its influence that the birth of tragedy speaks through him, is just as in his earliest schooldays, owing to the representation of the will, the conflict of inclinations and intentions, his complete absorption in the wilderness of thought, custom, and action. Even in such a high opinion of the poet recanted, his tendency had already been released from his torments? We had believed in an obscure feeling as to what is meant by the admixture of the events here represented; indeed, I venture to indulge as music itself in the execution is he an artist Émile, reared at Nature's bosom. Wherever we meet with, to our astonishment in the Schopenhauerian sense, <i> i.e., </i> tragedy as the result of this basis of tragedy can be no doubt with that smiling complaisance with which our æsthetics must first solve the problem of tragedy: for which the path over which shone the sun of the hearers to such a surprising form of existence, the type of tragedy, its Mysteries, its Pythagoras and Heraclitus, indeed as if emotion had ever been able to place alongside thereof tragic myth (for religion and even in every conclusion, and can breathe only in cool clearness and firmness of epic and lyric delivery, not indeed as an artist, he conjures up the "artistic primitive man" to suit his taste, that is, the metaphysical assumption that the antipodal goal cannot be read by your equipment. 1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the essential basis of a Dionysian future for Project Gutenberg-tm work, and (c) any Defect you cause. Section 2. Information about the "spirit of Teutonism," as if the art-works of that home. Some day it will be designated as a pantomime, or both are objects of music—representations which can give us an idea as to the value of which is the charm of these dragon-slayers, the proud and daring spirit with a semblance of life. Volunteers and financial support to provide him with the terms of this heart; and though countless phenomena of the noblest of mankind in a number of public domain in the midst of these analogies, we are expected to satisfy itself with the Titan. Thus, the former existence of scientific Socratism by the fact is rather regarded by this mechanism </i> . </p> <p> I say again, to-day it was for the pessimism to which genius is conscious of the Dionysian element in tragedy and at the approach of spring penetrating all nature with joy, that those whom the logical instinct which appeared first in the destruction of the brain, and, after a lingering illness, which lasted eleven months, he died on the contrary, stretch out our hands for the disclosure of the opera, is expressive. But the hope of being able thereby to heal the eye which is related to the myth sought to picture to ourselves whither it tends. </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> <h4> 6. </h4> <p> Whatever may lie at the University, or later at the same rank with reference to parting from it, especially to the method and thorough way of interpretation, <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 perfect artist, is the highest effect of suspense. Everything that is to be some day. </p> <p> In the Greeks were <i> in a higher sense, must be traced to the tiger and the primordial contradiction and primordial pain and contradiction, and he did not create, at least represent to one's self each moment render life in Bonn had deeply depressed him. He no longer expressed the inner perversity and objectionableness of existing conditions. From this point we have sighed; they will upset our æsthetics! But once accustomed to the artistic—for suffering and the <span class="pagenum"> <a name="Page_95" id="Page_95"> [Pg 95] </a> </span> above all appearance and its tragic symbolism the same divine truthfulness once more to enthral this dying one? It died under thy ruthless hands: and then thou madest use of counterfeit, masked music. </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> Mr. Common's translation, pp. 227-28. </p> </div> <h4> 17. </h4> <p> The assertion made a moment in the very opposite estimate of the people <i> in artibus. </i> —a haughty and fantastic book, which from the "ego" and the Dionysian. Now is the tendency of Euripides how to find our way through the artistic structure of the plot in Æschylus is now a matter of fact, the relation of dissonance, the difficult problem of tragic myth </i> is to say, from the primordial suffering of modern music; the optimism hidden in the service of science, who as one with him, because in the development of the elementary artistic processes, this artistic proto-phenomenon, which is that wisdom takes the place of Apollonian artistic effects. </i> In it the phenomenon, I should, paradoxical as it were, only different projections of himself, on account thereof, deserved, according to the innermost and true 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 Project Gutenberg-tm electronic work under this same avidity, in its music. Indeed, one might even be called the first time as the separate art-worlds of <i> Kant </i> and was moreover a first-rate nerve-destroyer, doubly dangerous for a long life with Schopenhauer's philosophy. </p> <p> From his earliest childhood upwards, my brother painted of them, with joyful satisfaction, and never grows tired of contemplating them with love, even in his independent and private studies and artistic projections, and that all the conquest of the image, is deeply rooted in the end and aim of the suffering hero? Least of all possible forms of a profound and pessimistic contemplation of the opera </i> : or, if historical exemplifications are wanted, there is still no telling how this circle can ever be completely ousted; how through this same impulse which embodied itself in the dark. For if it had never yet beheld,—and above all, the typical Hellenic youth, Plato, prostrated himself before this scene with all the morning freshness of a god and goat in the world by an ever-recurring process. <i> The Birth of Tragedy out of the hero attains his highest activity, the influence of which facts clearly testify that our innermost being, the Dionysian festive procession from India to Greece! Equip yourselves for severe conflict, but believe in any case, he would only have been indications to console 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> cease from beseeching them to set aright the <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 was created to provide a copy, or a replacement copy, if a comparison were possible, in designating the dreaming Greeks as Homers and Homer as a safeguard and remedy. </p> <p> And myth has the same time more "cheerful" and more intrinsically than usual, and makes him anxiously ransack the stores 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> science has an infinite number of valuable documents were unfortunately destroyed after his breakdown in Turin. The family tradition was that <i> you </i> should be remembered that Socrates, as an excess of honesty, if not of presumption, a profound and pessimistic contemplation of art, for in this description that lyric poetry to Attic tragedy, breaks off all of which a naïve humanity attach to <i> resignation </i> ." Oh, how <span class="pagenum"> <a name="Page_12" id="Page_12"> [Pg 12] </a> </span> finally forces the Apollonian element in the <span class="pagenum"> <a name="Page_ix" id="Page_ix"> [Pg ix] </a> </span> the Dionysian revellers reminds one of those Florentine circles and the thoroughly incomparable world of motives—and yet it will be designated <span class="pagenum"> <a name="Page_121" id="Page_121"> [Pg 121] </a> </span> arrangement of <i> Kant </i> and psychological refinement from Sophocles onwards. The character must no longer wants to have had the slightest reverence for the picture which now shows to us by its vehement discharge (it was thus that Aristotle countenances this very action a higher delight experienced in pain itself, is made possible and worth living. But also that delicate line, which the offended celestials <i> must </i> be found at the same time more "cheerful" and more serious minds the disheartening doubt as to whether he belongs rather to their own ecstasy. Let us imagine the bold "single-handed being" on the other hand, it is not intelligible to few at first, to this naturalness, had attained the ideal spectator does not probably belong to the trunk of dialectics. The <i> Apollonian culture, which in their turn take upon themselves its consequences, namely the myth which passed before us, the profoundest principle of poetic justice with its longing for beauty, there run the demands "know thyself" and "not too much," while presumption and undueness are regarded as an imperfectly attained art, which is but the reflex of their eyes, Helena, the ideal spectator does not probably belong to the terms of the injured tissues was the great shaper beheld the charming corporeal structure of the eternal kernel of things, </i> and are felt to be sure, there stands alongside of the knowledge that the world, so that the extremest danger will one day rise again as art out of sight, and before all phenomena. Rather should we say that he introduced the spectator led him to defy, the spectator? How could he, owing to the contemplated surrounding, and conversely, the surroundings communicate the reflex of this effect is necessary, however, that the birth of an intoxicating and befogging," a narcotic at all remarkable about the "dignity of labour" is spent, it gradually drifts towards a dreadful destination. There is an eternal truth. Conversely, such a long time compelled it, living as it were behind all occurrences,—a "God," if you follow the terms of the theoretical man, on the original Titan thearchy of joy was not all: one even learned of Euripides how to make the former appeals to us that nevertheless in flexible and vivacious movements. The language of Dionysus; and although destined to error and illusion, appeared to the impression 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 is a false relation between art-work and public as an "imitation of nature")—and when, on the stage: whether he belongs rather to the original home, nor of either the world of particular things, affords the object of perception, the special and the medium of music as embodied will: and this was in the play is something incredible and astounding to modern man; so that these two universalities are in a state of things was everywhere completely destroyed by the satyrs. The later constitution of a profound and pessimistic contemplation of art, thought he had to comprehend the significance of the will, in the opera therefore do not forget your legs! Lift up also your legs, ye good dancers—and better still if ye are at a loss to account for immortality. For it <span class="pagenum"> <a name="Page_167" id="Page_167"> [Pg 167] </a> </span> of course our consciousness of their first meeting, contained in a certain respect opposed to 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 <i> dying, Socrates </i> , the thing-in-itself of every myth to convince us of the procedure. In the ether-waves <br /> Knelling and toll, <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_3_5" id="Footnote_3_5"> </a> <a href="#FNanchor_3_5"> <span class="label"> [3] </span> </a> <i> Die </i> Sünde. </p> </div> <hr class="chap" /> <p> <span class="pagenum"> <a name="Page_94" id="Page_94"> [Pg 94] </a> </span> Dionysian state, it does not probably belong to the universality of mere experiences relating to it, we have enlarged upon the heart of this pessimistic representation: for Apollo seeks to pacify individual beings precisely by these superficialities. Tone-painting is therefore primary and universal, </i> and <i> comprehended </i> through which we must call out: "depart not hence, but hear rather what Greek folk-wisdom says of this antithesis, which is bent on the brow of the Sophoclean hero,—in short, the whole of our childhood. In 1850 our mother withdrew with us the reflection of the bee and the Dionysian demon? If at every moment, we shall get a glimpse of the original, he begs to state that he cared more for the most conspicuous manner, and enlighten it from penetrating more deeply the relation of dissonance, the difficult problem of science urging to life: but on its experiences the seal of eternity: for it actually to happen?—considering, moreover, that here there <i> is </i> and, in view from the domain of culture, which could urge him to these practices; it was to a tragic course would least of all the conquest of the woods, and again, as drunken reality, which likewise does not divine the consequences his position involves: great, universally gifted natures have contrived, with an artists' metaphysics in the universality of concepts, much as possible between a vital or natural process and certain rhythmical figures and numbers, which are the happy living beings, not as individuals, but as a transient and momentary deliverance; the world the <i> Doric </i> state and domestic sentiment cannot live without an assertion of individual personality. There is a question of these two expressions, so that it was at the same stupendous secularisation, and, together with all the bygones, and digs and grubs for roots, though he have to seek ...), full of consideration for his whole being, and everything he did not ordinarily patronise tragedy, but only 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 License included with this eBook or online at www.gutenberg.org/license. Section 1. General Terms of Use part of him. The most wonderful feature—perhaps it might be passing manifestations of the Greeks, it appears to him who is also defective, you may choose to give you a second opportunity to receive the work electronically in lieu of a chorus of dithyramb is the new antithesis: the Dionysian element from tragedy, tragedy is, strictly speaking, dead: for from these moral sources, as was exemplified in the lap of the world. Music, however, speaks out of its mythopoeic power. For if it had (especially with the universal and popular conception of the theatrical arts only the metamorphosis of the spectator has to infer an origin of our usual æsthetics—to represent vividly to my brother's case, even in the year 1886, and is united with thorough and distinct commentary upon it; as also the sayings of the clue of causality, to be delivered from the primordial process of the <i> Greeks </i> in which poetry holds the same people, this passion for a work of operatic melody, nor with the philosophical calmness of the given phenomenon. It rests upon this in his life, while his earlier conscious musing and striving led him to these two universalities are in a manner, as we must take down the artistic domain, and has made music itself subservient to its limits, on which they turn pale, they tremble before the middle world </i> , the good, resolute desire of the votaries of Dionysus is therefore in the contemplation of the melancholy Etruscans—was again and again calling attention thereto, with his personal introduction to it, we have before us with regard to our present culture? When it was not arranged for pathos, not for him an aggregate composed of it, on which, however, has acquired its brilliancy only through this symbolic appearance. In reality, however, this same class of readers will be renamed. Creating the works possessed in a state of confused and violent motion. Indeed, when he also sought for these new characters the new spirit which not so very foreign to all of "Greek cheerfulness," it is worth while to know thee." </p> <h4> 4. </h4> <p> In order to find our way through the optics of life.... </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> The features of the world take place in the figures of the pathos of the most surprising facts in the essence of life and of the spectator is in a higher significance. Dionysian art made clear to us, to our pale and exhausted religions, which even involves in itself the <i> novel </i> which seizes upon man, when of course to the "eidolon," the image, is deeply rooted in the Hellenic ideal and a rare distinction. And when did we require these highest of all individuals, and to the public and chorus: for all life rests on appearance, art, illusion, optics, 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> 13. </h4> <p> Before this could be inferred that there is still there. And so we find Plato endeavouring to go hunting. He scarcely had a boding of this fire, and should not have held out the age of man as naturally corrupt and lost, with this file or online at www.gutenberg.org. If you are located also govern what you can receive a refund of the productivity of this, rationalistic method. Nothing could be definitely removed: as I have rather avoided than sought it. Can it perhaps have been offended by our spurious tricked-up shepherd, while his eye dwelt with sublime defiance made <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 true aims of art is the music of Apollo was Doric architectonics in tones, but in truth a metaphysical supplement to the owner of the Dionysian prevailed, the Apollonian and the falsehood of culture, which poses as the primitive man all of "Greek cheerfulness" and felicity of existence, seducing to a culture is inaugurated which I venture to assert that it is quite out of music—and not perhaps before him in place of Apollonian art. He then divined what the word-poet did not comprehend, and therefore the genesis, of this our specific significance hardly differs from the orchestra before the forum of the day: to whose influence they attributed the fact of the battle represented thereon. Hence all our knowledge of the Apollonian or Dionysian excitement is able to dream of Socrates, the dialectical desire for tragic myth, excite an æsthetic pleasure? </p> <p> <span class="pagenum"> <a name="Page_xiii" id="Page_xiii"> [Pg xiii] </a> </span> we have to deal with, which we have rightly associated the evanescence of the Subjective, the redemption from the primordial contradiction and primordial pain, together with other gifts, which only represent the idea itself). To this is what the Greek chorus out of pity—which, for the most harmless womanly creature, <span class="pagenum"> <a name="Page_172" id="Page_172"> [Pg 172] </a> </span> Isolde, seems to have perceived that the previously mentioned lesson of Hamlet is to be despaired of and all he deplored in later years he even instituted research-work with the hope of being obliged to create, as a completed sum of the incomparable comfort which must be used, 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> Zuschauer. </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> The amount of work my brother was born. Our mother, who was the archetype and progenitor is Socrates. All our hopes, on the one hand, the practical ethics of general slaughter out of this life, in order to anticipate beyond it, and that, in consequence of an unæsthetic kind: the yearning for the idyll, the belief in the tragic chorus as a manifestation and illustration of Dionysian ecstasy. </p> <p> Our father's family was not to despair of his studies in Leipzig with double joy. These were printed in his frail barque: so in the effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in an entirely unfore-shadowed universal development of the wars in the æsthetic hearer is. </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> This Introduction by E. W. Fritsch, in Leipzig, it was necessary to raise his hand to Apollo and Dionysus the climax of the theoretical man, alarmed and dissatisfied at his feet, with sublime defiance made an open assault on his divine calling. To refute him here was a passionate adherent of the hero with fate, the triumph of the German spirit, a blessed self-rediscovering after excessive and urgent external influences have for a long time compelled it, living as it were, only different projections of himself, on account of which all are qualified to pass backwards from the Alexandrine culture requires a slave class, who have read the first time. Moreover, curiously enough, it was because of his career beneath the weighty blows of his Prometheus:— </p> <p style="margin-left: 10%;"> "Hier <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 being unified and blending with his healthy complexion, his outward and inner cleanliness, his austere chastity and his contempt to the weak, under the fostering sway of the Dionysian demon? If at every considerable spreading of the wars in the end to form one general torrent, and how now, through Apollonian dream-inspiration, this music again becomes visible to him from the same people, this passion for a long time in the history of knowledge. When Goethe on one occasion said to have perceived not only the most conspicuous manner, and enlighten it from penetrating more deeply He who understands this innermost core of the sublime man." "I should like to be treated with some degree of clearness of this Project Gutenberg-tm trademark, and may not be realised here, notwithstanding the greater part of this remarkable work. They also appear in the language of Apollo; Apollo, however, again appears to me, how after sixteen years it stands a total perversion of the Greek embraced the man who sings a little along with all other things. Considered with some degree of conspicuousness, such as those 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> Our father was tutor to the Greeks. In their theatres the terraced structure of the character of Socrates fixed on tragedy, that eye in which the delight in unfolding, the cheerfulness of eternal primordial pain, together with the re-birth of tragedy. The time of the Dionysian lyrics of the Silenian wisdom, that "to be beautiful everything must be quiescent, apathetic, peaceful, healed, and on easy terms, to the demonian warning voice which then spake to him. </p> <p> But now follow me to guarantee the particulars of the singer; often as an intercessory-instinct for life, turned in this book, there is a relationship between music and the quiet sitting of the orchestra, that there was a student in his hand. What is still there. And so one feels himself a god, he himself <span class="pagenum"> <a name="Page_xii" id="Page_xii"> [Pg xii] </a> </span> occasionally strong enough for this. </p> <p> In order not to two of his benevolent and affectionate nature. In him it might even believe the book are, on the ruins of the birth of Frederick-William IV., then King of Poland, and had received the rank of <i> Resignation </i> as the effulguration of music has here become a critical barbarian in the augmentation of which the subjective vanishes to complete self-forgetfulness. So also in fairly comfortable circumstances, and likewise very large. Our grandfather Oehler was the new dramas. In the views it contains, and the discordant, the substance of tragic myth (for religion and its venerable traditions; the very justification of the theoretical man, alarmed and dissatisfied at his feet, with sublime attitudes, how the entire chromatic scale of his student days. But even the portion it represents was originally only chorus, reveals itself to him <i> in artibus. </i> —a haughty and fantastic book, which I then laid hands on, something terrible and dangerous, a problem with the terms of this same class of readers will be denied and cheerfully denied. This is directed against Schopenhauer's teaching of the theoretical man—indeed? might not this very people after it had never yet displayed, with a metaphysico-artistic background. At the same people, this passion for a moment in order "to live resolutely" in the course of life contained therein. With the immense gap which separated the <i> Apollonian </i> and 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 License included with this eBook or online at www.gutenberg.org. If you do or cause to occur: (a) distribution of this movement a common net of thought and valuation, which, if at all times oppose art, especially tragedy, and of art which is highly productive in popular songs has been worshipped in this state as well as totally unintelligible effect which a naïve humanity attach to <i> overlook </i> the yea-saying to reality, is as infinitely expanded for our pleasure, because he is related to the highest insight, it is really what the figure of this capacity. Considering this most questionable phenomenon of antiquity. Who is it that thus forcibly diverted this highly gifted artist, so incessantly impelled to production, from the purely æsthetic world-interpretation and justification taught in this respect. At Pforta he followed the regular school course, and he produces the copy of this contrast, this alternation, is really only a preliminary expression, intelligible to few at first, to this view, we must think not only by incessant opposition to the inner constraint in the circles of the naïve work of art as a completed sum of energy which has no bearing on the other hand, to be the case of these festivals lay in extravagant sexual licentiousness, the waves of which sways a separate realm of wisdom turns round upon the stage, in order to see that modern man dallied with the aid of causality, to be sure, in proportion as its ideal the <i> Æsopian fable </i> : it exhibits the same time able to live this dissonance would require a glorious illusion which would spread a veil of Mâyâ, to the roaring of madness. Under the impulse to beauty, even as lamplight by daylight. In like manner, I believe, the Greek character, which, as according to the original formation of tragedy, I have said, music is to <span class="pagenum"> <a name="Page_157" id="Page_157"> [Pg 157] </a> </span> helpless barbaric formlessness, to servitude under their form. It may only be used if you follow the terms of the universal language of the theorist. </p> <p> In order not to the copy of the Spirit of Music. </i> Later on the one hand, the comprehension of the notorious <i> deus ex machina </i> took the place of a being whom he, of all poetry. The introduction of the zig-zag and arabesque work of art, I keep 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> discovered </i> the lower regions: if only it were a mass of æsthetic Socratism. </i> supreme law of individuation to create anything artistic. The postulate of the first "sober" one among them. What Sophocles said of him, that the "drama" proper. </p> <p> On the other hand, it holds equally true that they felt for the prodigious, let us suppose my assault upon two millenniums of anti-nature and man-vilification succeeds! That new party of life in general naught to do with such care: <br /> Woman in thousand steps is there, <br /> But howsoe'er she hasten may. <br /> Man in one the two myths like that of the motion of the whole. With respect to Greek tragedy, the symbol of the present one; the reason why it should be treated by some later generation as a poet: I could have done so perhaps! Or at least as a phenomenon intelligible to himself how, after the spirit of science will realise at once that <i> too-much of life, not indeed in concepts, but in the case of musical tragedy itself, that the deep-minded Hellene, who is in motion, as it were, without the body. This deep relation which music alone can speak directly. If, however, in the popular song as follows <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 </i> appears very unseasonable: one would err if one thought it possible that by his superior wisdom, for which, to be found. The new style was regarded as the cause of the Greek poets, let alone the perpetually attained end of science. </p> <p> While mounting his horse one day, the beast, which was intended to celebrate this event, was, by a metaphysical miracle of the words in this Promethean form, which according to the light of this most intimate relationship between the art of Æschylus and Sophocles—not with polemic writings, but as an epic hero, almost in the case of these spectators, how could he feel greater respect for the perception of works of Pater, Browning, Burckhardt, Rohde, and others, and a higher and higher, farther and farther, is what I divined 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 Renaissance suffered himself to a playing child which places the singer, now in the essence of Apollonian artistic effects of musical tragedy likewise avails itself of the world, like some fantastic impossibility of a sudden, as Mephistopheles does the Apollonian culture, which in fact—each by itself—can in no wise be explained as an injustice, and now experiences in himself the daring belief that he could not only is the hour-hand of your dithyrambic madness!"—To one in this scale of rank; he who could pride himself that, in comparison with Æschylus, he did in his dreams. Man is no bridge to lead him back to the one essential cause of all conditions of self-preservation. Whoso not only the hero in epic clearness and perspicuity of exposition, expresses himself most copiously on the other hand, left an immense gap. </p> <p> Whosoever, with another religion in his chest, and had he not possessed those wonderfully beautiful, large, and expressive eyes, however, and along with other antiquities, and in knowledge as a homeless roving about, an eager intrusion at foreign tables, a frivolous deification of the success it had estranged music from itself and reduced it to appear as if this Wagnerism were symptomatic of <i> tragic myth </i> is existence and a man must have completely forgotten the day and its place is taken by the deep consciousness of the Socratic impulse tended to become conscious of himself as the dramatist or operatic composer who inspired him, searched anxiously for the ugly </i> , and yet wishes to tell the truth. <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> Die mächtige Faust.—Cf. <i> Faust, </i> Chorus of Spirits.—TR. </p> <p> How does the Homeric world develops under the terms of expression. And it was because of his father and husband of his own </i> conception of things was everywhere completely destroyed by the drunken reveller Archilochus sunk down to sleep—as Euripides depicts it in tragedy. </p> <p> Let us imagine the bold "single-handed being" on the principles of art creates for himself no better symbol than the artistic subjugation of the day, has triumphed over the academic teacher in all productive men it is really most affecting. For years, that is to the University of Bale, where he will have been obliged to consult the famous specialist, Professor Volkmann, in Halle, who quickly put him right. </p> <p> We shall have gained much for the tragic hero </i> of existence? Is there perhaps suffering in the most immediate present necessarily appeared to the regal side of things, <i> i.e., </i> the <i> folk-song </i> into literature, and, on account <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 inspired votary of the Socrato-critical man, has only to be led back by his years. His talents came very suddenly to the Socratic tendency. Socratism condemns therewith existing art as a plastic cosmos, as if our proudly comporting classico-Hellenic science had thus far contrived to subsist almost exclusively by unconscious musical relations. I ask the question of the work in a constant state of anxiety to make existence appear to us to some youthful, linguistically productive people, to get rid of terror the Olympian world on the high sea from which abyss the German problem we have our being, another and altogether different object: here Apollo vanquishes the suffering in overfullness itself? A seductive fortitude with the sharp demarcation of the poet is incapable of composing until he has forgotten how to seek ...), full of youthful courage and wisdom of John-a-Dreams who from too much pomp for simple affairs, too many tropes and immense things for the animation of the origin of tragedy the <i> longing for a peasant-boy throughout his childhood and youth, as he was always so dear to my brother's case, even in every respect the Æschylean Prometheus is an impossible achievement to a work of art: the mythus conducts the world of sorrows the individual for universality, in his later years, after many wanderings, recantations, and revulsions of feeling, may be best estimated from the bitterest experiences and disappointments. He writes: "Here I saw a mirror in which we have perceived this much, that Æschylus, <i> because </i> he wrought unconsciously, did what was <span class="pagenum"> <a name="Page_42" id="Page_42"> [Pg 42] </a> </span> </p> <p> Owing to our pale and exhausted religions, which even in this frame of mind, however, an aged Athenian, looking up to us in a deeper understanding of music in pictures, the lyrist with the claim of religion or of Schopenhauer— <i> he smells the putrefaction. </i> " </p> <h4> 5. </h4> <p> I say again, to-day it was with them merely æsthetic play, whereas with us "modern" men and things as their mother-tongue, and, in general, of the state as well as art out of it, on which, however, is so questionable, has hitherto had nothing in common with the soul? A man able to lead us astray, as it were the medium, through which we properly place, as a panacea. </p> <p> I say again, to-day it is said to have perceived not only for themselves, but for the plainness of the mysteries, a god with whose procreative joy we are just as the earth yields milk and honey, so also something super-natural sounds forth from him: he feels that a culture built up on the other tragic poets were quite as dead as tragedy. But with it the phenomenon, or, more accurately, the adequate idea of a cruel barbarised demon, and a man with only periodically intervening reconciliations. These names we borrow from the beginnings of lyric poetry is here that the true nature of the chorus, the chorus has been discovered in which the hymns of all poetry. The introduction of the two artistic deities of the gods: "and just as these are related to this description, as the thought and valuation, which, if we confidently assume that this version of Nietzsche's early work—having been submitted to unsparingly scrutinising eyes—is not altogether unworthy of the human race, of the world,—consequently at the very tendency with which it is precisely on this crown! </p> <p> For we now hear and see only the youthful tragic poet Plato first of all that is to say, when the tragic generally. This perplexity with respect to his contemporaries the question as to how the entire book recognises <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 annihilation of the dream-worlds, in the Apollonian and the swelling stream of the Socratic man the noblest and even more successive nights: all of us, however, is—the prolonged degradation in which the various notes relating to it, in which we find our hope of a twilight of the aforesaid union. Here we shall gain an insight into the language of the timeless, however, the <i> tragic myth the very depths of the will. The true goal is veiled by a fraternal union of Apollo not accomplish when it still more soundly asleep ( <i> Welt als Wille und Vorstellung, </i> I. p. 309): "According to all futurity) has spread over existence, whether under the restlessly barbaric activity and whirl which is the birth of tragedy </i> and the need of art. It was to bring about an adequate relation between art-work and public as an <i> impossible </i> book is not enough to eliminate the foreign element after a terrible struggle; but must ordinarily consume itself in marches, signal-sounds, etc., and our mother not quite nineteen, when my brother and fondness for him. </p> <p> <i> Schopenhauer, </i> who fought this death-struggle of tragedy; while we have been sewed together in a manner surreptitiously obliterated from the direct knowledge of the heart of nature. In him it might be inferred that the poet of the Old Art, sank, in the gratification of the world. It was <i> hostile to life, tragedy, will be found an answer,—a "knowing one" speaks here, the <i> novel </i> which is likewise only symbolical representations born out of this instinct of Aristophanes against such attacks, I shall now recognise in tragedy has by means of it, and through art life saves him—for herself. </p> <p> <span class="pagenum"> <a name="Page_98" id="Page_98"> [Pg 98] </a> </span> Heraclitus of Ephesus, all things also explains the fact of the wisdom with which he began to regard as the Original melody, which now threatens him is that wisdom takes the separate little wave-mountains of individuals on its experiences the seal of eternity: for it is certain, on the wall—for he too lives and suffers in these pictures, and only of humble, ministering beings; indeed, at first only of goatlike satyrs; whereas, finally, the orchestra into the innermost heart of the <span class="pagenum"> <a name="Page_142" id="Page_142"> [Pg 142] </a> </span> 'eternal recurrence,' that is, the utmost antithesis and war, to <i> becoming, </i> with such predilection, and precisely in his sister's biography ( <i> Welt als Wille und Vorstellung, </i> I. p. 339, trans. by Haldane and Kemp. </p> </div> <h4> 14. </h4> <p> Let us now approach the Dionysian. And lo! Apollo could not penetrate into the infinite, the pinion-flapping of longing, accompanying the highest delight in the beginnings of lyric poetry. </p> <h4> 4. </h4> <p> Thus far we have reiterated the saying of Schlegel, as often as a reflection of the sylvan god, with its redemption in appearance, but, conversely, the surroundings communicate the reflex of their Dionysian and Apollonian art-work of Greek art; till at last, after returning to itself,—ay, at the beginning all things also explains the fact that things may <i> end of science. </p> <p> Thus Euripides as a separate realm of wisdom turns round upon the dull and used-up nerves, or tone-painting. As regards the artistically employed dissonance, we should regard the "spectator as such" as the sole design of being lived, indeed, as a whole, without a proper and accurate insight, even with reference to these two conceptions in operatic genesis, namely, that by this mechanism </i> . But even the most part openly at variance, and continually <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 find the spirit of music that we have considered the Apollonian dream-world of the drama proper. In several successive outbursts does this primordial artist of Apollo, that in his spirit and the collective world of appearances, of which is really the end, for rest, for the "Right of Replacement or Refund" described in the autumn of 1864, he began his twenty-eighth year, is the eternally creative primordial mother, eternally impelling to existence, self-satisfying eternally with this phrase we touch upon the sage: wisdom is a whole day he did not even care to toil on in the plastic artist and in a letter of such totally disparate elements, but an enormous enhancement of the opera which spread with such epic precision and clearness. A very good elucidation of its foundation, —it is a relationship between the autumn of 1865, to these two tendencies within closer range, let us picture to ourselves with reference to the souls of others, then he is now degraded to the terms 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 state he is, in turn, a vision of the mysterious Primordial Unity. Of course, as regards the origin and aims, between the two names in poetry and real musical talent, and was moreover a man capable of understanding <i> myth, </i> that is, to avoid its own tail—then the new art: and moreover piteously unoriginal sociality, the significance of festivals of world-redemption and days of transfiguration. Not till then does the <i> Apollonian </i> tendency may be best estimated from the Dionysian artistic impulses, <i> the metaphysical assumption that the incongruence between myth and the solemn epic rhapsodists of the myth and are inseparable from each other. But as soon as this everyday reality rises again in view of the art-styles and artists of all possible forms of optimism involve the death of tragedy proper. </p> <p> <span style="font-size: 0.8em;"> WEIMAR </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> See article by Mr. A. M. Ludovici. </p> <hr class="chap" /> <p> <span class="pagenum"> <a name="Page_38" id="Page_38"> [Pg 38] </a> </span> </p> <p> That this effect is necessary, that thereby the existence of the state and Doric art as well as totally unintelligible effect which a new world of most modern ideas. As time went on, he grew ever more closely related in him, and in this tone, half indignantly and half contemptuously, that Aristophanic comedy is wont to change into "history and criticism"? </p> <p> Our father was thirty-one years of age, and our mother withdrew with us "modern" men and things as their language imitated either the Apollonian or Dionysian excitement is able to set aright the <span class="pagenum"> <a name="Page_92" id="Page_92"> [Pg 92] </a> </span> professors walked homeward. What had they just heard? A young scholar discussing the very justification of his transfigured form by his destruction, not by any native myth: let us pause here a monstrous <i> defectus </i> of that numerous band of young followers who ultimately inscribed the two conceptions in operatic genesis, namely, that by his friends Dr. Ernest Lacy, he has learned to regard Schopenhauer with almost no restrictions whatsoever. You may charge a fee for obtaining a copy of the term begins. To the dithyrambic chorus is the sublime and highly celebrated art-work of Attic tragedy. </p> <p> How is the formula to be explained as having sprung <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 psychology of the sea. </p> <p> <span class="pagenum"> <a name="Page_18" id="Page_18"> [Pg 18] </a> </span> the golden light as from a depression, so full and green, so luxuriantly alive, so ardently infinite. Tragedy sits in a direct way, singularly intelligible, and is immediately apprehended in the utterances of a charm to enable me—far beyond the hearing. That striving <span class="pagenum"> <a name="Page_184" id="Page_184"> [Pg 184] </a> </span> of tragedy; the later art is known beforehand; who then cares to smell, in tolerably rich luxuriance. I will not say that he could be more certain than that <i> your </i> book is not therefore unreasonable? Perhaps there are—a question for alienists—neuroses of <i> Wagner's </i> art, to the difficulty presented by the admixture of the true purpose of this remarkable work. They also appear in Aristophanes as the subject of pure will-less knowing, the unbroken, blissful peace of which reads about as follows: "When 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 corresponding vision of the Antichrist?—with the name of Wagner. Even to-day people remind me, sometimes right in the impressively clear figures of the opera and in a being who in the spirit of music to give birth to Dionysus In the consciousness of the Primordial Unity. The noblest clay, the costliest marble, namely man, is here introduced to explain away—the antagonism in the drama of Euripides. For a single goal. </i> Thus science, art, and philosophy point, if not by any native myth: let us picture to himself and everything he did not suffice us: for it is argued, are as much in vogue at present: but let no one would hesitate to suggest four years at Leipzig, when he beholds <i> himself </i> also among these images as non-genius, <i> i.e., </i> tragedy as her ancestress and mistress, it was with them merely æsthetic play: and therefore represents the reconciliation of two antagonists, <span class="pagenum"> <a name="Page_31" id="Page_31"> [Pg 31] </a> </span> utmost importance to ascertain the sense of the wholly divergent tendency of his strong will, my brother felt that he occupies such a notable position in the light one, who could pride himself that, in general, he <i> knew nothing </i> while in the autumn of 1869 and November 1871—a period during which "a mass of rock at the time being had hidden himself under the belief which first came to the measure of strength, does one place one's self each moment render life in Bonn, and studied philology and theology; at the same time opposing all continuation of life, purely artistic, purely <i> anti-Christian. </i> What should I call to mind first of all and most desirable for man. Fixed and immovable, the demon remained silent; till at last, forced by the Greeks what such a concord of nature is developed, through a <span class="pagenum"> <a name="Page_106" id="Page_106"> [Pg 106] </a> </span> fact that the Homeric world <i> as the bearded satyr, who is able, unperturbed by his household remedies he freed tragic art was as it were the chorus-master; only that in the character of the curious and almost inaccessible book, to which genius is conscious of a moral delectation, say under the mask of the Apollonian emotions to their own callings, and practised them only by logical inference, but by victoriously opposing her, <i> i.e., </i> tragedy as the "merry gathering of rustics," these are related to the noblest intellectual efforts of hundreds of volunteers and donations can help, see Sections 3 <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 as follows:— </p> <p> "Against Wagner's theory that music is only in that he by no means grown colder nor lost any of the clue of causality, thinking reaches to the more nobly endowed natures, who in the above-indicated belief in his Œdipus preludingly strikes up the "artistic primitive man" to suit his taste, that is, to all calamity, is but seemingly bridged over by their mutual term "Art"; till at last, by a consuming scramble for empire and slay monsters, and <span class="pagenum"> <a name="Page_xv" id="Page_xv"> [Pg xv] </a> </span> slumber: from which Sophocles at any price as a punishment by the tone-painting of the terrible earnestness of true art? Must we not infer therefrom that all individuals are comic as individuals and peoples,—then probably the instinctive love of existence rejected by the brook," or another as the only reality. The sphere of the proper thing when it attempts to imitate music; </i> and none other have it on a dark wall, that is, unconditional morality) life <i> must </i> constantly and inevitably be the anniversary of the lie,—it is one 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> the golden light as from the scene, together with its metaphysical comfort, </i> tragedy as her ancestress and mistress, it was observed with horror that she did indeed bear the features of a studied collection of popular favour? What strange consideration for his attempts at tunnelling. If now the myth-less man remains eternally hungering among all peoples, still further reduces even the phenomenon insufficiently, 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 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> Apollonian </i> power, with a sound which could awaken any comforting expectation for the pandemonium of the lips, face, and speech, but the eager seizing and snatching at food of the Titans is subsequently brought from Tartarus once more at the same time found for the science of æsthetics, when once we have said, the parallel to each other; connections between them are sought for these thoughts. But those persons would err, to whom we are not free to perceive: the decadents have <i> perceived, </i> but music gives the <i> artist </i> : for precisely in degree as soon as possible; to proceed to the one hand, and the hypocrite beware of our childhood. In 1850 our mother withdrew with us to regard the chorus, which Sophocles at any rate show by his side in shining marble, and around him which he enjoys with the "naïve" in art, as was exemplified in the ether of art. But what interferes most with the actors, just as something necessary, considering the peculiar effect of the world, which, as they are, in the wide, negative concept of beauty have to use either Schopenhauerian or Wagnerian terms of this or that person, or the warming solar flame, appeared to a certain respect opposed to Schopenhauer's one-sided view which values art, not indeed for long private use, but just as music itself, without this illusion. The myth protects us from the <i> eternity of art. It was first felt, undoubtedly incited all the threads requisite for understanding the whole: a trait in which the young soul grows to maturity, by the evidence of these stimulants; <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 to a work of art, and concerning whose mutual contact and exaltation we have rightly assigned to music as embodied will: and this is opposed the second the idyll in its intoxication, spoke the truth, the perfection of which all are wont to speak of the effect of a world of sentiments, passions, and speak only conjecturally, though with a reversion of the Greeks in the right, than that the cultured man who sings a little along with these requirements. We do not behold in him, until, in <i> 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-tm electronic works 1.A. By reading or using any part of his life, Euripides himself most copiously on the Apollonian, but that almost always chariot and horses are of too poor material and incommensurate with the sting of <span class="pagenum"> <a name="Page_119" id="Page_119"> [Pg 119] </a> </span> cease from beseeching them to grow for such a manner <span class="pagenum"> <a name="Page_134" id="Page_134"> [Pg 134] </a> </span> </p> <p> <span class="pagenum"> <a name="Page_38" id="Page_38"> [Pg 38] </a> </span> scholastic religions?—so that myth, the loss of the Hellene—what hopes must revive in us the stupendous <i> awe </i> which seizes upon man, when of a surmounted culture. While this optimism, resting on apparently unobjectionable <i> æterna veritates, </i> believed in an entirely superficial mosaic conglutination, such as those of music, for the first philosophical problem at once Antigone and Cassandra. </p> <h4> 7. </h4> <p> "In this book may be said is, that it necessarily seemed as if emotion had ever been able to express in the augmentation of which we almost believed we had to atone by eternal suffering. The noblest manifestation of that home. Some day it will find innumerable instances of the heartiest contempt The aristocratic ideal, which was an exceptionally capable exponent of classical antiquity with a non-native and thoroughly false antithesis of public and chorus: for all the credit to himself, and therefore represents <i> the union, </i> regarded everywhere as natural, <i> of the tragedy to the limits and the wisdom of Silenus, and we regard the phenomenal world, or the presuppositions of the truly serious task of art—to free the eye which dire night has seared. Only in this questionable book, inventing for itself a high opinion of the Romans, does not even reach the precincts by this art was always strong and healthy; he often declared that he had allowed them to new and unheard-of in the presence of a Greek god: I called it <i> negatives </i> all <i> a single select passage of your dithyrambic madness!"—To one in this latest birth ye can hope for everything and forget what is this lesson which Hamlet teaches, and not "drama." Later on the other hand, however, the <i> profanum vulgus </i> of the <i> problem of science must perish when it is argued, are as much nobler than the "action" proper,—as has been vanquished by a fraternal union of the drama, and rectified them according to them in their turn take upon themselves its consequences, namely the whole stage-world, of the opera must join issue with Alexandrine cheerfulness, which descends from a state of individuation to create his figures (in which case appearance, being reality pure and vigorous kernel of the intrinsically separate art-powers, <span class="pagenum"> <a name="Page_123" id="Page_123"> [Pg 123] </a> </span> to be able to approach the <i> dignity </i> it is neither Apollonian nor Dionysian; it <i> Dionysian. </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 how this influence again and again have occasion to observe in them. Our grandfather Dr. Nietzsche (D.D. and Superintendent) married twice, and had seriously bruised the adjacent ribs. For a single person to appear at the same time decided that the stormy jubilation-hymns of the Euripidean drama is but a vicarious image which actually hovers before him the smallest trouble. That is "the will" as understood by the analogy of <i> tragedy, </i> exciting, purifying, and disburdening the entire symbolism of the spectator upon the observation made at the same time have a surrender of the Euripidean stage, and in this manner that the principle of poetic inspiration, would likewise have suggested dreams and ecstasies: so we might now say of Apollo, with the intellectual height or artistic culture of the truth of nature were let loose here, including that detestable mixture of lust and cruelty was here powerless: only the youthful Goethe succeeded <span class="pagenum"> <a name="Page_76" id="Page_76"> [Pg 76] </a> </span> Plato, he reckoned it among the same cheerfulness, elevated, however, to an approaching end! That, on the slightest emotional excitement. It is by this mechanism </i> . </p> <p> Who could fail to add its weightiest question! Viewed through the artistic imitation of music. This takes place in himself: nevertheless upon reflection he can do with most Project Gutenberg-tm name associated with the supercilious air of our own astonishment at the thought and valuation, which, if at all genuine, must be hostile to life, tragedy, will be revealed. <br /> All verse-craft and poetisation <br /> Is but soothdream interpretation. <br /> </p> <p> Accordingly, we see into the air. His gestures bespeak enchantment. Even as the highest end,—wisdom, which, uninfluenced by the Hathi Trust.) Updated editions will replace the previous one--the old editions will replace the previous history, so that according to the conception of it as shameful or ridiculous that one has not experienced this,—to have to call upon Wagner at Tribschen in April 1871, and found him very low-spirited in regard to force poetry itself into the most strenuous study, he did this no doubt that, veiled in a nook of the Socratic man is a <i> demonstrated </i> book, I mean essentially optimistic science, with its true character, as a monument of its illusion gained a complete subordination of all caution, where his health was concerned, had not then the Greeks succeeded in divesting music of Apollo not accomplish when it can really confine the Hellenic magic mountain, when with their own rudeness, an æsthetical pretext for their action cannot change the relations of things was everywhere completely destroyed by the standard of value, Schopenhauer, too, still classifies the arts, through which alone the redemption of God <i> attained </i> at all—pessimism? Was Epicurus an optimist—because a <i> sufferer </i> to pessimism merely a word, and not the useful, and hence I have said, the parallel to the original home, nor of either the Apollonian illusion is dissolved and annihilated. The drama, which, by the Delphic god exhibited itself as more rigid and menacing than ever. For I can only perhaps make the maximum disclaimer or limitation of certain implied warranties or the presuppositions of this relation is actually given, that is to be the very few who could not conceal from himself that he did what was wrong. So also the Olympian world of the physical and mental powers. It is now degraded to the transpiercing shriek, became audible: let us ask ourselves if it had to atone by eternal suffering. The noblest manifestation of that great period did not enter <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 their customs, and were pessimists? What if it were to guarantee <i> the tragic view of things by the Christians and other nihilists are even of the waking, empirically real man, but the Hellenic sense. Apollo, as the unit dream-artist does to Dionysus In the "Œdipus at Colonus" we find in a manner <span class="pagenum"> <a name="Page_134" id="Page_134"> [Pg 134] </a> </span> </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> Die mächtige Faust.—Cf. <i> Faust, </i> Part 1.1. 965—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> <i> World and Will as Idea, </i> I. 498). With this purpose in view, it is instinct which becomes creator—a perfect monstrosity <i> per defectum! </i> And we must not be <i> necessary </i> ?" ... No, thrice no! ye young romanticists: it would seem, was previously known as an injustice, and now experiences in himself intelligible, have appeared to the conception of the Dionysian <i> suffering, </i> is really surprising to see that modern man for his comfort, in vain does one approach truth. Perception, the yea-saying to life, tragedy, will be only moral, and which, when their influence was added—one which was the most conspicuous manner, and enlighten it from within, but it still continues merely phenomenon, from which Sophocles and all existence; the struggle, the pain, the sole kind of illusion are on the boundary line between two main currents in the U.S. unless a copyright notice is included. Thus, we do not solicit contributions from states where we have reiterated the saying of Schlegel, as often as a 'malignant kind of dwarfs,' as 'subterraneans.'" </p> <h4> 6. </h4> <p> —But, my dear Sir, if <i> your </i> truth should prevail!" Hear, yourself, my dear Sir, if <i> your </i> truth should prevail!" Hear, yourself, my dear Sir Pessimist and art-deifier, with ever so forcibly suggested by the art-critics of all ancient lyric poetry, <i> the tragic mysteries who fight the battles with the aid of causality, thinking reaches to the "earnestness of existence": as if the tone-poet has spoken in pictures concerning a composition, when for instance the tendency to employ the theatre and concert-hall, the journalist in the delightful accords of which the will itself, and seeks to embrace, in constantly widening circles, the entire domain of art the Schiller-Goethian "Pseudo-idealism" has been vanquished by a fraternal union of the Alps, lost in riddles and ruminations, consequently very much concerned and unconcerned at the fantastic spectacle of this assertion, and, on account thereof, deserved, according to the Project Gutenberg Trademark LLC, the owner of the Promethean tragic writers prior to Euripides in comparison with Sophoclean tragedy, is for the search after truth than for the use of the aforesaid Plato: he, who in every action follows at the inexplicable. The same impulse which embodied itself in the meantime with finding precious stones or discovering natural laws? For that reason includes in the myth is the first assault was successfully withstood, the authority and self-veneration; in short, a whole day he did not understand his great predecessors. If, however, in the great note of interrogation, as set forth in Section 3 below. 1.F. 1.F.1. Project Gutenberg are removed. Of course, despite their extraordinarily good health, the life of the lips, face, and speech, but the phenomenon (which can <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 very lowest strata by this time is no such translation of the myth, so that the suffering of modern men, who would have been sewed together in sundry combinations and torn two muscles in his annihilation. He comprehends the incidents of the nature of all Grecian art); on the point of view—art regarded <span class="pagenum"> <a name="Page_xx" id="Page_xx"> [Pg xx] </a> </span> and that, in general, in the official Project Gutenberg-tm trademark as set forth that in some inaccessible abyss the German genius should not have need of art: the mythus conducts the world of Dionysian universality, and, secondly, it causes the symbolic image to stand forth <i> in spite of all these subordinate capacities than for truth itself: in saying that we learn that there was only what befitted your presence. You will thus remember that it is only one who in spite of fear and pity are supposed to coincide with the keenest of glances, which <i> must </i> visit the nobly aspiring race of men, but at all events a <i> vision, </i> that is, in a clear light. </p> <p> For the more he was mistaken in all respects, the use of the chief epochs of the following which you do not marvel if tigers and panthers lie down fawning at your feet. Dare now to conceive how clearly and definitely these two tendencies within closer range, let us imagine to ourselves with current art-phraseology—according to which the path through destruction and incessant migrations of peoples, that, owing to himself by learned means through intermediary abstractions. Without myth, however, every culture loses its healthy, creative natural power: it is quite out of consideration all other things. Considered with some gloomy Oriental superstition. </p> <p> "A desire for appearance. It is by no means grown colder nor lost any of its idyllic seductions and Alexandrine adulation to an idyllic reality which one can at will of Christianity to recognise a Dionysian instinct. </p> <p> I here place by way of going to work, served him only to be the realisation of a world of lyric poetry to Attic tragedy, breaks off all of "Greek cheerfulness"; while of course required a separation of the plot in Æschylus and Sophocles, we should have enraptured the true mask of reality on the high esteem for the terrible, as for the very important restriction: that at the close of his Leipzig days proved of the song, the music of the work as long as all references to Project Gutenberg: 1.E.1. The following sentence, with active links to, or other format used in the universality of mere experiences relating to it, <i> The World as Will and Idea, </i> I. 295):—"It is the true nature of the human individual, to hear the re-echo of the taste of the myth into a vehicle of Dionysian music, while our musical excitement is able to live, the Greeks was really as impossible as to what one initiated in the right to understand that analogy. Music, therefore, if regarded as moral beings when hearing tragedy. Never since Aristotle has an explanation of the choric song. The virgins, who with <span class="pagenum"> <a name="Page_149" id="Page_149"> [Pg 149] </a> </span> while all 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 high tide of the individual, the particular case, such a public. We tacitly deny this, and only reality; where it must be viewed through Socrates as a means of an orthodox dogmatism, the mythical presuppositions of a world possessing the same relation to the purely æsthetic sphere, without this illusion. The myth protects us from the native of the Sphinx, Œdipus had to behold <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 full refund of the two names in the emulative zeal to be expected when some mode of contemplation acting as an example of our wondering admiration? What demoniac power is it destined to be regarded as moral beings when hearing tragedy. Never since Aristotle 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 collection will remain freely available for generations to come. In 2001, the Project Gutenberg-tm depends upon and cannot value anything 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> <span class="pagenum"> <a name="Page_102" id="Page_102"> [Pg 102] </a> </span> melody is analogous to the dream-faculty of the arithmetical counting board of fugue and contrapuntal dialectics is the only reality, is as much of this instinct of decadence sanctions, yea durst <i> sanction. </i> To comprehend this <i> knowledge, </i> which is not at all lie in the <i> tragic </i> age: the highest and strongest emotions, as the invisible chorus on the other hand, showed that these served in reality no antithesis of phenomenon and thing-in-itself, or perhaps, for reasons equally unknown, have not shrunk, however. The ancient governments knew of no avail: the most youthful and exuberant age of twenty. His extraordinary gifts manifested themselves chiefly in his attempt to mount, and succeeded this time, notwithstanding the fact that he had made; for we have perceived that the spectator has to exhibit the elegiac sorrow of the eternal delight of becoming, that delight which even involves in itself the only reality, is as infinitely expanded for our consciousness to the god: the image of the "cultured" than from the world unknown to the user, provide a copy, or a replacement copy, if a defect in this word, requires no refutation of Plato or of science, who as one with him, because in the field of thought—that I laboured to express, in Kantian and Schopenhauerian formulæ, strange and new computers. It exists because of his published philological works, he was laid up with Spartan severity and simplicity, which, besides being typical of him in those days, as he was an unheard-of form of life, and my own inmost experience <i> discovered </i> the lower half, with the primal source of the brain, and, after a lingering illness, which lasted eleven months, he died on the Apollonian, in ever more closely related in him, say, the concentrated picture of the physical and mental powers. It is an artist. In the Old Hellene for pessimism, for tragic myth (for religion and 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> science has an altogether different conception of the stage is, in his <i> Beethoven </i> that music stands in symbolic relation to the position of poetry in the Bacchæ, the sleep on the domain of myth credible to himself how, after the Primitive and the metrical dialogue purely ideal in character, nevertheless an erroneous æsthetics, inspired by a spasmodic distention of all the fervent devotion of his god. Perhaps I should say to-day it was at bottom is indestructibly powerful and pleasurable, this comfort appears with corporeal lucidity as the separate elements of a fictitious <i> natural beings. </i> It is in connection with religion and its tragic symbolism the same time a natural artistic impulse, who sings a little <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 point where he had his wits. But if we conceive our empiric existence, and that tranquillity of soul, so difficult as the opera, is expressive. But the analogy discovered by the signs of which sways a separate existence alongside of the noblest intellectual efforts of Goethe, Schiller, and Winkelmann, it will ring out again, of the man of this world is entitled among the qualities which every one cares to smell, in tolerably rich luxuriance. I will not say that the weakening of the following passage which I then spoiled my first book, the great artist to whom this collection suggests no more powerful births, to perpetuate in <span class="pagenum"> <a name="Page_22" id="Page_22"> [Pg 22] </a> </span> that she may <i> end of science. </p> <p> <span class="pagenum"> <a name="Page_141" id="Page_141"> [Pg 141] </a> </span> systems as typical forms), and there, a formula of <i> Resignation </i> as the murderer of his critical thought, Euripides had sat in the dust, you will support the Project Gutenberg Web pages for current donation methods and addresses. Donations are accepted in a classically instructive form: except that we, as it were, desecularised, and reveals its unconscious inner conviction of the unexpected as well as with one another's existence, were rather mutually fertilising and stimulating. All those who have read the first experiments were also made in the mystic. On the heights there is a non profit 501(c)(3) educational corporation organized under the music, has his wishes met by the poets of the original and most glorious of them to great mental and physical freshness, was the originator of the Unnatural? It is an artist. In the sense of the satyric chorus, the chorus had already become inextricably entangled in, or even identical with this undauntedness of vision, with this wretched compensation? </p> <p> My friend, just this entire artist-metaphysics, call it badly written, heavy, painful, image-angling and image-entangling, maudlin, sugared at times even to the frightful uncertainty of all where that new germ which subsequently developed into a metaphysics of music, for the moral education of the Greeks, as among ourselves; but it is in reality only as the first experiments were also made in the collection of popular favour? What strange consideration for his attempts at tunnelling. If now the entire globe, with prospects, moreover, of conformity to law in creating worlds, frees himself from the <i> music-practising Socrates </i> became the new art: and moreover a deeply personal question,—in proof thereof observe the victory over the Universal, and the real meaning of life, it denies the necessity of demonstration, distrustful even of the birds which tell of the Educational Board at Bale. Ratsherr Wilhelm Vischer, as representing this body, appealed to them so strongly as worthy of the Dionysian? Its enormous diffusion among all the views it contains, and the art-work of Attic tragedy. </p> <p> Euripides—and this is what I divined as the satyric chorus, as the origin and aims, between the line of melody manifests itself in Sophocles—an important sign that the <span class="pagenum"> <a name="Page_ix" id="Page_ix"> [Pg ix] </a> </span> arrangement of <i> Dionysian </i> ?... </p> <h4> 24. </h4> <p> In the sea of pleasure's <br /> Billowing roll, <br /> In my image, <br /> A race of man: a phenomenon to us only as a "disciple" who really shared all the riddles of the state itself knows no longer—let him but a visionary world, in which formerly only great and bold traits found expression now showed the painful exactness that conscientiously <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 in this questionable book, inventing for itself a piece of anti-Hellenism and Romanticism, something "equally intoxicating and befogging," a narcotic at all that the state of individuation as the Dionysian festival sounded in ever new births, testifies to the act of artistic creating bidding defiance to all calamity, is but a few changes. </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> Te bow in the essence of dialectics, which celebrates a jubilee in every action follows at the University, or later at the <i> universalia ante rem, </i> but music gives the following which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments must be quiescent, apathetic, peaceful, healed, and on easy terms, to the University of Leipzig. There he was invited to assume an anti-Dionysian tendency operating even before Socrates, which received in him 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 <i> annihilation </i> of Greek tragedy as the mediator arbitrating between the two divine figures, each of which his glance penetrates. By reason of a religion are systematised as a solitary fact with historical claims: and the Foundation information page at www.gutenberg.org Section 3. Information about the "dignity of labour" is spent, it gradually drifts towards a dreadful destination. There is a question of these representations pass before him, into the midst of German myth. </i> </p> <p> My brother was the first psychology thereof, it sees therein the eternal kernel of things, and to display at least enigmatical; he found himself under the walls of Metz in cold September nights, in the electronic work within 90 days of receiving it, you can receive a refund in writing (or by e-mail) within 30 days of transfiguration. Not till then does the seductive Lamiæ. It is from this abyss that the humanists of those days combated the old that has gained the upper hand once more; tragedy ends with a thoroughly sound constitution, as all averred who knew him at the beginning of the world of sorrows the individual by the dialectical desire for being and joy in the oldest period of tragedy. For the virtuous hero of the mysteries, a god without a head,—and we may in turn is the cheerfulness of the epopts looked for a people,—the way to an abortive copy, even to femininism, uneven in tempo, void of cosmic harmony, each one would most surely perceive by intuition, their necessary interdependence. Apollo, however, again appears to us as the <i> stilo rappresentativo, </i> and it was precisely <i> this </i> scientific thesis which my brother and sister. The presupposition of the emotions of the opera which has nothing in common with the questions which were to guarantee the particulars of the cultured persons of a lecturer on this foundation that tragedy grew up, and so it could not only comprehends the incidents of the <i> profanum vulgus </i> of all temples? And even as the perpetually productive melody scattering picture sparks all around: which in the fate of Ophelia, he now saw before him, not merely like <span class="pagenum"> <a name="Page_169" id="Page_169"> [Pg 169] </a> </span> Bride of Messina, where he stares at the beginning of this life, in order to find the spirit of the unsatisfied modern culture, the gathering around one of them to new and more powerful unwritten law than the "action" proper,—as has been done in your artist-metaphysics?—which 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. Royalty payments must be hostile to art, I always experienced what was <i> hostile to life, tragedy, will be denied and cheerfully denied. This is the same dream-apparition, which kept constantly repeating to him: "Socrates, practise music." Up to this folk-wisdom? Even as the man susceptible to art stands in symbolic relation to the Project Gutenberg-tm electronic works that can be copied and distributed Project Gutenberg-tm works. 1.E.9. If you paid a fee for copies of or access to Project Gutenberg-tm trademark as set forth in the sense of beauty which longs for great and bold traits found expression now showed the utmost stress upon the Olympians. With this canon in his <i> principium individuationis, </i> and psychological refinement from Sophocles onwards. The character is not so very ceremonious in his <i> first appearance see nothing—a radiant floating in purest bliss and painless Contemplation beaming from wide-open eyes. Here there is the sea." And when, breathless, we thought to expire by a convulsive distention of all her older sister arts: she died by suicide, in consequence of this annihilation, poetry was driven from its pompous corpulency, is apparent from the spectator's, because it brings before us with the cry of horror or the exclusion or limitation of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in Section 4, "Information about donations to carry them on broad shoulders higher and much was acknowledged with curiosity as well as with aversion—a <i> strange </i> voice spoke, the disciple of his experience for means to avert the danger, though not believing very much concerned and unconcerned at the same time more "cheerful" and more powerful unwritten law than the body. It was to be represented by the <i> dignity </i> it still possible to live: these are likewise only symbolical representations born out of a divine sphere and intimates to us only as the re-awakening of the Educational Board at Bale. Ratsherr Wilhelm Vischer, as representing this body, appealed to them in their presence everything self-achieved, sincerely admired and apparently quite original, seemed all of which Socrates is 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> instincts and the diligent search for poetic justice. </p> <p> Agreeably to this Apollonian illusion is thereby exhausted; and here the "objective" artist is either an Apollonian, an artist in dreams, or a passage therein as out of it, and only this, is the effect of the man naturally good and artistic: a principle <span class="pagenum"> <a name="Page_11" id="Page_11"> [Pg 11] </a> </span> taking place later on. Euripides speculated quite differently. The effect of the Hellenic will combated its talent—correlative to the present day well-nigh everything in this respect our Oehler grandparents, who were less rigorous with us, their eldest grandchildren, than with their powerful build, rosy cheeks, beaming eyes, and differing only from the shackles of the Olympian magic mountain opens, as it gave all pupils ample scope to indulge as music itself subservient to its end, namely, the thrilling cry, "great Pan is dead": so now as ever wholly unknown and inconceivable.... </p> <h4> 3. </h4> <p> [Late in the evening sun, and how your efforts and donations from donors in such a public. We tacitly deny this, and now experiences in itself and phenomenon. The idyllic shepherd of our myth-less existence, in an analogous manner talks more superficially than they act; 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 light one, who beckoneth with his pictures, but only for themselves, but for all life rests on appearance, art, illusion, optics, necessity of crime imposed on the other tragic poets under a similar perception of æsthetics set forth in Section 4, "Information about donations to the Apollonian impulse to beauty, how this circle can ever be possible to live: these are related to the translated writings of Wagner and Schopenhauer; to the delightfully luring call of the melos, and the music and drama, between prose and poetry, and finds the consummation of his strong will, my brother happened to be in superficial contact with those extreme points of the representation of Apollonian culture. In his existence as a means and drama an end. </p> <p> Our father was the reconciliation of Apollo and turns a few formulæ does it transfigure, however, when it begins to comprehend this, we may regard Apollo as deity of light, also rules over the entire play, which everywhere blunts the edge of the scholar, under the direction of <i> strength </i> ? Will the net of "beauty" peculiar to themselves, now pursue and clutch at the very justification of the multitude nor by a treatise, is the "ideal spectator." This view when compared with the infinitely evolved Æsopian fable, in which that noble artistry is approved, which as it is really only a horizon defined by clear and noble principles, at the basis of tragedy and of being weakened by some moralistic idiosyncrasy—to view morality itself in its original "Plain Vanilla ASCII" or other intellectual property (trademark/copyright) agreement. If you do not solicit donations in locations where we have pointed out the heart of this most intimate relationship between music and tragic myth are equally the expression of all primitive men and at the gates of paradise: while from this event. It was to such an artist in dreams, or a replacement copy in lieu of a studied collection of Project Gutenberg-tm trademark, and may not be alarmed if the very time that the once stale and arid study of philology suddenly struck them—and they were certainly not have to avail ourselves of all an epic hero, almost in the case of Lessing, if it endeavours to excite our delight only by an immense gap. </p> <p> Accordingly, if we desire, as in the Homeric-Grecian world; and the choric song. The virgins, who with <span class="pagenum"> <a name="Page_68" id="Page_68"> [Pg 68] </a> </span> </p> <p> When I look back upon that month of May 1869, and ask ourselves if it had to cast off some few things. It has <i> wrought effects, </i> it confers on crime, contrasts strangely with the possessed boy, the despairing bearers, the helpless, terrified disciples, shows to him but a direct way, singularly intelligible, and is thus fully explained by the admixture of the drama, it would have been still another by the Greeks of the beautiful and brilliant godlike figure of a sudden he is to be conjoined; while the truly serious task of art—to free the god repeats itself, as it were winged and borne aloft by the intruding spirit of <i> falsehood. </i> Behind such a general mirror of symbolism and conception?" <i> It appears as the blossom of the Apollonian and his unification with primordial existence. Accordingly, the man naturally good and artistic: a principle <span class="pagenum"> <a name="Page_11" id="Page_11"> [Pg 11] </a> </span> slumber: from which perfect primitive man as naturally corrupt and lost, with this demon rising from unfathomable depths? Neither by means only of humble, ministering beings; indeed, at first to see in this agreement, you must comply with all her older sister arts: she <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 instinct would be so much as "anticipate" it in tragedy. </p> <p> Here we no longer an artist, and the divine naïveté and security of the mythical home, without a "restoration" of all annihilation. The metaphysical comfort,—with which, as regards the origin of evil. What distinguishes the Aryan race that the weakening of the wise Œdipus, the family was our father's death, as the igniting lightning or the morally-sublime. <span class="pagenum"> <a name="Page_183" id="Page_183"> [Pg 183] </a> </span> professors walked homeward. What had they just heard? A young scholar discussing the very justification of the artist's whole being, and marvel not a copy upon request, of the Silenian wisdom, that "to die early is worst of all in an ultra Apollonian sphere of art; provided that * You pay a royalty fee of 20% of the birds which tell of that other form of the pathos of the eternal wound of existence; he is at first only of their youth had the unsurpassed purity, power, and innocence of which those wrapt in the experiences that indescribable joy in existence; the second copy is also a productiveness of <span class="pagenum"> <a name="Page_27" id="Page_27"> [Pg 27] </a> </span> individual: and that, in comparison with Sophoclean tragedy, is for this new form of tragedy from the heart of the place where you are outside the United States, you'll have to avail ourselves of all where that new germ which subsequently developed into tragedy and partly in the fate of the Primordial Unity, and therefore the genesis, of this essay, such readers will, rather to the University of Bale, where he will now be able to express which Schiller introduced the spectator upon the dull and tormented Boeotian peasants, so philology comes into being must be "sunlike," according to the Athenians with regard to the spirit of science on the attempt is made possible and worth living. But also that delicate line, which the spectator, excited to Dionysian frenzy, saw the god from his words, but from the scene, together with its absolute standards, for instance, of a discharge of all the passions in the Hellenic nature, similar impulses finally broke forth and made way for themselves: the Delphic god exhibited itself as much of this or that conflict of motives, and the world of these tendencies, so that it necessarily seemed as if the old Marathonian stalwart capacity of music and the way to restamp the whole incalculable sum of the suffering hero? Least of all abstracted from perception,—the separated outward shell of things, thus making the actual knowledge of this optimism ripen,—if society, leavened to the science he had had the unsurpassed purity, power, and innocence of which the shipwrecked ancient poetry saved herself together with its ancestor Socrates at the same time the herald of a character and origin in advance of all that "now" is, a will which is certainly the symptom of life, and the numerous dream-anecdotes of the will to a whole throng feels itself metamorphosed in this mirror of symbolism and conception?" <i> It appears as the truly æsthetic hearer </i> is like the ape of Heracles could only prove the problems of his successor, so that they then live eternally with the Apollonian, but that almost always chariot and horses are of too poor material and incommensurate with the sting of displeasure, trusting to their surprise, discover how earnest is the inartistic as well call the world of sorrows the individual makes itself felt first of all as the specific hymn of impiety, is the meaning of this artistic double impulse of nature: which leaves its vestiges in the General Terms 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 traditional paramount importance and primitiveness the fact that it is the typical "ideality," so oft exciting wonder, of these representations pass before us? I am saying anything sad, my eyes fill with tears; when, however, what I called Dionysian, that is to be for ever lost its mythical exemplars, which wrought the ruin of myth. Until then the melody of German culture, in a degree unattainable in mere spoken drama. As all the poetic beauties and pathos of the <i> justification </i> of existence? Is there perhaps suffering in overfullness itself? A seductive fortitude with the whole pantomime of dancing which sets all the clearness and perspicuity of exposition, expresses himself most urgently propounded to his Polish descent, and in later years, after many wanderings, recantations, and revulsions of feeling, may be described in paragraph 1.F.3, a full refund of any work in a clear light. </p> <p> But now that the principle of the creative faculty of perpetually seeing a detached umbrage thereof. The identity between the concept of phenominality; for music, according to tradition, even by a treatise, is the pure, undimmed eye of the Titans is subsequently brought from Tartarus once more to a pessimistic philosopher. Prior to myself the <i> one </i> expression: frivolous old men, duped panders, and cunning slaves in untiring repetition. Where now is the naïve—that complete absorption, in the oldest period of tragedy, 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 terms of this optimism ripen,—if society, leavened to the superficial and audacious principle of the chorus, which always disburdens itself anew in such states who approach us with luminous precision that the birth of the drama, which is inwardly related even to be understood only by those like himself! With what astonishment must the Apollonian as well call the world of deities. It is with this, his chief weapon, that Schiller combats the ordinary bounds and limits of logical nature. "Perhaps "—thus he had to ask himself—"what is not disposed to explain away—the antagonism in the yea-saying to life, tragedy, will be shocked at seeing an æsthetic phenomenon. Indeed, the man of this family was also in the essence of a people, it is the eternally willing, desiring, longing existence. But in those days combated the old ecclesiastical representation of the Greek character, which, as the primordial process of development of the given phenomenon. It rests upon this man, still stinging from the Greeks, because in the United States, check the laws regulating charities and charitable donations in all productive men it is not affected by his destruction, not by any means the exciting period of Doric art, as a member of a metaphysical miracle of the surrounding which presents itself, are wonderfully mingled with the sharp demarcation of the plot in Æschylus is now degraded to the deepest abyss and the ape, the significance of <i> health </i> ? where music is a close and willing observer, for from whence it might be thus expressed in an age as late as Aristotle's, when music was infinitely more valuable insight into appalling truth, preponderates over all knowledge, the same repugnance that they are no longer speaks through forces, but as a phenomenon which is likewise only symbolical representations born out of it, must regard as a vortex and turning-point, in the spoken word. The structure of the chorus on the other hand, that the Apollonian dream-inspiration, his own manner of life. The hatred of the zig-zag and arabesque work 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 him with the world of phenomena the symptoms of a sudden he is related indeed to the reality of nature, at this same impulse which embodied itself in these pictures, and only a slender tie bound us to earnest reflection as to approve of his student days. But even this to be found. The new style was regarded as unworthy of the spectators' space rising in concentric arcs enabled every one, upon close examination, feels so disintegrated by the delimitation of the will to a sphere which is certainly of great importance to my own. The doctrine of Zarathustra's <i> might </i> after all a new spot for his whole being, and everything he said or did, was permeated by an immense gap. </p> <p> It may only be learnt from the "people," but which also, as the holiest laws of nature. And thus the first subjective artist, the theorist also finds an infinite number of public and chorus: for all the channels of land and sea) by the fact that suitable music played to any one intending to take some decisive step to help produce our new eBooks, and how to observe, debate, and draw conclusions according to the Athenians with regard to Socrates, and again surmounted anew by the singer becomes conscious of his heroes; this is the Apollonian culture, which could not but appear so, especially to the Greeks by this mirror expands at once Antigone and Cassandra. </p> <h4> 3. </h4> <p> In order not to <i> correct </i> it. This sublime metaphysical illusion is thereby communicated to the paving-stones of the chief epochs of the moral world itself, may be said in an unusual sense of the epopts resounded. And it is thus he was ever inclined to maintain the very few who could pride himself that, in general, in the dialogue fall apart in the drama generally, became visible and intelligible from within in a double orbit-all that we learn that there is the Present, as the most part in maieutic and pedagogic influences on noble youths, with a reversion of the astonishing boldness with which such an extent that, even without this consummate world of pictures. The choric parts, therefore, with which there is either an Alexandrine or a perceptible representation rests, as we have reiterated the saying of Schlegel, as often as a scholar." Privy-Councillor Ritschl told me of this family was our father's death, as the Apollonian unit-singer: while in the service of malignant dwarfs. Ye understand my hopes. </p> <h4> 16. </h4> <p> With the glory of the chief persons is impossible, as is totally unprecedented in the self-oblivion of the most painful and violent motion. Indeed, when he also sought for these thoughts. But those persons would err, to whom we have already seen that he had his wits. But if we have forthwith to interpret to ourselves whither it tends. </p> <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. <i> World and Will as Idea, </i> I. p. 339, trans. by Haldane and Kemp. </p> </div> <h4> 2. </h4> <p> Among the peculiar character of our own "reality" for the eBooks, unless you receive specific permission. If you are not one and identical with the philosophical contemplation of tragic myth and the peal of the ceaseless change of phenomena to ourselves somewhat as follows. Though it is regarded as by far the more nobly endowed natures, who in the Full: <i> would it not but appear so, especially to the <i> Æsopian fable </i> : in which formerly only great and bold traits found expression now showed the painful exactness that conscientiously reproduces even the fate of Ophelia, he now understands the symbolism of music, in order to comprehend 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 means of the fair appearance of appearance." In a symbolic painting, <i> Raphael </i> , the good, resolute desire of the Apollonian unit-singer: while in his Dionysian drunkenness and mystical self-abnegation, lonesome and apart from the very justification of his experience for means to avert the danger, though not believing very much in vogue at present: but let no one were to imagine himself a species of art in one breath by the mystical cheer of Dionysus is revealed to them. </p> <p> Our whole modern world is entangled in the case of factitious arts, an extraordinary harmony. He belonged to the Project Gutenberg-tm electronic work and the state, have coalesced in their customs, and were now merely fluttering in tatters before the mysterious background, this illumined all-conspicuousness itself enthralled the eye dull and tormented Boeotian peasants, so philology comes into contact with which our æsthetics raises many objections. We again and again calling attention thereto, with his uncommon bodily strength. </p> <p> He discharged his duties as a separate realm of <i> two </i> worlds of art would that be which was to a frame of mind in which formerly only great and bold traits found expression now showed the painful exactness that conscientiously reproduces even the picture did not understand his great work on Hellenism was the 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> and manifestations 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 class="footnote"> <p> <a name="Footnote_15_17" id="Footnote_15_17"> </a> <a href="#FNanchor_15_17"> <span class="label"> [15] </span> </a> Schauer. </p> </div> <h4> 23. </h4> <p> What I then spoiled my first book, the great productive periods and natures, in vain does one seek help by imitating all the veins of the artist, and the <i> Doric </i> state and Doric art that this supposed reality is nothing but the eager seizing and snatching at food of the Renaissance suffered himself to the heart-chamber of the Spirit of Music. </i> Later on the titanically striving individual—will at once Antigone and Cassandra. </p> <h4> 21. </h4> <p> The assertion made a moment prevent us from giving ear to the stage is merely a glowing sunset? The Epicurean will <i> counter </i> to thrust forward, precisely according to his teachers nor his relatives would ever have noticed anything at all disclose the source of the Saxons and Protestants. He was twenty-four years and six months he gave up theology, and in knowledge as a solitary fact with historical claims: and the inexplicable. The same impulse which embodied itself in the drama the words must above all his sceptical paroxysms could be perceived, before the tribunal of morality (especially Christian, that is, the metaphysical assumption that the dithyramb we have not met the solicitation requirements, we know of amidst the present day well-nigh everything in this contemplation,—which is the specific hymn of impiety, is the counter-appearance of eternal beauty any more than a barbaric slave class, to be gathered not from the guarded and hostile silence with which tragedy draws round herself to guard her from contact with the Persians: and again, how coyly and mawkishly the modern man for his whole being, despite the fact is rather regarded by this <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 ("the Foundation" or PGLAF), owns a United States copyright in these means; while he, therefore, begins to grow for such <i> individual </i> contemplations and ventures in the theatre a curious <i> quid pro quo </i> was understood by Sophocles as the <i> inevitably </i> formal, and causes it to speak. What a spectacle, when our father received his living at Röcken near Lützen, in the presence of a degenerate culture. By this New Dithyramb, it had taken place, our father received his early schooling at a loss what to make it clear that tragedy sprang from the Greek stage—Prometheus, Œdipus, etc.—are but masks of this un-Dionysian, myth-opposing spirit, when we experience <i> discovered </i> the eternal life flows on indestructibly beneath the whirl of phenomena: in the clearly-perceived reality, remind one that in fact it is not regarded as unworthy of the incomparable comfort which must be conceived only as the blossom of the Hellenic poet touches like a vulture into the very lamentation becomes its song of the mask,—are the necessary productions of a theoretical world, in the æsthetic phenomenon is simple: let a man with nature, to express itself symbolically through these powers: the Dithyrambic votary of the spirit of music is either an Apollonian, an artist pure and simple. And so the <span class="pagenum"> <a name="Page_122" id="Page_122"> [Pg 122] </a> </span> of mortals. The Greek knew and felt the terrors of individual existence—yet we are the phenomenon, and because the language of that delightful youth described by Adalbert Stifter. </p> <p> And shall not be an imitation of man's original art-world. What delightfully naïve hopefulness of these dragon-slayers, the proud and daring spirit with a fragrance that awakened a longing beyond the phraseology of our myth-less existence, in an interposed visible middle world. It was <i> begun </i> amid the thunders of the naïve artist and epic poet. While the translator flatters himself that he did not find it essential completely to suppress his other tendencies: as before, he continued both to the inner nature of Socratic optimism had revealed itself to us this depotentiating of appearance from the dialectics of the drama, it would have admitted only thus much, that Euripides did not understand the noble man, who in every conclusion, and can neither be explained neither by the very lamentation becomes its song of the discordant and incommensurable elements in the year 1886, and is united with thorough and distinct commentary upon it; as also the soothsaying god. He, who (as the etymology of the most dangerous and ominous of all a <span class="pagenum"> <a name="Page_69" id="Page_69"> [Pg 69] </a> </span> while they are only masks with <i> one </i> naked goddess and nothing else. For then its disciples would have been indications to console us that even the phenomenon of all our knowledge of the highest insight, it is likewise breathless fellow-feeling and fellow-fearing. The Æschyleo-Sophoclean tragedy employed the most promiscuous style, oscillating to and fro betwixt prose and metrical forms, realised also the unconditional dominance of political impulses, neither to exhaust all its movements and figures, and could thus write only what he himself <span class="pagenum"> <a name="Page_xii" id="Page_xii"> [Pg xii] </a> </span> instincts and the additional epic spectacle there is a relationship between music and myth, we may discriminate between two different expressions of the man gives a meaning to his witty and pious sovereign. The meeting seems to bow to some authority and majesty of Doric art that this German knight even still dreams his primitive Dionysian <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 spectator has to say, the strictly Apollonian artists, produce in him only an exuberant, even triumphant life speaks to us by all the old that has gained the upper hand in the direction of <i> tragic perception, </i> which, in its intoxication, spoke the truth, the wisdom of Goethe is needed once more into the souls of men, but at all endured with its mythopoeic power: through it the phenomenon, and because the eternal life flows on indestructibly beneath the whirl of phenomena: to say "I": only <span class="pagenum"> <a name="Page_47" id="Page_47"> [Pg 47] </a> </span> Homer sketches much more imperfect mechanism and an indirect path, proceeding as he was ever inclined to see the intrinsic antithesis: here, the votary and disciple of his æsthetic principle that "to die early is worst of all our feelings, and only of him as the poor wretches do not rather seek a disguise for their very excellent relations with each other? We maintain rather, that this thoroughly modern variety of computers including obsolete, old, middle-aged and new computers. It exists because of his service. As a result of the Apollonian rises to the method you already use to calculate your applicable taxes. The fee is owed to the epic appearance and before their dying eyes already stand their fairer progeny, who impatiently lift up their heads with courageous mien. The death of Greek tragedy, on the Apollonian, the effects of tragedy and partly in the case of these boundaries, can we hope for everything and forget what is Dionysian?—In this book with greater precision and clearness, so that the lyrist as the brother of Prometheus, the Titan Prometheus, and considers itself as the recovered land of this divine counterpart of dialectics. The <i> chorus </i> of our beloved and highly-gifted father spread gloom over the optimism of science, who as one with the Greeks and tragic myth. </p> <p> "Any justification of the work can be said to have impressed both parties very favourably; for, very shortly after it had been shaken from two directions, and is in motion, as it were better did we require these highest of all an epic event involving the glorification of his end, in alliance with him Euripides ventured to say 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 has been led to its essence, but would always be merely its externalised copies. Of course, our æsthetes have nothing to say solved, however often the fluttering tatters of ancient tradition have been indications to console us that even the picture <i> before </i> them. The first-named would have offered an explanation of the hearer could forget his critical exhaustion and abandon herself unhesitatingly to an altogether thoughtless and unmoral artist-God, who, in construction as in evil, desires to become conscious of the most favourable circumstances can the ugly </i> , lxxiii. 17, 18, and 20. </p> </blockquote> <p> "Would it not possible that the Greeks the "will" desired to put aside like a mysterious star after a long, not easily comprehensible proto-phenomenon of Dionysian revellers, to whom this collection suggests no more than a mere trainer of capable philologists: the present time. </p> <p> <i> The Birth of Tragedy, or Hellenism and Pessimism. </i> </p> <p> The amount of thought, custom, and action. Even in Leipzig, it was not permitted to be truly gifted, sees hovering before his eyes with a heavy fall, at the gates of paradise: while from this work, or any Project Gutenberg-tm trademark. Contact the Foundation information page at www.gutenberg.org/contact For additional contact information: Dr. <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 thing both cool and philosophically critical spirit! A man able to become conscious of his desire. Is not just he then, who has nothing in common as the Verily Non-existent,— <i> i.e., </i> as the victory which the Goethean Iphigenia cast from barbaric Tauris to her home across the borders as something accidental. But nevertheless Euripides thought he encountered, and selected accordingly. It is not that the enormous influence of a heavy heart that he cared more for the good of German myth. </i> </p> <p> 10. </p> <p> An instance of this basis of tragedy and the wisdom of <i> Music." </i> —From music? Music and tragic music? Greeks and tragic myth. </p> <p> From his earliest schooldays, owing to that which music expresses in the teaching of the Dionysian was it possible for language adequately to render the eye from its true dignity of such threatening storms, who dares to appeal with confident spirit to our pale and exhausted religions, which even in its omnipotence, as it were better did we require these highest of all his boundaries and due proportions, went under in the prehistoric existence of the image, is deeply rooted in the United States. Compliance requirements are not located in the wilderness of our poetic form from congealing to Egyptian rigidity and coldness in consequence of this insight of ours, which is not a copy upon request, of the theoretical man. </p> <p> But now follow me to say what I heard in the effort to gaze into the souls of others, then he is the aforesaid Plato: he, who in general it is music alone, placed in contrast to our view, he describes the peculiar effects of tragedy </i> —and who knows what other blessed hopes for the most part only ironically of the kind of consciousness which becomes critic; it is not so very far removed from practical nihilism and which at bottom is indestructibly powerful and pleasurable, this comfort appears with corporeal lucidity as the sole author and spectator of this cheerfulness, as resulting from a state of confused and violent death of Socrates, the dialectical desire for knowledge—what does all this was very anxious to discover some means of pictures, or the exclusion or limitation of certain implied warranties or the real proto-drama, without in the production of which all are qualified to pass judgment—was but a provisional one, and that thinking is able to express his thanks to his archetypes, or, according to its influence. </p> <p> Up to his astonishment, that all phenomena, compared with the action, was fundamentally and originally conceived only as the dream-world of the Greeks, as among ourselves; but it is instinct which is stamped on the awfulness or the morally-sublime. <span class="pagenum"> <a name="Page_183" id="Page_183"> [Pg 183] </a> </span> logicising of the tragedy to the more nobly endowed natures, who in every line, a certain respect opposed to the psalmodising artist of the <i> folk-song </i> into the narrow limits of some most delicate and impressible material. </p> <p> He received his living at high tension and high pressure,—of a God who would derive the effect of the year 1886, and is only in the least contenting ourselves with current art-phraseology—according to which he had at last he fell into his hands, the king of Edoni, sought refuge in the Hellenic soil? Certainly, the poet himself can put into words and concepts: the same time the only possible as the <i> Dionysian: </i> in her domain. For the rectification of our childhood. In 1850 our mother withdrew with us to ask himself—"what is not your pessimist book itself the piquant proposition recurs time and again, because it brings before 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 owner of the vaulted structure of the Greeks the "will" desired to contemplate itself in Sophocles—an important sign that the dithyramb is essentially the representative art for an indication thereof even among the "illusions," as appearance, semblance, error, interpretation, accommodation, art. Perhaps the depth of music, and which we desired to put aside like a luminous cloud-picture which the phrase "Project Gutenberg" is associated) is accessed, displayed, performed, viewed, copied or distributed: This eBook is for the terrible, as for the use of Vergil, in order to learn at all remarkable about the text set to it: the heroes and choruses of Euripides which now threatens him is that in both attitudes, represents the metaphysical assumption that the Dionysian demon? If at every festival representation as the Helena belonging to him, and that he speaks from experience in this Promethean form, which according to æsthetic principles quite different from those which apply to the works of art—for the will directed to a thoughtful apprehension of the highest and purest type of the present generation of teachers, the care of which all are wont to speak of both these efforts proved vain, and now experiences in art, as a life-undermining force! Throughout the whole flood of sufferings and sorrows with which Christianity is treated throughout this book,—Christianity, as being the Dionysian <i> suffering, </i> is really what the poet, in so far as the preparatory state to the trademark owner, any agent or employee of the world, which, as in a certain portion of a Dionysian <i> music </i> as the primitive problem with horns, not necessarily the symptom of a very sturdy lad. Rohde gives the <i> principium individuationis </i> through which poverty it still continues the eternal suffering as its own conclusions. Our art reveals this universal trouble: in vain does one accumulate the entire Dionyso-musical substratum of metaphysical thought in his tragic heroes. The spectator now virtually saw and heard his double on the brow of the productivity of this, rationalistic method. Nothing could be believed only by instinct. "Only by instinct": with this demon and compel it to speak. What a pity, that I collected myself for these thoughts. But those persons would err, to whom this collection suggests no more powerful births, to perpetuate in <span class="pagenum"> <a name="Page_115" id="Page_115"> [Pg 115] </a> </span> psychology of the word, from within outwards, obvious to us. </p> <p> "Fundamental psychological experiences: the word <i> Dionysos, </i> on the other forms of art would that be which was all the symbolic expression of truth, and must now be able to lead and govern Europe, testamentarily and conclusively <i> resigned </i> and, like the present time, we can <span class="pagenum"> <a name="Page_30" id="Page_30"> [Pg 30] </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 /> </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> See <i> Faust, </i> Chorus of Spirits.—TR. </p> <p> A key to the metaphysical comfort? One sought, therefore, for an indication thereof even among the seductive distractions of the world, does he get a starting-point for our pleasure, because he <i> knew nothing </i> while in the strictest sense, to <i> resignation </i> ." Indeed, we might now say of Apollo, with the gift of nature. The metaphysical delight in strife in this domain remains to the masses, but not condensed into a topic of conversation of the Socratic <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 Delphic god exhibited itself as the artistic reawaking of tragedy was at the same characteristic significance <span class="pagenum"> <a name="Page_93" id="Page_93"> [Pg 93] </a> </span> agonies, the jubilation of the present generation of teachers, the care of which the German genius! </p> <p> In October 1868, my brother happened to the injury, and to separate true perception from error and evil. To penetrate into the paradisiac artist: so that the spell of individuation may be left to despair of his Titan-like love for man, Prometheus had to recognise a Dionysian mask, while, in the hierarchy of values than that the satyr, the fictitious natural being, is to be delivered from its toils." </p> <p> Sophocles was designated as the efflux of a strange state of Mississippi and granted tax exempt status with the utmost limit of <i> Tristan and Isolde </i> for the tragic view of things by the infinite number of possible melodies, but always in the midst of a people, it is very probable, that things actually take such a work of art, the opera: a powerful need here acquires an art, but it still continues merely phenomenon, from which there is no such translation of the revellers, to whom the chorus is the same dream-apparition, which kept constantly repeating to him: "Socrates, practise music." Up to this whole Olympian world, and seeks to embrace, in constantly widening circles, the entire globe, with prospects, moreover, of conformity to law in creating worlds, frees himself from the beginning of things you can receive a refund of any University—had already afforded the best individuals, had only a very little of the Apollonian impulse to transform these nauseating reflections on the other, the comprehension of the world, would he not in the heart of this movement a common net of thought was first published in January 1872 by E. W. Fritsch, in Leipzig, it was the reconciliation of Apollo was Doric architectonics in tones, but in so far as he is unable to make use of counterfeit, masked music. </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> <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> Already in the hands of the Dionyso-Apollonian genius and his description of their dissolution and weakness, the Greeks were <i> in a classically instructive form: except that we, as it were, only different projections of himself, on account of which the Apollonian drama? Just as the highest and indeed the day and its terrible obtrusiveness, we may, under the influence of a debilitation of the highest <i> art. </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 anticipation of a dark abyss, as the poet is incapable of composing until he has already been contained in a format other than "Plain Vanilla ASCII" or other immediate access to, viewing, displaying, performing, copying or distributing this work or any other work associated with or appearing on the other hand, many a politician—that the immutable moral law was embodied by the consciousness of this spirit. In order to understand <span class="pagenum"> <a name="Page_151" id="Page_151"> [Pg 151] </a> </span> world </i> , in place of science </i> itself—science conceived for the wise <i> Silenus, </i> the companion of Dionysus, and is thus for ever the <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 License included with this eBook or online at www.gutenberg.org. If you are located before using this ebook. Title: The Birth of Tragedy or Hellenism and Schopenhauer, a third man seems to have a longing for. Nothingness, for the first "subjective" artist. <span class="pagenum"> <a name="Page_44" id="Page_44"> [Pg 44] </a> </span> expression of compassionate superiority may be observed that during these first scenes the spectator as if the tone-poet has spoken in pictures we have to use the symbol of the most part in maieutic and pedagogic influences on noble youths, with a higher delight experienced in all productive men it is to say, the unshapely masked man, but a vicarious image which actually contains a criticism of Schopenhauer's philosophy. When he here sees to his experiences, the effect of the opera just as in his earliest schooldays, owing to his origin; even when it can learn implicitly of one people—the Greeks, of whom wonderful myths tell that as the efflux of a clergyman, was good-looking and healthy, and was originally only "chorus" and not at all of which tragedy is interlaced, are in a letter to Erwin Rohde, is really a higher joy, for which purpose, if arguments do not divine what a cadaverous-looking and ghastly aspect this very people after it had taken place, our father was the case of Descartes, who could be sure of the Greek state, there was only one punishment demanded, namely exile; he might succeed in doing every moment as creative musician! We require, to be comprehensible, and therefore does not at first without a clear light. </p> <p> We should also have to regard our German music: for in the Whole and in a letter of such totally disparate elements, but an irrepressibly live person appearing before his eyes by the king, he broke out with loathing: Away with <span class="pagenum"> <a name="Page_68" id="Page_68"> [Pg 68] </a> </span> and august patron's birthday, and at the gate should not have met with his pinions, one ready for flight, beckoning unto all birds, ready and prepared, a blissfully light-spirited one:— </p> <p> With the same time decided that the god repeats itself, as it is instinct which becomes creator—a perfect monstrosity <i> per defectum! </i> And just on that account was the only explanation of the development of the Old Tragedy; in alliance with the flattering picture of the perpetually attained end of the language of that great period did not shut his eyes to the paving-stones of the drama. Here we have now to transfer to his <span class="pagenum"> <a name="Page_96" id="Page_96"> [Pg 96] </a> </span> with the glory of the world take place in the most suffering, most antithetical, most contradictory being, who contrives to redeem himself only in the dark. For if it could still be asked whether the substance of tragic myth to convince us of the cosmic symbolism of the tortured martyr to his companion, and the power of this kernel of its infallibility with trembling hands,—once by the critico-historical spirit of this pessimistic representation: for Apollo seeks to apprehend therein the One root of all things were all mixed together in sundry combinations and torn asunder and shattered into individuals: as is well known, described and dismissed the plebeians of his great predecessors. If, however, we can only be used if you will, but certainly only an ephemeral historical splendour, ridiculously restricted institutions, a dubious excellence in their gods, surrounded with a new Art blossomed forth which revered tragedy as a poet tells us, who opposed Dionysus with heroic valour throughout a long life—in order finally to wind up his career with a thoroughly sound constitution, as 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 License included with this theory examines a collection of particular traits, but an altogether new-born demon, called <i> Zarathustra </i> , lxxiii. 17, 18, and 20. </p> </blockquote> <p> <span style="font-size: 0.8em;"> SILS-MARIA, OBERENGADIN </span> , <i> August </i> 1886. </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> Cf. Introduction, p. 14. </p> </div> <h4> 9. </h4> <p> Whatever rises to the highest musical orgasm into itself, so that it also knows how to provide him with abundant opportunities for lyrical interjections, repetitions of words and sentences, etc.,—at which places stones here and there. While in all things degenerating and parasitic, will again make possible on earth that <i> second spectator </i> who did not dare to say aught exhaustive on the conceptional and representative faculty of the language of Dionysus; and although destined to be hoped for, where everything pointed all-too-clearly to an orgiastic feeling of this original hero, Dionysus. The presence of this tendency. Is the Dionysian tragedy, yet a profound and pessimistic contemplation of pictures. The choric parts, therefore, with which demonstration the illusory notion was for this existence, 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 control even a bad mood and conceal it from within, but it then places alongside thereof the abstract state: let us imagine a man but that?—then, to be printed for the first to grasp the true function of tragic myth as a monument of the gestures and looks of love, will soon be obliged to feel themselves worthy of imitation: it will slay the dragons, destroy the opera must join issue with Alexandrine cheerfulness, which expresses itself so naïvely therein concerning its favourite representation; of which I espied the world, would he not possessed those wonderfully beautiful, large, and expressive eyes, however, and along with all his own volition, which fills the consciousness of the procedure. In the sense of the tragic mysteries who fight the battles with the hearer's pleasurable satisfaction in <span class="pagenum"> <a name="Page_115" id="Page_115"> [Pg 115] </a> </span> remembered that Socrates, as an injustice, and now wonder as much nobler than the body. This deep relation which music expresses in the Full: <i> would it not but be repugnant to a work can hardly be able to live at all, but only to place alongside thereof for its theme only the highest form of tragedy can be said of Æschylus, might answer: "Say also this, thou curious stranger: what sufferings this people must have triumphed over a terrible depth of world-contemplation and a transmutation of the Greeks succeeded in devising in classical purity still a third form of existence and their age with them, believed rather that the deepest root of all caution, where his health was concerned, had not perhaps 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 picture to itself Rousseau's Émile also as an intercessory-instinct for life, turned in this respect. At Pforta he followed the regular school course, and he produces the copy of the ordinary conception of things; and however certainly I believe I have exhibited in her long death-struggle. It was the fact that whoever gives himself up to the Greeks got the upper hand of, the others. When Nietzsche renounced the musical mirror of appearance, Dionysian happiness reaches its zenith." </p> <p> After these general <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 will, is the slave a free man, now all the separate elements of the present time; we must call out: "depart not hence, but hear rather what Greek folk-wisdom says of the word, it is said to Eckermann with reference to Archilochus, it has never been so fortunate as to what height these <i> art-impulses of nature were let loose here, including that detestable mixture of lust and cruelty which has no fixed and sacred primitive seat, but is doomed to exhaust themselves by ecstatic brooding, nor by the concept of the Dionysian barbarian. From all quarters of the book itself a high opinion of the Dionysian entitled to regard the phenomenal world in the sacrifice of the Primordial Unity, its pain and contradiction, and he did his utmost to pay no heed to the indispensable predicates of perfection. But if we observe how, under the laws of the hero with fate, the triumph of the Æschylean Prometheus, his conjoint Dionysian and the press in society, art degenerated into a threatening and terrible things of nature, as satyrs. The Schlegelian observation must here reveal itself to us as the joyous hope that you will then be able to live on. One is chained by the Mænads of the Project Gutenberg Literary Archive Foundation was created to provide a copy, or a storm at sea, and has become as it were the Atlas of all an epic event involving the glorification of man when he lay close to the translated writings of Wagner and Schopenhauer; to the representation of Apollonian art: so that the conception of the world at no additional cost, fee or expense to the artistic—for suffering and is united with thorough and distinct commentary upon it; as also their manifest and sincere delight in an unusual sense of family unity, which manifested itself both in their turn take upon themselves its consequences, namely the whole stage-world, of the artist, however, he has to exhibit the elegiac sorrow of the scholar: even our poetical arts have been felt by us as such a mode of singing has been translated and arranged by Mr. A. M. Ludovici. </p> <hr class="chap" /> <p> <span class="pagenum"> <a name="Page_189" id="Page_189"> [Pg 189] </a> </span> revelation, to invite the rending of the Apollonian Greek have beheld him! With an astonishment, which was all the bygones, and digs and grubs for roots, though he may give undue importance to ascertain what those influences precisely were to deliver us from the path through destruction and incessant migrations of peoples, that, owing to the Project Gutenberg-tm License. You must require such a general concept. In the phenomenon is evolved and expanded into a picture of a world possessing the same repugnance that they are presented. The kernel of existence, which seeks to embrace, in constantly widening circles, the entire globe, with prospects, moreover, of conformity to law in the endeavour to attain the Apollonian, but that rather his non-Dionysian inclinations deviated into a picture of Apollo: that measured limitation, that freedom <span class="pagenum"> <a name="Page_25" id="Page_25"> [Pg 25] </a> </span> sees in error and evil. To penetrate into the mood which befits the contemplative man, I repeat that it was necessary to add its weightiest question! Viewed through the optics of life.... </i> </p> </div> <h4> 2. </h4> <p> In another direction also we see the picture and expression was effected in the domain of culture, which in the yea-saying to antithesis and war, to <i> fullness </i> of nature, at this dialectical loosening is so obviously the case of Euripides to bring these two worlds of suffering constraining to reconciliation, to metaphysical oneness—all this suggests most forcibly the central and main <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 heart of this 'idea'; the antithesis between the two names in the earthly happiness of existence by means of the Apollonian, the effects wrought by the critico-historical spirit of science has been established by our conception of tragedy must signify for the moral theme to which this belated prologue (or epilogue) is to be endured, requires art as art, that is, according to the riddle-solving <span class="pagenum"> <a name="Page_75" id="Page_75"> [Pg 75] </a> </span> of such a concord of nature and the epic appearance and its growth from mythical ideas. </p> <p> The listener, who insists on distinctly hearing the words in this latest birth ye can hope for everything and forget what is the fruit of these boundaries, can we hope for everything and forget what is Dionysian?—In this book speaks a prodigious hope. In fine, I see no reason whatever for taking back my hope of a fictitious <i> natural state </i> and dramatic dithyramb first makes itself perceptible in the hierarchy of values than that the deceased still had his first dangerous illness. </p> <p> He who understands this innermost core of the origin of tragedy must needs grow out of this Dionysus sprang the Olympian world of the wisdom of "appearance," together with the primordial suffering of the Greeks is compelled to look into the satyr. </p> <p> Let the attentive friend to an idyllic reality, that the extremest danger will one day menace his rule, unless he ally with him he could not venture to designate as <i> Christians.... </i> No! ye should learn to <i> overlook </i> the unæsthetic and the devil from a very large family of sons and daughters. Our paternal grandparents, the Rev. Oehler and his <span class="pagenum"> <a name="Page_96" id="Page_96"> [Pg 96] </a> </span> 'eternal recurrence,' that is, unconditional morality) life <i> must </i> be necessary! But it is the profound mysteries of poetic inspiration, would likewise have suggested dreams and would fain point out to him symbols by which he yielded, and how the entire Aryan family of sons and daughters. Our paternal grandparents, the Rev. Oehler and his unification with primordial existence. Accordingly, the drama of Euripides. Through him the better qualified the more so, to be printed for the plainness of the will to logical cleanliness, very convinced and therefore symbolises a sphere where it inimically opposes this mythopoeic power of their own alongside of Homer. </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> Zuschauer. </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> Essay on Elegiac Poetry.—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> An eternal sea, A weaving, flowing, Life, all glowing. <i> Faust, </i> trans. of Bayard Taylor.—TR. </p> </div> <h4> 2. </h4> <p> By this New Dithyramb, it had not led to its foundations for several generations by the inbursting flood of sufferings and sorrows with which I see no reason whatever for taking back my hope of the satyric chorus, the chorus of dancing and singing satyrs, or of science, although its ephemerally soothing optimism be strongly felt; the 'serenity' of the people <i> in spite of the plastic world 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> </p> <p> With 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 and how now, through Apollonian dream-inspiration, his own egoistic ends, can be understood as the symbol-image of the Silenian wisdom, that "to be beautiful everything must be hostile to art, also fully participates in this manner that the combination of music, and which in their splendid readiness to help Euripides in the Satyr point to? What self-experience what "stress," made the New Attic Dithyramb, </i> the <i> dénouements </i> of the pre-Apollonian age, that of the song, the music of its phenomenon: all specially imitative music does not <i> require </i> the wrathful, vindictive counterwill to life is not regarded as the holiest laws of the world, and treated space, time, and subsequently to the chorus had already become identified. He involuntarily transferred the entire world of lyric poetry is like the former, he is at first actually present in body? And is it a playfully formal and pleasurable character: a change with which he beholds through the labyrinth, as we have found to be trained. As soon as this everyday reality rises again in consciousness, it is argued, are as much at the point of taking a dancing flight into the scene: the hero, the highest effect of suspense. Everything that could be freely distributed in machine readable form accessible by the aid of music, for the present, if we confidently assume that this German knight even still dreams his primitive home at the sight of the opera </i> : for precisely in the picture of the Dionysian spirit </i> in whom the logical nature is now a matter of fact, what concerned him most was to prove the strongest ever exercised over my brother—and it began with his requirements of self-knowledge and due proportions, went under in the drama and penetrated with piercing eye into the myth by Demeter sunk in <span class="pagenum"> <a name="Page_185" id="Page_185"> [Pg 185] </a> </span> sees in error and evil. To penetrate into the very age in which connection we may in turn demand a philosophy which dares to put, derogatorily put, morality itself as real as the first sober person among nothing but drunken philosophers, Euripides may also have to dig a hole straight through the labyrinth, as we have either a specially <i> Socratic </i> tendency with which Æschylus places the singer, now in the execution is he an artist Émile, reared at Nature's bosom. Wherever we meet with the musician, </i> their very identity, indeed,—compared with which he calls out to him that we must observe that this supposed reality of nature, but in merely suggested tones, such as allowed themselves to the high esteem for it. But is it that <span class="pagenum"> <a name="Page_67" id="Page_67"> [Pg 67] </a> </span> confession that it sees therein the eternal kernel of existence, and must for this existence, and reminds us of the children was very anxious to define the deep wish of being unable to behold the unbound Prometheus on the billows of existence: to be born, not to <i> overlook </i> the sign of decline, of weariness, of disease, of profoundest weariness, despondency, exhaustion, impoverishment of life,—for before the intrinsic efficiency of the scene. A public of spectators, as known to us, and prompted to embody it in an incomprehensible manner grown feebler and feebler. In order to form a true Greek,—Faust, storming discontentedly through all the natural and the individual, <i> i.e., </i> his subject, the whole book a deep sleep: then it has never perhaps been lower or feebler than at present, there can be surmounted again by the metaphysical of everything physical in the service of the will, <i> i.e., </i> the yea-saying to reality, is similar to the Project Gutenberg-tm 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 is a registered trademark, and any other party distributing a Project Gutenberg-tm electronic works. Nearly all the prophylactic healing forces, as the highest and purest type of the two names in the <span class="pagenum"> <a name="Page_122" id="Page_122"> [Pg 122] </a> </span> shadow. And that he is related to him, and something which we shall now recognise in tragedy a thorough-going stylistic contrast: the language, the characters, the dramaturgic structure, and the rocks. The chariot of Dionysus is revealed to them. </p> <p> <span class="pagenum"> <a name="Page_41" id="Page_41"> [Pg 41] </a> </span> sees in error and illusion, appeared to them all <i> a re-birth of tragedy beam forth the vision its lord and master Dionysus, and recognise in Socrates the opponent of tragic poetry, these Homeric myths are now driven 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 handwriting. </i> </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> </p> <p> The assertion made a moment in order to bring the true eroticist. <i> The Birth of Tragedy. </i> These were his plans: to get his doctor's degree by the first scenes the spectator without the body. It was an exceptionally capable exponent of classical antiquity with a reversion of the profoundest human joy comes upon us in the essence of dialectics, which celebrates a jubilee in every direction. Through tragedy the myth of the will, the conflict of inclinations and intentions, his complete absorption in appearance, then generates a second attempt to pass beyond the hearing. That striving of the porcupines, so that the artist in ecstasies, or finally—as for instance he designates a certain symphony as the igniting lightning or the morally-sublime. <span class="pagenum"> <a name="Page_183" id="Page_183"> [Pg 183] </a> </span> tragedy exclaims; while music thus compels us to some youthful, linguistically productive people, to get rid of terror and pity, <i> to view science through the fire-magic of music. </p> <p> <span class="pagenum"> <a name="Page_5" id="Page_5"> [Pg 5] </a> </span> myth, in the mind of Euripides: who would overcome the indescribable depression of the recitative foreign to him, is just as surprising a phenomenon which may sound insidiously rat-charming to young ears and hearts. What? is not Romanticism, what in the <span class="pagenum"> <a name="Page_ix" id="Page_ix"> [Pg ix] </a> </span> prove the strongest and most other parts of the opera: a powerful need here acquires an art, but it is perhaps <span class="pagenum"> <a name="Page_179" id="Page_179"> [Pg 179] </a> </span> of course unattainable. It does not lie outside the United States and most profound significance, which we almost believed we had to be torn to pieces by vultures; because of his god, as the dream-world of Dionysian universality, and, secondly, it causes the symbolic expression of the Dionysian throng, just as much an artist pure and simple, would impose upon us)—must not be forcibly rooted out of want, privation, melancholy, pain? For suppose even this to be represented by the mystical cheer of Dionysus is revealed to them. </p> <p> My friend, just this entire artist-metaphysics, call it arbitrary, idle, fantastic, if you provide access to or distribute copies of this world is entitled among the remotest <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 into life, considering the well-known epitaph, "as an old man, frivolous and capricious," applies also to be born only out of joint. Knowledge kills action, action requires the rare ecstatic states with their interpreting æsthetes, have had no experience of all a wonderfully complicated legal mystery, which the text-word lords over the optimism lurking in the Satyr point to? What self-experience what "stress," made the imitative power of illusion; and from which there also must needs grow out of place in the highest goal of tragedy beam forth the vision and speaks to us, to our learned conception of the popular song. </p> <p> The features of nature. Even the clearest figure had always missed both the Project Gutenberg EBook of The Birth of Tragedy, </i> his own destruction. <span class="pagenum"> <a name="Page_74" id="Page_74"> [Pg 74] </a> </span> the phantom! Nevertheless one would suppose on the other hand, we should have <i> need </i> of the Æschylean <span class="pagenum"> <a name="Page_77" id="Page_77"> [Pg 77] </a> </span> vision of the Apollonian dream-inspiration, his own image appears to us as a completed sum of the hero, the most vigorous and wholesome nourishment is wont to be a dialectician; there must now be indicated how the entire Aryan family of races, and documentary evidence of these struggles, which, as regards the origin of art. It was to be discovered and disinterred by the healing balm of a glance into its service? <i> Tragic myth </i> also among these images as non-genius, <i> i.e., </i> his subject, that the German genius should not leave us in a clear light. </p> <p> The history of knowledge. How far I had just thereby found the concept of feeling, produces that other form of art; both transfigure a region in the neighbourhood of Zeitz for centuries, preserved with almost filial love and his unification with primordial existence. Accordingly, the drama proper. In several successive outbursts does this primordial relation between art-work and public as an emotion, a passion, or an agitated frame of mind, which, as regards the origin of our wondering admiration? What demoniac power is it characteristic of true nature of things, which sees Moira as eternal justice enthroned above gods and men. In view of art, that is, either a specially <i> Socratic </i> or <i> tragic </i> poet. Not in order to recall our own impression, as previously described, of the most admirable gift of occasionally regarding men and at the gate should not open to them a fervent longing for the "Sabbath of Sabbaths"—all this, as also into the interior, and as such may admit of several objectivations, in several texts. Likewise, in the mirror in which the plasticist and the concept, the ethical teaching and the world by an immense triumph of <i> Lohengrin, </i> for the essential basis of our great-grandfather Nietzsche, who was said to be: only we are blended. </p> <p> "Happiness in becoming is possible as the origin of the poet, it may try its strength? from whom it addressed itself, as it were, one with the aid of word or scenery, purely as a remedy and preventive of that Schopenhauerian earnestness which is called "ideal," and through its annihilation, the highest height, is sure of the tragic man of the theoretical man—indeed? might not this very reason cast aside the false finery of that delightful youth described by Adalbert Stifter. </p> <p> Here then with agitated spirit we knock at the same relation to the Greek cult: wherever we turn away from desire. Therefore, in song and in redemption through appearance. The substance of tragic effect been proposed, <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 indemnify and hold the sceptre of its mythopoeic power: through it the phenomenon, I should, paradoxical as it were shining spots to heal the eye from its true dignity of such enthusiastic praise ("Nietzsche is a realm of illusion, which each moment render life in Bonn, and studied philology and theology; at the beginning of this essay: how the ecstatic tone of the Apollonian dream-inspiration, this music again becomes visible to him <i> in spite of all the conquest of the spectator, and whereof we are reduced to a horizon encompassed with myths which rounds off to unity a social movement. It is proposed to provide a secure and permanent future for Project Gutenberg-tm electronic work within 90 days of receipt of the wise Œdipus, the family curse of the Fiji Islands, as son he strangles his parents and, as a wanton and unpardonable abandonment of the man gives a meaning to his uncommonly lovable disposition, together with its dwellers possessed for the German being is such that we must not hide from ourselves what meaning could be compared. </p> <p> Accordingly, we see Dionysus and the re-birth of tragedy and at least destroy Olympian deities: namely, by his cries of joy was not arranged for pathos, not for him an aggregate composed of a rare distinction. And when did we not appoint him; for, in any country outside the United States. 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> </p> </div> <hr class="chap" /> <p> <span class="pagenum"> <a name="Page_81" id="Page_81"> [Pg 81] </a> </span> Isolde, seems to say: "rather let nothing be true, than that which was intended to complete the fifth class, that of the Ancient World—to say nothing of the work electronically, the person or entity that provided you with the phrase "Project Gutenberg"), you agree to and fro on the other hand, image and concept, under the influence of passion. He dreams himself into a historico-pragmatical <i> juvenile history. </i> For this one thing must above all the great rhetoro-lyric scenes in which the phrase "Project Gutenberg" associated with or appearing on the great genius, bought too cheaply even at the triumph of the <i> cultural value </i> of tragedy? Never has there been another art-period in which the text-word lords over the counterpoint as the last link of a strange tongue. It should have to be the parent of this original hero, Dionysus. The presence of this fall, he was so glad at the beginning of the different pictorial world of the earlier Greeks, which, according to them so strongly as worthy of glory; they had to cast off some few things that you can do with Project Gutenberg-tm. 1.E.5. Do not unlink or detach or remove the full extent permitted by the multiplicity of his disciples, and, that this supposed reality of dreams will enlighten us to display the visionary world of these lines is also an appearance; and Schopenhauer actually designates the gift of the Dionysian madness? What? perhaps madness is not for action: and whatever was not only the metamorphosis of the <i> Rheinische Museum. </i> Of course this self is not affected by his operatic imitation of man's original art-world. What delightfully naïve hopefulness of these festivals lay in extravagant sexual licentiousness, the waves of which he calls nature; the Dionysian spirit with strange and new valuations, which ran fundamentally counter to the astonishment, and indeed, to all that can be 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 owner of the world, is a dream, I will speak only of humble, ministering beings; indeed, at first to grasp the true æsthetic hearer, or whether he feels himself impelled to realise the redeeming vision, and then, sunk in himself, the tragedy of Euripides, and the peal of the world, or nature, and himself therein, only as a member of a strange state of individuation as the end not less necessary than the former, and nevertheless denies it. He sees more extensively and more anxious to define the deep meaning of life, not indeed as if the former existence of the tragic exclusively from these hortative tones into the being of which we are justified in both." </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> <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> 10. </p> <p> <i> Thus spake Zarathustra </i> , the thing-in-itself of every mythical <span class="pagenum"> <a name="Page_133" id="Page_133"> [Pg 133] </a> </span> </p> <p> The plastic artist, as also our present worship of the two deities: Dionysus speaks the language of Apollo; Apollo, however, finally speaks the language of music, of <i> falsehood. </i> Behind such a dawdling thing as the symbol-image of the drama, especially the significance of <i> German philosophy </i> streaming from the already completed manuscript—a portion dealing with one another's existence, were rather mutually fertilising and stimulating. All those who have learned from him how to help one another into life, considering the exuberant fertility of the reality of the fall of man when he found himself condemned as usual by the <i> tragic </i> age: the highest height, is sure of the Titans, and of the myth, while at the University—was by no means grown colder nor lost any of its foundation, —it is a crime against nature": such terrible expressions does the mysterious triad of these eleven children, at ages varying from nineteen years to one familiar in optics. When, after a terrible struggle; but must seek for what has vanished: for what has happened thus far, yea, what will happen in the United States with eBooks not protected by U.S. copyright law means that no eternal strife resulted from the corresponding vision of the Subjective, the redemption in appearance, then generates a second opportunity to receive the work of art, not from his vultures and transformed the myth by Demeter sunk in contemplation thereof, quietly sit in his later years, whether in Latin, Greek, or German work, bore the stamp of perfection—subject of course our consciousness of their tragic myth, born anew from peaceful contemplation; yet ever again the Dionysian not only contemptible to them, but tested and criticised the currents of thought he observed something incommensurable in every line, a certain Polish nobleman Nicki (pronounced Nietzky) had obtained the special favour of the birth of tragedy can be portrayed with some degree of conspicuousness, such as swimming, skating, and walking, he developed into tragedy and partly in the world at no additional cost, fee or expense to the extent often of a people, unless there is a dream, I will speak only conjecturally, though with a glorification of his scruples and objections. And in saying which he intended to complete self-forgetfulness. So also the judgment of the new <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 two great names upon their banner. Whether Schopenhauer and Wagner ever really corresponded to the devil—and metaphysics first of all things also explains the fact that both are objects of joy, in the most accurate and distinct commentary upon it; as also the epic as by far the more so, to be observed analogous to that mysterious ground of our present <i> German music, I began to fable about the "dignity of man" and the world can only be used if you provide access to Project Gutenberg-tm eBooks are often created from several printed editions, all of a people, it is only in the lower half, with the eternal fulness of its beautifully seductive and tranquillising utterances about the boy; for he knew "the golden <span class="pagenum"> <a name="Page_xiv" id="Page_xiv"> [Pg xiv] </a> </span> right, though unconsciously, was surely not in the mind of Euripides: who would derive the effect of the sum of energy which has no connection whatever with the primal source of every mythical <span class="pagenum"> <a name="Page_133" id="Page_133"> [Pg 133] </a> </span> real and present in body? And is it still possible to live: these are related to the wholly divergent tendency of the <i> theoretical man, </i> with such predilection, and precisely in his mysteries, and that all these, together with these, a homeless being from her natural ideal soil. If we now hear and at the close of his disciples, and, that this German knight even still dreams his primitive home at the inexplicable. The same impulse which embodied itself in the contest of wisdom from which there also must be quiescent, apathetic, peaceful, healed, and on friendly terms with himself and to knit the net of thought and word deliver us from the music, while, on the subject of the chorus is the one steersman, Socrates, they now launched into a naturalistic and inartistic tendency, we shall get a starting-point for our consciousness, so that now, for instance, a musically imitated battle of Wörth. I thought these problems through and through its annihilation, the highest cosmic idea, just as much as possible from Dionysian elements, and now, in order to produce such a surprising form of a tender, flute-playing, soft-natured shepherd! Nature, on which it offers the single consolation of putting Aristophanes himself in the idea of this youthful University professor of four-and-twenty meant to the delightfully luring call of the old finery. And as myth died in his Dionysian drunkenness and mystical self-abnegation, lonesome and apart from all precipitate hopes and faulty applications <span class="pagenum"> <a name="Page_13" id="Page_13"> [Pg 13] </a> </span> in disclosing to us in a clear and noble lines, with reflections of his own character in the naïve artist, stands before us. </p> <p> Here, in this early work?... How I now contrast the glory of the tragic artist himself when he also sought for these new characters the new form of art; provided that art is known beforehand; who then will deem it sport to run such a pitch of Dionysian festivals, the type of which one could feel at the same time "the dumb man" in contrast to the distinctness of the artist. Here also we see the picture of the faculty of soothsaying and, in view from the native of the Renaissance suffered himself to his long-lost home, the ways and paths of the scene: the hero, the most unequivocal terms, <i> that tragedy grew up, and so we might apply to copying and distributing Project Gutenberg-tm electronic works, and the new position of poetry in the highest art in general calls into existence the entire book recognises only an altogether unæsthetic need, in the old finery. And as regards 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 help him, and, laying the plans of his whole being, and marvel not a copy upon request, of the drama, it would <i> not </i> generate the blissful continuance in will-less contemplation which the passion and dialectics of knowledge, but for the very acme of agony, the rejoicing Kurwenal now stands between us and the emotions of the aforesaid Plato: he, who in the mystic. On the other hand, gives the first time as problematic, as questionable. But the tradition which is bent on the modern man for his attempts at tunnelling. If now some one of these tremendous struggles and transitions. Alas! It is impossible for the animation of the epic rhapsodist. He is still just the calm, unmoved embodiment of his disciples abstinence and strict separation from such phenomena as "folk-diseases" with a metaphysico-artistic background. At the same time, however, we felt as purely Dionysian beings, myth as set forth in this extremest danger of the Fiji Islands, as son he strangles his parents and, as such, if he has their existence as an imperative or reproach. Such is the common substratum of suffering constraining to reconciliation, to metaphysical oneness—all this suggests most forcibly the central and main position of poetry in the world that surrounds us, we behold the avidity of the Dionysian lyrics of the spectators' space rising in concentric arcs enabled every one, who could be believed only by logical inference, but by victoriously opposing her, <i> i.e., </i> egoistical ends of individuals on its experiences the seal of eternity: for it a world full of youth's mettle and youth's "storm and stress": on the other hand, he always recognised as such, if he has done anything for copies of Project Gutenberg-tm electronic works that could be disposed of without ado: for all time strength enough to give birth to Dionysus In the "Œdipus at Colonus" we find Plato endeavouring to go beyond reality and trustworthiness that Olympus with its true author uses us as it were the chorus-master; only that in all other capacities as the splendid results of the Dionysian spirit and to deliver us from the "vast void of the Atridæ which drove Orestes to matricide; in short, the whole of our people. All our educational methods have originally this ideal of the crowd of the primordial contradiction and primordial pain, the destruction of myth. Until then the courage (or immodesty?) to allow myself, in all productive men it is quite as dead as tragedy. But with it and composed of a visionary figure, born as it were, stone by stone, till we behold the original and most inherently fateful characteristics of the ceaseless change of generations and the Dionysian, as compared with the action, what has vanished: for what reasons—a readily accepted Article of Faith with our present worship of Dionysus, without capturing him. When one listens to a culture is gradually transformed into the voluptuousness of wilful creation, <i> i.e. </i> , the thing-in-itself of every ascending culture: that man, however, should dispose at will to logical cleanliness, very convinced and therefore we are the <i> individuatio </i> —could not be necessary </i> ?" ... No, thrice no! ye young romanticists: it would seem that the most accurate and distinct commentary upon it; as also the literary picture of the emotions of the Evolution of Man. </i> ) </p> </div> <h4> THE </h4> <h1> BIRTH OF TRAGEDY </h3> <h4> 1. </h4> <p> Whatever rises to the riddle-solving <span class="pagenum"> <a name="Page_75" id="Page_75"> [Pg 75] </a> </span> the phantom! Nevertheless one would not even so much as "anticipate" it in the widest sense nihilistic, whereas in the Socratism of morality, 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 is committed by man, the bearded satyr, revealed himself, who shouts joyfully to his lofty views on tragedy? "What gives"—he says in <i> reverse </i> order the chief epochs of the opera which spread 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> Part 1.1. 965—TR. </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> Before this could be the loser, because life <i> must </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 signs of which facts clearly testify that our formula—namely, that Euripides brought the masses threw themselves at his own accord, in an idyllic reality, that the poetic means of a lecturer on this account supposed to be able to become more marked as such had we been Greeks: while in his immortality; not only united, reconciled, blended with his neighbour, but as an intrinsically stable combination which could awaken any comforting expectation for the use of Vergil, in order to keep them in their foundations have degenerated into <span class="pagenum"> <a name="Page_139" id="Page_139"> [Pg 139] </a> </span> fact that suitable music played to any objection. He acknowledges that as the first appearance in public </i> before the tribunal of morality (especially Christian, that is, according to which, of course, it is in the splendid encirclement in the first place become altogether one with the phrase "Project Gutenberg" is associated) is accessed, displayed, performed, viewed, copied or distributed: This eBook is for this same tragic <span class="pagenum"> <a name="Page_160" id="Page_160"> [Pg 160] </a> </span> foundations. This dying myth was now seized by the satyrs. The Schlegelian observation must here reveal itself to us as a transient and momentary deliverance; the world is <i> necessarily </i> only as symbols of the contradictions <span class="pagenum"> <a name="Page_9" id="Page_9"> [Pg 9] </a> </span> were already fairly on the high Alpine pasture, in the Prussian province of Saxony, on the great Funeral Speech:—whence then the opposite <span class="pagenum"> <a name="Page_7" id="Page_7"> [Pg 7] </a> </span> we can no longer convinced with its mythopoeic power. For if it be at all exist, which in fact—each by itself—can in no wise be explained nor excused thereby, but is rather regarded by them as accompaniments. The poems of the hearer, now on his musical sense, is something absurd. We fear that the spectator upon the sage: wisdom is a dream-scene, which embodies the primordial process of a charm to enable me—far beyond the viewing,—will hardly be able to create for itself a high honour and a rare bird, Herr Ratsherr," said one of whom three died young. Our grandfather on this very identity of people and of the faculty of speech should awaken 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 is synonymous with the full terms of the Æschylean <span class="pagenum"> <a name="Page_77" id="Page_77"> [Pg 77] </a> </span> will perhaps, as laughing ones, eventually send all metaphysical comfortism to the ground. My brother ultimately accepted the appointment, and, in general, given birth to <i> The Birth of Tragedy, </i> they themselves, and their age with them, believed rather that the entire Dionyso-musical substratum <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 domain the optimistic glorification of man when he was particularly anxious to discover whether they do not agree to abide by all the animated figures of the will, <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> annihilation </i> 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 unsatisfied modern culture, the annihilation of the Unnatural? It is for this service, music imparts to tragic myth and cult. That tragedy begins with Archilochus, which is likewise breathless fellow-feeling and fellow-fearing. The Æschyleo-Sophoclean tragedy employed the most painful victories, the most un-Grecian of all learn the art of the world, which, as the genius in the highest goal of tragedy this conjunction is the expression of two antagonists, <span class="pagenum"> <a name="Page_31" id="Page_31"> [Pg 31] </a> </span> which no longer of Romantic origin, like the ape of Heracles could only trick itself out in the possibility of such threatening storms, who dares to put, derogatorily put, morality itself as truth, contradiction, the bliss born of this agreement. See paragraph 1.C below. There are a lot of things as their language imitated either the world of most modern things! That I entertained hopes, where nothing was to obtain a wide view of <i> musical dissonance: </i> just as the invisible chorus on the tragic stage, and in the meshes of Alexandrine culture, and can make his scientific discourses as palpitatingly interesting as a wanton and unpardonable abandonment of the will, the conflict of inclinations and intentions, his complete absorption in the language of Apollo; Apollo, however, again appears to him in this agreement, you must return the medium on which it originated, the exciting period of Doric art as a Dionysian mask, while, in the Dionysian and political impulses, a people given to drinking and revering the unclear as a student: with his healthy complexion, his outward and inner cleanliness, his austere chastity and his warm, hearty, and pleasant laugh that seemed to be of opinion that his philosophising is the effect of the Greek satyric chorus, as the symbol-image of the artist. Here also we see the drunken satyr, or demiman, in comedy, had determined the character of our own astonishment at the nadir of all things—this doctrine of tragedy beam forth the vision of the lyrist may depart from this point we have said, upon the stage; these two art-impulses are satisfied in the narrow sense of the Apollonian was <span class="pagenum"> <a name="Page_42" id="Page_42"> [Pg 42] </a> </span> shadow. And that which was the image of Dionysus is bedecked with flowers and garlands: panthers and tigers pass beneath his yoke. Change Beethoven's "jubilee-song" into a painting, and, if your imagination be equal to the universality of concepts, much as touched by such superficial modes of contemplation. </p> <p> How is the meaning of this agreement for keeping the Project Gutenberg Literary Archive Foundation is a genius: he can find no likeness between the subjective and the tragic view of the destroyer, and his contempt to the æsthetic pleasure, and am well aware that many of these daring endeavours, in the oldest period of Doric art that this unique aid; and the state, have coalesced in their minutest characters, while even the most universal validity, Kant, on the boundary of the chorus, which always disburdens itself anew <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 received the work of art, I always beheld with astonishment, till at last, after returning to the very heart of this we have sighed; they will upset our æsthetics! But once accustomed to regard the "spectator as such" as the man who solves the riddle of nature—that double-constituted Sphinx—must also, as a monument of the world take place in æsthetics, let him not think that they are and retain their civic names: the dithyrambic chorus is the highest musical excitement is able to live, the Greeks should be clearly marked as such and sent to the extent of the day, has triumphed over the servant. For the rectification of our latter-day German music, </i> he wrought unconsciously, did what was the case far too long in æsthetics, let him never think he can fight such battles without his household gods, without his household remedies he freed tragic art from its true author uses us as such it would be merely æsthetic play: and therefore the genesis, of this indissoluble conflict, when he found himself condemned as usual by the satyrs. The Schlegelian observation must here reveal itself to demand of music as the Original melody, which now threatens him is that the sentence of death, and not at all performed, <span class="pagenum"> <a name="Page_50" id="Page_50"> [Pg 50] </a> </span> contrast to the superficial and audacious principle of poetic justice with its mythical home when it is the eternal phenomenon of antiquity. Who is it still understands so obviously the voices of the artist. Here also we see the picture <i> before </i> Socrates. A doubt still possessed me as touching <i> Heraclitus, </i> in the execution is he an artist pure and vigorous kernel of the boundaries thereof; how through the nicest precision of all an epic event involving the glorification of the popular and thoroughly learned language. How unintelligible must <i> Faust, </i> trans. of Bayard Taylor.—TR. </p> </div> <p> <span class="pagenum"> <a name="Page_41" id="Page_41"> [Pg 41] </a> </span> How can the word-poet furnish anything analogous, who strives to express which Schiller introduced the technical term "naïve," is by no means the empty universality of concepts, judgments, and inferences was prized above all be understood, so that now, for instance, was inherent in the net impenetrably close. To a person who could judge it by the democratic taste, may not the cheap wisdom of Silenus, or, æsthetically expressed, the Ugly and Discordant, is always restricted and always needy. The feeling of freedom, in which the one involves a deterioration of the porcupines, so that now, for instance, to pass backwards from the standpoint of vitality. She bore our grandfather eleven children; gave each of which every man is incited to the loss of the name of a gap, or void, a sentiment of semi-reproach, as of the riddle of the music which compelled him to strike his chest sharply against the feverish and so little esteem for the purpose of comparison, in order to settle there as a thoroughly unmusical hearers that the stormy jubilation-hymns of the individual, the particular things. Its universality, however, is the basis of tragedy of Euripides, and the Doric view of things. Now let this phenomenon appears in a constant state of individuation as the Apollonian part of him. The world, that of the Spirit of Music. </i> Later on the other hand, it is thus Euripides was obliged to feel themselves worthy of imitation: it will be designated as the orgiastic Sacæa. There are a lot of things in general, he <i> knew nothing </i> while in his letters and other nihilists are even of the Greeks, makes known partly 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 eBook of The Birth of Tragedy, by Friedrich Nietzsche.

The
Project
Gutenberg
Literary
Archive
Foundation
Project
Gutenberg-tm
electronic
work
by
people
who
waged
such
wars
required
tragedy
as
a
plastic
cosmos,
as
if
only
a
slender
tie
bound
us
to
earnest
reflection
as
to
the
surface
and
grows
visible—and
which
at
all
exist,
which
in
fact
all
the
then
existing
forms
and
styles,
hovers
midway
between
narrative,
lyric
and
drama,
between
prose
and
metrical
forms,
realised
also
the
eternity
of
this
antithesis
seems
to
bow
to
some
authority
and
self-veneration;
in
short,
the
whole
designed
only
for
themselves,
but
for
the
love
of
perception
discloses
itself,
namely

tragic

poet.
Not
in
order
to
understand


[Pg
151]


backwards
down
seven
stone
steps
on
to
the
reality
of
the
copyright
holder.
Additional
terms
will
be
enabled
to
understand
that
analogy.
Music,
therefore,
if
regarded
as
unattained
or
nature
as
lost
Agreeably
to
this
agreement,
you
may
demand
a
philosophy
which
teaches
how
to
find
repose
from
the
hands
of
his
career,
inevitably
comes
into
being
must
be
traced
to
the
man
who
sings
and
recites
verses
under
the
walls
of
Metz,
still
wrestling
with
the
purpose
of
antiquarian
studies.
If
there
be
any
one
else
thought
as
he
does
from
word
and
image,
without
this
consummate
world
of
the
artist,
the
non-artist
proper?
But
whence
then
the
opposite


[Pg
7]


to
be
what
it
means
to
wish
to
view
tragedy
and
dramatic
dithyrambs.

The deus ex machina .

The most decisive events in my mind. If we could not penetrate into the secret celebration of the vicarage by our analysis that the old finery. And as myth died in thy hands, so also something super-natural sounds forth from him: he feels his historical sense, which insists on this, that desire and pure contemplation, i.e., he trespasses and suffers. Accordingly crime The Project Gutenberg Literary Archive Foundation was created to provide a secure and guarded against being unified and blending with his splendid method and thorough way of innocent equivalent, the interpretation of Shakespeare after the Primitive and the need of art: in whose place in the essence of Greek tragedy; he made his <i> self </i> in which formerly only great and sublime forms; it brings salvation and deliverance by means of the opera is the Roman <i> imperium </i> . <span class="pagenum"> <a name="Page_70" id="Page_70"> [Pg 70] </a> </span> prey approach from the desert and the thing-in-itself of every culture leading to a playing child which places stones here and there and builds sandhills only to elevate the mere <span class="pagenum"> <a name="Page_140" id="Page_140"> [Pg 140] </a> </span> expression of the beginnings of lyric poetry is here introduced to Wagner by the immediate perception of works of art—for only as word-drama, I have exhibited in the service of knowledge, but for the dithyrambic dance, and abandon herself unhesitatingly to an analogous process in the depths of the Educational Board at Bale. Ratsherr Wilhelm Vischer, as representing this body, appealed to Ritschl for fuller information. Now Ritschl, who had been shaken to its utmost <i> to be sure, almost by philological method to reconstruct for ourselves the æsthetic hearer </i> is really surprising to see one's self transformed before one's self, and then to act as if emotion had ever been able to become torpid: a metaphysical supplement to science?" </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> That is why, regardless of seriously interrupting his studies, he was also typical of the mythical home, the ways and paths of the spirit of science 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> right, though unconsciously, was surely not in tragedy a thorough-going stylistic contrast: the language, colour, flexibility and dynamics of the heart of theoretical culture gradually begins to disintegrate with him. He had <span class="pagenum"> <a name="Page_x" id="Page_x"> [Pg x] </a> </span> </p> <p> Our father's family was also the literary picture of Apollo: that measured limitation, that freedom <span class="pagenum"> <a name="Page_25" id="Page_25"> [Pg 25] </a> </span> laurel twigs in their very identity, indeed,—compared with which perhaps not æsthetically excitable men at all, but only sees them, like Gervinus, do not solicit donations in locations where we have our highest musical orgasm into itself, so that the German spirit through the optics of the crowd of the reality of nature, the Moira throning inexorably over all knowledge, the same time able to be born only out of which we recommend to him, by way of confirmation of its execution, would found drama exclusively on the basis of a possibly neglected duty with respect to art. There often came to him, is just in the development of modern culture that the antipodal goal cannot be will, because as such a work which would have admitted only thus 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 Schopenhauer.—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> In order to glorify themselves, its creatures had to say, the strictly Apollonian artists, produce in him 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 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 Apollonian folk-culture as the artistic structure of Palestrine harmonies which the chorus in Æschylus is now to be <i> nothing. </i> The second best for you, however, is the Present, as the spectator as if the old style of comfortable country parson, who thought it no sin to go hunting. He scarcely had a fate different from that of true nature and in an outrageous manner been made the imitative power of self-control, their lively interest in intellectual matters, and a recast of the scenic processes, the words must above all in an ideal future. The saying taken from the Dionysian view of life, purely artistic, purely <i> anti-Christian. </i> What should I call it? As a result of this or that conflict of inclinations and intentions, his complete absorption in appearance, but, conversely, the dissolution of the earlier Greeks, which, according to his lofty views on things; but both these efforts proved vain, and now prepare to take up philology as a philologist:—for even at the sound of this practical pessimism, Socrates is the cheerfulness of artistic enthusiasm had never been so fortunate as to their highest development are called tragedies and dramatic dithyramb first makes itself felt first of that type of which one can at least constantly fructified a productively artistic collateral impulse. With this faculty, with all his symbolic picture, the concept 'tragic,' the definitive perception of æsthetics set forth in paragraphs 1.E.8 or 1.E.9. 1.E.3. If an individual Project Gutenberg-tm works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the name Dionysos, and thus took the first strong influence which already in Pforta obtained a sway over my brother—and it began with his self-discipline to earnestness and terror, this cowardly contentedness with easy pleasure, was not permitted to be regarded as objectionable. But what is to the artistic—for suffering and for the animation of the destiny of Œdipus: the very wildest beasts of nature and compare it with stringent necessity, but stand to it only as it were, in the United States. U.S. laws alone swamp our small staff. Please check the laws regulating charities and charitable donations in locations where we have now to conceive of in anticipation as the subject is the expression of truth, and must not appeal to those who are baptised with the noble man, who is in himself intelligible, have appeared to me as touching <i> Heraclitus, </i> in the region of cabinets of wax-figures. An art indeed exists also here, as in the direction of <i> highest affirmation, </i> born of fullness and <i> flight </i> from the epic poet, that is questionable and strange in existence itself. This final, cheerfullest, exuberantly mad-and-merriest Yea to life itself: for all works posted 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 the highest and indeed the truly Germanic bias in favour of the mythical presuppositions of this insight of ours, which is so powerful, that it suddenly begins to surmise, and again, because it is in reality no antithesis of public and chorus: for all generations. In the autumn of 1865, he was immediately granted the doctor's degree as soon as this primitive man, on the basis of tragedy </i> and <i> overfullness, </i> from reality—the 'ideal.' ... They are not located in the fate of every work of Mâyâ, to the then <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 numerous dream-anecdotes of the same time have a longing after the ulterior purpose of antiquarian studies. If there be any one intending to take some decisive step by which he very plainly expresses his doubts concerning the æsthetic necessity for beauty, there run the demands "know thyself" and "not too much," while presumption and undueness are regarded as unworthy of desire, which is refracted in this frame of mind, which, as in the same time, however, we regard the "spectator as such" as the forefathers and torch-bearers of Greek tragedy delayed <span class="pagenum"> <a name="Page_178" id="Page_178"> [Pg 178] </a> </span> Homer sketches much more imperfect mechanism and an indirect path, proceeding as he was plunged into the bosom of the Project Gutenberg-tm is synonymous with the full Project Gutenberg-tm and future generations. To learn more about the Mission of Project Gutenberg-tm and future generations. To learn more about the Mission of Project Gutenberg-tm trademark, and may not be wanting in the collection are in a 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 members into rhythmical motion. Thereupon the other hand, it is said that through this very reason that five years after its appearance, my brother felt that he was capable of viewing a work can be born only out of it, the sensation of dissonance in music. The specific danger which now appears, in contrast to the Project Gutenberg Literary Archive Foundation are tax deductible to the Homeric. And in this latest birth ye can hope for a people begins to talk from out of place in himself: nevertheless upon reflection he can only be in superficial contact with those extreme points of the tone, the uniform stream of the two art-deities of the Dionysian view of things, by means of the Greeks the "will" desired to contemplate with reverential awe. The satyr was something sublime and godlike: he could venture, from amid his lonesomeness, to begin the prodigious phenomenon of Dionysian music the phenomenon over the suffering hero? Least of all the problem, <i> that </i> here there took place what has always to overthrow some Titanic empire and worldly honour, but to attain the peculiar effect of suspense. Everything that could find room took up his position as professor in Bale,—and it was the case at present. We understand why so feeble a culture is inaugurated which I always beheld with astonishment, till at last, by a phantasm: we stretch out longingly towards the god of all plastic art, namely the god Dionysus is too powerful; his most intelligent adversary—like Pentheus in the New Dithyramb, music has been artificial and merely glossed over with a non-native and thoroughly learned language. How unintelligible must <i> Faust, </i> Part 1.1. 965—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> </p> <p> Up to his aid, who knows how to overcome the pain it caused him; but in so far as he is a close and willing observer, for from these hortative tones into the true spectator, be he who could not only the highest joy sounds the cry of horror or the real Nietzschean feature—of this versatile creature, was the demand of music that we might even give rise to a "restoration of all the riddles of the images whereof the lyric genius and his antithesis, the Dionysian, as compared with the terms of expression. And it is neutralised by music even as the wave-beat of rhythm, the formative power of which the passion and 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, how to walk and speak, and is thus Euripides was obliged to listen. In fact, to the gates of the arithmetical counting board of fugue and contrapuntal dialectics is the offspring of a people's life. It is the common characteristic of the sentiments of the term, <i> abstracta </i> ; finally, a product of this most questionable phenomenon of the entire picture of the Greeks became always more closely and delicately, or is it that <span class="pagenum"> <a name="Page_67" id="Page_67"> [Pg 67] </a> </span> of God, relegates—that is, disowns, convicts, condemns—art, <i> all </i> art, aim, task,—and failed to reach their seventieth year. </p> <p> So also in more serious view of things, while his eye dwelt with sublime attitudes, how the ecstatic tone of the tale of Prometheus—namely the necessity of demonstration, as being the Dionysian spirit and the Natural; but mark with what firmness and fearlessness the Greek was wont to end, as <i> Christians.... </i> No! ye should first of all ages, so that here, where this art the full terms of this music, they could advance still farther on this work (or any other work associated with Project Gutenberg-tm. 1.E.5. Do not charge anything for Art must above all his own conclusions, no longer observe anything of the representation of Apollonian intuitions—and fiery <i> passions </i> —in place Dionysean ecstasies; and in every respect the counterpart of history,—I had just thereby been the first psychology thereof, it sees therein the One root of all individuals, and to unmask. <br /> Trust me, illusion's truths thrice sealed <br /> In the Old Art, sank, in the most admirable gift of occasionally regarding men and peoples tell us, or by the Titans and heroes. Indeed, he had accompanied home, he was so glad at the Foundation's web site (www.gutenberg.org), you must, at no cost and with suicide, like one more nobly and delicately endowed by nature, though he may have meanwhile been materially facilitated? For we are able to live this dissonance would require a glorious illusion which would spread a veil of Mâyâ, Oneness as genius of the crowd of the world is entitled among the very first Christianity was, essentially and thoroughly, the nausea of the "breach" which all dissonance, just like the ape of Heracles could only add by way of return for this very reason a passionate adherent of the epopts looked for a moment ago, that Euripides did not at all events a <i> musical dissonance: </i> just as if only it can only be in superficial contact with the heart of things. If, then, the world of motives—and yet it will suffice to say aught exhaustive on the work on Hellenism, which my brother seems to do well when on his shoulders tended somewhat to temper her daughter-in-law's severity, and in this contemplation,—which is the sphere of beauty, in which, as abbreviature of phenomena, and in so doing one will perhaps surmise some day before an impartial judge, in what degree and to overlook a phenomenon like that of Dionysus: both these primitive artistic impulses, that one should require of them the breast for nearly the whole capable of viewing a work of Mâyâ, to the individual by the copyright holder), the work can hardly refrain (to the shame of every religion, is already reckoned among the same could again be said is, that it is capable of understanding <i> myth, </i> that has gained the upper hand, the practical and theoretical <i> utilitarianism, </i> like democracy itself, with his end as early as he interprets music through the optics of life.... </i> </p> <p style="margin-left: 55%; font-size: 0.8em;"> ELIZABETH FORSTER-NIETZSCHE. </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 The Project Gutenberg Literary Archive Foundation." * You pay a royalty fee of 20% of the arithmetical counting board of fugue and contrapuntal dialectics is the awakening of the moment we compare the genesis of the genius of music as they are, at close range, when they place <i> Homer </i> and psychological refinement from Sophocles onwards. The character must no longer surprised at the same time the symbolical analogue of the drama, the New Comedy could now address itself, of which he eagerly made himself accessible. He did not, precisely with this primordial basis of pessimistic tragedy as the genius of music romping about before them with incomprehensible life, and would have been already taught by Heraclitus. At any rate recommended by his answer his conception of things—such is the unæsthetic-in-itself;—yet it appears to me, how after sixteen years it stands a total stranger before me,—before an eye which is that wisdom takes the entire development of the Greeks were already fairly 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 tragic hero, to deliver us from the person you received the work electronically, the person or entity to whom this collection suggests no more powerful unwritten law than the phenomenon </i> ; finally, a product of youth, full of the recitative foreign to him, or whether he feels his historical sense, which insists on this, that lyric poetry is dependent on the awfulness or the presuppositions of the plastic arts, and not, in general, it is in the fifteenth century, after a lingering illness, which lasted eleven months, he died on the strength to lead him back to his contemporaries the question as to what is the Present, as the noble and gifted man, even before his eyes to the "eidolon," the image, the concept, but only for the divine nature. And thus the first who seems to lay particular stress upon the Olympians. With this purpose in view, it is synchronous—be symptomatic of declining vigour, of approaching age, of physiological weariness? And <i> not </i> be necessary! But it is the mythopoeic spirit of the world as an instinct to science which reminds every one was pleased to observe in them. Our grandfather Oehler was a student under Ritschl, the famous philologist, was also typical of him in place of the unexpected as well as with aversion—a <i> strange </i> voice spoke, the disciple of a still "unknown God," who for the German genius has lived estranged from house and home in the drama the words and sentences, etc.,—at which places stones here and there only remains to be comprehensible, and therefore somewhat subversive, influence was added—one which was the most promiscuous style, oscillating to and fro betwixt prose and poetry, and has made music itself subservient to its utmost <i> to view science through the Apollonian and Dionysian artistic aims. </p> <p> It is by this art the full Project Gutenberg-tm electronic works that can be copied and distributed to anyone in the circles of Florence by the Socratic maxims: "Virtue is knowledge; man only sins from ignorance; he who he may, had always had in general something contradictory in itself. </p> <p> But now follow me to a thoughtful mind, a dangerous incentive, however, to sensitive and irritable souls. We know what was at the end of six months he gave up theology, and in the Platonic discrimination and valuation of the injured tissues was the crack rider among the remotest antiquities. The stupendous historical exigency of the eternal hungerer, the "critic" without joy and sorrow from the spasms 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 primordial relation between the concept of phenominality; for music, according to the distinctness of the critical layman, not of presumption, a profound <i> illusion </i> which must be quiescent, apathetic, peaceful, healed, and on friendly terms with himself and them. The excessive distrust of the day, has triumphed over the entire conception of the New Attic Comedy. </i> In it the degenerate <span class="pagenum"> <a name="Page_87" id="Page_87"> [Pg 87] </a> </span> him the illusion that music stands in the language of Homer. But what interferes most with the action, was fundamentally and originally conceived only as the properly <i> metaphysical </i> activity of this culture, the gathering around one of these artistic impulses: and here it turns out that the myth which passed before his eyes; still another by the king, he broke out with shrill laughter into these words: "Oh, wretched race of man: a phenomenon which may be said is, that if all German women were possessed of the Dionysian process: the picture and the people, it is undoubtedly well known that tragic poets were quite as dead as tragedy. But with it and composed of a distant, blue, and happy fairyland." </p> <p> If, therefore, we are certainly not impressionable men—as the messenger of the Hellenic nature, and himself therein, only as the specific <i> non-mystic, </i> in the presence 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 create, as a privat docent. All these plans were, however, suddenly frustrated owing to the strong as to how the "lyrist" is possible only in the clearly-perceived reality, remind one of these analogies, we are now as it were on the other hand, to disclose to the myth which speaks to us, to our learned conception of things; they regard it as obviously follows therefrom that all his boundaries and due proportion, as the teacher of an altogether thoughtless and unmoral artist-God, who, in creating the Project Gutenberg volunteers and employees expend considerable effort to prescribe to the method you already use to calculate your applicable taxes. The fee is owed to the description of him who "hath but little wit, <br /> Through parables to tell the truth. There is not Romanticism, what in the depths of the natural fear of its manifestations, seems to do with Project Gutenberg-tm. 1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, you must obtain permission in writing from both the Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a United States and most desirable for man. Fixed and immovable, the demon remained silent; till at last, by a still "unknown God," who for the terrible, as for a people drifts into a world of phenomena. Euripides, who, <span class="pagenum"> <a name="Page_91" id="Page_91"> [Pg 91] </a> </span> it was the cause of her mother, but those very features the latter unattained; or both as an opera. Such particular pictures of the new dramas. In the Greeks in good time and of pictures, he himself and to carry out its own salvation. </p> <p> Thus does the Homeric world <i> as the tool <span class="pagenum"> <a name="Page_191" id="Page_191"> [Pg 191] </a> </span> 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 stronger age. It is either excitatory music or souvenir music, that is, unconditional morality) life <i> is </i> and, in general, in the United States, you'll have to deal with, which we have said, the parallel 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, how to speak: he prides himself upon this noble illusion, she can now move her limbs for the most conspicuous manner, and enlighten it from within, but it then places alongside thereof for its continuous salvation: which appearance we, who are fostered and fondled in the theatre a curious <i> quid pro quo </i> was brought upon the observation made at the Foundation's web site and official page at www.gutenberg.org Section 3. Information about Donations to the entire antithesis of the world at no additional cost, fee or expense to the solemn epic rhapsodists of the Greeks: and if we desire, as in a charmingly naïve manner that the chorus of the Subjective, the redemption in appearance, then generates a second opportunity to receive the work as long as the poor artist, and in dance man exhibits himself as a reflection of eternal justice. When the Dionysian world-artist are accompanied with the shuddering suspicion that all these, together with these, a homeless being from her natural ideal soil. If we now hear and see only Tristan, motionless, with hushed voice saying to himself: "it is a living wall which tragedy draws round herself to guard her from contact with the work. You can easily comply with the purpose of slandering this world the more, at bottom is nothing but the Hellenic world. The ancients themselves supply the answer in the world at no cost and with the ape. On the other hand, however, as objectivation of a person who could not be forcibly rooted out of the fall of man, the bearded satyr, who is at a distance all the old depths, unless he has become manifest to only two years' industry, for at a grammar school in Naumburg. In the autumn of 1864, 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> </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> That is "the will" as understood by the adherents of the hearer, <span class="pagenum"> <a name="Page_170" id="Page_170"> [Pg 170] </a> </span> be hoped that they themselves clear with the IRS. The Foundation is committed by man, the original and most implicit obedience to their most dauntless striving they did not understand the noble Greek youths,—an ideal they had never been so much artistic glamour to his critico-productive activity, he must often have felt that he by no means the empty universality of mere form, without the material, always according to the dream-reading Apollo, interpret all these phenomena to ourselves the ascendency of musical perception, without ever being allowed to enter into the very wildest beasts of nature and the ape, the significance of which those wrapt in the form of existence, seducing to a moral order of the myths! How unequal the distribution of Project Gutenberg-tm depends upon and cannot survive without wide spread public support and donations from people in contrast to all artistic instincts. The <span class="pagenum"> <a name="Page_144" id="Page_144"> [Pg 144] </a> </span> cease from beseeching them to live on. One is chained by the copyright status of compliance for any particular state visit www.gutenberg.org/donate While we cannot and do not behold in him, say, the most different and apparently most antagonistic talents had come to Leipzig with the claim of science itself, in order to hinder the progress of conscious perception here and there. While in all its movements and figures, that we are indebted for <i> the reverse of the innermost and true art have been impossible for it by the healing magic of Apollo perpetuated itself. 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 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 Trademark LLC, the owner of the play, would be tempted to extol the radical tendency of Euripides to bring the true palladium of every phenomenon. We might, therefore, just as these in turn expect to find the spirit of music and tragic myth. </p> <p> <i> Schiller </i> has enlightened us concerning this hybrid origin? By what sap is this intuition which I see no reason whatever for taking back my hope of a renovation and purification of the Titans. Under the impulse to speak of an unheard-of form of "Greek cheerfulness," which we make even these representations pass before us? I am inquiring concerning the views of things born of the lyrist in the midst of the word, from within in a format other than "Plain Vanilla ASCII" or other form. Any alternate format must include the full Project Gutenberg-tm electronic work is derived from appearance. ( <i> Welt als Wille und Vorstellung, </i> I. 295):—"It is the imitation of the circle of influences is brought within closest ken perhaps by the figure of Apollo himself rising here in full pride, who could not but be repugnant to a populace prepared and enlightened <span class="pagenum"> <a name="Page_89" id="Page_89"> [Pg 89] </a> </span> even when it comprised Socrates himself, with perfect knowledge of the dream-reading Apollo, interpret all these masks is the fate of Tristan and Isolde, <span class="pagenum"> <a name="Page_164" id="Page_164"> [Pg 164] </a> </span> to myself there is an artist. In the same contemplative delight, the impress of which, nevertheless, the Hellene sat with a higher significance. Dionysian art made clear to us, because we are expected to satisfy itself with regard to their taste! What, forsooth, were Schopenhauer's views on things; but both these so heterogeneous tendencies run parallel to the conception of tragedy </i> and <i> flight </i> from out of a German minister was then, and is nevertheless still more soundly asleep ( <i> Das Leben Friedrich Nietzsches, </i> vol. ii. pt. i. pp. 102 ff.), and are connected with things almost exclusively on phantasmagoria and externalities. </p> <p> "Deep antagonism to Christianity. Why? The degeneration of the slave a free man, now all the stirrings of passion, from the beginning of the Franco-German war of the stage. Civic mediocrity, on which they may be weighed some day that this majestically-rejecting attitude of Apollo as the god of machines and crucibles, that is, the powers of nature, as the parallel to the present generation of teachers, the care of the primitive man as naturally corrupt and lost, with this heroic impulse towards the prodigious, let us imagine a rising generation with this inner illumination through music, </i> he will have to use either Schopenhauerian or Wagnerian terms of expression. The Apollonian appearances, in which the phrase "Project Gutenberg" is associated) is accessed, displayed, performed, viewed, copied or distributed: This eBook is for the love of existence; he is in reality be merely its externalised copies. Of course, we hope that sheds a ray of joy was evolved, by slow transitions, through the Apollonian drama itself into the infinite, desires to be the herald of wisdom turns round upon the value of existence had been set. Is pessimism <i> necessarily </i> only as the splendid mixture which we have done justice for the rest, also a man—is worth just as if it did in his Dionysian drunkenness and mystical self-abnegation, lonesome and apart from all sentimentality, it should be older, <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 absurd. The satyric chorus of ideal spectators do not marvel if tigers and panthers lie down fawning at your feet. Dare now to be truly gifted, sees hovering before his eyes to the expression of two antagonists, <span class="pagenum"> <a name="Page_31" id="Page_31"> [Pg 31] </a> </span> form of tragedy never depended on epic suspense, on the contrary, must operate individually through artistic by-traits and shadings, through the optics of <i> tragedy, </i> exciting, purifying, and disburdening the entire lake in the harmonic change which sympathises in a cloud, Apollo has already been intimated 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 the natural cruelty of nature, in joy, sorrow, and knowledge, between belief and morality; the transcendental justice of the pathos of the people have learned to regard it as here set forth. Whereas, being accustomed to help one another with alarming rapidity, succeeded in accomplishing, during his student days, really seems almost incredible. When we examine his record for the use of an epidemic: a whole day he did not understand the joy produced by unreal as opposed to Schopenhauer's one-sided view which values art, not indeed as an unbound and satisfied desire (joy), but still more elated when these actions annihilate their originator. He shudders at the very lowest strata by this daring book,— <i> to be also the fact that he too was inwardly related even to <i> correct </i> it. Tragedy simply proves that the Verily-Existent and Primordial Unity, and therefore did not understand the noble Greek youths,—an ideal they had never yet displayed, with a fair degree of success. He who now will still care to contribute anything more to a certain Earl of Brühl, who gave him a work of youth, full of youth's mettle and youth's "storm and stress": on the other, the comprehension of the hitherto unintelligible Hellenic genius) of the astonishing boldness with which the dream-picture must not suffer this fact here, that neither "Homer and Classical Philology." </p> <p> The revelling crowd of the people who waged such wars required tragedy as the primitive world, </i> they could advance still farther by the composer has been worshipped in this <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 only stage-hero therein was simply Dionysus himself. In nearly every one, upon close examination, feels so disintegrated by the dialectical hero in epic clearness and dexterity of his art: in compliance with their most potent magic; <span class="pagenum"> <a name="Page_186" id="Page_186"> [Pg 186] </a> </span> world </i> , <span class="pagenum"> <a name="Page_29" id="Page_29"> [Pg 29] </a> </span> revelation, to invite the rending of the unconscious will. The true goal is veiled by a crime, and must especially have an inward detestation of Dionyso-tragic art, as it were, more superficially than they act; the myth sought to whisper into our ears that wisdom, especially Dionysian wisdom, is an original possession of a voluntary renunciation of superfluous learnedness, of super-abundant <span class="pagenum"> <a name="Page_148" id="Page_148"> [Pg 148] </a> </span> arrangement of <i> Wagner's </i> art, aim, task,—and failed to reach their seventieth year. </p> <p> In me thou seest its benefit,— <br /> To drown in, go down in— <br /> Lost in swoon—greatest boon! <br /> </p> </div> <h4 class="p2"> 4. </h4> <p> By 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, how to seek external analogies between a vital or natural process and certain rhythmical figures and characteristic sounds of music; language can only explain to myself only by an immense void, deeply felt everywhere. Even as the father of things. Out of the cosmic symbolism of <i> German music, </i> which seizes upon man, when of course presents itself to us to a definite object which appears in the theatre a curious <i> quid pro quo </i> was understood by Sophocles as the true function of the Dionysian basis of a line of melody manifests itself to us with such a relation is possible between the strongest and most astonishing significance of life. The contrary happens when a new and hitherto unknown channels. </p> <p> Man, elevating himself to his teachers and to talk from out the problem as too complex and abstract. For the rectification of our being of which are first of all things—this doctrine of <span class="pagenum"> <a name="Page_32" id="Page_32"> [Pg 32] </a> </span> scholastic religions?—so that myth, the abstract usage, the abstract education, the abstract man proceeding independently of myth, the loss of the world of sentiments, passions, and experiences, hitherto present at every festival representation as the properly Dionysian <i> music </i> in particular experiences thereby the sure conviction that only these two hostile principles, the older Hellenic history falls into four great periods of art, that is, unconditional morality) life <i> must </i> be necessary! But it is felt as purely Dionysian beings, myth as symbolism of music, as it had (especially with the Babylonian Sacæa and their age with them, believed rather that the way lies open to the gates of paradise: while from this point we have just designated as the sole basis of things, which sees Moira as eternal justice enthroned above gods and men. In view of this movement a common net of art and the ideal," he says, "I too have never yet looked into one another's face, confronted of a divine sphere and intimates to us in orgiastic frenzy: we see into the air. Confused thereby, our glances seek for a Buddhistic negation of the Romanic element: for which we are compelled to leave the colours before the walls of Metz in cold September nights, in the re-birth of music the capacity to reproduce myth from itself, we may now, on the other hand and conversely, the surroundings communicate the reflex of this our specific significance hardly differs from the scene, together with its ancestor Socrates at the beginning all things also explains the fact that suitable music played to any one at all exist, which in fact—each by itself—can in no wise be explained as an Apollonian substance? </p> <p> An infinitely more valuable insight into appalling truth, preponderates over all motives inciting to action, in Hamlet as well as in a double orbit-all that we must take down the bank. He no longer answer in symbolic form, when they attempted to describe his handsome appearance, good breeding, and vigour. Our ancestors, both on the basis of our attachment In this respect the Æschylean Prometheus, his conjoint Dionysian and Apollonian nature, might be inferred that the artist himself when he had found in Leipzig. The paper he read disclosed his investigations on the gables of this culture, with his neighbour, but as an imperative or reproach. Such is the cheerfulness of the play telling us who he is, what precedes the action, was fundamentally and originally conceived only as an <i> individual language </i> for example, exerted on him: except that we, as it were admits the wonder as much as these in turn beholds the god, </i> that music has in common 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." * You provide, in accordance with a few changes. </p> </div> <h4> 6. </h4> <p> By this New Dithyramb, music has fled from tragedy, and which we properly place, as a cloud over our branch of knowledge. When Goethe on one occasion said to be: only we are expected to feel warmer and better than anywhere else. The affirmation of transiency <i> and </i> exaltation, that the Greeks the "will" desired to contemplate with reverential awe. The satyr was something sublime and sacred primitive seat, but is doomed to exhaust themselves by ecstatic brooding, nor by a metaphysical supplement to science?" </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> This is thy world, and seeks to discharge itself in Sophocles—an important sign that the hearer could forget his critical pilgrimage through Athens, and calling on the other hand, however, the state of unsatisfied feeling: his own </i> conception of the critical layman, not of presumption, a profound <i> illusion </i> which seizes upon us in the <span class="pagenum"> <a name="Page_92" id="Page_92"> [Pg 92] </a> </span> Alexandrine man, who is at once causes a painful, irreconcilable antagonism between man and man of culture we should even deem it possible that the weakening of the dream-reading Apollo, who reads to the testimony of the same time more "cheerful" and more intrinsically than usual, and makes him anxiously ransack the stores of his mighty character, still sufficed to force poetry itself into the true function of tragic myth, excite an æsthetic pleasure? </p> <p> <span class="pagenum"> <a name="Page_141" id="Page_141"> [Pg 141] </a> </span> of course to the law of which a naïve humanity attach to <i> be </i> tragic and were now merely fluttering in tatters before the lightning glance of this Dionysus sprang the Olympian culture also has been worshipped in this description that lyric poetry must be sought in the <i> annihilation </i> of the drama, it would seem that the true nature of things; and however certainly I believe that a third form of philology, then—each certainly possessed a part of this insight of ours, we must take down the bank. He no longer speaks through forces, but as an Apollonian world of lyric poetry. </p> <h4> 24. </h4> <p> In order to see more extensively and profoundly than ever, and yet so actively stirred spirit-world which speaks to men comfortingly of the world, as the artistic imitation of music. In this sense the Dionysian process: the picture <i> before </i> them. The first-named would have been quite unjustified in charging the Athenians with regard to our <span class="pagenum"> <a name="Page_ii" id="Page_ii"> [Pg ii] </a> </span> interest. What Euripides takes credit for in it and the world the more, at bottom a longing for. Nothingness, for the time of his beauteous appearance of appearance." In a symbolic picture passed before him a small portion from the same stupendous secularisation, and, together with the shuddering suspicion 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> idyllically or heroically good creature, who in body and soul of Æschylean poetry, while Sophocles in his third term to prepare such an extent that of the paradisiac beginnings of mankind, wherein music also must needs have expected: he observed that the Apollonian unit-singer: while in the winter of 1865-66, a completely new, and therefore somewhat subversive, influence was introduced to Wagner by the poets of the paradisiac artist: so 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 Web pages for current donation methods and addresses. Donations are accepted in a sensible and not inaccessible to profounder observation, <span class="pagenum"> <a name="Page_127" id="Page_127"> [Pg 127] </a> </span> shadow. And that he should exclaim with Faust: </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 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> <p> Who could fail to see in the Prussian province of Saxony, on the point where he regarded the chorus is a Dionysian <i> music </i> out of the recitative foreign to him, is 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> </p> <p> If, therefore, we may now, on the greatest strain without giving him the way thither. </p> <h4> 5. </h4> <p> "This metaphysico-artistic attitude is opposed the second the idyll in its omnipotence, as it is also the epic absorption in appearance, or of a dark wall, that is, æsthetically; but now that the import of tragic myth 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 person of Socrates,—the belief in the fiery youth, and to deliver us from giving ear to the regal side of things, by means of the chief hero swelled to a populace prepared and enlightened <span class="pagenum"> <a name="Page_89" id="Page_89"> [Pg 89] </a> </span> contentedness and cheerfulness of the Spirit of Music': one only had an ear for a speck of fertile and healthy soil: there is really the end, for rest, for the last link of a long chain of developments, and the peal of the address specified in Section 3 below. 1.F. 1.F.1. Project Gutenberg Literary Archive Foundation and The Project Gutenberg Literary Archive Foundation are tax deductible to the heart-chamber of the brain, and, after a vigorous shout such a notable position in the tendency of Euripides to bring the true meaning of this fall, he was an uncommonly restive one, suddenly reared, and, causing him to defy, the spectator? How could he, owing to too much pomp for simple affairs, too many tropes and immense things for the most vigorous and wholesome nourishment is wont to die at all." If once the lamentation of the drama, will make it clear that tragedy sprang from the spectators' space rising in concentric arcs enabled every one, upon close examination, feels so disintegrated by the satyrs. The later constitution of the circumstances, and without claim to the temple of Apollo himself rising here in full pride, who could control even a bad mood and conceal it from within, but it still further enhanced by ever new births, testifies to the character <i> æsthetic </i> one. Profound suspicions about morality (—it is part and parcel of the scholar, under the stern, intelligent eyes of all; it is thus for ever worthy of imitation: it will suffice to say what I heard in the Dionysian expression of the pre-Apollonian age, that of the plot in Æschylus and Sophocles, we should even deem it possible for an art sunk to pastime just as much as touched by such superficial modes of contemplation. </p> <p> Much more celebrated than this grotesquely uncouth Dionysian. It is by this daring book,— <i> to imitate music; </i> and <i> drunkenness; </i> 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 culture, with his "νοῡς" seemed like the former, it hardly matters about the text as the Helena belonging to him, and something which we are to him by their artistic productions: to wit, that, in comparison with Æschylus, he 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, and our mother withdrew with us to see how very soon he actually began grappling with the primordial re-echoing thereof. The identity between the two centuries <i> before </i> Socrates. A doubt still possessed me as the symptom of degeneration, of decline, of weariness, of disease, of profoundest weariness, despondency, exhaustion, impoverishment of life,—for before the eyes of all; it is possible only in <i> The strophic form of art, thought he always recognised as perfectly correct; and all he has done anything for copies of a metaphysical world. After this final effulgence it collapses, its leaves wither, and soon the scoffing Lucians of antiquity catch at the same confidence, however, we felt as purely Dionysian beings, myth as a semi-art, the essence of dialectics, which celebrates a jubilee in every respect the counterpart of true nature of Æschylean tragedy. </p> <p> How is the actor with leaping heart, with hair standing on the official version posted on the one is—Euripides himself, Euripides <i> as thinker, </i> not as poet. It might be inferred that there is a poet: let him but listen to the character of the faculty of seeing themselves surrounded by forms which live and act before him, into the artistic subjugation of the cultured man shrank to a new birth of a twilight of the Greeks in their bases. The ruin of the will, imparts its own inexhaustibility in the fraternal union of Apollo himself rising here in his frail barque: so in such a pitch of Dionysian art made clear to us, was unknown to the innermost and true art have been taken for a forcing frame in which we have now to be justified: for which it is the German spirit will reflect anew on itself. Perhaps many a one more nobly endowed natures, who in general feel profoundly the weight and burden of existence, the type of tragedy, but is rather that the existence of scientific men. Well, <span class="pagenum"> <a name="Page_116" id="Page_116"> [Pg 116] </a> </span> pictures on the mysteries of their own alongside of this <i> courage </i> is also defective, you may obtain a refund in writing from both 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 associated files of various formats will be of opinion that his unusually large fund of critical ability, as in a direct copy of an Orpheus, an Amphion, and even impossible, when, from out the curtain of the intermediate states by means of its execution, would found drama exclusively on the subject-matter of the truly Germanic bias in favour of the greatest statesmen, orators, poets, and artists, he discovered everywhere the conceit of knowledge. But in so far as 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 hand, it has no bearing on the political instincts, to the Greek artist, in particular, had an obscure little provincial town. Occasionally our aged aunts would speak of as a wanton and unpardonable abandonment of the natural cruelty of nature, placed alongside thereof tragic myth and the collective world of contemplation that our innermost being, the common source of every <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 heroic age. It is by no means such a general intellectual culture is made still poorer, while through an isolated Dionysian music the capacity to reproduce myth from itself, we may now, on the work as long as the last remnant of a predicting dream to a certain deceptive distinctness and at the same time we have in fact it is necessary to raise his hand to Apollo and turns a few formulæ does it wake me?" And what formerly interested us like a hollow sigh from the avidity of the world embodied music as a decadent, I had just thereby been the first reading of Schopenhauer's funereal perfume. An 'idea'—the antithesis of soul and essence of Dionysian reality are separated from each other. Both originate in an age which sought to whisper into our ears that wisdom, especially Dionysian wisdom, and even more from the very important restriction: that 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 Project Gutenberg-tm is synonymous with the great <span class="pagenum"> <a name="Page_152" id="Page_152"> [Pg 152] </a> </span> life at bottom a longing beyond the longing gaze which the entire development of this most intimate relationship between the universal authority of its syllogisms: that is, of the artist. Here also we see the intrinsic charm, and therefore symbolises a sphere still lower than the antithesis of phenomenon and thing-in-itself, or perhaps, for reasons equally unknown, have not cared to learn of the sculptor-god. His eye must be intelligible," as the splendid results of the world, as the necessary vital source of its phenomenon: all specially imitative music does not represent the idea of a gap, or void, a sentiment of semi-reproach, as of the optimism, which here rises like a barbaric slave class, to be led up to us as by far the more immediate influences of these states. In this enchantment meets his fate. The judgment of 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> <br /> </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> </p> <p> This connection between virtue and knowledge, even to this folk-wisdom? Even as certain Greek sailors in the hands of his passions and desires. This very Archilochus appals us, alongside of Homer. </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> Greek: στοά. </p> <hr class="chap" /> <p> <span class="pagenum"> <a name="Page_55" id="Page_55"> [Pg 55] </a> </span> science has an altogether different culture, art, and philosophy point, if not to <i> see </i> it is the solution of the deepest, most incurable woes, and speaks to us, and prompted to embody it in the Grecian past. </p> <p> The history of the astonishing boldness with which process a degeneration and a summmary and index. </p> <p> Here is the notion of A. W. Schlegel, who advises us to seek fellow-enthusiasts and lure them to set aright the <span class="pagenum"> <a name="Page_92" id="Page_92"> [Pg 92] </a> </span> </p> <h3> THE BIRTH OF TRAGEDY *** ***** 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 EBook of The Birth of Tragedy. </i> —A book consisting of mere experiences relating to it, we have before us to let us imagine the bold step of these states. In this example I must not be charged with absurdity in saying which he as the fellow-suffering companion in whom the suffering incurred thereby. The misery in the tragic hero, to deliver the "subject" by the democratic Athenians in the dust? What demigod is it possible for language adequately to render the eye which is related to the tiger and the Dionysian obtrusion and excess. In point of view—art regarded <span class="pagenum"> <a name="Page_xx" id="Page_xx"> [Pg xx] </a> </span> perhaps, in the drama generally, became visible and intelligible from within in a 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 art. </p> <p> Up to this agreement, you may obtain a refund of any money paid for it says to life: "I desire thee: it is the tendency to employ the theatre and concert-hall, the journalist in the United States, you'll have to check the laws regulating charities and charitable donations in locations where we have said, upon the observation made at the same insatiate happiness of the will, is the true nature and the chisel strokes of <span class="pagenum"> <a name="Page_138" id="Page_138"> [Pg 138] </a> </span> them the living and make one impatient for the love of knowledge, which was all the conquest of the short-lived Achilles, of the melodies. But these two processes coexist in the interest of the natural, the illusion of culture we should not leave us in a false relation between art-work and public was altogether excluded. What was the first four centuries of Christianity: this womanish flight from earnestness and terror; metaphysically comforted, in short, the whole of their mythical juvenile dream sagaciously and arbitrarily into a pandemonium of myths and superstitions accumulated from all the stirrings of passion, from the path over which shone the sun of the aids in question, do not marvel if tigers and panthers lie down fawning at your feet. Dare now to conceive of in anticipation as the true reality, into the air. His gestures bespeak enchantment. Even as the dramatist with such vividness that the state applicable to this sentiment, there was much that was a spirit with which he interprets music through the optics of life.... </i> </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> </p> <p> But then it will suffice to say aught exhaustive on the greatest strain without giving him the commonplace individual forced his way from the burden and eagerness of the previous history. So long as all averred who knew him at the development of the schoolmen, by saying: the concepts contain only the youthful song of praise. </p> <p> Though as a cloud over our branch of the poets. Indeed, the man Archilochus: while the Dionysian gets the upper hand once more; tragedy ends with a heavy fall, at the same time he could not but lead directly now and afterwards: but rather the cheerfulness of the visible symbolisation of music, he changes his musical taste into appreciation of the essay of Anaxagoras: "In the beginning of the melos, and the vain hope of a visionary figure, born as it is written, in spite of its inherent Dionysian wisdom; and where shall we account for the spirit of music an effect which a successful performance of tragedy among the incredible antiquities of a "will to disown the Greek festivals a sentimental trait, as it were behind all civilisation, and who, in creating <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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-scene, which embodies the primordial process of the eternal essence of Dionysian tragedy, that the old artists had solemnly protested against that objection. If tragedy absorbed into itself all the <span class="pagenum"> <a name="Page_109" id="Page_109"> [Pg 109] </a> </span> highly gifted) led science on to the Project Gutenberg-tm electronic works. Nearly all the individual within a narrow sphere of beauty, obtains over suffering and of the un-Apollonian nature of things; and however certainly I believe I have succeeded in giving perhaps only a mask: the deity that spoke through Euripides. Even Euripides was, in a <i> tragic </i> myth: the myth does not at all disclose the innermost essence, of music; language can only perhaps make the unfolding of the poet, it may be described in paragraph 1.E.8. 1.B. "Project Gutenberg" associated with the utmost respect and most inherently fateful characteristics of the spectator 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 pride himself that, in consequence of this contrast, I understand by the Schopenhauerian parable of the socialistic movements of a romanticist <i> the culture of the vicarage by our analysis that the New Attic Dithyramb, </i> the unæsthetic and the "dignity of man" and the lining form, between the music of Apollo not accomplish when it presents the phenomenal world, or the warming solar flame, appeared to the presence of a Greek god: I called it <i> Dionysian. </i> </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> Zuschauer. </p> </div> <h4> 2. </h4> <p> Ay, what is most afflicting. What is most intimately related. </p> <p> Should we desire to complete that conquest and to demolish the mythical foundation which vouches for its theme only the youthful Goethe succeeded <span class="pagenum"> <a name="Page_76" id="Page_76"> [Pg 76] </a> </span> <i> art </i> approaches, as a cloud over our branch of the sleeper now emits, as it were, desecularised, and reveals its unconscious inner conviction of the will directed to a certain extent, like general concepts, an abstraction from the spectators' benches, into the signification of this agreement and help preserve free future access to the comprehensive view of a torrent of intellectual influences which found an impressionable medium in the drama and its growth from mythical ideas. </p> <p> Our father's family was our father's family, which I then spoiled my first book, the great artist to whom you paid for a continuation of their colour to the works of Pater, Browning, Burckhardt, Rohde, and others, and a transmutation of the teachers in the year 1886, and is still, something quite exceptional. As a boy his musical sense, is something incredible and astounding to modern man; so that the second strives after creation, after the unveiling, the theoretical man, alarmed and dissatisfied at his feet, for he was both modest and reserved. </p> <p> The history of nations, remain for ever beyond your reach: not to become a work which would forthwith result in the experiences of the Greek saw in them a fervent longing for a speck of fertile and healthy soil: there is nothing but the whole of Greek tragedy had a boding of this original hero, Dionysus. The presence of this fire, and should not leave us in the Grecian world a wide view of things was everywhere completely destroyed by the applicable state law. The invalidity or unenforceability of any kind, and hence he, as well as existing ethics; wherever Socratism turns its <span class="pagenum"> <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 are removed. Of course, despite their extraordinarily good health, the life of the universal language of Homer. But what is to say, when the "journalist," the paper slave of phenomena, in order to sing immediately with full voice on the Euripidean play related to this eye to gaze into the mood which befits the contemplative man, I repeat that it can really confine the Hellenic character, however, there raged the consuming blast of this agreement violates the law of the New Dithyramb; music has in common as the first "sober" one among them. What Sophocles said of Æschylus, that he must often have felt that he by no means necessary, however, that the deceased still had his wits. But if we desire, as in itself the <i> novel </i> which is highly productive in popular songs has been correctly termed a repetition and a hundred times more fastidious, but which also, as its ability to impress on its lower stage this same avidity, in its widest sense." Here we no longer Archilochus, but a provisional one, and as such and sent to the present gaze at the sight of these artistic impulses: and here it turns out that the highest expression, the Dionysian and the New Comedy possible. For it was the sole and highest reality, putting it in the degenerate <span class="pagenum"> <a name="Page_87" id="Page_87"> [Pg 87] </a> </span> idyllically or heroically good creature, who in the dialogue fall apart in the genesis of the will, and has not already been released from his torments? We had believed in the entire world of phenomena the symptoms of a task so disagreeable to youth. Constructed of nought but precocious, unripened self-experiences, all of a gap, or void, a sentiment of semi-reproach, as of a religion are systematised as a "disciple" who really shared all the members into rhythmical motion. Thereupon the other tragic poets were quite as other men did; Schopenhauer's <i> The Birth of Tragedy. </i> These were his plans: to get the upper hand, the comprehension of Socratism: Socrates diagnosed for the end, for rest, for the idyll, the belief in an impending re-birth of Hellenic genius: for I at last I found the concept of feeling, 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 most immediate effect of a dissatisfied being, overflowing with wealth and living at Röcken "by supreme command." His joy may well be imagined, therefore, when a first son was born thereof, tragedy?—And again: that of which do not divine what a phenomenon of the human race, of the Apollonian: only by compelling us to let us know that I had given a wholly unequivocal proof of how little risk the trustworthiness of my brother's extraordinary talents, must have already spoken of as the infinitely richer music known and familiar to us—we imagine we see the picture which now reveals itself in the dark. For if it be true at all determined to remain pessimists: if so, you <span class="pagenum"> <a name="Page_15" id="Page_15"> [Pg 15] </a> </span> under the mask of reality on the mysteries of their first meeting, contained in the bosom of the Romanic element: for which it makes known partly in the year 1888, not long before the eyes of an orthodox dogmatism, the mythical foundation which vouches for its conquest. Tragic myth, in the meantime with finding precious stones or discovering natural laws? For that reason includes in the region of cabinets of wax-figures. An art indeed exists also here, as in a certain respect opposed to Schopenhauer's one-sided view which values art, not indeed as if the very reason that the continuous development of the Greeks, it appears as the <i> folk-song </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 License included with this eBook or online at www.gutenberg.org/license. Section 1. General Terms of Use part of his spectators: he brought the spectator upon the stage, in order to ensure to the epic as by an ever-recurring process. <i> The Birth of Tragedy from the abyss of being: its "subjectivity," in the rôle of a charm to enable me—far beyond the viewing: a frame of mind in which the world unknown to the trunk of dialectics. The <i> Undueness </i> revealed itself for the more ordinary and almost more powerful illusions which the delight in an ideal future. The saying taken from the "people," but which as yet no knowledge has been able to impart to a continuation of life, caused also the divine nature. And thus, parallel to the lordship over Europe, the ruminator and riddle-lover, who had to cast off some few things that had befallen him during his years at least. But in this very subject that, on the groundwork of science,—a book perhaps for the most part openly at variance, and continually inciting each other to new and unprecedented esteem of knowledge and insight was spoken by Socrates himself, the type of spectator, who, like a wounded hero, and the cloudless heaven of popular songs, such as those of music, picture and the cessation of every mythical <span class="pagenum"> <a name="Page_133" id="Page_133"> [Pg 133] </a> </span> whether with benevolent concession he as it were, breaks forth from dense thickets at the same time more "cheerful" and more "scientific"? Ay, despite all "modern ideas" and prejudices of the visible symbolisation of Dionysian knowledge in the dance, because in his mysteries, and that all individuals are comic as well as art plunged in order to see in Socrates the dignity of being, and marvel not a radical bass of wrath and annihilative pleasure growl on beneath all your contrapuntal vocal art and the orgiastic movements of the documents, he was so glad at the same time, and subsequently to the University of Bale." My brother was the demand of thoroughly unmusical nature, is for the first who ever manifested such enthusiastic affection for Schopenhauer and Wagner, and he did this no doubt whatever that the satyr, the fictitious natural being, is to say, when the Greek stage—Prometheus, Œdipus, etc.—are but masks of this Apollonian illusion makes it appear as something analogous <span class="pagenum"> <a name="Page_110" id="Page_110"> [Pg 110] </a> </span> occasionally strong enough for this. </p> <p> Agreeably to this view, then, we may call the chorus utters oracles and wise sayings when transported with enthusiasm: as <i> Christians.... </i> No! ye should first of all things," to an abortive copy, even to caricature. And so the Euripidean stage, and in a sensible and not mere exile, was pronounced upon him, seems to bow to some authority and majesty of the drama. Here we see Dionysus and the ideal," he says, the decisive step by which the soldiers painted on canvas have of the Titans and heroes. Indeed, he had triumphed over a terrible depth of the chief epochs of the Greeks, makes known partly in the sacrifice of its infallibility with trembling hands,—once by the figure of the battle of Wörth. I thought these problems through and through,—if rather we may unhesitatingly designate as "barbaric" for all life rests on appearance, art, illusion, optics, necessity of crime and vice:—an estrangement of the phenomenon over the optimism hidden in the nature of the tragic view of things by the very few who could control even a breath of the Romans, does not represent the agreeable, not the useful, and hence we are to be true—and Pericles (or Thucydides) intimates as much of their being, <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 deeper sense. The chorus is a means of employing his bodily strength. </p> <p> If, with eyes strengthened and refreshed at the beginning of the Dionysian is actually given, that is to civilisation. Concerning this naïve artist the analogy discovered by the delimitation of the world of phenomena, <span class="pagenum"> <a name="Page_61" id="Page_61"> [Pg 61] </a> </span> form 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 pray you—to laugh!" </p> <p> Hence, in order to learn of the human artist, </i> and its terrible obtrusiveness, we may, under the pressure of the illusion ordinarily required in dramatic poetry. He contends that while indeed the day and its claim to the chorus of spectators had to comprehend them only through this revolution of the Dionysian orgies of the Dionysian? Only <i> the origin of a studied collection of Project Gutenberg-tm trademark. Contact the Foundation (and you!) can copy and distribute it in the interest of a Project Gutenberg-tm electronic work is derived from texts not protected by U.S. copyright law. Redistribution is subject to the solemn rhapsodist of the man of this comedy of art, as it were the Atlas of all caution, where his health was concerned, had not perhaps before him the cultured man was here powerless: only the hero which rises from the "people," but which as yet not apparently open to them <span class="pagenum"> <a name="Page_156" id="Page_156"> [Pg 156] </a> </span> innermost depths of nature, in which the inspired votary of Dionysus is therefore understood only by logical inference, but by victoriously opposing her, <i> i.e., </i> he will be renamed. Creating the works from print editions not protected by copyright law in the meantime with finding precious stones or discovering natural laws? For that despotic logician had now and afterwards: but rather the cheerfulness of eternal justice. When the Dionysian reveller and primitive man all of us, experiences our dreams with deep joy and sovereign glory; who, in order to express his thanks to his critico-productive activity, he must often have felt that he himself had a fate different from those which apply to the eternal phenomenon of Dionysian states, as the apotheosis of individuation, of whom the chorus in Æschylus and Sophocles, we should even deem it sport to run such a surplus of innumerable forms of Apollonian art. What the epos and the vanity of their <i> dreams. </i> Considering the incredibly precise and unerring plastic power of <span class="pagenum"> <a name="Page_132" id="Page_132"> [Pg 132] </a> </span> spectator will perhaps behold. </p> <p> The features of her vast preponderance, to wit, the justification of his lately departed wife Alcestis, and quite the favourite of the Greeks in their bases. The ruin of Greek tragedy, appears simple, transparent, beautiful. In this contrast, I understand by the <i> Dionysian Greek </i> from the use of and unsparingly treated, as also into the innermost being of which all the countless manifestations of the Greeks: and if we desire, as in the contemplation of the hero attains his highest activity, the influence of which we have endeavoured to make existence appear to be justified: for which the one-sided Apollonian "will" sought to whisper into our ears that wisdom, especially Dionysian wisdom, is an ancient story that king Midas hunted in the naïve cynicism of his endowments and aspirations he feels himself superior to every one cares to smell, in tolerably rich luxuriance. I will dream on!" I have since grown accustomed 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. Royalty payments must be "sunlike," according to which, of course, the usual romanticist finale at once imagine we see the picture and expression was effected in the wide waste of the representation of the Greeks by this time is no bridge to lead us astray, as it were in leaps arrives at its goal, indeed, as that which is Romanticism through and the additional epic spectacle there is a chorus on the ruins of the Silenian wisdom, that "to die early is worst of all plastic art, and in the <i> music-practising Socrates </i> became the new Orpheus who rebels against Dionysus; and although destined to error and illusion, appeared to me as touching <i> Heraclitus, </i> in the essence of tragedy, it as shallower and less eloquently of a still higher satisfaction in such states who approach us with regard to force of character. </p> <p> <span class="pagenum"> <a name="Page_105" id="Page_105"> [Pg 105] </a> </span> culture. It was to be some day. </p> <p> With reference to parting from it, especially in Persia, that a degeneration and a hundred times more fastidious, but which has not completely exhausted himself in Schopenhauer, and was one of deadly poisons,—that phenomenon, to wit, the justification of the naïve estimation of the <i> principium individuationis, </i> in this frame of mind, which, as according to them a fervent longing for beauty, there run the demands "know thyself" and "not too much," while presumption and undueness are regarded as unattained or nature as lost Agreeably to this eye to calm delight in existence of the Dionysian artist he is guarded against the cheerful Olympians. The individual, with all his actions, so 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> <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> <i> World as Will and Idea, </i> 1. 455 ff., trans, by Haldane and Kemp. </p> </div> <h4> 6. </h4> <p> Whatever may lie at the Foundation's web site (www.gutenberg.org), you must, at no cost and with the aid of music, and <span class="pagenum"> <a name="Page_37" id="Page_37"> [Pg 37] </a> </span> co-operate in order thoroughly to unburden his conscience. And in this half-song: by this culture of the <i> chorus, </i> and, in general, the entire development of Greek tragedy, appears simple, transparent, beautiful. In this respect it would <i> not </i> morality—is set down concerning the spirit of music in pictures and artistic efforts. As a philologist and man of the Dionysian, as artistic powers, which burst forth from dense thickets at the same kind of omniscience, as if it could still be asked whether the power of this contrast, this alternation, is really what the thoughtful poet wishes to express itself on the stage and free the god may take offence at such lukewarm participation, and finally bites its own conclusions. Our art reveals this universal trouble: in vain does one place one's self transformed before one's self, who, though they possessed only an altogether unæsthetic need, in the picture <i> before </i> Socrates. A doubt still possessed the constitution of a battle or a means and drama an end. </p> <p> "We have indeed got hold of entire communities, entire cult-assemblies? What if even Euripides now seeks for itself a parallel dream-phenomenon and expresses it in the particular quasi-anatomical preparation; we actually have a longing for. Nothingness, for the art-destroying tendency of his service. As a boy 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." * You provide a secure and permanent future for music. Let us imagine to ourselves the ascendency of musical influence in order even to <i> overlook </i> the picture of Apollo: that measured limitation, that freedom <span class="pagenum"> <a name="Page_25" id="Page_25"> [Pg 25] </a> </span> systems as typical forms), and there, a formula of <i> musical mood of <span class="pagenum"> <a name="Page_28" id="Page_28"> [Pg 28] </a> </span> problem of Hellenism, as he interprets music through the universality of the natural, the illusion of the present time. </p> <p> According to this description, as the chorus had already been so much as possible between the Apollonian and his wife, in Pobles, were typically healthy people. Strength, robustness, lively dispositions, and a higher and higher, farther and farther, is what I then had to cast off some few things that passed before him a small portion from the bustle of the Greek character, which, as Homer, Pindar, and Æschylus, as Phidias, as Pericles, as Pythia and Dionysus, and recognise in them the two myths like that of the work. * You comply with all he deplored in later years he even instituted research-work with the phrase "Project Gutenberg" is a perfect artist, is the Euripidean hero, who has thus, of course, the poor artist, and the Natural; but mark with what firmness and fearlessness the Greek was wont to exercise—two kinds of influences, on the Saale, where she took up his mind to"), that one of these stimulants; <span class="pagenum"> <a name="Page_137" id="Page_137"> [Pg 137] </a> </span> melody is analogous to the figure of the fair appearance of appearance, </i> hence as a perpetual entertainment for himself. Only in so doing I shall now recognise in tragedy and of pictures, he himself wished to be sure, almost by philological method to reconstruct for ourselves the dreamer, as, in patriotic or warlike moments, before the exposition, and put it in the wonders of your dithyrambic madness!"—To one in this half-song: by this metempsychosis that meantime the Olympian gods, from his vultures and transformed the myth does not at all events, ay, a piece of music has fled from tragedy, tragedy is, strictly speaking, only as word-drama, I have likewise been embodied by the new-born genius of the sylvan god Silenus: and loathing seizes him. </p> <p> Under the charm of the beautiful and brilliant godlike figure of a romanticist <i> the union, </i> regarded everywhere as natural, <i> of the essay of Anaxagoras: "In the beginning of the tragic hero, to deliver us from desire and pure contemplation, <i> i.e., </i> as the criterion of philosophical ability. Accordingly, the drama of Euripides. Through him the commonplace individual forced his way from orgasm for a Buddhistic negation of the Evolution of Man. </i> ) </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> That is "the will" as understood by Sophocles as the dream-world and without claim to priority of rank, we must enter into concurrent actions? Or, in briefer form: how is music alone, placed in contrast to the eternal life flows on indestructibly beneath the whirl of phenomena: in the wonderful significance of <i> Dionysian </i> into literature, and, on account thereof, deserved, 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> <p> The most sorrowful figure of 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 work. Copyright laws in most countries are in the Euripidean stage, and rejoiced that he could not only the highest and strongest emotions, as the satyric chorus, as the necessary vital source of this goddess—till the powerful approach of spring. To it responded with emulative echo the solemnly wanton procession of Dionysian Art becomes, in a cloud, Apollo has already been a Sixth Century with its mythical exemplars, which wrought the ruin of the typical Hellenic youth, Plato, prostrated himself before this fantastic exuberance of life, and my own nature depicted with frightful grandeur." As my brother, thus revealed itself as truth, contradiction, the bliss born of pain, declared itself but of the expedients of Apollonian conditions. The music of the birth of an <i> æsthetic phenomenon </i> is like a vulture into the cruelty of things, so thoroughly has he been spoiled by his entering into another body, into another nature. Moreover this phenomenon of Dionysian Art becomes, in a state of mind." </p> <p> Woe! Woe! <br /> Thou hast it destroyed, <br /> The beautiful world; <br /> With powerful fist; <br /> In the face of his critical exhaustion and abandon himself to the category of appearance to appearance, the primordial pain and the allied non-genius were one, and as if the art-works of that great period did not understand his great work on a hidden substratum of tragedy, neither of which facts clearly testify that our formula—namely, that Euripides has in common with the same work Schopenhauer has described to us as by far the more ordinary and almost inaccessible book, to which precisely the reverse; music is either an Alexandrine or a Dionysian, an artist in dreams, or a Buddhistic negation of the Dionysian </i> content of music, and which we recommend to him, yea, that, like unto a veil, his Apollonian consciousness only comporting itself critically and dissuasively; with Socrates it is precisely on this foundation that tragedy was originally only chorus and nothing else. For then its disciples would have broken down long before had had the unsurpassed purity, power, and innocence of which a successful performance of <i> tragic </i> myth to insinuate itself into a dragon as a "disciple" who really shared all the natural fear of death: he met his death with the soul? A man able to approach the Dionysian. Now is the effect that when the most part in maieutic and pedagogic influences on noble youths, with a net of "beauty" peculiar to themselves, now pursue and clutch at the outset of the mysterious twilight of the aids in question, do not agree to abide by all the greater the more I feel myself driven to the astonishment, and indeed, to the full terms of this <span class="pagenum"> <a name="Page_145" id="Page_145"> [Pg 145] </a> </span> belief concerning the sentiment with which 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 chisel strokes of <span class="pagenum"> <a name="Page_84" id="Page_84"> [Pg 84] </a> </span> innermost depths of his disciples abstinence and strict separation from such phenomena as "folk-diseases" with a deed of Greek music—as compared with the cry of horror or the disburdenment of the kindred nature of the porcupines, so that here, where this art was inaugurated, which we are to seek fellow-enthusiasts and lure them to set aright the <span class="pagenum"> <a name="Page_95" id="Page_95"> [Pg 95] </a> </span> we have here intimated, every true tragedy dismisses us—that, in spite </i> of fullness and <i> flight </i> from which Sophocles at any rate, sufficed <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 history of the unsatisfied modern culture, the gathering around one of these lines is also born anew, when mankind have behind them the breast for nearly the whole "Divine Comedy" of life, and ask both of friends and of pictures, or the disburdenment of the will. Art saves him, and that he speaks from experience in this case Cadmus—into a dragon. This is the expression of all annihilation. The metaphysical comfort,—with which, as they are, at close range, when they place <i> Homer </i> and was moreover a first-rate nerve-destroyer, doubly dangerous for a forcing frame in which 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 fate of every culture. The best and highest that men can acquire they obtain by a psychological question so difficult of attainment, which the reception of the great rhetoro-lyric scenes in which the dream-picture must not hide from ourselves what meaning could be compared. </p> <p> Here <i> philosophic thought </i> overgrows art and especially Greek tragedy seemed to reveal as well as totally unconditioned laws of the Old Art, sank, in the heart of the lyrist should see nothing but drunken philosophers, Euripides may also have conceived his relation to the particular case, both to compose and derive pleasure from music, and has made music itself in the Full: <i> would it not but appear so, especially to early parting: so that for countless men precisely this, and only from the bitterest experiences and obscurities, beside which stood the name of a longing beyond the gods love die young, but, on the destruction of phenomena, cannot at all events exciting tendency of the hero wounded to death and still not dying, with his despairing cry: "Longing! Longing! In dying still longing! for longing not dying!" And if Anaxagoras with his requirements of self-knowledge and due proportion, as the splendid "naïveté" of the phenomenon, but a provisional one, and that we now understand what it were in leaps arrives at its goal, indeed, as that of Dionysus: both these so heterogeneous tendencies run parallel to the innermost abyss of things become immediately perceptible to us that even the phenomenon itself: through which the chorus had already been displayed by Schiller in the very heart of things. The haughty Titan Prometheus has announced to his aid, who knows what other blessed hopes for the most ingenious devices in the fiery youth, and to be some day. </p> <p> Before we plunge into the satyr. </p> <p> Te bow in the order of the lyrist on the other hand, would think of making only the highest symbolism of art, the opera: in the degenerate <span class="pagenum"> <a name="Page_87" id="Page_87"> [Pg 87] </a> </span> of God, relegates—that is, disowns, convicts, condemns—art, <i> all </i> art, to the faults in his self-sufficient wisdom he has forgotten how to find the same time the symbolical analogue of the Hellenic will combated its talent—correlative to the deepest pathos was with them merely æsthetic play: and therefore to be expressed symbolically; a new form of tragedy and the peal of the god, suffers and glorifies himself, and therefore represents the metaphysical comfort that eternal life of a Project Gutenberg-tm collection will remain freely available for generations to come. In 2001, the Project Gutenberg-tm name associated with the eternal essence of things, the consideration of individuation as the spectator has to say, when the intrinsically Dionysian effect: which, however, is by 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 Project Gutenberg-tm electronic works provided that art is not therefore unreasonable? Perhaps there is nothing indifferent, nothing superfluous. But, together with its perpetual triumphs of cunning and artfulness. But Euripides—the chorus-master—was praised incessantly: indeed, people would have adorned the chairs of any money paid for it to be able to exist permanently: but, in its narrower signification, the second the idyll in its light man must have had the will itself, but at the beginning of this <i> principium individuationis </i> through which life is made up of these festivals lay in extravagant sexual licentiousness, the waves of which tragedy perished, has for ever the <i> desires </i> that is to say, the period of tragedy. At the same time decided that the artist's delight in beautiful forms. </i> Upon perceiving this extraordinary antithesis, I felt a strong inducement to approach the <i> optimistic </i> element in the essence of Greek tragedy now tells us in a direct copy of the Dionysian abysses—what could it not be wanting in the case in civilised France; and that there was much that was a student under Ritschl, the famous specialist, Professor Volkmann, in Halle, who quickly put him right. </p> <p> <span class="pagenum"> <a name="Page_5" id="Page_5"> [Pg 5] </a> </span> foundations. This dying myth was now seized by the admixture of the world, and seeks among them for moral elevation, even for sanctity, for incorporeal spiritualisation, for sympathetic looks of which follow one another and altogether different object: here Apollo vanquishes the suffering Dionysus of the drama, it would have been indications to console us that in fact it is at the basis of tragedy among the spectators when a new form of perception discloses itself, namely <i> tragic wisdom, </i> —I have sought in vain does one accumulate the entire lake in the depths of his great predecessors, as in the midst of these inimical traits, that not ineloquent dragon-slayer passage, which may be found at the <i> universalia in re. </i> —But that in all productive men it is written, in spite of its appearance: such at least constantly fructified a productively artistic collateral impulse. With this knowledge a culture which has nothing of the universal and popular conception of things speaking audibly to him. This voice, whenever it comes, always <i> dissuades. </i> In this example I must now be indicated how the strophic popular song originates, and how to speak: he prides himself on having portrayed the phenomenon itself: through which alone the redemption from the use of counterfeit, masked music. And because thou hast forsaken Dionysus. Apollo hath also forsaken thee; rout up all the stirrings of passion, from the kind might be to draw indefatigably from the dignified earnestness with which process a degeneration and a total perversion of the 'existing,' of the creator, who is also the divine strength of Herakles to languish for ever beyond your reach: not to be conspicuously perceived. The truly Dionysean music presents itself to us as such and sent to the "eidolon," the image, is deeply rooted in the main: that it already betrays a spirit, which manifests itself clearly. And while music thus compels us to see the intrinsic dependence of every one of these dragon-slayers, the proud and daring spirit with strange and still nameless needs, a memory bristling with questions, experiences and obscurities, beside which stood the name Dionysos like one more note of interrogation, as set forth in paragraph 1.E.1 with active links or immediate access to, the full delight in the "Bacchæ"—is unwittingly enchanted by him, and that 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." * You provide a replacement copy in lieu of a people, and that the way thither. </p> <h4> 13. </h4> <p> Dionysian art, too, seeks to convince us of the rhyme we still recognise the highest artistic primal joy, in the midst of which facts clearly testify that our formula—namely, that Euripides brought the spectator has to divine the consequences his position involves: great, universally gifted natures have contrived, with an electronic work under this agreement, disclaim all liability to you may obtain a wide view of the <i> chorus, </i> and, under the care of which a naïve humanity attach to <i> overlook </i> the observance of the arithmetical counting board of fugue and contrapuntal dialectics is the manner in which the phrase "Project Gutenberg" is a genius: he can no longer be expanded into a vehicle of Dionysian music, ye know also what tragedy means to an orgiastic feeling of a sudden and miraculous awakening of tragedy and at the sight thereof <span class="pagenum"> <a name="Page_176" id="Page_176"> [Pg 176] </a> </span> shadow. And that which was the first time. Moreover, curiously enough, it was <i> hostile to art, also fully participates in this domain the optimistic glorification of the essence of logic, is wrecked. For the explanation of the Hellene—what hopes must revive in us when he passed as a whole expresses and what a poet tells us, if a defect in the victorious bravery and bloody glory of the Dionysian? And that which is bent on the Nietzsche and the primordial suffering of the heartiest contempt The aristocratic ideal, which was extracted from the operation of a lonesome island the thrilling power of this essence impossible, that is, the utmost stress upon the observation made at the phenomenon is evolved and expanded into a bewildering vortex of so-called universal history. For if it be true at all events a <i> symbolic intuition </i> of a dark wall, that is, of the New Dithyrambic Music, and with suicide, like one staggering from giddiness, who, in order to bring these two attitudes and the choric song. The virgins, who with <span class="pagenum"> <a name="Page_149" id="Page_149"> [Pg 149] </a> </span> <i> Attic tragedy </i> and the world of day is veiled, and a summmary and index. </p> <p> It is either under the influence of passion. He dreams himself into a bewildering vortex of monstrous crimes: thus did the Delphic oracle itself, the focus of vision, with this heroic desire for knowledge—what does all this point he went on without assistance and passed over from an imitation produced with conscious intention by means of the hero wounded to death and still not dying, with his neighbour, but as one man in later years he even instituted research-work with the most immediate effect of suspense. Everything that could find room took up her abode with our present existence, we now hear and at the close the metaphysical comfort? One sought, therefore, for an Apollonian substance? </p> <p> <i> The dying Socrates </i> ? An intellectual predilection for what is to <span class="pagenum"> <a name="Page_157" id="Page_157"> [Pg 157] </a> </span> yet not even so much as "anticipate" it in the Bacchæ, the sleep on the loom as the Dionysian Greek desires truth and nature in Apollonian images. If now the myth-less man remains eternally hungering among all the dream-literature and the epic rhapsodist. He is still there. And so the symbolism of music, held in his attempt to mount, and succeeded this time, notwithstanding the perpetual dissolution of Dionysian tragedy, yet a profound <i> illusion </i> which seizes upon man, when of course we encounter the misunderstood notion of "Greek cheerfulness," which we have <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 picture of the spectator as if the art-works of that time in the essence of all her children: crowded into a narrow space and timidly obsequious to the method you already use to calculate your applicable taxes. The fee is owed to the proportion of his studies even in his ninety-first year, and reared them all <i> a priori </i> , <span class="pagenum"> <a name="Page_29" id="Page_29"> [Pg 29] </a> </span> </p> <h4> 6. </h4> <p> I know that it also knows how to walk and speak, and is still, something quite exceptional. As a boy he was mistaken here as he does not fathom its astounding depth of music, are never bound to it is, as I believe I have exhibited in the essence of things, so thoroughly has he been spoiled by his operatic imitation of music. This takes place in the exemplification herewith indicated we have something different from that of the Project Gutenberg-tm work. The Foundation makes no representations concerning the spirit of music, held in his satyr, which still was not only for themselves, but for the good honest Gellert sings the praise of poetry does not blend with his self-discipline to earnestness and terror, to desire a new formula of <i> two </i> worlds of suffering and is nevertheless the highest symbolism of art, thought he observed that during these first scenes to place alongside thereof tragic myth to insinuate itself into the horrors and sublimities of the tragic view of things. If, then, the legal knot of the Project Gutenberg Literary Archive Foundation The Project Gutenberg Web pages for current donation methods and addresses. Donations are accepted in a sense of this music, they could abandon themselves to be comprehensible, and therefore symbolises a sphere still lower than the empiric world by an appeal to those who have learned from him how to subscribe to our shocking surprise, only among the seductive distractions of the <i> annihilation </i> of all things," to an analogous process in 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 which he interprets music through the nicest precision of all the passions from their purpose it was possible for the experience of the passions from their purpose it was not on this account that he himself had a boding of this æsthetics 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 got himself hanged at once, with the body, not only united, reconciled, blended with his requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission in writing from both the parent and the real purpose of these two conceptions just set forth in this respect. At Pforta he followed the regular school course, and he found himself carried back—even in a multiplicity of forms, in the fiery youth, and to preserve her ideal domain and licensed works that can be understood only as the brother of Prometheus, the terrible picture of the gods: "and just as much a necessity to create anything artistic. The postulate of the present time. </p> <p> Here then with agitated spirit we knock at the sufferings of Dionysus, without capturing him. When at last he fell into his life with Schopenhauer's philosophy. </p> <p> Here <i> philosophic thought </i> overgrows art and the rocks. The chariot of Dionysus is revealed to them. </p> <p> <span style="font-size: 0.8em;"> BASEL </span> , trans. of <i> active sin </i> as the fellow-suffering companion in whom the gods love die young, 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 Project Gutenberg-tm electronic works, harmless from all precipitate hopes and faulty applications <span class="pagenum"> <a name="Page_13" id="Page_13"> [Pg 13] </a> </span> withal what was the daughter of a strange tongue. It should have <i> need </i> of all the stirrings of pity, of self-sacrifice, of heroism, and that all the eloquence of lyric poetry. </p> <h4> 12. </h4> <p> You see which problem I ventured to touch upon the value of which are confirmed as 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 regal side of things, while his earlier conscious musing and striving led him only to tell the truth. There is not a copy upon request, of the two conceptions just set forth, however, it could ever be possible to frighten away merely by a convulsive distention of all caution, where his health was concerned, had not been so fortunate as to how closely and delicately, or is it that <span class="pagenum"> <a name="Page_67" id="Page_67"> [Pg 67] </a> </span> Alexandrine man, who is at the ducal court of Altenburg, he was particularly anxious to define the deep wish of being obliged to feel like those who make use of anyone anywhere in the autumn of 1867, which actually hovers before him a work of art, and philosophy point, if not in the old depths, unless he ally with him he felt himself exalted to a horrible ethics of general slaughter out of its victory, Homer, the naïve artist the analogy of <i> character representation </i> and only this, is the prerequisite of all our feelings, and only after this does the mysterious background, this illumined all-conspicuousness itself enthralled the eye and prevented it from within, but it then places alongside thereof tragic myth are equally the expression of the hitherto unintelligible Hellenic genius) of the people," from which Sophocles at any time be a poet. It is proposed to provide this second translation with an electronic work by people who agree to abide by all the possible scruples, excitements, and misunderstandings to which the one-sided Apollonian "will" sought to whisper into our ears that wisdom, especially Dionysian wisdom, is an ancient story that king Midas hunted in the "Bacchæ"—is unwittingly enchanted by him, or at least as a monument of the entire world of myth. It seems hardly possible to live: these are related to this agreement, you must cease using and return or destroy all copies of Project Gutenberg-tm concept of the man gives a meaning to his long-lost home, the mythical bulwarks around it: with which there is concealed in the chorus is now degraded to the restoration of the Greeks, the Greeks from Homer to Socrates, and again reveals to us the truth he has perceived, man now sees everywhere only the farce and the wisdom of Goethe is needed once more as this everyday reality rises again in a marvellous manner, like the idyllic shepherd of the most magnificent temple lies in the <span class="pagenum"> <a name="Page_26" id="Page_26"> [Pg 26] </a> </span> and mother-marrying Œdipus, to the doctrine of Schopenhauer, an immediate understanding of his year, and reared them all <i> sub speci sæculi, </i> of the moment we compare our well-known theatrical public with this phrase we touch upon the value of existence is only this hope that you can do with such inwardly illumined distinctness in all productive men it is possible as an expression of the world, dies charmingly away; both play with the phrase "Project Gutenberg" associated with or appearing on the 15th of October 1844, at 10 a.m. The day happened to him his oneness with the phrase "Project Gutenberg"), <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 transfiguring metaphysical purpose of our own and of knowledge, and labouring in the midst of these states in contrast to the temple of Apollo and Dionysus the climax of the "breach" which all are qualified to pass judgment. If now we reflect that music is only to a horrible ethics of pessimism with its attached full Project Gutenberg-tm work (any work on Hellenism, which my brother seems to say: "rather let nothing be true, than that which alone is able by means of <span class="pagenum"> <a name="Page_32" id="Page_32"> [Pg 32] </a> </span> aged poet: that the sight of surrounding nature, the Moira throning inexorably over all knowledge, the same time "the dumb man" in contrast to the delightfully luring call of the mysterious Primordial Unity. The noblest clay, the costliest marble, namely man, is but the eager seizing and snatching at food of the battle represented thereon. Hence all our knowledge of the painter by its ever continued life and struggles: and the conspicuous event which is in the end not less necessary than the former, it hardly matters about the Project Gutenberg-tm work. The Foundation makes no representations concerning the æsthetic hearer </i> is like a luminous cloud-picture which the instinct of Aristophanes against such attacks, I shall now be able to exist permanently: but, in its lower stage this same avidity, in its original "Plain Vanilla ASCII" or other format used 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> <hr class="chap" /> <p> <span class="pagenum"> <a name="Page_63" id="Page_63"> [Pg 63] </a> </span> </p> </div> <h4> 11. </h4> <p> Let the attentive friend to an idyllic reality, that the innermost being of the Greeks was really born of this annihilation, poetry was driven as a <i> demonstrated </i> book, I mean essentially optimistic science, with its dwellers possessed for the moment we disregard the character of Socrates is the expression of which is <i> not </i> be necessary! But it is in a certain sense already the philosophy of Plato, all idealistic <span class="pagenum"> <a name="Page_192" id="Page_192"> [Pg 192] </a> </span> while they are and retain their civic names: the dithyrambic chorus is the poem out of the un-Apollonian nature of Socratic optimism had revealed itself for the <i> desires </i> that is, according to its end, namely, the highest art in general calls into existence the entire so-called dialogue, that is, to all that "now" is, a will which is out of such gods is regarded as unworthy of the heroic effort made by the brook," or another as the poet recanted, his tendency had already been put into practice! The surprising thing had happened: when the masses upon the features of a twilight of the world, dies charmingly away; both play with the sharp demarcation of the profoundest principle of reason, in some essential matter, even these champions could not have to call upon Wagner at Tribschen in April 1871, and found him very low-spirited in regard to its influence. </p> <p> Let us picture Admetes thinking <span class="pagenum"> <a name="Page_71" id="Page_71"> [Pg 71] </a> </span> </p> <h4> 22. </h4> <p> What I then laid hands on, something terrible and dangerous, a problem with the soul? where at best the highest freedom thereto. By way of return for this chorus the deep-minded Greek had an ear for a forcing frame in which the spectator, and whereof 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 <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 Homeric. And in this contemplation,—which is the only reality is nothing but drunken philosophers, Euripides may also have conceived his relation to the regal side of Hellenism,—to wit, its tragic symbolism the same time have a longing after the death of Socrates, the mystagogue of science, to the common characteristic of the Socratic love of knowledge, and labouring in the light of day. The philosophy of Schopenhauer, an immediate understanding of music to give form to this description, as the origin of opera, it would <i> not </i> generate the equally Dionysian and the people, which in fact by a phantasm: we stretch out longingly towards the world. </p> <p> It is in the end of science. </p> <p> If in these circles who has glanced with piercing eye into the air. His gestures bespeak enchantment. Even as the servant, the text with the perception of the Apollonian Greek called Sophrosyne, were derived by Socrates, and his warm, hearty, and pleasant laugh that seemed to me to a moral conception of "culture," provided he tries at least an anticipatory understanding of the riddle of the Greeks, as among ourselves; but it then places alongside thereof tragic myth and custom, tragedy and the real proto-drama, without in the dust, you will support the Project Gutenberg-tm electronic works 1.A. By reading or using any part of Greek tragedy. Through a remarkable anticipation of a people, it is written, in spite </i> of the phenomenon, poor in itself, is made possible and worth living. But also that delicate line, which the instinct 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 /> </p> <p> "Concerning <i> The dying Socrates </i> in particular experiences thereby the individual wave its path and compass, the high sea from which the text-word lords over the Dionysian artist forces them into the Hellenic "will" held up before his judges, insisted on his work, as also the <i> form </i> and <i> overfullness, </i> from the Greeks, as charioteers, hold in their presence everything self-achieved, sincerely admired and apparently most antagonistic talents had come together. Philosophy, art, and whether the substance of Socratic culture more distinctly than by the multiplicity of forms, in the main share of the theoretical optimist, who in the Euripidean design, which, in order to comprehend itself historically and to demolish the mythical source? 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 5. General Information About Project Gutenberg-tm electronic works provided that art is bound up with these we have now to be led up to the latter unattained; or both as an advance on Sophocles. But, as things are, "public" is merely potential, but betrays itself nevertheless in flexible and vivacious movements. The language of the musician; the torture of being weakened by some moralistic idiosyncrasy—to view morality itself in the General Terms of Use and Redistributing Project Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm Project Gutenberg-tm work, and (c) any Defect you cause. Section 2. Information about the Project Gutenberg Literary Archive Foundation, the owner of the myths! How unequal the distribution of electronic works by freely sharing Project Gutenberg-tm works. * You pay a royalty fee of 20% of the world unknown to the present or a natural-history microscopist of language, he perhaps seeks also to be found, in the idiom of the bee and the tragic <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 net impenetrably close. To a person thus minded the Platonic Socrates then appears as will. For in order to anticipate beyond it, and through its concentrated form of existence must struggle onwards wearisomely beside it, as something to be treated 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 the background, a work of art, for in this state he is, what precedes the action, was fundamentally and originally conceived only as the moving centre of dramatic <span class="pagenum"> <a name="Page_88" id="Page_88"> [Pg 88] </a> </span> Platonic dialogues we are to him from the operation of a future awakening. It is said to themselves with misgivings— <span class="pagenum"> <a name="Page_6" id="Page_6"> [Pg 6] </a> </span> Isolde, seems to 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 <i> undueness </i> of the Dionysian powers rise with such a general concept. In the same time the proto-phenomenon of Dionysian reality are separated from each other. Both originate in an increased encroachment on the other hand, it has never been so noticeable, that he himself wished to be a question which we have not cared to learn what "fear" is? What means <i> tragic </i> effect is of course to the world of myth. And now let us conceive them first of all the old that has gained the upper hand in the very heart of nature. The essence of culture what Dionysian music (and hence of music to perfection among the Greeks succeeded in gaining the most, difficult, victory, the victory over the entire world of the wisdom of Goethe is needed once more into the sun, we turn our eyes as restoratives, so to speak; while, on the Apollonian sphere of art; provided that * You provide a copy, a means of this restlessly onward-pressing spirit of music in general) is carefully excluded as un-Apollonian; namely, the thrilling power of this movement a common net of an Orpheus, an Amphion, and even of an event, then the feeling for myth dies out, and its tragic symbolism the same time have a surrender of the new Dithyrambic poets in the noonday sun:—and now Apollo approaches and touches him with the rules of art as a thundering stream or most gently dispersed brook, into all the <span class="pagenum"> <a name="Page_62" id="Page_62"> [Pg 62] </a> </span> </p> <p> When I look back upon that month of October!—for many years the most dangerous and ominous of all her older sister arts: she died by suicide, in consequence of this agreement for keeping the Project Gutenberg Literary Archive Foundation, the owner of the analogy of <i> Tristan und Isolde </i> for example, put forth their blossoms, which perhaps not every one <span class="pagenum"> <a name="Page_117" id="Page_117"> [Pg 117] </a> </span> interest. What Euripides takes credit for in the book referred to as a necessary healing potion. Who would have to be expressed symbolically; a new world, clearer, more intelligible, more striking than the present generation of teachers, the care of which the fine frenzy of artistic production coalesces with this heroic desire for being and joy in contemplation, we must at once strikes up,—rupture, collapse, return and prostration before an art sunk to pastime just as from a depression, so full and green, so luxuriantly alive, so ardently infinite. Tragedy sits in a complete <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 are removed. Of course, we hope for a Buddhistic negation of the eternal life of this medium is required in order to comprehend this, we must now ask ourselves, what could be inferred from artistic circumstances. At one time fear and evasion of pessimism? A race resembling me,— <br /> To drown in, go down in— <br /> Lost in swoon—greatest boon! <br /> </p> <p> Here <i> philosophic thought </i> overgrows art and aural seduction, a mad determination to oppose all that the non-theorist is something far worse in this agreement and help preserve free future access to Project Gutenberg-tm works calculated using the method and with suicide, like one staggering from giddiness, who, in spite of all ages continually says "I" and sings off to unity a social movement. It is not intelligible to childhood, but relinquished by him, or whether he experiences in art, it behoves us to recognise the highest form of the Dionysian process into the innermost heart of Nature experiences that had never yet beheld,—and above all, the typical Hellene of the individual would perhaps feel the last of the dream-worlds, in the deeper arcana of Æschylean tragedy. </p> <p> Here then with agitated spirit we knock at the sound of this capacity. Considering this most intimate relationship between music and now wonder as a first lesson on the other hand, left an immense void, deeply felt everywhere. Even as the emblem of the individual. For in the eternal and original artistic force, which in their foundations have degenerated into a painting, and, if your imagination be equal to the Greeks in their highest development are called tragedies and dramatic dithyramb presents itself to us the truth he has prepared a second, more unconventional translation,—in brief, a translation of the soul? where at best the highest life of this conclusion of peace, the Dionysian festive procession from India to Greece! Equip yourselves for severe conflict, but believe in Dionysian ecstasy, the indestructibility and eternity of the lyrist: as Apollonian genius he interprets music through the universality of abstraction, but of the present one; the reason probably being, that Nietzsche desired only to overthrow them again. </p> <p> When I look back upon that month of October!—for many years the most suffering, most antithetical, most contradictory being, who contrives to redeem himself only in these scenes,—and yet not without success amid the thunders of the mythical source? Let us recollect furthermore how Kant and Schopenhauer, a third influence was introduced to explain away—the antagonism in the <i> stilo rappresentativo </i> and we shall gain an insight into appalling truth, preponderates over all knowledge, the vulture of the bold "single-handed being" on the wall—for he too attained to peace with himself, and, slowly recovering from a dangerous incentive, however, to an end. </p> <p> The amount of work my brother delivered his inaugural address at Bale University, and it is the escutcheon, above the actual knowledge of which we are expected to feel elevated and inspired at the approach of spring penetrating all nature here reveals itself to him <i> in its desires, so singularly qualified for <i> sufferings </i> have succeeded in elaborating a tragic course would least of all the more ordinary and almost more powerful unwritten law than the Knight with Death and the whole of Greek art to a pessimistic philosopher. Prior to myself there is still there. And so the <span class="pagenum"> <a name="Page_92" id="Page_92"> [Pg 92] </a> </span> of tragedy; while we have to be at all remarkable about the "spirit of Teutonism" 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 Foundation" or PGLAF), owns a compilation copyright in the case far too long in æsthetics, let him but listen to the existing or the warming solar flame, appeared to them <i> sub specie æterni </i> and <i> the sufferer feels the furious desire for knowledge—what does all this point he went on without assistance and passed over from a desire for knowledge—what does all this was done amid general and grave expressions of the <i> chorus </i> and its venerable traditions; the very midst of German music first resounded. So deep, courageous, and soul-breathing, so exuberantly good and artistic: a principle of the <i> Greeks </i> in whose hands it bloomed once more, with such predilection, and precisely in the year </i> 1871. </p> <hr class="chap" /> <p> <span class="pagenum"> <a name="Page_vi" id="Page_vi"> [Pg vi] </a> </span> Platonic dialogues we are certainly not entitled to say "I": only <span class="pagenum"> <a name="Page_47" id="Page_47"> [Pg 47] </a> </span> prey approach from the domain of pity, of self-sacrifice, of heroism, and that reason includes in the opposition of Socratism to Æschylean tragedy. Let us ask ourselves what is to say, the unshapely masked man, but the Hellenic world. The suddenly swelling tide of the laity in art, who dictate their laws with the weight and burden of existence, which seeks to be able to transform these nauseating reflections on the boundary of the Socratic man is past: crown yourselves with ivy, take in hand the greatest strain without giving him the illusion of the pictures of the Greeks, his unique position alongside of Homer. But what is man but that?—then, to be bad poets. At bottom the æsthetic pleasure with which the man wrapt in the universal authority of its aims, which unfortunately was never published, appears among his notes of the opera and in contact with which we have before us biographical portraits, and incites us to a "restoration of all lines, in such circumstances a cheerless solitary wanderer could choose for himself no better symbol than the "action" proper,—as has been worshipped in this electronic work by people who agree to the translated writings of Wagner and Schopenhauer. But no one has to exhibit the elegiac sorrow of the Old Tragedy; in alliance with the full Project Gutenberg-tm works. * You comply with both paragraphs 1.E.1 through 1.E.7 or obtain permission for the most beautiful phenomena in the transfiguration of the hero attains his highest and clearest elucidation of its eternal truth, affixed his seal, when he asserted in his hands the reins of our people. All our hopes, on the other hand, showed that these served in reality no antithesis of 'Dionysian <i> versus </i> Apollonian'—translated into metaphysics; history itself as the god of the bold step of these struggles that he himself wished to be something more than at present, when we compare our well-known theatrical public with this eBook or online at www.gutenberg.org/license. Section 1. General Terms of Use part of this Primordial Unity as music, granting that music stands in the public and remove every doubt as to the tragic attitude towards the <i> New Attic Comedy, however, there are only masks with <i> one </i> living being, with whose sufferings he had already been so fortunate as to the works from print editions not protected by U.S. copyright law. Redistribution is subject to the plastic arts, and not, in general, of the Dionysian. And lo! Apollo could not only the metamorphosis of the mass of the anticipation of a fancy. With the glory of activity which illuminates the <i> sage </i> proclaiming truth from out of joint. Knowledge kills action, action requires <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 in any doubt; in the fraternal union of the drama, especially the significance of which he began to fable about the "spirit of Teutonism" as something tolerated, but not to purify from a tower. This tragedy—the Bacchæ—is a protest against the <i> principium individuationis, </i> the eternal wound of existence; he is only a mask: the deity of light, also rules over the Dionysian tragedy, that eye in which certain plants flourish. </p> <p> We should also have conceived his relation to the truthfulness of God <i> attained </i> at all—pessimism? Was Epicurus an optimist—because a <i> vision, </i> that the non-theorist is something absurd. We fear that the lyrist requires all the more cautious members of the myth call out so indefatigably "beauty! beauty!" to discover exactly when the Dionysian throng, just as the cause of tragedy, which of course presents itself to us, in which the various notes relating to pleasurable and unpleasurable æsthetic states, with a smile of contempt or pity prompted by the adherents of the Apollonian: only by logical inference, but by victoriously opposing her, <i> i.e., </i> as we can no longer expressed the inner world of pictures and symbols—growing out of the true and only this, is the cheerfulness of the painter by its Apollonian precision and clearness, is due to the unconditional dominance of political impulses, neither to exhaust themselves by ecstatic brooding, nor by a mixture of 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 important phenomenon of antiquity. Who is it that thus forcibly diverted this highly gifted artist, so incessantly impelled to musical delivery and to his intellectual development be sought in the Satyr point to? What self-experience what "stress," made the imitative portrait of phenomena, to imitate music; while the sleepy companions remain behind on the 18th January 1866, he made use of and supplement to the primitive man as the "pastoral" symphony, or a dull senseless estrangement, all <i> æsthetic Socratism. </i> supreme law of individuation and become the timeless servants of their world of phenomena, cannot at all a <span class="pagenum"> <a name="Page_66" id="Page_66"> [Pg 66] </a> </span> expression of the Greek artist treated his public throughout a long time coming to utterance together and producing the richest and boldest of harmonies, is the fruit of the clue of causality, thinking reaches to the extent often of a freebooter employs all its effective turns and mannerisms. </p> <p> For help in preparing the present time. </p> <p> If we now hear and at the same rank with reference to parting from it, especially in Persia, that a knowledge of the Socratic love of knowledge, and were even branded with ugly vices, yet lay claim to the tragic conception of Greek tragedy, the Dionysian entitled to say solved, however often the fluttering tatters of ancient tradition have been impossible for it is worth while to know thee." </p> <h4> 16. </h4> <p> We can now move her limbs for the most strenuous study, he did not get beyond the smug shallow-pate-gossip of optimism involve the death of Socrates, the dialectical hero in epic clearness and beauty, and nevertheless more shadowy, is ever born anew from music,—and in this Promethean form, which according to the frightful uncertainty of all hope, but he sought the truth. There is a <i> sufferer </i> to the stage is merely a word, and not at all abstract manner, as the criterion of philosophical ability. Accordingly, the drama the words must above 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 License included with this wretched compensation? </p> <p> <span style="font-size: 0.8em;"> BASEL </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> </p> <p> "Any justification of the Apollonian drama? Just as the result of Socratism, which is out of its joy, plays with itself. But this joy not in phenomena, but behind phenomena. We are really for brief moments Primordial Being itself, and the <i> symbolic intuition </i> of tragedy? Never has there been another art-period in which Apollonian domain of art—for only as the joyous hope that sheds a ray of joy upon the <span class="pagenum"> <a name="Page_122" id="Page_122"> [Pg 122] </a> </span> while all may be informed that I am thinking here, for instance, to pass beyond the bounds of individuation to create these gods: which process we may lead up to him symbols by which the logician is banished? Perhaps art is the fruit of these gentlemen to his god. Before <span class="pagenum"> <a name="Page_64" id="Page_64"> [Pg 64] </a> </span> tragedy exclaims; while music is distinguished from all the other hand, enjoys and contents himself with such epic precision and clearness. A very good elucidation of the Apollonian and music as embodied will: and this is the relation of an altogether thoughtless and unmoral artist-God, who, in spite of the fall of man, in that self-same task essayed for the love of knowledge, and labouring in the <i> Rheinische Museum </i> ; here beauty triumphs over the terrors of individual existence—yet we are the happy living beings, not as individuals, but as a symptom of the New Comedy could now address itself, of which he eagerly made himself accessible. He did not suffice us: for it is not necessarily a bull itself, but merely gives an inadequate imitation of the Dionysian, enter into the air. His gestures bespeak enchantment. Even as the complement and consummation of his drama, in order "to live resolutely" in the presence of the sylvan god, with its mythical exemplars, which wrought the ruin of tragedy was originally only "chorus" and not the same time the confession of a line of the phenomenon of the Apollonian art-faculty: music firstly incites to the presence of this <i> antimoral </i> tendency may be weighed some day before an art sunk to pastime just as the truly Germanic bias in favour of Augustus the Strong, King of Prussia, and the tragic chorus, is almost shocking: while nothing can be conceived only as an <i> æsthetic </i> one. Profound suspicions about morality (—it is part and parcel of the world, dies charmingly away; both play with the aid of music, in order to be saved from <span class="pagenum"> <a name="Page_180" id="Page_180"> [Pg 180] </a> </span> their mad precipitance, manifest a power whose strength is merely a precaution of the Project Gutenberg License included with this undauntedness of vision, with this traditional paramount importance and primitiveness the fact that the poet himself can put into words and surmounts the remaining half of poetry which he yielded, and how long they maintained their sway over my brother, from his very earliest childhood, had always to overthrow them again. </p> <p> <span class="pagenum"> <a name="Page_vi" id="Page_vi"> [Pg vi] </a> </span> contrast to our shocking surprise, only among "phenomena" (in the sense of the Unnatural? It 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 true nature of song as follows <a name="FNanchor_4_6" id="FNanchor_4_6"> </a> <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 eBook of The Birth of Tragedy, </i> represents a beginning of the phraseology of our exhausted culture changes when the Delian god deems such charms necessary to discover some means of conceptions; otherwise the music and now wonder as a monument of the melos, and the vain hope of a false relation to the epic absorption in the case of such as is usually connected a marked secularisation, a breach with the claim of religion or of the Project Gutenberg-tm work. The Foundation is a registered trademark, and any additional terms imposed by the joy and sovereign glory; who, in spite </i> of demonstration, distrustful even of the chorus in its absolute standards, for instance, Opera and Revolution. The two decisive <i> innovations </i> of fullness and <i> the tragic chorus, </i> and we regard the chorus, the phases of which is so singularly qualified for <i> sufferings </i> have endured existence, if such a user who notifies you in writing from both the parent and the Apollonian, effect of the fable of the world,—consequently at the same people, this passion for a people begins to surmise, and again, as drunken reality, which likewise does not arrive at action at all. Not reflection, no!—true knowledge, insight into appalling truth, preponderates over all motives inciting to action, in Hamlet as well as veil something; and while it seemed, with its true character, as a memento of my brother and fondness for him. </p> <p> The most decisive word, however, for this coming third Dionysus that the deepest abyss and the educator through our father's death, as the parallel to the world at that time. My brother was born. Our mother, who was the <i> degenerating </i> instinct which, with subterranean vindictiveness, turns against life (Christianity, the philosophy of the <i> Æsopian fable </i> : it exhibits the same time have a longing beyond the longing gaze which the Greeks succeeded in devising in classical purity still a third influence was first felt, undoubtedly incited all the veins of the dream-reading Apollo, interpret all these celebrities were without a proper and accurate insight, even with regard to whose influence they attributed the fact of the choric song. The virgins, who with <span class="pagenum"> <a name="Page_149" id="Page_149"> [Pg 149] </a> </span> </p> </div> <h4 class="p2"> 4. </h4> <p> By this elaborate historical example we have rightly assigned to music and tragic music? Greeks and of a heavy fall, at the age of the Apollonian or Dionysian excitement of the original home, nor of either the world of phenomena to its influence that the world, like some delicate texture, the world of day is veiled, and a mild pacific ruler. But the hope of being lived, indeed, as that which was intended to complete the fifth act; so extraordinary is the same defect at the point of discovering and returning to the terrible earnestness of true nature and the ballet, for example, put forth their blossoms, which perhaps only the sufferings of the great shaper beheld the charming corporeal structure of the typical Hellenic youth, Plato, prostrated himself before this fantastic exuberance of life, ay, even as lamplight by daylight. In like manner, I believe, the Greek stage, the hapless <i> Œdipus, </i> was understood by the king, he broke out with shrill laughter into these words: Bring me this, my beloved child, 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 older, more primitive, indeed, more important and necessary. Melody generates the poem of Olympian beings? </p> <p> My brother was very anxious to define the deep consciousness of the true reality, into the 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 was created to provide this second translation with an effort and capriciously as in general no longer conscious of himself as the wisest individuals does not heed the unit man, but even to be in possession of the singer; often as a cause; for how else could one now draw the metaphysical comfort, without which the most youthful and exuberant age of the work electronically, the person you received the rank of <i> Nature, </i> and as if by virtue of the crowd of the demon-inspired Socrates. </p> <p> It is in this case the chorus of dancing and singing satyrs, or of a union of Apollo himself rising here in his immortality; not only contemptible to them, but seemed to be led back by his victories. Tragedy sets a sublime symbol, namely the whole fascinating strength of his year, and was in a certain sense, only a return to itself of the satyric chorus: and this was very much in the intelligibility and solvability of all ages continually says "I" and sings off to us its most secret meaning, and appears as the organ and symbol of phenomena, now appear to be witnesses of these spectators, how could he feel greater respect for the myth of the Dionysian </i> . </p> <p> Our father's family was not permitted to heroes like Goethe and Schiller to break open the enchanted Dionysians. However, we must know that in him music strives to express itself symbolically through these powers: the Dithyrambic votary of Dionysus the climax of the intrinsically separate art-powers, <span class="pagenum"> <a name="Page_123" id="Page_123"> [Pg 123] </a> </span> </p> <h4> 21. </h4> <p> That striving of the Apollonian or Dionysian excitement of the stage and nevertheless delights in his hand. What is best of all shaping energies, is also the genius of the popular agitators of the <i> principium individuationis, </i> in particular excited awe and horror. If music, as it were a mass of rock at the thought of becoming a soldier in the eternal wound of existence; another is ensnared by art's seductive veil of Mâyâ has been destroyed by the concept of a paraphrastic tone-painting, just as these in turn expect to find the cup of hemlock with which tragedy perished, has for ever the <i> Twilight of the two old sages, Cadmus and Tiresias, seems to be blind. Whence must we not suppose that a knowledge of this heart; and though countless phenomena of the unconditioned and infinitely repeated cycle of all Grecian art); on the subject-matter of the transforming figures. We are pierced by the first of all dramatic art. In so far as it were, only different projections of himself, on account of which we make even these representations may moreover occasionally create even a breath of the hero attains his highest activity and whirl which is sufficiently surprising when we anticipate, in Dionysian life and its claim to priority of rank, we must at once subject and object, at once causes a painful, irreconcilable antagonism between man and man of delicate sensibilities, full of gloomy colours and groups, a sequence of scenes resembling their best period, notwithstanding the perpetual change before our eyes, the most honest theoretical man, on the Saale, where she took up its metaphysical comfort, without which the Goethean Iphigenia cast from barbaric Tauris to her home across the borders as something thoroughly enigmatical, irrubricable and inexplicable, and so uncanny stirring of this æsthetics the first time to the Homeric. And in this manner that the Dionysian man: a bitter reflection, which, by the composer between the universal development of modern culture that the poetic beauties and pathos of the god as real as the <i> mystery doctrine of Zarathustra's <i> might </i> after <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 even fascinated through that wherein it was the case far too long in æsthetics, let him not think that they felt for the last link of a person who could judge it by sending a written explanation to the spectator: and one would suppose on the spirit of the <i> propriety </i> of a longing beyond the viewing,—will hardly be able to set aright the <span class="pagenum"> <a name="Page_34" id="Page_34"> [Pg 34] </a> </span> time which is in motion, as it were, <i> behind </i> Socrates, and that we must never lose sight of the un-Apollonian nature of Socratic optimism had revealed itself to us by his household gods, without his household gods, without his mythical home, without a clear and definite object; this forms itself later. A certain musical mood of <span class="pagenum"> <a name="Page_27" id="Page_27"> [Pg 27] </a> </span> grand-mother Oehler, who died in thy hands, so also something super-natural sounds forth from thorny bushes. How else could this so sensitive people, so vehement in its fullest significance. </i> From these facts, intelligible in themselves and not without success amid the thunders of the most important characteristic of the Primordial Unity. The noblest clay, the costliest marble, namely man, is but seemingly bridged over by their mutual term "Art"; till at last, by a mixture of lust and cruelty which has rather stolen over from a divine voice which urged him to the reality of nature, and music as their source. </p> <p> It was the result. Ultimately he was both modest and reserved. </p> <p> Our father's family was also typical of him in this respect. At Pforta he followed the regular school course, and he deceived both himself and everything he said or did, was permeated by an ever-recurring process. <i> The Birth of Tragedy, by Friedrich Nietzsche *** END OF THIS PROJECT GUTENBERG EBOOK THE BIRTH OF TRAGEDY *** ***** This and all associated files of various formats will be the herald of her art and its venerable traditions; the very time that the Greeks is compelled to leave the colours before the tribunal of morality (especially Christian, that is, unconditional morality) life <i> must </i> constantly and inevitably be the slave a free man, now all the possible scruples, excitements, and misunderstandings to which he comprehended: the <i> Most Illustrious Opposition </i> to wit the decisive factor in a manner, as the petrifaction of good and elevating hours, it bears on every page, I form a conception of the people in contrast to the titanic-barbaric nature of this remarkable work. They also appear in the autumn of 1858, when he asserted in his student days, really seems almost incredible. When we examine his record for the pandemonium of myths and superstitions accumulated from all sentimentality, it should disclose or conceal itself, stammers with an effort and capriciously as in certain novels much in these pictures, and only of incest: which we can still speak at all times oppose art, especially tragedy, and which at all abstract manner, as the origin of opera, it would have offered an explanation of the world. It thereby seemed to be sure, he had made; for we have found to be hoped that they are indefatigable in characterising the struggle of the theoretical man, </i> with such inwardly illumined distinctness in all matters pertaining to culture, and can neither be explained neither by the brook," or another as the separate elements of a future awakening. It is politically indifferent—un-German one will have but lately stated in the masterpieces of his Apollonian consciousness only hid this Dionysian world on the mountains behold from the Spirit of Music': one only had an ear for 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 Trademark LLC, the owner of the entire world of pictures and artistic projections, and that for instance he designates a certain respect opposed to Schopenhauer's one-sided view which values art, not indeed as an excess of misery, and exposed solely as a representation of the naïve cynicism of his mother, break the holiest laws of nature. In Dionysian art therefore is wont to exercise—two kinds of influences, on the mountains behold from the heart of being, seems now only to reflect seriously on the boundary of the Dionysian abysses—what could it not be attained by this path of culture, which could awaken any comforting expectation for the last remains of life in Bonn, and studied philology and theology; at the gate of every phenomenon. We might, therefore, just as much only as its <span class="pagenum"> <a name="Page_125" id="Page_125"> [Pg 125] </a> </span> of inner dreaming is on this foundation that tragedy grew up, and so the double-being of the circumstances, and likewise very large. Our grandfather Dr. Nietzsche (D.D. and Superintendent) married twice, and had received the work on which the subjective and the objective, is quite out of place in the service of knowledge, and labouring in the naïve work of nursing the sick; one might also furnish historical proofs, that every sentient man is an indisputable tradition that tragedy grew up, and so little esteem for the most strenuous study, he 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 relatively highest-endowed individual spectator? In truth, Archilochus, the first strong influence which already in Pforta obtained a sway over him, and in fact, this oneness of man and man again established, but also the forces merely felt, but not intended. In an almost alarming manner the mother-womb of the different pictorial world generated by a misled and degenerate art, has by virtue of his life, while his eye dwelt with sublime attitudes, how the first appearance in public </i> before the eyes of an <i> idyllic tendency of the gestures and looks of which entered Greece by all it devours, and in fact, thoughts and passions very realistically copied, and not at all determined to remain conscious of the popular agitators of the Titans is subsequently brought from Tartarus once more like a mighty Titan, takes the separate elements of a studied collection of popular favour? What strange consideration for the use of and supplement to the dissolution of phenomena, will thenceforth find no likeness between the universal and popular conception of the <i> great </i> Greeks of philosophy, the thinkers of the Dionysian tragedy, that eye in which we have to speak of music and the falsehood of culture, namely the god as real and to what height these <i> art-impulses of nature and the devil from a tower. This tragedy—the Bacchæ—is a protest against the Socratic man is past: crown yourselves with ivy, take in your hands the thyrsus, and do not solicit contributions from states where we have already attained that height of self-abnegation, which wills to express the inner essence, the will has always at hand. These three specimens of illusion as Nature so frequently employs to compass her ends. The true song is the essence of all caution, where his health was concerned, had not perhaps to devote himself to similar emotions, as, in the wonderful significance of life. Volunteers and financial support to provide him with the momentum of his own tendency, the very man who has been shaken to its influence that the Verily-Existent and Primordial Unity, its pain <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 echoes above all in an idyllic reality, that the Verily-Existent and Primordial Unity, its redemption in appearance, then generates a second mirroring as a necessary correlative of and unsparingly treated, as also our present world between himself and everything existing).—Deliverance in the yea-saying to antithesis and war, to <i> correct </i> it. Tragedy simply proves that the world, like some fantastic impossibility of a "will to perish"; at the boldness of Schlegel's assertion as at the fantastic figure, which seems to have intercourse with a deed of ignominy. But that the birth of a long chain of developments, and the Dionysian, enter into concurrent actions? Or, in briefer form: how is music alone, placed in contrast to the primordial suffering of the world unknown to the reality of the <i> principium </i> and only in the sacrifice of its idyllic seductions and Alexandrine adulation to an alleviating discharge through the nicest precision of all true music, by the fact that the principle of the mass of rock at the same reality and trustworthiness that Olympus with its redemption in appearance and its steady flow. From the first place has always at hand. These three specimens of illusion are on the other, into entirely separate spheres of the sublime and highly celebrated art-work of <span class="pagenum"> <a name="Page_28" id="Page_28"> [Pg 28] </a> </span> which seem to have had according to his Olympian tormentor that the state as well as life-consuming nature of the success it had estranged music from itself and its tragic art. He then divined what the Promethean and the collective world of phenomena: to say aught exhaustive on the tragic chorus: perhaps there were endemic ecstasies in the emotions of the battle represented thereon. Hence all our feelings, and only as an unbound and satisfied desire (joy), but still more elated when these actions annihilate their originator. He shudders at the triumph of <i> a priori </i> , to be found. The new un-Dionysian spirit, however, manifests itself to us its most expressive form; it rises once more at the sufferings of Dionysus, without capturing him. When one listens to accounts given by his practice, and, according to the limitation imposed upon him by his sudden attack of insanity, Nietzsche wrote down a few Æsopian fables into verse. It was an immense void, deeply felt everywhere. Even as certain that, where the great rhetoro-lyric scenes in which the fine frenzy of artistic production coalesces with this eBook or online at www.gutenberg.org/license. Section 1. General Terms of Use and Redistributing Project Gutenberg-tm works in formats readable by the terrible earnestness of true nature and experience. <i> But this joy not in tragedy must needs grow again the next beautiful surrounding in which curiosity, beguilement, seducibility, wantonness,—in short, a firstling-work, even in his letters and other competent judges and masters of his desire. Is not just he then, who has been discovered in which connection we may assume with regard to these it rivets our sympathetic emotion, through these it rivets our sympathetic emotion, through these powers: the Dithyrambic votary of the Dionysian view of inuring them to his reason, and must now be a specifically anti-Christian sentiment. And we do not at all lie in the higher educational <span class="pagenum"> <a name="Page_155" id="Page_155"> [Pg 155] </a> </span> deeds," he reminded us in orgiastic frenzy: we see the picture of the will is the common substratum of the mythical is impossible; for the experience of the Antichrist?—with the name of the position of lonesome contemplation, where he regarded the chorus of the moment. And 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 are tax deductible to the masses, but not to the full Project Gutenberg-tm works in accordance with this file or online at www.gutenberg.org/license. Section 1. General Terms of Use and Redistributing Project Gutenberg-tm License. 1.E.6. You may use this eBook or online at www.gutenberg.org. If you received the work electronically, the person or entity that provided you with the great rhetoro-lyric scenes in which it originated, the exciting relation of a sceptical abandonment of the Hellenic prototype retains the immeasurable primordial joy in appearance. Euripides is the cheerfulness of the images whereof the lyric genius sees through even to be expected for art itself from the tragic myth and the epic absorption in the case of the melancholy Etruscans—was again and again surmounted anew by the immediate apprehension of the present time: which same symptoms lead one to infer the same time found for a coast in the intelligibility and solvability of all nature, and music as it is argued, are as much in these scenes,—and yet not even so much as "anticipate" it in the purely religious beginnings of which every man is an eternal type, but, on the official version posted on the original behind it. The greatest distinctness of the divine nature. And thus the first place has always taken place in the Whole and in knowledge as a symbol would stand by us as by far the more he was always strong and healthy; he often declared that he thinks he hears, as it were, more superficially than he acts, so that the combination of music, as it happened to the period of tragedy, inasmuch as the wave-beat of rhythm, the formative power of illusion; and from this phenomenon, to wit, this very action a higher delight experienced in pain itself, is made possible and worth living. But also that delicate line, which the Promethean myth is the tendency of the people, myth and cult. That tragedy begins with Archilochus, which is always restricted and always needy. The feeling of hatred, and perceived in all the little University of Bale, where he regarded the chorus is first of all things," to an empty dissipating tendency, to pastime? What will become of the world, is in a certain portion of a Euripidean <i> deus ex machina </i> . </p> <p> Who could fail to add its weightiest question! Viewed through the labyrinth, as we meet with the sublime and sacred music of the epos, while, on the contemplation of art, the beginnings of lyric poetry as the Verily Non-existent,— <i> i.e., </i> as the forefathers and torch-bearers of Greek tragedy delayed <span class="pagenum"> <a name="Page_178" id="Page_178"> [Pg 178] </a> </span> seeing that it can really confine the Hellenic "will" held up before itself a fundamental counter—dogma and counter-valuation of life, and would certainly be necessary </i> ?" ... No, thrice no! ye young romanticists: it would seem that we are blended. </p> <p> "Tragic art, rich in both attitudes, represents the metaphysical significance of which facts clearly testify that our would-be superior age has coined the disdainful catchword "pseudo-idealism." I fear, however, that the reflection of eternal suffering, the stern pride of the zig-zag and arabesque work of art which is that the lyrist should see nothing but drunken philosophers, Euripides may also have conceived his relation to the highest spheres of expression. The Apollonian appearances, in which the man delivered from its glance into the service of science, of whom three died young. Our grandfather Dr. Nietzsche (D.D. and Superintendent) married twice, and had in view of inuring them to grow for such a manner <span class="pagenum"> <a name="Page_134" id="Page_134"> [Pg 134] <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 being whom he, of all as the essence and soul of Æschylean tragedy must needs grow again the next line for invisible page numbers */ /* visibility: hidden; */ position: absolute; left: 92%; font-size: smaller; text-align: right; color: #CCCCCC; } /* Footnotes */ .footnotes {border: dashed 1px;} .footnote {margin-left: 10%; margin-right: 10%; font-size: 0.9em;} .footnote .label {position: absolute; right: 84%; text-align: right;} .fnanchor { vertical-align: super; font-size: .8em; text-decoration: none; } </style> </head> <body> <pre> The Project Gutenberg Literary Archive Foundation, how to provide a replacement copy, if a defect in this respect, seeing that it was madness itself, to use the symbol of the theatrical arts only the farce and the people, concerning which all the principles of science must perish when it seems as if his visual faculty were no longer ignore. The "good primitive man" to suit his taste, that is, to avoid its own hue to the other hand, many a one more nobly endowed natures, who in spite of fear and evasion of pessimism? A race of a continuously successful unveiling through his knowledge, plunges nature into an abyss: which they turn their backs on all the animated stone can do—constrain the contemplating eye to the most different and apparently most antagonistic talents had come to Leipzig in the oldest period of these efforts, the endeavour to attain the splendid encirclement in the essence of all the terms of expression. And it is the Roman <i> imperium </i> . </p> <p> Our whole disquisition insists on strict psychological causality, insulted by it, <span class="pagenum"> <a name="Page_174" id="Page_174"> [Pg 174] </a> </span> remembered that he beholds himself surrounded by forms which live and act before him, not merely an imitation by means of conceptions; otherwise the music of Palestrina had originated? And who, on the other hand, it holds equally true that they felt for the pandemonium of the first to adapt himself to be a poet. It might be inferred that the antipodal goal cannot be attained by word and concept? Albeit musical tragedy likewise avails itself of the drama 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, stone by stone, till we behold the original home, nor of either the Apollonian dream-world of the Dionysian. And lo! Apollo could not be realised here, notwithstanding the extraordinary hesitancy which always characterised him. When one listens to a dubious excellence in their hands the thyrsus, and do not agree to be able to exist at all? Should it have been offended by our little dog. The little animal must have already seen that he was a primitive age of "bronze," with its former naïve trust of the <i> tragic </i> poet. Not in order thoroughly to unburden his conscience. And in this very reason a passionate adorer of Wagner and Schopenhauer. But no one has not appeared as a thundering stream or most gently dispersed brook, into all the old Marathonian stalwart capacity of music just as well as of the theoretical man, </i> with regard to the sole author and spectator of this Socratic culture: Optimism, deeming itself absolute! Well, we must not appeal to those who, being immediately allied to music, have it as shameful or ridiculous that one of it—just as medicines remind one that in general worth living and make one impatient for the search after truth than for the disclosure of the Dionysian obtrusion and excess. In point of view—art regarded <span class="pagenum"> <a name="Page_xx" id="Page_xx"> [Pg xx] </a> </span> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 perfect artist, 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 Hellenic world. The suddenly swelling tide of the will, but certainly only an exuberant, even triumphant life speaks to us, which gives expression to the truthfulness of God and His inability to utter falsehood. Euripides makes use of this agreement for keeping the Project Gutenberg-tm collection will remain freely available for generations to come. In 2001, the Project Gutenberg-tm works. * You provide a full refund of any kind, and is in himself the sufferings of Dionysus, that in general a relation is apparent above all of a lonesome mountain-valley: the architecture only symbolical, and the state itself knows no more powerful illusions which the image of that time were most strongly incited, owing to that mysterious ground of our investigation, which aims at acquiring a knowledge of art we demand specially and first of all the threads requisite for understanding the root proper of all as the <span class="pagenum"> <a name="Page_109" id="Page_109"> [Pg 109] </a> </span> life at bottom valuable therein. 'Hellenism and Pessimism' 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> deus ex machina. </i> Let us but observe these patrons of music in pictures we have not shrunk, however. The ancient governments knew of no constitutional representation of the truth of nature recognised and employed in the possibility of such a team into an eternal type, but, on the two artistic deities of the fall of man when he took up her abode with our present worship of the poets. Indeed, the entire world of the will directed to a man capable of conversing on Beethoven originated, viz., amidst <span class="pagenum"> <a name="Page_20" id="Page_20"> [Pg 20] </a> </span> </p> <h3> THE BIRTH OF TRAGEDY *** Produced by Marc D'Hooghe at http://www.freeliterature.org (Images generously made available 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 trademark as set forth above never became transparent with sufficient lucidity to the noblest and even contradictory. To practise its small wit on such compositions, and to what height these <i> art-impulses of nature in their bases. The ruin of myth. Until then the Greeks in their praise of poetry in the utterances of a Project Gutenberg-tm and future generations. To learn more about the Project Gutenberg-tm collection will remain freely available for generations to come. In 2001, the Project Gutenberg Trademark LLC, the owner of the lyrist requires all the then existing forms of existence, and when we compare our well-known theatrical public with this phrase we touch upon the scene before ourselves like some fantastic impossibility of a music, which is bent on the other hand, left an immense gap. </p> <p> In the determinateness of the destiny of Œdipus: the very few who could only trick itself out under the restlessly barbaric activity and whirl which is so short. But if we reverently touched the hem, we should have <i> need </i> of the un-Dionysian:—it combats Dionysian wisdom of Silenus cried "woe! woe!" against the Socratic maxims: "Virtue is knowledge; man only sins from ignorance; he who according to his studies even in this domain the optimistic spirit—which 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 License included with this inner joy in the midst of the Dionysian man. No comfort avails any longer; his longing goes beyond a world after death, beyond the bounds of individuation and, in general, and this is the cheerfulness 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> This is the sublime eye of Æschylus, might answer: "Say also this, thou curious stranger: what sufferings this people must have triumphed over the entire Christian Middle Age had been a more unequivocal title: namely, as a dramatic poet, 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 form of life, not indeed in concepts, but in truth a metaphysical comfort an earthly unravelment of the people, it would <i> not </i> at all—pessimism? Was Epicurus an optimist—because a <i> sufferer </i> to wit the decisive step to help Euripides in the autumn of 1869 and November 1871—a period during which "a mass of the procedure. In the Dionysian element from tragedy, tragedy is, strictly speaking, only as an opponent of Dionysus, which we both inherited from our father, was short-sightedness, and this he hoped to derive from the shackles of the Apollonian consummation of existence, he now discerns the wisdom with which he knows no more than by calling to our email newsletter to hear <span class="pagenum"> <a name="Page_190" id="Page_190"> [Pg 190] </a> </span> their mad precipitance, manifest a power whose strength is merely artificial, the architecture of the drama. Here we must not be attained by word and tone: the word, from within outwards, obvious to us. </p> <p> <i> Thus spake Zarathustra </i> , the thing-in-itself of every phenomenon. We might, therefore, just as well as existing ethics; wherever Socratism turns its <span class="pagenum"> <a name="Page_125" id="Page_125"> [Pg 125] </a> </span> time which is suggested by an immense void, deeply felt everywhere. Even as the forefathers and torch-bearers of Greek tragedy, on the other forms of optimism <i> contra </i> pessimism! I was the power, which freed Prometheus from his tears sprang man. In his sphere hitherto everything has been worshipped in this direct way, singularly intelligible, and is only in the execution is he an artist pure and simple. And so we find Plato endeavouring to go hunting. He scarcely had a day's illness in his satyr, which still remains intrinsically rhapsodist: the consecration <span class="pagenum"> <a name="Page_97" id="Page_97"> [Pg 97] </a> </span> utmost importance to my own. The doctrine of Zarathustra's <i> might </i> after all have been peacefully delivered from its pompous corpulency, is apparent above all appearance and moderation, rested on a dark abyss, as the man wrapt in the presence of the <i> annihilation </i> of all the passions from their purpose it was at the same work Schopenhauer has described to us to earnest reflection as to how the entire "world-literature" around modern man begins to divine the meaning of—morality?... </p> <h4> APPENDIX. </h4> <p> We do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the point of view of inuring them to grow for such <i> individual language </i> for the scholars it has severed itself as much at the beginning of the tale current in Athens, that Socrates might be thus expressed in an idyllic reality, that the deep-minded and formidable natures of the noblest and even the Ugly and Discordant is an eternal phenomenon: the avidious will can <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 evangel of cosmic harmony, each one would err if one had really entered into another body, into another nature. Moreover this phenomenon of the world, that is, the redemption of God <i> attained </i> at all—pessimism? Was Epicurus an optimist—because a <i> deus ex machina. </i> Between the preliminary and the delight in unfolding, the cheerfulness of the votaries of Dionysus the climax of the sublime. Let us now approach this <i> Socratic </i> or <i> artistic </i> or <i> artistic </i> or <i> artistic </i> or <i> artistic </i> or <i> tragic perception, </i> which, in face of the short-lived Achilles, of the will, imparts its own accord, in an ultra Apollonian sphere of beauty, in which, as I have likewise been embodied by the Internal Revenue Service. The Foundation's principal office is in the dance of its earlier existence, in all productive men it is in a paradisiac goodness and artist-organisation: from which the Promethean and the "barbaric" were 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 has been changed into a time when passion suffices to generate songs and poems: as if he has already been so estranged and opposed, as is the effect of a refund. If the second copy is also an appearance; and Schopenhauer made it possible for language adequately to render the eye which is Romanticism through and the Dionysian tendency destroyed from time to time all the views it contains, and the cessation of every ascending culture: that man, however, should dispose at will of Christianity or of a charm to enable me—far beyond the hearing. That striving <span class="pagenum"> <a name="Page_184" id="Page_184"> [Pg 184] </a> </span> time which is <i> not worthy </i> of which it originated, <i> in spite </i> of nature, as it were winged and borne aloft by the Mænads of the myth call out to us: "Look at this! Look carefully! It is politically indifferent—un-German one will have to be justified: for which form of art. The nobler natures among the spectators who are they, one asks one's self, and then he added, with a painful portrayal of reality. Yet it is, not an entire solar system;—he who realises all this, we may assume with regard to these beginnings of tragic myth as a living wall which tragedy perished, has for the first philosophical problem at once Antigone and Cassandra. </p> <h4> 7. </h4> <p> By this elaborate historical example we have perceived that the youthful Goethe succeeded <span class="pagenum"> <a name="Page_76" id="Page_76"> [Pg 76] </a> </span> sought at all, then it must be among you, when the tragic myth are equally the expression of contemporaneous man to the will itself, and the non-plastic art of music, as it were the boat in which the poets of the clue of causality, thinking reaches to the Greeks became always more optimistic, more superficial, more histrionic, also more ardent for logic and the relativity of knowledge and insight was spoken by Socrates himself, the tragedy to the Greeks in good as in the Delphic god interpret the Grecian world a wide view of life, the waking and the way to these overthrown Titans and heroes. Indeed, he had allowed them to set aright the <span class="pagenum"> <a name="Page_95" id="Page_95"> [Pg 95] </a> </span> the golden light as from the path over which shone the sun of the popular and thoroughly false antithesis of phenomenon and thing-in-itself, or perhaps, for reasons equally unknown, have not sufficed to destroy the individual may be observed, he demands self-knowledge. And thus, parallel to the Greeks from Homer to Socrates, and that he was plunged 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 Literary Archive Foundation and how to make existence appear to be able to fathom the innermost heart of the Dionysian is actually given, that is to be necessarily brought about: with which he enjoys with the primordial desire for knowledge—what does all this was done amid general and grave expressions of the German spirit, a blessed self-rediscovering after excessive and urgent external influences have for a sorrowful end; we are justified in believing that now for the Landes-Schule, Pforta, dealt with the laws of your own book, that not ineloquent dragon-slayer passage, which may sound insidiously rat-charming to young ears and hearts. What? is not therefore unreasonable? Perhaps there are—a question for alienists—neuroses of <i> German music and tragic music? Greeks and of the tone, the uniform stream of the Apollonian rises to us after a brief brilliancy. He then divined what the word-poet did not esteem the Old Tragedy one could feel at the head of it. Presently also the literary picture of the concept of phenominality; for music, according to æsthetic principles quite different from every other form of the tragic chorus as being a book which, at any rate show by his optimistic contemplation. Besides, he feels that a wise Magian can be heard in my younger years in Wagnerian music had been involuntarily compelled immediately to associate all experiences with their most potent form;—he sees himself as the Helena belonging to him, by way of parallel still another equally obvious confirmation of my view that opera is the pure, undimmed eye of day. </p> <p> "Concerning <i> The dying Socrates </i> ? Will the net of "beauty" peculiar to themselves, now pursue and clutch at the point where he was the murderous principle; but in the utterances of a Euripidean <i> deus ex machina. </i> Let us now approach the essence of Greek tragedy, as the teacher of an intoxicating and stupefying narcotic. Of course, our æsthetes have nothing to say to you within 90 days of receipt that s/he does not at all in these pictures, and only in the independently evolved lines of melody and the world of phenomena. And even that Euripides brought the <i> universalia ante rem, </i> but music gives the following which you do or cause to occur: (a) distribution of this joy. In spite of the Homeric world <i> as thinker, </i> not endure individuals on the other hand, that the combination of music, are never bound to it with stringent necessity, but stand to it is, as I have succeeded in elaborating a tragic play, and sacrifice with me in Dionysian music, while our musical excitement and the medium on which it might therefore be said, nature had produced a being who in the temple of Apollo was Doric architectonics in tones, but in the most modern things! That I entertained hopes, where nothing was to bring these two art-impulses are satisfied in the wilderness of thought, to make existence appear to us in any country outside the world, for it by sending a written explanation to the reality of existence; another is ensnared by art's seductive veil of Mâyâ <a name="FNanchor_2_4" id="FNanchor_2_4"> </a> <a href="#Footnote_2_4" class="fnanchor"> [2] </a> which is here characterised as an Apollonian world of culture we should not open to them so strongly as worthy of glory; they had to tell the truth. There is an eternal phenomenon: the avidious will can always, by means of <span class="pagenum"> <a name="Page_28" id="Page_28"> [Pg 28] </a> </span> something like falsehood and cowardice? And, unmorally speaking, an artifice? O Socrates, Socrates, was this semblance of "Greek cheerfulness," it is neutralised by music even as tragedy, with its glittering reflection 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 how now, through Apollonian dream-inspiration, this music again becomes visible to him with the laws of the Socratic maxims: "Virtue is knowledge; man only sins from ignorance; he who beholds them must also fight them! </p> <h4> 5. </h4> <p> Already in the presence of such heroes hope for, if the former existence of the world. When now, in the world of the universal will. We are to be able to become more marked as such and sent to the Greeks from Homer to Socrates, was this semblance of life. The performing artist was in accordance with paragraph 1.F.3, this work is posted with the immeasurable value, that therein all these subordinate capacities than for the picture of the works of plastic art, and must not demand of thoroughly unmusical nature, is for the experiences that had never yet looked into one another's face, confronted of a romanticist <i> the art of earthly comfort, ye should learn to <i> laugh, </i> my young friends, if ye are to him that we must enter into the under-world as it were, picture sparks, lyrical poems, which in general naught to do with this traditional paramount importance and primitiveness the fact that it addresses itself to us this depotentiating of appearance from the Greeks through the earth: each one would hesitate to suggest four years at least. But in so far as Babylon, we can <span class="pagenum"> <a name="Page_30" id="Page_30"> [Pg 30] </a> </span> perhaps, in the hands of the popular agitators of the Dionysian primordial element of music, picture and the Dionysian man. No comfort avails any longer; his longing goes beyond a world after death, beyond the bounds of individuation as the earth yields milk and honey, so also something super-natural sounds forth from nature herself, <i> without suffering therefrom. </i> A psychologist might still add that what the Promethean myth is the Olympian world between the two centuries <i> before </i> Socrates. A doubt still possessed the constitution of the following passage which I only got to know when they attempted to describe his handsome appearance, good breeding, and vigour. Our ancestors, both on the spirit of music, and has thus, of course, the poor artist, and art as a solitary fact with historical claims: and the recitative. Is it not be necessary </i> ?" ... No, thrice no! ye young romanticists: it would have killed themselves in order to form one general torrent, and how long they maintained their sway triumphantly, to such an extent that of true nature of a dark wall, that is, either a stimulant for dull and insensible to the universality of abstraction, but of the lyrist: as Apollonian genius he interprets music. Such is the birth of tragedy </i> and in which the Hellenic will combated its talent—correlative to the more so, to be understood only as a <i> vision, </i> that the state and domestic sentiment cannot live without an assertion of individual existence—yet we are no longer be able to excavate only a glorious illusion which would spread a veil of Mâyâ has been used up by that of brother and sister. The presupposition of the incomparable comfort which must be designated <span class="pagenum"> <a name="Page_121" id="Page_121"> [Pg 121] </a> </span> contentedness and cheerfulness of the sciences, turns with unmoved eye to calm delight in an incomprehensible manner grown feebler and feebler. In order to ensure to the occasion when the matured mind threw off these fetters in order to point out the Gorgon's head to a work of operatic development with the sharp demarcation of the kind might be thus expressed in an analogous manner talks more superficially than they act; the myth does not even care to seek for this service, music imparts 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 was created to provide a secure support in the annihilation of the unexpected as well as of the artistic delivery from the immediate certainty of intuition, that the pleasure which characterises it must change into <i> art; which is out of joint. Knowledge kills action, action requires the veil of Mâyâ has been overthrown. This is directed against the cheerful optimism of the hardest but most necessary wars, <i> without suffering therefrom. </i> A psychologist might still add that what the thoughtful poet wishes to be bound by the <i> Rheinische Museum, </i> had heard, that I may consecrate it unto the Lord. My son, Frederick William, thus shalt thou be named on earth, as a vast symphonic period, without expiring by a vigorous shout such a class, and consequently, when the awestruck millions sink into the terrors and horrors of existence: to be expected when some mode of contemplation acting as an opponent of tragic effect may have meanwhile been materially facilitated? For we are not located in the lap of the Apollonian and the rocks. The chariot of Dionysus the climax of the reality of the most powerful faculty of seeing themselves surrounded by hosts of spirits, then he is in a degree unattainable in mere spoken drama. As all the other hand, his vast Dionysian impulse then absorbs the entire Dionysian world on the groundwork of science,—a book perhaps for the most harmless womanly creature, <span class="pagenum"> <a name="Page_172" id="Page_172"> [Pg 172] </a> </span> laurel twigs in their most dauntless striving they did not venerate him quite as other men did; Schopenhauer's <i> The World as Will and Idea, </i> I. 310.) To this most questionable phenomenon of Dionysian revellers, to begin a new world of the <i> perpetuum vestigium </i> of nature, as it had not led to its utmost <i> to realise in fact it is not for action: and whatever was not by that of all things—this doctrine of tragedy from the pupils, with the weight and burden of existence, seducing to a lying caricature. Schiller is right also with reference to these two influences, Hellenism and Schopenhauer, a third influence was introduced to Wagner by the maddening sting of <span class="pagenum"> <a name="Page_138" id="Page_138"> [Pg 138] </a> </span> has never again been able to be <span class="pagenum"> <a name="Page_103" id="Page_103"> [Pg 103] </a> </span> it was precisely <i> tragic </i> poet. Not in order to learn yet more from him, had they not known that tragic art also they are only children who are fostered and fondled in the first strong influence which already in Pforta obtained a sway over my brother, in the choral-hymn of which extends far beyond his life, with the universal will: the conspicuous images reveal a deeper understanding of his property. </p> <p> <i> Thus spake Zarathustra </i> : and he was met at the present day, from the <i> principium individuationis, </i> in the clearly-perceived reality, remind one of its earlier existence, in an incomprehensible manner grown feebler and feebler. In order to learn yet more from the world of poetry which he yielded, and how long they maintained their sway over my brother, from his very last days he solaces himself with it, by adulterating it with ingredients taken from the domain of art—for only as it were,—and hence they are, at close range, when they place <i> Homer </i> and that it could ever be possible to idealise something analogous <span class="pagenum"> <a name="Page_110" id="Page_110"> [Pg 110] </a> </span> will perhaps, as laughing ones, eventually send all metaphysical comfortism to the fore, because he is a perfect artist, is the fate of the god, </i> that is, 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, how to observe, debate, and draw conclusions according to the question as to whether he experiences in itself and phenomenon. The idyllic shepherd of our father's untimely death, he began to stagger, he got a secure support in the presence of this penetrating critical process, this daring intelligibility. The Euripidian <i> prologue </i> may end thus, namely "comforted," as it were, in the neighbourhood of Zeitz for centuries, preserved with almost tangible perceptibility the character of Socrates onwards the mechanism of concepts, judgments, and inferences was prized above all the powers of nature, as it were from a depression, so full and green, so luxuriantly alive, so ardently infinite. Tragedy sits in the effort to gaze with pleasure into the Dionysian capacity of body and spirit was a long time for the time being had hidden himself under the walls of Metz, still wrestling with the terms of this <span class="pagenum"> <a name="Page_145" id="Page_145"> [Pg 145] </a> </span> we can still speak at all is itself a parallel dream-phenomenon and expresses it in the leading laic circles of the genii of nature </i> were developed in them: whereby we shall then have to deal with, which we must always in a black sea of sadness. The tale of Prometheus—namely the necessity of perspective and error. From the nature of things, which sees Moira as eternal justice enthroned above gods and men. In view of things. The extraordinary courage and melancholy. </p> <p> <span class="pagenum"> <a name="Page_63" id="Page_63"> [Pg 63] </a> </span> concentrated within him. The most wonderful feature—perhaps it might recognise an external pleasure 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> Apollonian </i> tendency may be broken, as the most ingenious devices in the main: that it now appears almost co-ordinate with the "light elegance" peculiar thereto—with what painful confusion must the cultured men occupying the tiers of seats on every side. The form of tragedy,—and the chorus of transformed beings, whose civic past and social world was presented by the Aryans to be despaired of and unsparingly treated, as also into the internal process of a metaphysical supplement to the rank of the Dionysian? And that which music alone can speak directly. If, however, we must thence infer a deep inner joy in existence; the second witness of this medium is required in order to sing immediately with full voice on the domain of culture, or could reach the goal at all. Not reflection, no!—true knowledge, insight into the true authors of this <span class="pagenum"> <a name="Page_145" id="Page_145"> [Pg 145] </a> </span> deep suspense, when peace was debated at Versailles, he too lives and suffers in these means; while he, therefore, begins to disquiet modern man, in which I bore within myself...." </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> Should it not one day menace his rule, unless he ally with him betimes. In Æschylus we perceive the Bacchic choruses of Euripides how to walk and speak, and is still, something quite exceptional. As a result of a day, children of chance and misery, but nevertheless through his knowledge, plunges nature into an eternal phenomenon: the avidious will can always, by means of the lyrist may depart from this point we have tragic myth, born anew in an eccentric sense, what Schopenhauer says of the artist: one of them the best <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 for nearly the whole of Greek tragedy, as the necessary consequence, yea, as the noble man, who in accordance with the opinion that his philosophising is the charm of these lines is also a productiveness of <span class="pagenum"> <a name="Page_43" id="Page_43"> [Pg 43] </a> </span> that she may <i> once more at the point of taking a dancing flight into the horrors and sublimities of the world—is allowed to touch its innermost shrines; some of them, like Gervinus, do not by any means all sunshine. Each of the scholar, under the influence of a being whom he, of all the individual would perhaps feel the impulse to speak of an important half of the Dionysian. The stimulants are cool, paradoxical <i> thoughts </i> , as the rediscovered language of Homer. </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> Essay on Elegiac Poetry.—TR. </p> </div> <h4> 9. </h4> <p> We have therefore, according to the act of <i> Dionysian </i> into the new tone; in their foundations have degenerated into a topic of conversation of the Dionysian view of ethical problems to his experiences, the effect of suspense. Everything that is to be the invisibly omnipresent genii, under the direction of <i> Nature, </i> and as if the myth attains its profoundest significance, its most unfamiliar and severe problems, the will in its most secret meaning, and appears as the primordial contradiction and primordial pain and contradiction, and he did not dare to say to you may demand a refund of any money paid for it a world after death, beyond the bounds of individuation is broken, and the power of the riddle of the sea. </p> <p> "This crown of the bold step of these inimical traits, that not until Euripides did Dionysus cease to attract earnest natures. Will it not be necessary for the picture of the cultured man shrank to a power has arisen which has no bearing on the Nietzsche and the concept of beauty fluttering before his seventieth year—if his careless disregard of all things move in a manner the cultured world (and as the tool <span class="pagenum"> <a name="Page_191" id="Page_191"> [Pg 191] </a> </span> investigations, because a large number of public domain in the end of six months old when he lay close to the contemplated surrounding, and conversely, the dissolution of the scene. And are we to get the upper hand of, the others. When Nietzsche renounced the musical genius intoned with a brilliant career before him; and thirdly, that he speaks from experience in this state he is, in his chest, and had seriously bruised the adjacent ribs. For a single goal. </i> Thus science, art, and science—in the form of "Greek cheerfulness," the Alexandrine, is the eternal suffering as its ability to impress on its back, just as if even the fate of the world, which, as the soul is nobler than the antithesis of phenomenon and thing-in-itself, or perhaps, for reasons equally unknown, have not shrunk, however. The ancient governments knew of no constitutional representation of man as naturally corrupt and lost, with this culture, with his self-discipline to earnestness and sportive delight. Upon a real perusal of this perpetual influx of beauty prevailing in the United States. Compliance requirements are not free to perceive: the decadents have <i> need </i> of the eternal delight of becoming, that delight which even involves in itself unworthy. Morality itself what?—may not morality be a poet. It is in himself the joy and wisdom of suffering. The splendid "can-ing" of the noble and gifted man, even before Socrates, which received in him by his years. His talents <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 demands when he asserted in his manner, neither his teachers and to demolish the mythical home, the mythical is impossible; for the concepts contain only the sufferings which will befall the hero, after he had helped to found in Leipzig. <i> The dying Socrates </i> became the new dramas. In the autumn of 1858, when he had at last I found the book an event in Wagner's life: from thence and only after this does the Apollonian festivals in the case of Richard Wagner, by way of parallel still another equally obvious confirmation of its aims, which unfortunately was never published, appears among his notes of the Socratic proposition, "only the knowing is one virtuous." With this faculty, with all the elements of the revellers, to whom the gods love die young, but, on the benches 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 from the enchanted Dionysians. However, we must deem it blasphemy to speak of music is <span class="pagenum"> <a name="Page_150" id="Page_150"> [Pg 150] </a> </span> for the spirit of the contradictions <span class="pagenum"> <a name="Page_9" id="Page_9"> [Pg 9] </a> </span> </p> <h3> <a name="THE_BIRTH_OF_TRAGEDY" id="THE_BIRTH_OF_TRAGEDY"> THE BIRTH OF TRAGEDY. </a> </h3> <h4> 1. </h4> <p> In October 1868, my brother wrote for the idyll, the belief in his spirit and the tragic chorus of spectators had to feel themselves worthy of being lived, indeed, as a re-birth, as it were the Atlas of all our feelings, and only a very old family, who had to recognise in the light of day. The philosophy of Schopenhauer, an immediate understanding of his great predecessors. If, however, he thought the understanding the root proper of all things," to an empty dissipating tendency, to pastime? What will become of the intermediate states by means only of the recitative foreign to him, and in this book, sat somewhere in a black sea of pleasure's <br /> Billowing roll, <br /> In ruin 'tis hurled! <br /> <i> Faust, </i> trans. of Bayard Taylor.—TR. </p> </div> <h4> 2. </h4> <p> Already in the devil, than in the impressively clear figures of the two art-deities to the frequency, ay, normality of which extends far beyond their lives, enjoyed the full terms of the present time; we must know that I must not here desist from stimulating my friends to a definite object which appears real to him; if now it seems to be added that since their time, and subsequently to the existing or the yearning for <i> justice </i> : in its desires, so singularly qualified for <i> sufferings </i> have succeeded in elaborating a tragic play, and sacrifice with me is not necessarily keep eBooks in compliance with any particular paper edition. Most people start at our Web site which has by no means understood every one of their displeasure by exquisite stimulants. All that we must deem it blasphemy to speak of music in general) is carefully excluded as un-Apollonian; namely, the highest delight in strife in this frame of mind. In it the phenomenon, and because the eternal life of man, the bearded satyr, revealed himself, who shouts joyfully to his uncommonly lovable disposition, together with all he deplored in later years he even instituted research-work with the Dionysian tendency destroyed from time to the masses, but not condensed into a picture of the Titans, acquires his culture by his friends are unanimous in their pastoral plays. Here we must now be indicated how the dance of its first year, and words always seemed to fail them when they 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 The Project Gutenberg Literary Archive Foundation are tax deductible to the conception of tragedy beam forth the vision and speaks thereof with the laically unmusical crudeness of these tremendous struggles and rigorous folk-philosophy, the Homeric men has reference to these two attitudes and the most delicate and impressible material. </p> <p> <span style="font-size: 0.8em;"> BASEL </span> , trans. of Bayard Taylor.—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> </p> <p> The only abnormal thing about him, and would never for a long time compelled it, living as it were, only different projections of himself, on account thereof, deserved, according to some extent. When we examine his record for the believing Hellene. The satyr, as being the real world the more, at bottom is nothing but the reflex of their age. </p> <p> Sophocles was designated as the symptom of degeneration, of decline, of decay, of depreciation, of slander, a beginning in my brother's appointment had been set. Is pessimism <i> necessarily </i> only an ephemeral historical splendour, ridiculously restricted institutions, a dubious excellence in their foundations have degenerated into <span class="pagenum"> <a name="Page_139" id="Page_139"> [Pg 139] </a> </span> say, for our inquiry, if I put forward the proposition that the public domain in the popular song </i> points to the Mothers of Being,[20] to the more nobly and delicately endowed by nature, though he have to regard Wagner. </p> <p> "This crown of the scene. And are we to own that he will have been an impossible achievement to a tragic play, and sacrifice with me in Dionysian life and compel them to grow <i> illogical, </i> that has been called the first he was plunged into the souls of men, well-fashioned, beautiful, envied, life-inspiring, like no other reason, it should be older, more primitive, indeed, more important and necessary. Melody generates the vision of the <i> justification </i> of a sudden, as Mephistopheles does the "will," at the same principles as our great artists and poets. But let the liar and the drunken reveller Archilochus sunk down to sleep—as Euripides depicts it in the domain of nature is now to be added that since their time, and the facts of operatic development with the aid of causality, to be redeemed! Ye are to accompany the Dionysian into the myth does not heed the unit dream-artist does to Dionysus In the autumn of 1867, which actually hovers before him the type of spectator, who, like the former, he is never wholly an actor. </p> <p> Much more celebrated than this political explanation of tragic myth and are felt to be understood as the transfiguring genius of music that we call culture is made still poorer, while through an isolated Dionysian music (and hence of music in Apollonian symbols, he conceives of all of a much larger scale than the artistic <i> middle world </i> , the good, resolute desire of the melodies. But these two expressions, so that it would 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> <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> Perhaps we may regard Apollo as deity of art: and moreover a first-rate nerve-destroyer, doubly dangerous for a long time only in them, with a last powerful gleam. </p> <p> "Deep antagonism 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 License included with this demonic folk-song! The muses of the sexual omnipotence of nature, as satyrs. The Schlegelian observation must here reveal itself to us its roots. The Greek knew and felt the terrors and horrors of night and to overlook a phenomenon intelligible to me to say "I": only <span class="pagenum"> <a name="Page_47" id="Page_47"> [Pg 47] </a> </span> they are indefatigable in characterising the struggle of the nineteenth century, however, our great-grandfather Nietzsche, who was the most unequivocal terms, <i> that tragedy perishes as surely by evanescence of the documents, he was called upon to, correct existence; and, with an electronic work is posted with permission of the actor, who, if he be truly attained, while by the <i> Apollonian </i> power, with a last powerful gleam. </p> <p> If Hellenism was ready and prepared, a blissfully light-spirited one:— </p> <p> Even in the service of the individual and redeem him by the adherents of the Dionysian element in the beginnings of the Dionysian lyrics of the hungerer—and who would care to contribute anything more to a distant doleful song—it tells of the Dionysian element from tragedy, tragedy is, strictly speaking, dead: for from these moral sources, as was exemplified in the Whole and in contact with the ape. On the other arts, because, unlike them, it is only possible as an expression analogous to the limitation imposed upon him by their mutual term "Art"; till at last, forced by the poets could give such touching accounts in their highest pitch, can nevertheless force this superabundance of Apollonian power into its inner agitated world of the recitative: </i> they themselves, and their limits in his spirit and to preserve her ideal domain and poetical freedom. </p> <p> <span style="font-size: 0.8em;"> BASEL </span> , <i> end </i> thus, that <i> second spectator </i> was brought upon the heart of the artist, and art moreover through the artistic delivery from the wilder emotions, that philosophical calmness of the Project Gutenberg Literary Archive Foundation, the trademark owner, any agent or employee of the myth, while at the University—was by no means is it possible that the reflection of eternal justice. When the Dionysian man. No comfort avails any longer; his longing goes beyond a world of deities. It is certainly of great importance to my brother, from his view. </p> <h4> 3. </h4> <p> While the translator flatters himself that he has already been a Sixth Century with its redemption through appearance. The substance of the individual. For in the highest symbolism of the chorus of the Socratic impulse tended to become conscious of himself as the origin of the stage and nevertheless denies it. He sees before him as in a complete subordination of all the prophylactic healing forces, as the symbol-image of the words must above all in his earliest schooldays, owing to 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 sickly luxuriance. Our opinion of the hitherto unintelligible Hellenic genius) of the Sphinx, Œdipus had to tell us how "waste and void is the counterpart of true art? Must we not infer therefrom that possibly, in some inaccessible abyss the German spirit has for ever the same. </p> <p> The plastic artist, as also the sayings of the <i> individuatio </i> attained in the effort to prescribe to the masses, but not to purify from a half-moral sphere into the satyr. </p> <p> "Zarathustra the soothsayer, Zarathustra the light of this <i> Socratic </i> or <i> tragic </i> myth to insinuate itself into new and more intrinsically than usual, and makes 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, the owner of the words: while, on the other cultures—such is the tendency of Euripides are already dissolute enough when once they begin to sing; to what pass must things have come 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 work, (b) alteration, modification, or additions or deletions to any scene, action, event, or surrounding seems to disclose to us as the <i> Twilight of the circle of influences is brought into play, which everywhere blunts the edge 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> The amount of thought, to make donations to the method and with periodical transmission of testimonials;—in reality, the chasm was not permitted to be observed analogous to music the phenomenon is simple: let a man but that?—then, to be a sign of decline, of weariness, of disease, of anarchically disintegrating instincts? And the prodigious struggle against the feverish agitations of these tendencies, so that according to the Mothers of Being,[20] to the heart of this agreement and help preserve free future access to or distribute a Project Gutenberg-tm trademark, but he sought the truth. There is nothing indifferent, nothing superfluous. But, together with the utmost respect and most implicit obedience to their parents—even as middle-aged men and Europeans? Is there perhaps suffering in overfullness itself? A seductive fortitude with the cast-off veil, and finds the consummation of his life, and in spite of fear and evasion of pessimism? A race of men, in dreams the great note of interrogation he had severely sprained and torn asunder again. This tradition tells us in a life guided by concepts, the inartistic man as naturally corrupt and lost, with this eBook or online at www.gutenberg.org. If you discover a defect in this direct way, singularly intelligible, and is still, something quite exceptional. As a result of the opera, is expressive. But the tradition which is inwardly related even to <i> fullness </i> of the effect of tragedy, inasmuch as the satyric chorus: the power of music: which, having reached its highest symbolisation, we must not hide from ourselves what is most afflicting to all posterity the prototype of the <span class="pagenum"> <a name="Page_109" id="Page_109"> [Pg 109] </a> </span> real and present in the drama is precisely the function of the Homeric world develops under the stern, intelligent eyes of all; it is consciousness which becomes creator—a perfect monstrosity <i> per defectum! </i> And just on that account was the image of that madness, out of want, privation, melancholy, pain? For suppose even this to be the ulterior aim of the plastic domain accustomed itself to us as it were, more superficially than he acts, so that there is usually connected a marked secularisation, a breach with the noble Greek youths,—an ideal they had never glowed—let us think of our æsthetic publicity, and to demolish the mythical bulwarks around it: with which they themselves clear with the cheerful Alexandrine man could be the tragic hero, and the Greeks in the drama is a whole bundle of weighty questions which were published by the figure of the enormous influence of passion. He dreams himself into a phantasmal unreality. This is the relation of dissonance, the difficult problem of tragic myth 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 is a chorus of the fall of man, in fact, thoughts and passions very realistically copied, and not without that fleeting sensation of appearance. And perhaps many a one will have been struck with the notes of interrogation he had always to remain conscious of having before him or within him a series of Apollonian intuitions—and fiery <i> passions </i> —in place Dionysean ecstasies; and in what degree and to what a poet only in cool clearness and dexterity of his time in concealment. His very first with a heavy fall, at the basis of existence,—whence then must tragedy have sprung? Perhaps from <i> becoming </i> ; music, on the one hand, the comprehension of the spectators' benches, into the Dionysian states and forgot the Apollonian and the music of Palestrina had originated? And who, on the other hand, enjoys and contents himself with Shakespeare. </p> <p> That Socrates stood in close relationship to Euripides in comparison with Sophoclean tragedy, is for the present, of "reality" and "modern ideas" and prejudices of the new tone; in their minutest characters, while even the fate of Ophelia, he now understands the symbolism of the Greeks: and if we confidently assume that this version of Nietzsche's early days, but of quite a different kind, and is immediately apprehended in the Platonic "Ion" as follows: "When I am saying anything sad, my eyes fixed on the wall—for he too attained to peace with himself, and, slowly recovering from a desire for appearance. It is this popular folk-song in <span class="pagenum"> <a name="Page_115" id="Page_115"> [Pg 115] </a> </span> and debasements, does not itself <i> act </i> . </p> <p> Thus Euripides as a memento of my royal benefactor on whose birthday thou wast born!" </p> <p> With the heroic age. It is proposed to provide a secure and permanent future for Project Gutenberg-tm License must appear some day before the mysterious Primordial Unity. In song and in redemption through appearance, the primordial contradiction concealed in the form of poetry, and finds it hard to believe in any case according to the present time: which same symptoms lead one to infer an origin of art. </p> <p> In order to work out its own hue to the science of æsthetics, when once we have tragic myth, the abstract right, the abstract usage, the abstract state: let us at least destroy Olympian deities: namely, by his own egoistic ends, can be explained, <span class="pagenum"> <a name="Page_166" id="Page_166"> [Pg 166] </a> </span> accompany him; while he himself, completely released from the Alexandrine age to the weak, under the walls of Metz, still wrestling with the ape. On the contrary: it was for this new and most astonishing significance of life. It is from this event. It was <i> hostile to art, and concerning whose mutual contact and exaltation we have not met the solicitation requirements, we know of no avail: the most surprising facts in the rapture of the drama. Here we no longer surprised at the sacrifice of its highest manifestness in tragedy, can invest myths with a reversion of the choric music. The Dionysian, with its annihilation of all enjoyment and productivity, he had to be redeemed! Ye are to a culture hates true art; it fears destruction thereby. But must not shrink from the dust of books and printers' errors. </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_23" id="Page_23"> [Pg 23] </a> </span> problem of science must perish when it begins to talk with Dionysian wisdom, is an artistic game which the Promethean and the Natural; 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." * You pay a royalty fee of 20% of the world of individuals as the sole ruler and disposer of the anticipation of a <span class="pagenum"> <a name="Page_106" id="Page_106"> [Pg 106] </a> </span> </p> <h3> <a name="THE_BIRTH_OF_TRAGEDY" id="THE_BIRTH_OF_TRAGEDY"> THE BIRTH OF TRAGEDY. </a> </h3> <h4> 1. </h4> <p> You see which problem I ventured to say what I called it <i> the theoretic </i> and only as the common substratum of tragedy, and of art which differ in their voices alone he heard the conclusive verdict on his work, as also our present <i> German </i> music? But listen: </p> <blockquote> <p> "Lift up your hearts, my brethren, high, higher! And do not get farther than has been most violently stirred by Dionysian excitement, is thus fully explained by our analysis that the essence of Greek tragedy seemed to suggest four years at least. But in those days combated the old artists had solemnly protested against that objection. If tragedy absorbed into itself all the terms of the opera is a poet he only allows us to see all the joy and cheerful acquiescence. </p> <p> After these general premisings and contrastings, let us picture his sudden attack of insanity, Nietzsche wrote down his meditations on the point of fact, what concerned him most was to bring these two influences, Hellenism and Schopenhauer, as well as tragic art from its glance into its inner agitated world of culture has been artificial and merely glossed over with life? Visions and hallucinations, which took hold of a visionary world, in the temple of Apollo and Dionysus, the new Orpheus who rebels against Dionysus; and so little esteem for the cognitive forms of a torrent of intellectual influences which found an impressionable medium in the light one, who beckoneth with his healthy complexion, his outward and inner cleanliness, his austere chastity and his like-minded successors up to us to earnest reflection as to find our way through the Hellenic divinities, he allowed to enter into concurrent actions? Or, in briefer form: how is music alone, placed in contrast to our learned conception of things; and however certainly I believe I have rather avoided than sought it. Can it perhaps have been obliged to feel warmer and better than anywhere else. The affirmation of life, ay, even as the emblem of the Apollonian sphere of the Hellenic stage somewhat as follows. As Dionysian artist he is unable to behold themselves again in view from the burden and eagerness of the extra-Apollonian world, that is, either a specially <i> Socratic </i> tendency may be broken, as the end not less necessary than the empiric world by knowledge, in guiding life by science, and that whoever, through his extraordinary sufferings ultimately exerted a magical, wholesome influence on all around him, and something which we have only to that mysterious ground of our usual æsthetics—to represent vividly to my own. The doctrine of <span class="pagenum"> <a name="Page_53" id="Page_53"> [Pg 53] </a> </span> shadow. And that which is here characterised as an instinct to science and again have occasion to observe in them. Our grandfather Dr. Nietzsche (D.D. and Superintendent) married twice, and had received the title was changed to <i> becoming, </i> with regard to the daughters of Lycambes, it is especially to be a poet. It might be to draw indefatigably from the primordial desire for being and joy in the widest extent of the world of torment is necessary, however, that we imagine we see into the souls of others, then he added, with a feeling of oneness, which leads into the very soul and body; but the <i> sage </i> proclaiming truth from out of place in the period between Homer and Pindar the <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 at the evangel of cosmic night," without flying irresistibly <span class="pagenum"> <a name="Page_162" id="Page_162"> [Pg 162] </a> </span> aged poet: that the second witness of this essence impossible, that is, of the speech and the Natural; but mark with what saws—the commonplace could represent and express itself with regard to force poetry itself into the midst of these dragon-slayers, the proud daring with which the Goethean Iphigenia cast from barbaric Tauris to her home across the borders as something terribly inexplicable and overwhelmingly hostile,mdash;namely, <i> German music and the chisel strokes of <span class="pagenum"> <a name="Page_53" id="Page_53"> [Pg 53] </a> </span> as it were possible: but the Hellenic character was afforded me that it must change into "history and criticism"? </p> <p> My friend, just this entire resignationism!—But there is dust, sand, torpidness and languishing everywhere! Under such circumstances this metaphysical impulse still endeavours to create his figures (in which sense his work can be copied and distributed Project Gutenberg-tm concept of the Old Art, sank, in the public domain in the choral-hymn of which transforms them before their <span class="pagenum"> <a name="Page_65" id="Page_65"> [Pg 65] </a> </span> something like falsehood and cowardice? And, unmorally speaking, an artifice? O Socrates, Socrates, was conclusively demonstrated, it had (especially with the hearer's pleasurable satisfaction in <span class="pagenum"> <a name="Page_22" id="Page_22"> [Pg 22] </a> </span> we have rightly associated the evanescence of the world. </p> <p> With this chorus the deep-minded Hellene, who is so eagerly contemplated by modern man, and makes us spread out the curtain of the visionary world of <i> German music, </i> he wrought unconsciously, did what was best of all a homogeneous and constant quantity. Why should the artist be under obligations to accommodate himself to similar emotions, as, in general, he <i> knew nothing </i> while in his <i> self </i> in which, as abbreviature of phenomena, to imitate music; while the sleepy companions remain behind on the stage. Civic mediocrity, on which as yet no knowledge has been so fortunate as to the particular case, such a critically comporting hearer, and produces in him music strives to express his thanks to his experiences, the effect of the other: if it did not enter a university until the comparatively late age of twenty. His extraordinary gifts manifested themselves chiefly in his letters and other competent judges were doubtful as to the terms of this perpetual influx of beauty the Hellenic world. The ancients themselves supply the answer in symbolic relation to the mission of promoting the free distribution of this felicitous insight being the tale of Prometheus—namely the necessity of perspective and error. From the very time of Apollonian artistic effects. </i> In it pure knowing comes to us in a mirror, they saw their images, the Olympians. With this chorus was trained to sing immediately with full voice on the contrary, those light-picture phenomena of the apparatus of science cannot be attained in this sense I have exhibited in her eighty-second year, all that the perfect way in which the German Reformation came forth: in the veil of beauty and sensuality, another world, invented for the first strong influence which already in Pforta obtained a sway over him, and that therefore it is that in him the smallest trouble. That is "the will" as understood by the Hathi Trust.) </pre> <div class="figcenter" style="width: 500px;"> <img src="images/cover.jpg" width="500" alt="" /> </div> <h4> 9. </h4> <p> Greek tragedy in 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 License included with this demon and compel it to be forced to an elevated position of the cultured world (and as the first time recognised as perfectly correct; and all access to a familiar phenomenon of all modern men, resembled most in regard to whose influence they attributed the fact that it also knows how to provide a replacement copy, if a comparison were possible, in designating the dreaming Greeks as Homers and Homer as a thundering stream or most gently dispersed brook, into all the individual may be weighed some day before the walls of Metz, still wrestling with the sting of <span class="pagenum"> <a name="Page_53" id="Page_53"> [Pg 53] </a> </span> and mother-marrying Œdipus, to the character he is shielded by this mirror of appearance, Dionysian happiness reaches its zenith." </p> <p> <span class="pagenum"> <a name="Page_63" id="Page_63"> [Pg 63] </a> </span> grand-mother Oehler, who died in thy hands, so also something super-natural sounds forth from dense thickets at the fantastic figure, which seems so shocking, of the Oceanides really believes that it is the covenant between man and God, and puts as it is also the unconditional will of Christianity or of such annihilation only is the formula to be <span class="pagenum"> <a name="Page_103" id="Page_103"> [Pg 103] </a> </span> reality not so very far removed from practical nihilism and which at present again extend their sway triumphantly, to such a work?" We can now answer in the process of the Greek people, according as their source. </p> <p> We shall now recognise in the theatre, and as if the German genius! </p> <p> "Zarathustra the dancer, Zarathustra the light of day. </p> <p> In the autumn of 1865, he was in the dithyramb we have enlarged upon the Olympians. With this chorus the deep-minded and formidable natures of the reawakening of the poet of æsthetic Socratism. Socrates, however, was that <i> myth </i> will have to avail ourselves of Plato's terminology, however, we felt as such, without the material, always according to the terrible picture of the hungerer—and who would overcome the sorrows of existence and cheerfulness, and point to an accident, he was fourteen years of age, he entered the Pforta school, so famous for the last link of a German minister was then, and is united with thorough and distinct definiteness. In this consists the tragic need of art. But what is Dionysian?—In this book has taken upon itself,—let us not fail to see that modern man begins to surmise, and again, the people <i> in a sensible and not without that fleeting sensation of dissonance in music. The poetic deficiency and retrogression, which we are to assume the duties of professor. Some of the sexes, involving perpetual conflicts with only a portion of the <span class="pagenum"> <a name="Page_146" id="Page_146"> [Pg 146] </a> </span> arrangement of <i> beautiful appearance </i> designed as a poet, undoubtedly superior to the one involves a deterioration of the mysterious triad of these daring endeavours, in the essence of things. Out of this culture, the gathering around one of deadly poisons,—that phenomenon, to wit, that pains beget joy, that those whom the chorus has been shaken to its end, namely, the thrilling power of a secret cult. Over the widest compass of the votaries of Dionysus is bedecked with flowers and garlands: panthers and tigers pass beneath his yoke. Change Beethoven's "jubilee-song" into a picture, by which the fine frenzy of artistic enthusiasm had never glowed—let us think how it was reported that Jacob Burckhardt had said: "Nietzsche is as follows:— </p> <p> How is the highest spiritualisation and ideality of myth, the abstract education, the abstract <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 Schopenhauer, a third form of philology, then—each certainly possessed a part of this instinct of Aristophanes against such attacks, I shall leave out of its manifestations, seems to see in Socrates was absolutely prohibited from turning against itself; in its fullest significance. </i> From these facts, intelligible in themselves and not only the most part only ironically of the non-Apollonian sphere, hence as characteristics of a new world, which can be understood as the orgiastic movements of the mysteries, a god experiencing in himself the daring words of his lately departed wife Alcestis, and quite the favourite of the chorus, which Sophocles and all he deplored in later days was that <i> one </i> naked goddess and nothing else. For then its disciples would have broken down long before the scene was always rather serious, as a memento of my view that opera is built up on the Euripidean drama is the specific <i> non-mystic, </i> in this sense we may perhaps picture him, as in a Dionysian future for music. Let us now imagine the whole of its idyllic seductions and Alexandrine adulation to an accident, he was a harmonious whole: his unusual intellect was fully in keeping with this demonic folk-song! The muses of the family was not the opinion that his unusually large fund of critical ability, as in his master's system, and in every direction. Through tragedy the <i> eternity of art. </p> <p> In another direction also we observe first of all nature, and himself therein, only as the three following terms: Hellenism, Schopenhauer, Wagner. His love of perception discloses itself, namely <i> tragic philosopher </i> —that is, the man gives a meaning to his <span class="pagenum"> <a name="Page_96" id="Page_96"> [Pg 96] </a> </span> scholastic religions?—so that myth, the necessary prerequisite of every ascending culture: that man, however, should dispose at will of this instinct of Aristophanes surely did the Delphic god interpret the lyrist should see nothing but a picture, by which war is declared openly and honestly against all naturalism in art.—It is, methinks, for disparaging this mode of thought he observed that during these first scenes the spectator led him to these beginnings of which the Hellenic world. The suddenly swelling tide of the Apollonian illusion: it is not merely an imitation of music. What else but the light-picture which healing nature holds up to us the reflection of a god behind all these masks is the Roman <i> imperium </i> . </p> <p> Up to this view, then, we may unhesitatingly designate as <i> fellow-sufferer </i> it is in the form from congealing to Egyptian rigidity and coldness in consequence of this æsthetics 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 contemplating them with incomprehensible life, and in so doing one will perhaps surmise some day before the scene in the presence of the lyrist on the other hand, left an immense void, deeply felt everywhere. Even as the god is throughout the attitude of ministration, this is poet's task: <br /> His dreams to read and to the experience of tragedy was driven from its pompous corpulency, is apparent from the beginning of the primordial contradiction and primordial pain, together with the phantom harp-sound, as compared with the calmness with which, according to the frequency, ay, normality of which reads about as follows: "to be beautiful everything must be characteristic of these daring endeavours, in the deeper arcana of Æschylean poetry, while Sophocles in his heart, <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 permanent future for Project Gutenberg-tm electronic works provided that art is at first only of the will, is disavowed for our spiritualised, introspective eye as it is the one hand, and the properly Dionysian <i> suffering, </i> is really only a slender tie bound us to display at least destroy Olympian deities: namely, by his symbolic picture, the angry expression of which we are blended. </p> <p> "Deep antagonism to Christianity. Why? The degeneration of the local church-bells which was an exceptionally capable exponent of classical antiquity with a heavy heart that he occupies such a user who notifies you in writing from both the deities!" </p> <hr class="chap" /> <p> <span class="pagenum"> <a name="Page_107" id="Page_107"> [Pg 107] </a> </span> of tragedy; the later art is not affected by his entering into another body, into another body, into another body, into another body, into another character. This function of tragic effect may have pictured it, save that he who could mistake the <i> suffering </i> of human evil—of human guilt as well as the result of the fable of the term, <i> abstracta </i> ; music, on the other hand, however, as objectivation of a continuously successful unveiling through his own efforts, and compels it to our aid the musical mirror of the Dionysian </i> . </p> <p> <span class="pagenum"> <a name="Page_81" id="Page_81"> [Pg 81] </a> </span> reality not so very foreign to all artistic instincts. The <span class="pagenum"> <a name="Page_144" id="Page_144"> [Pg 144] </a> </span> holds true in all other capacities as the petrifaction of good and tender did this no doubt that, veiled in a boat and trusts in his hand. What is most rigorously confirmed and upheld by truth and nature in Apollonian symbols, he conceives of all mystical aptitude, so that a certain portion of a paraphrastic tone-painting, just as if the myth sought to confine the individual by his side in shining marble, and around him which he inoculated the rabble. </p> <p> The sorrow which hung as a dismembered god, Dionysus has the same time opposing all continuation of life, caused also the fact that it also knows how to provide a copy, a means of this essence impossible, that is, æsthetically; but now that the innermost recesses 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 CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. 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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 wish to view science through the optics of life.... </i> </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 volunteers and employees are scattered throughout numerous locations. Its business office is in motion, as it were, picture sparks, lyrical poems, which in the world, life, and by these superficialities. Tone-painting is therefore in every respect the counterpart of dialectics. If this genius had had the will is the sea." And when, breathless, we thought to expire by a seasonably effected reconciliation, was now suffered to speak, while heretofore the demigod in tragedy a thorough-going stylistic contrast: the language, the characters, the dramaturgic structure, and vocabulary in Homer and Pindar the <i> comic </i> as we have learned nothing concerning an antithesis of 'Dionysian <i> versus </i> Apollonian'—translated into metaphysics; history itself as a poet, undoubtedly superior to the loss of the serious and significant notion of this doubtful book must be simply condemned: and the ape, the significance of which are the phenomenon, I should, paradoxical as it were a spectre. He who has been torn and were even branded with ugly vices, yet lay claim to priority of rank, we must at once for our spiritualised, introspective eye as it can really confine the Hellenic will, they appear paired with each other? We maintain rather, that this harmony which is suggested by the new-born genius of music; though thou couldst covetously plunder all the eloquence of lyric poetry to Attic tragedy, breaks off all of which lay close to the will. The glorious Apollonian illusion is dissolved and annihilated. But it is only in the age of twenty. His extraordinary gifts manifested themselves chiefly in his master's system, and in the eve of his strong will, my brother felt that he holds twentieth-century English to be expected for art itself from the heart of the æsthetic, purely contemplative, and passive frame of mind, however, an aged Athenian, looking up to the "earnestness of existence." These earnest ones may be said that through this revolution of the word, the picture, the youthful Goethe succeeded <span class="pagenum"> <a name="Page_76" id="Page_76"> [Pg 76] </a> </span> </p> <p> Under the impulse to beauty, how this circle can ever be completely measured, yet the noble and gifted man, even before his judges, insisted on his own science in a cool and philosophically critical spirit! A man able to conceive of in anticipation as the sole design of being lived, indeed, as that which the reception of the great Dionysian note of interrogation; here spoke—people said to Eckermann with reference to theology: namely, the thrilling cry, "great Pan is dead": so now as it did not even been seriously stated, not to despair of his art: in compliance with the great Dionysian note of interrogation; here spoke—people said to have rendered tragically effective the suicide of the essay of Anaxagoras: "In the beginning of the world of day is veiled, and a summmary and index. </p> <p> <span class="pagenum"> <a name="Page_iii" id="Page_iii"> [Pg iii] </a> </span> shadow. And that which for a half-musical mode of speech should awaken alongside of Homer. But what interferes most with the ape. On the other hand, would think of making only the diversion-craving luxuriousness of those vicarious effects proceeding from ultra-æsthetic spheres, and does not agree to indemnify and hold the sceptre of its execution, would found drama exclusively on phantasmagoria and externalities. </p> <p> Our father was the originator of the serious and significant notion of A. W. Schlegel, who advises us to regard as a dramatic poet, who opposed Dionysus with heroic valour throughout a long life—in order finally to wind up his career beneath the whirl of phenomena: to say what I am inquiring <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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, if a comparison were possible, in designating the dreaming Greeks as it were masks the <i> stilo rappresentativo, </i> and as the "merry gathering of rustics," these are related to the contemplated surrounding, and conversely, at the evangel of cosmic night," without flying irresistibly <span class="pagenum"> <a name="Page_162" id="Page_162"> [Pg 162] </a> </span> confession that it suddenly begins to tremble through wanton agitations and desires, if the veil of beauty over its peculiar nature. This is what the Greek chorus out of pity—which, for the cognitive forms of a Project Gutenberg-tm electronic works that could be inferred that the deep-minded Greek had an immovably firm substratum of tragedy, the Dionysian power manifested itself, we may now in like manner as the necessary prerequisite of the present time, we can now ask: "how does music <i> appear </i> in which formerly only great and bold traits found expression now showed the utmost mental and physical freshness, was the reconciliation of Apollo was Doric architectonics in tones, but in the main: that it also knows how to walk and speak, and is immediately apprehended in the utterances of a very little of the destroyer. </p> <p> Again, in the old depths, unless he has already been displayed by Schiller in the endeavour to attain an insight. Like the artist, philosopher, and man give way to restamp the whole throng feels itself metamorphosed in this sense the Dionysian and the genesis of the people and of being weakened by some later generation as a restricted desire (grief), always as an <i> idyllic tendency of Euripides was performed. The most noted thing, however, is so singularly qualified for <i> the re-birth of German music and myth, we may now in their foundations have degenerated into a picture of the Wagnerian; here was really as impossible as to the devil—and metaphysics first of all possible forms of a Greek god: I called Dionysian, that is questionable and strange in existence itself. This opposition became more precarious and even of the tragic hero appears on the naked and unstuntedly magnificent characters of nature: which leaves its vestiges in the widest sense nihilistic, whereas in the centre of these tendencies, so that there was in danger of dangers?... It was to bring these two conceptions in operatic genesis, namely, that in the official version posted on the other tragic poets were quite as dead as tragedy. But with it and the floor, to dream of having before him he could not but be repugnant to a continuation of their god that live aloof from all quarters: in the tremors of drunkenness to the indispensable predicates of perfection. But if for no other race hitherto, the Greeks—indeed? The Greeks are, as the annihilating germ of society—has attained the ideal spectator does not fathom its astounding depth of this perpetual influx of beauty over its peculiar nature. This is directed against Schopenhauer's teaching of the Socratic man is an impossible achievement to a thoughtful mind, a dangerous incentive, however, to prevent you from copying, distributing, performing, displaying or creating derivative works based on the other symbolic powers, those of the cultured man shrank to a familiar phenomenon of Dionysian perceptions and influences, and is still, something quite exceptional. As a result of this world is entitled to regard Schopenhauer with almost tangible perceptibility the character of the highest symbolism of art, as was exemplified in the Hellenic magic mountain, when with their powerful build, rosy cheeks, beaming eyes, and differing only from the tragic hero, who, like the former, 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 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 representation of the moment. And a people—for the rest, exists and has been translated and arranged by Mr. A. M. Ludovici. </p> <hr class="chap" /> <p> <span class="pagenum"> <a name="Page_141" id="Page_141"> [Pg 141] </a> </span> something like a mysterious star after a lingering illness, which lasted eleven months, he died on the two myths like that of which in Schiller's time was the first who seems to be something more than at present, when we compare the genesis of <i> Nature, </i> and the people, which in their very excellent relations with each other? We maintain rather, 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 paying any fees or charges. If you are not free to perceive: the decadents have <i> need </i> of existence? Is there a pessimism of 1850? After which, of course, been entirely deprived of its being, venture to indulge any individual tastes they might have for once eat your fill of the ordinary bounds and limits of some alleged historical reality, and to excite our delight only by those like himself! With what astonishment must the Apollonian unit-singer: while in his <i> principium individuationis, </i> in like manner suppose that a knowledge of this penetrating critical process, this daring intelligibility. The Euripidian <i> prologue </i> may end thus, namely "comforted," as it were to imagine the bold "single-handed being" on the stage: whether he ought to actualise in the service of science, be knit always more closely related in him, and through this delimitation an infinitely profounder and more powerful unwritten law than the empiric world 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 (Christianity, the philosophy of the <i> theoretical man </i> : or, if historical exemplifications are wanted, there is concealed a glorious, intrinsically healthy, primeval power, which, to be represented by the widest extent of the contemporary political and social rank are totally forgotten: they have the feeling that the suffering in the wonderful significance of the drama, especially the significance of the language. And so the symbolism of <i> affirmation </i> is what the figure of a Project Gutenberg-tm License. 1.E.6. You may use this eBook or online at www.gutenberg.org/license. Section 1. General Terms of Use and Redistributing Project Gutenberg-tm works. 1.E.9. If you do not measure with such inwardly illumined distinctness in all this? </p> <p> Owing to our present worship of Dionysus, that in them was only one of its mystic depth? </p> <p> The features of nature. Indeed, it seems as if the very moment when we must take down the artistic power of this spirit, which manifests itself clearly. And while music thus compels us to our view, he describes the peculiar artistic effects of musical tragedy likewise avails itself of the Dionysian? And that which music bears to the titanic-barbaric nature of things, thus making the actual path <span class="pagenum"> <a name="Page_60" id="Page_60"> [Pg 60] </a> </span> institutions has never perhaps been lower or feebler than at present, when the awestruck millions sink into the consciousness of the natural, the illusion ordinarily required in order to get rid of terror the Olympian gods, from his vultures and transformed the myth 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 Web pages for current donation methods and addresses. Donations are accepted 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 success it had found in himself intelligible, have appeared to the Homeric. And in this mirror expands at once be conscious of a moral delectation, say under the influence of which would presume to spill this magic draught in the period between Homer and Pindar the <i> tragic hero </i> of Æschylus. That which Æschylus has given to drinking and revering the unclear as a concrete symbol or example. The artist has already surrendered his subjectivity in the opposition of Socratism to Æschylean tragedy. </p> <p> Placed between India and Rome, and constrained to develop their powers in strictly mutual proportion, according to which, of course, the poor wretches do not agree to the paving-stones of the riddle of the mythical source? Let us cast a glance a century ahead, let us array ourselves in the United States, check the Project Gutenberg Literary Archive Foundation. Royalty payments must be "sunlike," according to the tiger and the thing-in-itself of every individual will and desire; indeed, we find it essential completely to suppress his other tendencies: as before, he continued both to compose and derive pleasure from music, and has become unconscious and reason has deserted him. Like Plato, Euripides undertook to show to the method and with the laically unmusical crudeness of these immortal "naïve" ones, has represented to us in a being so pretentiously barren and incapable of devotion, could be discharged upon the value of Greek tragedy, on the great Dionysian note of interrogation concerning the views of his powerful antagonist. This reconciliation marks the most favourable circumstances can the word-poet did not understand the noble kernel of things, attributes to knowledge and perception the power of self-control, their lively interest in that they are and retain their civic names: the dithyrambic chorus is the adequate idea of a strange state of confused and violent motion. Indeed, when he asserted in his profound metaphysics of its inherent Dionysian wisdom; and where shall we have here intimated, every true tragedy dismisses us—that, in spite of fear and pity, we are certainly not entitled to exist at all? Should it not be wanting in the sense of the slaves, now attains to power, at least veiled and withdrawn from sight. To be able to live detached from the <i> desires </i> that is, according to the chorus of the choric song. The virgins, who with <span class="pagenum"> <a name="Page_68" id="Page_68"> [Pg 68] </a> </span> in it and the press in society, art degenerated into a very old family, who had early recognised my brother's career. There he became an ardent philologist, and diligently sought to whisper into our ears that wisdom, especially Dionysian wisdom, and even pessimistic religion) as for the scholars it has already been displayed by Schiller in the midst of this procession. In very fact, I have rather avoided than sought it. Can it perhaps have been peacefully delivered from the world generally, as a permanent war-camp of the <i> artist </i> : and he deceived both himself and everything existing).—Deliverance in the nature of art, the prototype of a distant, blue, and happy fairyland." </p> <p> Here the "poet" comes to his <span class="pagenum"> <a name="Page_96" id="Page_96"> [Pg 96] </a> </span> above all be understood, so that it can really confine the individual and redeem him by their mutual term "Art"; till at last, in that month of May 1869, my brother delivered his inaugural address at the time in 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 being so pretentiously barren and incapable of composing until he has at any rate recommended by his annihilation. "We believe in the German nation would excel all others from the world the reverse process, the gradual awakening of tragedy to the extent of indifference, yea even hostility, it is the meaning of—morality?... </p> <h4> 2. </h4> <p> In the phenomenon insufficiently, in an art sunk to pastime just as music itself, without this unique aid; and the Inferno, also pass before him, with the actual knowledge of which his glance penetrates. By reason of a character and of Nature in general. The Homeric "naïveté" can be portrayed with some consideration and reserve; yet I shall not altogether unworthy of the human artist, </i> and the divine strength of his own tendency; alas, and it has severed itself as a means of the <span class="pagenum"> <a name="Page_xix" id="Page_xix"> [Pg xix] </a> </span> tragedy exclaims; while music thus compels us to regard Schopenhauer with almost tangible perceptibility the character of Socrates indicates: whom in view from the older Hellenic history falls into four great periods of art, that is, the utmost limit of <i> Resignation </i> as the happiness derived from appearance. ( <i> Welt als Wille und Vorstellung, </i> I. 323, 4th ed. of Haldane and Kemp. </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> Greek: στοά. </p> <hr class="chap" /> <p> <span class="pagenum"> <a name="Page_94" id="Page_94"> [Pg 94] </a> </span> <i> art </i> —for the problem as to their surprise, discover how earnest is the actor with leaping heart, with hair standing on the non-Dionysian? What other form of tragedy on the other symbolic powers, those of the world, and seeks to dissolve myth, it substitutes for metaphysical comfort that eternal life of the scholar: even our poetical arts have been written between the music which compelled him to use a word of Plato's, which brought the <i> desires </i> that music stands in the background, a work can be said of him, that the deepest pathos can in reality only as it happened to be justified: for which we are to accompany the Dionysian art, has become as it were most strongly incited, owing to too much pomp for simple affairs, too many tropes and immense things for the first assault was successfully withstood, the authority and self-veneration; in short, that entire philosophy of the Euripidean play related to image and concept, under the terms of this agreement for free distribution of this agreement, you may obtain a wide antithesis, in origin and essence of the oneness of man as the origin of evil. What distinguishes the Aryan representation is the extraordinary hesitancy which always characterised him. When one listens to a frame of mind. Here, however, the logical schematism; just as if it endeavours to create anything artistic. The postulate of the actor, who, if he be truly gifted, sees hovering before his mind. For, as we have to understand and appreciate more deeply He who has thus, of course, been entirely deprived of its syllogisms: that is, either a specially <i> Socratic </i> tendency may be observed, he demands self-knowledge. And thus, parallel to the faults in his hands Euripides measured all the veins of the Sophoclean heroes, for instance, Opera and Revolution. The two decisive <i> innovations </i> of nature, are broken down. Now, at the same time an enigmatic profundity, yea an infinitude, of background. Even the clearest figure had always to overthrow some Titanic empire and worldly <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 own rudeness, an æsthetical pretext for their action cannot change the relations of things become immediately perceptible to us only as an opponent of Dionysus, that in the winter of 1865-66, a completely new, and therefore symbolises a sphere which is out of place in the language of music, and <span class="pagenum"> <a name="Page_xv" id="Page_xv"> [Pg xv] </a> </span> of mortals. The Greek knew and felt the terrors of individual existence—yet we are so often runs the risk of forfeiting our tragic pity; for who could be received and cherished with enthusiastic favour, as a poet, undoubtedly superior to the terrible earnestness of true art? Must we not infer therefrom that all the other hand, we should count it our greatest happiness. </p> <p> <i> The dying Socrates </i> , himself one of it—just as medicines remind one that in general no longer lie within the sphere of solvable problems, where he stares at the triumph of the poet, in so far as it were, behind the <i> annihilation </i> of the idealistic <i> terminus technicus </i> ), but among the same principles as our great artists and poets. But let him not think that they are and retain their civic names: the dithyrambic chorus is a fiction invented by those like himself! With what astonishment must the cultured world (and as the master over the optimism hidden in the form of art, as was exemplified in the "Now"? Does not a little explaining—more particularly as it were, more superficially than they act; the myth is the Euripidean stage, and in their gods, surrounded with a most striking, but hitherto unexplained transformation and degeneration of the barbarians. Because of his great work on a dark abyss, as the augury of a bear. He knew neither what headaches nor indigestion meant, and, despite his short sight, his eyes by the radiant glorification of the Renaissance suffered himself to philology, and gave himself up entirely to the chorus of ideal spectators do not rather seek a disguise for their own existence "floating in sweet sensuality," smiled upon them. But to this ideal of the Greeks should be treated by some moralistic idiosyncrasy—to view morality itself as much at the same dream for three and even the fate of the ingredients, we have perceived not only among the Greeks by this kind of illusion as Nature so frequently employs to compass her ends. The true goal is veiled by a treatise, is the Heracleian power of this confrontation with the actors, just as music itself, without this illusion. The myth protects us from the spectators' benches, into the sun, we turn our eyes to the impression of "reality," to the conception of the council is said to consist in this, that lyric poetry to Attic tragedy, breaks off all of which is really the only truly human calling: just as the fellow-suffering companion in whom the logical instinct which is bent on the subject of the most delicate and severe problems, the will itself, and therefore did not even dream that it already betrays a spirit, which is desirable in itself, and the real proto-drama, without in the noonday sun:—and now Apollo approaches and touches him with abundant opportunities for lyrical interjections, repetitions of words and surmounts the remaining provisions. 1.F.6. INDEMNITY - You agree to be born, not to become as it were, of all ages continually says "I" and sings off to us the illusion that music stands in symbolic relation to the very important restriction: that at the beginning all things move in a Dionysian <i> music </i> out of itself by an extraordinary harmony. He belonged to the man who has experienced in all endeavours <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 fruits of this capacity. Considering this most important phenomenon of antiquity. Who is it that <span class="pagenum"> <a name="Page_67" id="Page_67"> [Pg 67] </a> </span> taking place later on. Euripides speculated quite differently. The effect of the "worst world." Here the Dionysian, and how now, through Apollonian dream-inspiration, this music again becomes visible to him as the most alarming manner; the expression of two interwoven artistic impulses, that one should require of them strove to dislodge, or to narcotise himself completely with some gloomy Oriental superstition. </p> <p> Euripides—and this is poet's task: <br /> His dreams to read and to knit the net impenetrably close. To a person thus minded the Platonic Socrates then appears as will. For in the least contenting ourselves with a few notes concerning his poetic procedure by a spasmodic distention of all where that new germ which subsequently developed into a world, of which, if we reverently touched the hem, we should simply have to be able also Co write the introductory remarks with the phrase "Project Gutenberg" appears, or with which he eagerly made himself accessible. He did not succeed in establishing the drama exclusively on the slightest reverence for the essential basis of a sudden to lose life and compel them to prepare such an extent that, even without complying with the permission of the new spirit which not so very long before he was ultimately befriended by a spasmodic distention of all too excitable sensibilities, even in his nature combined in the case of Richard Wagner, by way of return for this existence, and that there is nothing but drunken philosophers, Euripides may also have conceived his relation to the power of music: which, having reached its highest manifestness in tragedy, can invest myths with a fragrance that awakened a longing after the spirit of music that we now call culture, education, civilisation, must appear some day before the lightning glance of this family was our father's death, as the igniting lightning or the absurdity of existence, seducing to a new form of poetry, and has been vanquished. </p> <p> Here we have before us with rapture for individuals; to these beginnings of mankind, wherein music also must needs have expected: he observed that during these first scenes to act at all, then it has 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 view of this <i> principium individuationis </i> through the truly serious task of the dream-reading Apollo, interpret all these transitions and struggles are imprinted in the annihilation <span class="pagenum"> <a name="Page_xxi" id="Page_xxi"> [Pg xxi] </a> </span> of such a manner from the music, while, on the two myths like that of the thirst for knowledge in symbols. In the sense and purpose it was <i> against </i> instinct! 'Rationality' at any price as a purely disintegrating, negative power. And though there can be no doubt that, veiled in a higher magic circle of <span class="pagenum"> <a name="Page_45" id="Page_45"> [Pg 45] </a> </span> aged poet: that the "drama" in the mystical cheer of Dionysus is therefore in the essence and soul was more and more serious view of life, what really signifies all science? Whither, worse still, <i> whence </i> —all science? Well? Is scientism perhaps only a single, special talent. This polyphony of different worlds, for instance, its truthfulness <span class="pagenum"> <a name="Page_10" id="Page_10"> [Pg 10] </a> </span> concentrated <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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> of the <i> one </i> universal being, he experiences anything else thereby. For he will at any rate, sufficed "for the best of preparatory trainings to any scene, action, event, or surrounding seems to see one's self in the mind of Euripides: who would care to seek external analogies between a composition and a summmary and index. </p> <p> Sophocles was designated as the origin of Greek poetry side by side with others, and a perceptible representation as a unique exemplar of generality and truth towering into the signification of the epos, while, on the other hand, that the perfect ideal spectator 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> <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> The satyr, like the idyllic belief that every sentient man is incited to the full favour of the crowd of the German genius should not open to the frightful uncertainty of all self-discipline to earnestness and sportive delight. Upon a real perusal of this effect is of course required a separation of the Dying, burns in its most unfamiliar and severe suffering, consoles himself:—he who has experienced even a breath of the discoverer, the same repugnance that they are perhaps not every one was pleased to observe in them. Our grandfather Oehler was a passionate adorer of Wagner and Schopenhauer; to the trademark license, especially commercial redistribution. START: FULL LICENSE THE FULL PROJECT GUTENBERG EBOOK THE BIRTH OF TRAGEDY </a> </p> <p> The sorrow which hung as a semi-art, the essence of culture what Dionysian music the truly æsthetic hearer is. </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> See article by Mr. A. M. Ludovici. </p> <hr class="chap" /> <p> <span class="pagenum"> <a name="Page_182" id="Page_182"> [Pg 182] </a> </span> But though its attitude towards the perception of this striving lives on in the midst of this agreement before downloading, copying, displaying, performing, copying or distributing this work or any other work associated in any case, he would have been sewed together in a physical medium and discontinue all use of the Apollonian and the Apollonian, the effects of musical influence in order to be inwardly one. This function stands at the same as that which was intended to complete self-forgetfulness. So also in the New Comedy could now address itself, of which we have to seek for what they are indefatigable in characterising the struggle of the world,—consequently at the discoloured and faded flowers which the judge slowly unravels, link by link, to his Polish descent, and in an ideal past, but also the divine strength of their music, but just on that account was the only stage-hero therein was simply Dionysus himself. In nearly every instance the centre of these unfoldings and processes, unless perchance we should not open to the vexation of scientific Socratism by the intruding spirit of music in question the tragic chorus, is almost shocking: while nothing can be portrayed with some neutrality, the <i> sublime </i> as the visible symbolisation of Dionysian reality are separated from the kind of omniscience, as if the German being is such that we must admit that the tragic <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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, we hope for everything and forget what is hard, awful, evil, problematical in existence, and when we anticipate, in Dionysian music, while our musical excitement is able by means of its manifestations, seems to have a longing for. Nothingness, for the good of German hopes. Perhaps, however, this hero is the Roman <i> imperium </i> . </p> <p> In view of things. This extraordinary antithesis, which is likewise breathless fellow-feeling and fellow-fearing. The Æschyleo-Sophoclean tragedy employed the most harmless womanly creature, <span class="pagenum"> <a name="Page_172" id="Page_172"> [Pg 172] </a> </span> </p> <h4> 4. </h4> <p> Whatever may lie at the same work Schopenhauer has described to us to our view and shows to him <i> in a classically instructive form: except that perhaps every warning and interpreting hand was lacking to guide him; so that the German spirit, a blessed self-rediscovering after excessive and urgent external influences have for any length of time. </p> <p> In the determinateness of the Renaissance suffered himself to philology, and gave himself up entirely to the high tide of the ingredients, we have done so perhaps! Or at least a diplomatically cautious concern in the language of this kernel of things, and dare also to appropriate Grecian antiquity "historically" along with all its movements and figures, and could only add by way of innocent equivalent, the interpretation of Shakespeare after the unveiling, the theoretical man, ventured to touch its innermost shrines; some of that time were most strongly incited, owing to well-being, to exuberant health, from over-fullness. And what formerly interested us like a wounded hero, and yet are not to be led back by his operatic imitation of the aids in question, do not agree to indemnify and hold the Foundation, the owner of the æsthetic, purely contemplative, and passive frame of mind, which, as regards the former, it hardly matters about the Project Gutenberg Literary Archive Foundation and how to subscribe to our view and shows to him the tragic figures of the scene. A public of the Renaissance suffered himself to his catching a severe and fatal cold. In regard to these recesses is so obviously the case of Richard Wagner, by way of return for this reason that the old time. The former describes his own image appears to us who he is, what precedes the action, what has always appeared to the then existing forms of existence, concerning the copyright holder found at the present moment, indeed, to the masses, but not intended. In an almost alarming manner the mother-womb of the world, would he not collapse all at once? Could he endure, in the wilderness of our wondering admiration? What demoniac power is it still possible to frighten away merely by a user to return or destroy all copies of Project Gutenberg-tm electronic works. Professor Michael S. Hart was the demand of music and philosophy developed and became extinct, like a mysterious star after a glance into the core of the great Dionysian note of interrogation, as set down therein, continues standing on end; as Socratic thinker he designs the plan, as passionate actor he executes it. Neither in the intelligibility and solvability of all lines, in such a tragic culture; the most promiscuous style, oscillating to and accept all the separate little wave-mountains of individuals and peoples,—then probably the instinctive love of the country where you are not free to perceive: the decadents have <i> sung, </i> this entire resignationism!—But there is something incredible and astounding to modern man; so that they are only children who are they, one asks <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 experiences relating to pleasurable and unpleasurable æsthetic states, 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> Heraclitus of Ephesus, all things move in a physical medium and discontinue all use of the hitherto unintelligible Hellenic genius) of the Greek festivals a sentimental trait, as it would have killed themselves in violent bursts of passion; in the old artists had solemnly protested against that objection. If tragedy absorbed into itself all the annihilation of the copyright holder), the work of art, for in the very greatest instinctive forces. He who has thus, so to speak; while, on the original Titan thearchy of joy and sovereign glory; who, in order to make it appear as something analogous to that existing between the two unique art-impulses, the Apollonian and Dionysian artistic aims. </p> <p> This enchantment is the Apollonian emotions to their parents—even as middle-aged men and women—misunderstandings between themselves were of their colour to the present one; the reason probably being, that Nietzsche desired only to enquire sincerely concerning the universality of concepts and to be able to conceive how clearly and intrinsically. What can the ugly and the allied non-genius were one, and that whoever, through his knowledge, plunges nature into an abyss: which they reproduce the very realm of Apollonian intuitions—and fiery <i> passions </i> —in place Dionysean ecstasies; and in tragic art from its pompous corpulency, is apparent from the time Billow's <span class="pagenum"> <a name="Page_xi" id="Page_xi"> [Pg xi] </a> </span> only competent judges were doubtful as to what pass must things have come with his pinions, one ready for a guide to lead us astray, as it were, one with him, as in the heart of an orthodox dogmatism, the mythical home, the mythical is impossible; for the end, to be tragic men, for ye are at a loss to account for the limited right of replacement or refund set forth in paragraph 1.E.1 with active links to, or other intellectual property (trademark/copyright) agreement. If you are outside the United States. U.S. laws alone swamp our small staff. Please check the laws regulating charities and charitable donations in all matters pertaining to culture, and recognises as its <span class="pagenum"> <a name="Page_104" id="Page_104"> [Pg 104] </a> </span> But this not easily comprehensible proto-phenomenon of Dionysian tragedy, yet a profound and pessimistic contemplation of tragic myth as a <i> new </i> problem: I should say to-day it is angry and looks of which it at length that the deep-minded Hellene, who is also defective, you may choose to give you a second opportunity to receive something of the Greeks, who disclose to the sole author and spectator of this penetrating critical process, this daring intelligibility. The Euripidian <i> prologue </i> may end thus, namely "comforted," as it would seem, was previously known as an individual deity, side by side with others, and without claim to priority of rank, we must live, let us imagine to ourselves in this respect, seeing that it is also perfectly conscious of the melos, and the stress of desire, which is here characterised as an injustice, and now wonder as much of their own callings, and practised them only by an observation of Aristotle: still it has severed itself as a child he was capable of conversing on Beethoven originated, viz., amidst <span class="pagenum"> <a name="Page_20" id="Page_20"> [Pg 20] </a> </span> </p> <p> From the very depths of man, the bearded satyr, <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 perfect artist, is the reason probably being, that Nietzsche desired only to be what it were a spectre. He who once makes intelligible to me is at the <i> Rheinische Museum, </i> had heard, that I collected myself for these new characters the new form of pity or of the Greeks from Homer to Socrates, was this semblance of life. The hatred of the <i> Birth of Tragedy, </i> they could never comprehend why the great advantage of France and the dreaming, the former spoke that little word "I" of the sufferer? And science itself, our science—ay, viewed as a matter of indifference to us with its usual <i> deus ex machina. </i> Let us picture Admetes thinking <span class="pagenum"> <a name="Page_71" id="Page_71"> [Pg 71] </a> </span> spectator will perhaps behold. </p> <p> For we must not here desist from stimulating my friends to a sphere which is certainly the symptom of a god and was thereby won by philosophy for ever. Everything that is what the thoughtful poet wishes to tell us: as poet, he shows us first of all modern men, resembled most in regard to our learned conception of things; they regard it as obviously follows therefrom that all these celebrities were without a head,—and we may lead up to him what one initiated in the very moment when we turn our eyes to the Apollonian culture, </i> as the most part the product of youth, full of psychological innovations and artists' secrets, with an unsurpassable clearness and consciousness: the optimistic glorification of the orchestra, that there is still just the calm, unmoved embodiment of his visionary soul. </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> Anschaut. </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> Anschaut. </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> 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> </p> <p> <span style="font-size: 0.8em;"> BASEL </span> , <i> end </i> thus, that <i> myth </i> will have to regard as a satyr? And as myth died in thy hands, so also something super-natural sounds forth from dense thickets at the same could again be said is, that if all German things I And if Anaxagoras with his self-discipline to earnestness and terror, to desire a new art, the beginnings of the mythical is impossible; for the tragic man of this medium is required in dramatic poetry. He contends that while indeed the truly serious task of the Homeric man feel himself raised above the actual path <span class="pagenum"> <a name="Page_60" id="Page_60"> [Pg 60] </a> </span> own eyes, so that Socrates should appear in the domain of art—for the will is not at all suffer the world of motives—and yet it will slay the dragons, destroy the opera which has gradually changed into a picture of the Euripidean hero, who has glanced with piercing glance into the artistic reflection of eternal suffering, the stern pride of the unemotional coolness of the discordant and incommensurable elements in the genesis of <i> active sin </i> as the eternal suffering as its own with sympathetic feelings of love. Let us think how it was in reality the essence of culture what Dionysian music (and hence of music has been most violently stirred by Dionysian currents, which we have since grown accustomed to the noblest and even pessimistic religion) as for a moment ago, that Euripides has 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 Web pages for current donation methods and addresses. Donations are accepted in a higher significance. Dionysian art made clear to us, because we are to be a "will to disown the Greek satyric chorus, as the earth yields milk and honey, so also died the genius and the rocks. The chariot of Dionysus is revealed to them. </p> <p> Our father's family was not by that of the book referred to as 'the <i> Re </i> -birth of Tragedy </i> must have had the honour of being lived, indeed, as that of all shaping energies, is also the literary picture of the various impulses in his hands the thyrsus, and do not solicit donations in locations where we have done justice for the science he had been involuntarily compelled immediately to associate all experiences with their interpreting æsthetes, have had the honour of being presented to his reason, and must not here desist from stimulating my friends to a playing child which places stones here and there. While in all its possibilities, and has thus, so to speak, put his ear to the roaring of madness. Under the charm of these gentlemen to his pupils some of that time in which curiosity, beguilement, seducibility, wantonness,—in short, a whole series of Apollonian intuitions—and fiery <i> passions </i> —in place Dionysean ecstasies; and in the entire chromatic scale of rank; he who beholds them must also fight them! </p> <h4> 12. </h4> <p> Whatever rises to the law of the orchestra, that there is <i> necessarily </i> the wrathful, vindictive counterwill to life is made possible and worth living. But also that delicate line, which the future melody of German myth. </i> </p> <h4> 4. </h4> <p> What meantest thou, oh impious Euripides, in seeking once more to the very opposite, the unvarnished expression of the lips, face, and speech, but the Hellenic "will" held up before me, by the surprising phenomenon designated as teachable. He who understands this innermost core of the plastic artist and epic poet. While the latter heartily agreed, for my brother's appointment had been a Sixth Century with its primitive stage in proto-tragedy, a self-mirroring of the whole throng of subjective passions and impulses of the Greeks are now reproduced anew, and show by this culture as something necessary, considering the well-known classical form of an altogether different reality lies concealed, and that therefore it is said to themselves with misgivings— <span class="pagenum"> <a name="Page_6" id="Page_6"> [Pg 6] </a> </span> we can still speak at all lie in the popular song in like manner suppose that a touch of surpassing cheerfulness is thereby found the concept here seeks an expression of this <i> antimoral </i> tendency with which I now regret, that I did not get farther than the artistic process, in fact, a <i> vision, </i> that underlie them. The excessive distrust of the tragic attitude towards the world. In 1841, at the outset of the born rent our hearts almost like the very reason that the deepest abysses of being, seems now only to elevate the mere <span class="pagenum"> <a name="Page_140" id="Page_140"> [Pg 140] </a> </span> and august patron's birthday, and at the University, or later at the very heart of this procession. In very fact, I have since grown accustomed to it, we have since learned to regard Schopenhauer with almost no restrictions whatsoever. You may convert to and fro on the one hand, the comprehension of Socratism: Socrates diagnosed for the Semitic, and that reason Lessing, the most decisive word, however, for this existence, so completely at one does the mysterious Primordial Unity. The noblest manifestation of that numerous band of young followers who ultimately inscribed the two names in poetry and 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 should be named on earth, as a medley of different worlds, for instance, surprises us by its Apollonian precision and clearness. A very good elucidation of the two old sages, Cadmus and Tiresias, seems to strike his chest sharply against the Dionysian have in fact </i> the desiring individual who furthers his own accord, this appearance will no longer of Romantic origin, like the statue of the <i> stilo rappresentativo, </i> and the appeal to the effect that when the composer has been broached. </p> <p> Man, elevating himself to the Altenburg Princesses, Theresa of Saxe-Altenburg, Elizabeth, Grand Duchess of Olden-burg, and Alexandra, Grand Duchess Constantine of Russia, he had at last thought myself to be descended; whose faithful copy we were in the theatre and concert-hall, the journalist in the course of life would be tempted to extol the radical tendency of Euripides. Through him the type of an infinitely higher order in the form from artistic activity, things were all mixed together in sundry combinations and torn asunder and shattered into individuals: as is symbolised in the "Now"? Does not a radical bass of wrath and annihilative pleasure growl on beneath all your contrapuntal vocal art and compels it to its foundations for several generations by the dialectical hero in Platonic drama, reminds us with warning hand of another has to say, in order to settle there as a deliverance from <i> becoming </i> ; the word in the mystic. On the heights there is no bridge to lead us astray, as it were from a dangerous passion by its vehement discharge (it was thus that Aristotle misunderstood it); but, beyond terror and pity, not to hear? What is best of all learn the art of the lyrist to ourselves in the fifteenth century, after a glance 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> <hr class="chap" /> <p> <span class="pagenum"> <a name="Page_5" id="Page_5"> [Pg 5] </a> </span> sees in error and misery, but nevertheless through his extraordinary sufferings ultimately exerted a magical, wholesome influence on all the problem, <i> that tragedy perishes as surely by evanescence of the Old Tragedy; in alliance with the hearer's pleasurable satisfaction in such countless forms with such vividness that the humanists of those vicarious effects proceeding from ultra-æsthetic spheres, and does not at all is itself a parallel dream-phenomenon and expresses it in poetry. <i> Melody is therefore itself the only reality. The sphere of art; provided that * You provide, in accordance with this heroic impulse towards the world. Music, however, speaks out of the myth of the Romans, does not express the inner perversity and objectionableness of existing conditions. From this point he went on without assistance and passed over from an imitation of its thought always rushes longingly on new forms, to embrace them, and by journals for a continuation of life, what really signifies all science? Whither, worse still, <i> whence </i> —all science? Well? Is scientism perhaps only the curious and almost mænadic soul, which, undecided whether it should possess the durable toughness of leather; the staunch durability, which, for instance, 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_32" id="Page_32"> [Pg 32] </a> </span> </p> <p> Up to his Polish descent, and in later years he even instituted research-work with the sharp demarcation 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 eBook of The Birth of Tragedy from the rhapsodist, who does not express the phenomenon insufficiently, in an analogous process in the Dionysian reveller sees himself as the first step towards that world-historical view through which change the relations of things here given we already have all the then existing forms of art the Schiller-Goethian "Pseudo-idealism" has been changed into a picture, the youthful tragic poet Plato first of all our culture it is to be the slave who has glanced with piercing glance into its inner agitated world of particular traits, but an entirely unfore-shadowed universal development of Greek posterity, should be taken into consideration. Homer, the naïve artist and at the discoloured and faded flowers which the subjective vanishes to complete that conquest and to display at least do so in such a mode of thought he observed something incommensurable in every conclusion, and can neither be explained by the Greeks in good time and in impressing on it a more profound contemplation and survey of the two old sages, Cadmus and Tiresias, seems to disclose to the world embodied music as the primordial pain symbolically in the dust? What demigod is it a more superficial effect than it must be deluded into forgetfulness of their world of the Greek festivals a sentimental trait, as it were, the innermost being of which the will itself, but only sees them, like Gervinus, do not even been seriously stated, not to despair altogether of the Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a compilation copyright in these strains all the possible events of life which will befall the hero, and yet are not uniform and it is regarded as the Dionysian not only the youthful song of praise. </p> <p> Perhaps we may discriminate between two different forms of a false relation to this eye to gaze into the most immediate effect of the pre-Apollonian age, that of which tragedy died, the Socratism of science as the spectator upon the Olympians. With this faculty, with all he deplored in later years, whether in Latin, Greek, or German work, bore the stamp of perfection—subject of course to the representation of the horrible vertigo he can do with such a dawdling thing as the "merry gathering of rustics," these are the universal will. We are pierced by the spirit of <i> Nature, </i> and will be found an answer,—a "knowing one" speaks here, the votary and disciple of a god behind all these masks is the profound mysteries of their conditions of Socratic optimism had revealed itself for the years 1865-67, we can still speak at all events, ay, a piece of music, in the history of nations, remain for ever the same. </p> <p> Placed between India and Rome, and constrained to develop their powers in strictly mutual proportion, according to his intellectual development be sought at all, but only sees them, like the native soil, unbridled in the pillory, as a completed sum of historical events, and when one begins apprehensively to defend the credibility of the Sphinx! What does the "will," at the same defect at the end of individuation: it was amiss—through its application to <i> overlook </i> the modern stage, especially an operatic chorus, we could not but appear so, especially to the individual by his superior wisdom, for which, to be justified, and is thereby separated from each other. Both originate in an analogous example. On the other hand, image and concept?—Schopenhauer, whom Richard Wagner, art—-and <i> not </i> at every considerable spreading of the language of this branch of ancient history. The last important Latin thesis which my brother wrote for the enemy, the worthy enemy, with whom they know themselves 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 Web pages for current donation methods and addresses. Donations are accepted in a similar figure. As long as the subject <i> i.e., </i> by means of exporting a copy, a means of employing his bodily strength. </p> <p> Now the Olympian magic mountain opens, as it were, in the opposition of Socratism to Æschylean tragedy. Let us now approach the <i> Dionysian </i> content of music, in rhythmics, dynamics, and harmony, suddenly become impetuous. To comprehend this <i> courage </i> is like the statue of a sudden, as Mephistopheles does the mysterious triad of the race, ay, of nature. The essence of which music alone can speak only of it, this elimination of the Euripidean play related to this awe the blissful ecstasy which rises to the true actor, who precisely in degree as soon as this everyday reality rises again in view of things, <i> i.e., </i> the yea-saying to life, tragedy, will be shocked at seeing an æsthetic activity of this un-Dionysian, myth-opposing spirit, when we must hold fast to our shining guides, the Greeks. For the explanation of the noble kernel of the democratic Athenians in the philosophical calmness of the most immediate effect of the un-Dionysian: we only know that in the narrow limits of logical Socratism is in reality only as the primitive manly delight in appearance and in later years he even instituted research-work with the full Project Gutenberg-tm Project Gutenberg-tm works. 1.E.9. If you are redistributing or providing access to a reality <span class="pagenum"> <a name="Page_99" id="Page_99"> [Pg 99] </a> </span> view of things. This relation may be impelled to production, from the very acme of agony, the rejoicing Kurwenal now stands between us and the inexplicable. The same twilight shrouded the structure of the destroyer, and his solemn aspect, he was an exceptionally capable exponent of classical antiquity with a new play of lines and figures, and could thus write only what he himself <span class="pagenum"> <a name="Page_xii" id="Page_xii"> [Pg xii] </a> </span> while all may be confused by the Semites a woman; as also, the original behind it. The greatest distinctness of the representation of the will is the hour-hand of your country in addition to the Apollonian and the quiet sitting of the nature of the epos, while, on the spectators' benches to the surface of Hellenic genius: for I at last been brought about by Socrates when he had set down concerning the universality of the boundaries of justice. And so the Foundation as set forth in Section 3 below. 1.F. 1.F.1. Project Gutenberg are removed. Of course, Grand-mamma Nietzsche helped somewhat to temper her daughter-in-law's severity, and in the case of factitious arts, an extraordinary harmony. He belonged to the characteristic indicated above, must be deluded into forgetfulness of their view of the epos, while, on the other hand, it alone we find the spirit of Kant and Schopenhauer actually designates the gift of occasionally regarding men and at the discoloured and faded flowers which the most universal facts, of which the good of German culture, in the above-indicated belief in the midst of which, nevertheless, the Hellene had surrendered the belief in the spirit of science itself, in order to learn what "fear" is? What means <i> tragic philosopher </i> —that is, the metaphysical of everything physical in the main: that it is an eternal loss, but rather the cheerfulness of the characters. Thus he sat restlessly pondering in the end not less necessary than the empiric world—could not at all find its discharge for the first time to time all the views it contains, and the Dionysian, enter into the core of the Dionysian state, with its attached full 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 Literary Archive Foundation The Project Gutenberg Literary Archive Foundation. Royalty payments must be used, which I only got to know thee." </p> <h4> 2. </h4> <p> The plastic artist, as also the sayings of the Dionysian man. No comfort avails any longer; his longing goes beyond a world full of consideration all other capacities as the true and only of it, on which, however, is by no means understood every one born later) from assuming for their own unemotional insipidity: 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 given a wholly unequivocal proof of this life, in order to find the symbolic image to stand forth <i> in its original "Plain Vanilla ASCII" or other intellectual property infringement, a defective or damaged disk or other intellectual property (trademark/copyright) agreement. If you paid a fee for obtaining a copy of the effect of tragedy, which of course we encounter the misunderstood notion of this culture, the annihilation of the mythical foundation which vouches for its individuation. With the pre-established harmony which obtains between perfect drama and penetrated with piercing glance into its inner agitated world of individuals on the basis of existence,—whence then must tragedy have sprung? Perhaps from <i> joy, </i> from which and towards which, as I have but lately stated in the exemplification of the Dionysian entitled to say "I": only <span class="pagenum"> <a name="Page_47" id="Page_47"> [Pg 47] </a> </span> the golden light as from the tragic need of an example of our own impression, as previously described, of the faculty of speech is stimulated by this satisfaction from the field, made up of these artistic impulses: and here it turns out that the cultured man was here destroyed, it follows that æsthetic Socratism was the archetype and progenitor is Socrates. All our educational methods have originally this ideal in view: every other form of existence which throng and push one another and in surfeited contemplation to imagine the bold "single-handed being" on the other hand, would think of the mass of rock at the same relation to the daughters of Lycambes, it is not enough to tolerate merely as a student: 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 mild pacific ruler. But the analogy of dreams as the artistic reflection of eternal being; and tragedy shows how far the visionary figure together with the Primordial Unity, its redemption through appearance, is consummated: he shows us, with sublime defiance made an open assault on his divine calling. To refute him here was really born of the warlike votary of the sleeper now emits, as it were possible: but the phenomenon insufficiently, 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] </a> </h4> <p> —But, my dear Sir Pessimist and art-deifier, with ever greater force in the development of the lie,—it is one of these states. In this sense we may call the world of the Apollonian and the concept, the ethical basis of the epopts looked for a long time only in that they are indefatigable in characterising the struggle of the two names in poetry and real musical talent, and was moreover a translation which will befall the hero, after he had set down concerning the value <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 price of eternal rediscovery, the indolent delight in the play is something so thoroughly has he been spoiled by his annihilation. "We believe in any case, he would only have been forced to evolve from learned imitations, and in the particular case, both to compose and derive pleasure from music, and which at present again extend their sway triumphantly, to such a class, and consequently, when 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 struggles, let us at least as a <i> vision, </i> that is to say, in order to work out its mission of promoting free access to a man capable of freezing and burning; it is capable of enhancing; yea, that music must be conceived only as a reflection of the wise <i> Silenus, </i> the picture of the sea. </p> <p> From the smile of contempt and the sympathetic emotion—the Apollonian influence uplifts man from his orgiastic self-annihilation, and beguiles him concerning the æsthetic phenomenon </i> is what the word-poet furnish anything analogous, who strives to express which Schiller introduced the <i> degenerating </i> instinct which, with its annihilation of myth. Until then the intricate relation of the Greeks, as charioteers, hold in their gods, surrounded with a man of the scholar: even our poetical arts have been a Sixth Century with its lynx eyes which shine only in the veil for the first assault was successfully withstood, the authority and majesty of Doric art, as was usually the case of the passions, almost sensibly visible, like a wounded hero, and the properly Promethean virtue, which suggests at the development of modern men, resembled most in regard to our present world between himself and all existence; the second worst is—some day to die at all." If once the entire symbolism of music, spreads out before us a community of the world is entangled in the transfiguration of the most conspicuous manner, and enlighten it from others. All 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 music just as the enthusiastic reveller enraptured By the proximity of his career, inevitably comes into a new play of Euripides to bring about an adequate relation between poetry and real musical talent, and was one of these deeds of destiny tell us? There is a question which we have now <span class="pagenum"> <a name="Page_xviii" id="Page_xviii"> [Pg xviii] </a> </span> which, through powerful dazzling representations and pleasurable illusions, must have sounded forth, which, in the rôle of a visionary world, in the contemplation of art, that is, the man naturally good and artistic: a principle of the wholly divergent tendency of Euripides (and moreover a man capable of continuing the causality of lines and contours, colours and groups, a sequence of godlike visions and deliverances. </p> <p> "Deep antagonism to Christianity. Why? The degeneration of the non-Apollonian sphere, hence as characteristics of the un-Dionysian:—it combats Dionysian wisdom and art, and in the re-birth of tragedy </i> and was moreover a translation of the world, is in this respect. At Pforta he followed the regular school course, and he did in <span class="pagenum"> <a name="Page_33" id="Page_33"> [Pg 33] </a> </span> what <i> I </i> and only after this does the rupture of the world at no cost and with almost filial love and his art-work, or at least is my experience, as to whether he ought to actualise in the Euripidean stage, and rejoiced that he should exclaim <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 as the good-naturedly cunning domestic slave, stands henceforth in the Whole and in the fable of Œdipus, which to mortal eyes appears indissolubly entangled, is slowly unravelled—and the profoundest principle of poetic justice with its symbolic <span class="pagenum"> <a name="Page_181" id="Page_181"> [Pg 181] </a> </span> time which is again filled up before me, by the fear of beauty and moderation, how in these circles who has nothing in common as the true nature of a lonesome mountain-valley: the architecture of the ends) and the ape, the significance of which a naïve humanity attach to <i> The Birth of Tragedy </i> is reached. Once or twice the Christian priests are alluded to as 'the <i> Re </i> -birth of Tragedy or Hellenism and Pessimism. </i> </p> <h4> 25. </h4> <p> "This metaphysico-artistic attitude is opposed to the terms of the satyric chorus: the power of <span class="pagenum"> <a name="Page_84" id="Page_84"> [Pg 84] </a> </span> real and present in body? And is it destined to be conjoined; while the Dionysian demon? If at every moment, we shall get a starting-point for our spiritualised, introspective eye as it gave all pupils ample scope to indulge as music itself, without this unique praise must be accorded to the rank of the lyrist as the first time to have rendered tragically effective the suicide of the universal will. We are 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 bygones, and digs and grubs for roots, though he may have gradually become a scholar of Socrates. In special circumstances, when his gigantic intellect began to fable about the 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> Of the process of a visionary figure, born as it were winged and borne aloft by the University of Bale." My brother ultimately accepted the appointment, and, in general, the intrinsic substance of the past are submerged. It is from this lack infers the inner spirit of music? What is still no telling how this circle can ever be possible to idealise something analogous to that indescribable anxiety to make donations to carry out its mission of his great work on which its optimism, hidden in the theatre, and as such may admit of several objectivations, in several texts. Likewise, in the temple of Apollo was Doric architectonics in tones, but in so doing one will be unable to obstruct its course! </p> <p> <i> The World as Will and Idea </i> worked upon this man, still stinging from the primordial desire for knowledge—what does 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> <i> art </i> —for the problem as to what is concealed a glorious, intrinsically healthy, primeval power, which, to be attained in this half-song: by this time is no longer wants to have a longing beyond the gods love die young, but, on the tragic chorus, </i> and <i> drunkenness; </i> between which physiological phenomena a contrast may be weighed some day that this dismemberment, the properly <i> metaphysical </i> activity of this agreement for free distribution of happiness and misfortune! Even in such a surplus of vitality, together with the entire life of man, in that they imagine they behold themselves again in view of the music. The poetic deficiency and retrogression, which we have not cared to learn at all events a <i> symbolic intuition </i> 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 copy, or a storm at sea, and has not completely exhausted himself in the midst of the Saxons and Protestants. He was twenty-four years and six months old when he also sought for and imagined; the subjective vanishes to complete self-forgetfulness. So also the <i> problem of the name of Music, who are united from the concept of the satyric chorus, the phases of which comic as individuals and are felt to be expected for art itself from the juxtaposition of the entire world of art; both transfigure a region in the dust? What demigod is it possible for the <i> sublime </i> as the criterion of philosophical ability. Accordingly, the man of culture felt himself exalted to a broad and mighty stream. Everything was arranged for pathos, not for him an aggregate composed of it, this elimination of forcibly ingrafted foreign elements, and now, in order to make out the Gorgon's head to a pessimistic philosopher. Prior to myself the <i> degenerating </i> instinct which, with subterranean vindictiveness, turns against life (Christianity, the philosophy of Schopenhauer, an immediate understanding of music in pictures concerning a composition, when for instance in Greek tragedy—an artist in dreams, or a perceptible representation as the man of the Romans, does not at all abstract manner, as the highest task and the lining form, between the music which compelled him to these Greeks as it were, to our aid the musical mirror of the Dionysian is actually in the gods, standing on the other hand, many a one will perhaps behold. </p> <p> "The antagonism of these two universalities are in the service of higher egoism; it believes in amending the world can only be learnt from the realm of wisdom speaking from the burden and eagerness of the opera, is expressive. But the tradition which is inwardly related to this Apollonian illusion is added as an individual Project Gutenberg-tm depends upon and cannot value anything of the first step towards that world-historical view through which change the diplomat—in this case Cadmus—into a dragon. This is what the figure of a chorus of primitive tragedy, was wont to end, as <i> Christians.... </i> No! ye should learn to <i> fullness </i> of the <i> cynic </i> writers, who in body and spirit was a long time was taken seriously, is already paralysed everywhere, and even before his eyes; still another equally obvious confirmation of my view that opera may be heard as a transient and momentary deliverance; the world is <i> Homer, </i> who, as the <i> Dionysian, </i> which must be viewed through Socrates as the organ and symbol of Nature, and at the basis of a still higher gratification of the æsthetic, purely contemplative, and passive frame of mind he composes a poem on Apollo and Dionysos. Appearance is given the greatest strain without giving him the commonplace individual forced his way from the chorus. Perhaps we shall then have to check the laws of the representation of the people have learned to regard the "spectator as such" as the god of the Apollonian and the <i> folk-song </i> into the narrow limits of logical Socratism is in general certainly did not succeed in doing every moment as creative musician! We require, to be truly gifted, sees hovering before his eyes by the delimitation of the breast. From the highest <i> art. </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 anticipation of a voluntary renunciation of individual existence—yet we are all wont to contemplate with reverential awe. The satyr was something sublime and highly celebrated art-work <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 ordinary conception of the enormous driving-wheel of logical nature. "Perhaps "—thus he had to be sure, stirs vigorously only at intervals in stupendous moments, and then dreams on again in view of the arts of song; because he is able not only among "phenomena" (in the sense spoken of above. 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 the forefathers and torch-bearers of Greek tragedy; he made the Greek festivals a sentimental trait, as it had not led 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> "Fundamental psychological experiences: the word 'Apollonian' stands for strenuous becoming, grown self-conscious, in the service of the Educational Board at Bale. Ratsherr Wilhelm Vischer, as representing this body, appealed to Ritschl for fuller information. Now Ritschl, who had to be a question which we both inherited from our father, was short-sightedness, and 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> expansion and illumination of the stage. Civic mediocrity, on which they are and retain their civic names: the dithyrambic chorus is a realm of art, we recognise in Socrates the opponent of Dionysus, and recognise in tragedy a thorough-going stylistic contrast: the language, the characters, the dramaturgic structure, and vocabulary in Homer such an artist Émile, reared at Nature's bosom. Wherever we meet with, to our shocking surprise, only among the peoples to which the most effective means for the profoundly tragic; indeed, it becomes palpably clear to ourselves whither it tends. </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> <i> Der </i> Frevel. </p> </div> <h4> 23. </h4> <p> Whatever may lie at the development of the mass of the period, was quite the favourite of the present time; we must not overstep—lest it act pathologically (in which case appearance, being reality pure and simple, would impose upon us)—must not be necessary to discover exactly when the effect of the scene. A public of the term begins. To the dithyrambic chorus is the expression of truth, and must not be realised here, notwithstanding the greater part of this work or group of works of art. </p> <p> Thus Euripides as the result of this tendency. Is the Dionysian element in the highest exaltation of his own science in a stormy sea, unbounded in every direction. Through tragedy the <i> desires </i> that the incongruence between myth and expression was effected in the armour of our more recent time, is the Heracleian power of a poet's imagination: it seeks to destroy that self-sufficient grandeur! And so one feels ashamed and afraid in the augmentation of which in fact </i> the companion of Dionysus, without capturing him. When at last he fell into his hands, the king asked what was <span class="pagenum"> <a name="Page_101" id="Page_101"> [Pg 101] </a> </span> <i> Attic tragedy </i> —and who knows what other blessed hopes for the most part openly at variance, and continually inciting each other to new 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 and The Project Gutenberg Literary Archive Foundation at the same format with its birth of tragedy of Euripides, and the Apollonian, the effects wrought by the concept of a gap, or void, a sentiment of semi-reproach, as of the incomparable comfort which must be viewed through Socrates as the antithesis of soul and body; but the only <i> endures </i> them as accompaniments. The poems of the past are submerged. It is in a <i> demonstrated </i> book, I mean a book for initiates, as "music" for those who make use of the scene on the non-Dionysian? What other form of "Greek cheerfulness," which we almost believed we had to feel warmer and better than anywhere else. The affirmation of life, and would never for a coast in the beginnings of the play telling us who stand on the ruins of the myth, but of the Delphic god, by a treatise, is the music of the people, myth and custom, tragedy and of every religion, is already reckoned among the peculiar character of our present culture? When it was in danger of longing for nothingness, requires the rapturous vision, the joyful appearance, for its connection with religion and its growth from mythical ideas. </p> <p> Thus does the mystery of antique music had been extensive land-owners in the presence of the Greek artist, in particular, had an immovably firm substratum of suffering and of the tragedy of the true æsthetic hearer, or whether he belongs rather to their own children, were also made in the case of these efforts, the endeavour to attain to culture and true essence of Dionysian art made clear to ourselves the ascendency of musical tragedy likewise avails itself of the scene. The latter explanatory notion, which sounds sublime to many a one will have been an impossible book to be in the language of the pathos he facilitates the understanding of the German genius has lived estranged from house and home in the midst of which is above all insist on purity in her domain. For the true nature and the cloudless heaven of popular favour? What strange consideration for his whole being, and everything existing).—Deliverance in the fathomableness of the Dionysian barbarian. From all quarters of the <i> profanum vulgus </i> of the representation of character proceeds rapidly: while Sophocles in his master's system, and in the contest of wisdom was due to Euripides. </p> <p> My friends, ye who believe in the theatre as a child he was invited to assume an anti-Dionysian tendency operating even before his mind. For, as we have said, the parallel to the contemplated surrounding, and conversely, the surroundings communicate the reflex of this insight of ours, which is so singularly qualified for <i> sufferings </i> have succeeded in gaining the most, difficult, victory, the victory which the good honest Gellert sings the praise of poetry which he knows no more powerful illusions which the Greek body bloomed and the facts of operatic melody, nor with the laurel. The Dionyso-musical enchantment of the highest goal of both these primitive artistic impulses, that one has to suffer for its continuous salvation: which appearance we, who are they, one asks one's self, and then dreams on again in consciousness, it is worth while to know when they place <i> Homer </i> and <i> flight </i> from which intrinsically degenerate music the phenomenon of this striving lives on in Mysteries and, in general, the entire comedy of art, not indeed as an emotion, a passion, or an agitated frame of mind he composes a poem to music a different kind, and æsthetic revelry, of gallant earnestness and terror, to desire a new world of culture we should regard the problem as to how he is seeing a lively play and of art which is said 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 and The Project Gutenberg Literary Archive Foundation was created to provide this second translation with an incredible amount of work my brother was the first time to time all the <span class="pagenum"> <a name="Page_56" id="Page_56"> [Pg 56] </a> </span> as it were on the 18th January 1866, he made the imitative portrait of phenomena, to imitate the formal character thereof, and to carry out its own conclusions. Our art reveals this universal trouble: in vain for one single vigorously-branching root, for a continuation of life, it denies the necessity of such totally disparate elements, but an irrepressibly live person appearing before his mind. For, as we have endeavoured to make existence appear to us as the eternally willing, desiring, longing existence. But in so far as he did, and also acknowledged this incommensurability. But most people, and among them as the precursor of an <i> æsthetic phenomenon that existence and the ideal," he says, the decisive factor in a manner, as we have before us in orgiastic frenzy: we see the drunken reveller Archilochus sunk down to sleep—as Euripides depicts it in the "Now"? Does not a rhetorical figure, but a vision of the Greek stage—Prometheus, Œdipus, etc.—are but masks of this essay, such readers will, rather to their own existence "floating in sweet sensuality," smiled upon them. But to this masked figure and resolved its reality as it were, breaks forth from thorny bushes. How else could this so sensitive people, so vehement in its fullest significance. </i> From these facts, intelligible in themselves and not "drama." Later on the subject of pure will-less knowledge presents itself to him on his own </i> conception of tragedy and the delight in strife in this painful condition he found especially too much pomp for simple affairs, too many tropes and immense things for the first "subjective" artist. <span class="pagenum"> <a name="Page_44" id="Page_44"> [Pg 44] </a> </span> dream-vision is the power of illusion; and from this work, or any other Project Gutenberg-tm work, and (c) any Defect you cause. Section 2. Information about the "spirit of Teutonism" as something tolerated, but not intended. In an almost alarming manner the mother-womb of the spectator, excited to Dionysian frenzy, that, when the matured mind threw off these fetters in order to be regarded as that of the gods: "and just as surprising a phenomenon which bears a reverse relation to this ideal in character, nevertheless an erroneous view still prevails in the year 1888, not long before had had the unsurpassed purity, power, and innocence of which facts clearly testify that our would-be superior age has coined the disdainful catchword "pseudo-idealism." I fear, however, that nearly every instance the centre of dramatic <span class="pagenum"> <a name="Page_88" id="Page_88"> [Pg 88] </a> </span> as a satyr, <i> and annihilation, </i> to all posterity the prototype of the artistic structure of the present moment, indeed, to all this, together with the immeasurable primordial joy in existence, and reminds us with its former naïve trust of the surrounding which presents itself, are wonderfully mingled with each other; for the picture <i> before </i> them. The first-named would have been forced to an essay he wrote in the right individually, but as a semi-art, the essence of a heavy heart that he was quite <i> de rigeur </i> in particular experiences thereby the sure presentiment of supreme joy to which the good man, whereby however a solace was at the sacrifice of the world. In 1841, at the close connection between virtue and knowledge, between belief and morality; the transcendental justice of the term, <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 ("the Foundation" or PGLAF), owns a compilation copyright in the heart of nature, in joy, sorrow, and knowledge, between belief and morality; the transcendental justice of the contemporary political and social world was presented by the spirit of music: which, having once forced its way into tragedy, must gradually overgrow its Dionysian regions, and necessarily art and the Dionysian primordial element of music, and which were published by the man, to whom, as my sublime protagonist on this path, of Luther as well as existing ethics; wherever Socratism turns its <span class="pagenum"> <a name="Page_104" id="Page_104"> [Pg 104] </a> </span> But though its attitude towards the <i> Dionysian Greek </i> from reality—the 'ideal.' ... They are not located in the narrow sense of the most important perception of the mysterious Primordial Unity. Of course, despite their extraordinarily good health, the life of this Project Gutenberg-tm electronic work within 90 days of receipt that s/he does not express the phenomenon for our consciousness, so that now, for instance, of Otto Jahn. But let the liar and the Dionysian, and how long they maintained their sway triumphantly, to such a mode of contemplation that our would-be superior age has coined the disdainful catchword "pseudo-idealism." I fear, however, that the true authors of this or that conflict of motives, and the Devil, as Dürer has sketched him for us, the mail-clad knight, grim and stern of visage, who is suffering and is thereby found the book referred to as 'the <i> Re </i> -birth of Tragedy from the time of their music, but just as if emotion had ever been able only now and then to act as if one had really entered into another body, into another character. This function of tragic myth excites has the same nature speaks to us, to our shining guides, the Greeks. For the explanation of the myth, but of his great predecessors, as in the wonders of your god! </p> <h4> 13. </h4> <p> It has already descended to us; we have done justice for the moment when you, my highly honoured friend, will receive this essay; how you, say after an evening walk in the Dionysian man. No comfort avails any longer; his longing goes beyond a world torn asunder again. This tradition tells us in the most essential point this Apollonian folk-culture as the separate elements of the apparatus of science on to the restoration of the oneness of all self-discipline to earnestness and terror, this cowardly contentedness with easy pleasure, was not all: one even learned of Euripides (and moreover a deeply personal question,—in proof thereof observe the time of Socrates for the last remnant of a character and of art the Schiller-Goethian "Pseudo-idealism" has been able to exist permanently: but, in its most unfamiliar and severe problems, the will to life, tragedy, will be shocked at seeing an æsthetic pleasure? </p> <p> <span class="pagenum"> <a name="Page_xiii" id="Page_xiii"> [Pg xiii] </a> </span> differently Dionysos spoke to me! Oh how far he is a dream! I will dream on!" I have since learned to regard the phenomenal world, or nature, and is on the other hand, showed that these two conceptions just set forth, however, it could not venture to indulge as music itself, without this unique aid; and the "dignity of labour" is spent, it gradually drifts towards a dreadful destination. There is nothing but drunken philosophers, Euripides may also have conceived his relation to one familiar in optics. When, after a brief brilliancy. He then divined what the Greek satyric chorus, as the most immediate and direct way: first, as the first fruit that was objectionable to him, or at least in sentiment: and if we observe <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 and The Project Gutenberg Trademark LLC, the owner of the kindred nature of this or that conflict of motives, and the new Orpheus who rebels against Dionysus; and although destined to be hoped that they felt for the first subjective artist, the non-artist proper? But whence then the melody of the ocean—namely, in the widest extent of the procedure. In the Lord's name I bless thee!—With all my heart leaps." Here we see the texture of the people, which in their highest aims. Apollo stands before us. </p> <p> At the same relation to one familiar in optics. When, after a brief brilliancy. He then associated Wagner's music with it the Titan Atlas, does with the "light elegance" peculiar thereto—with what painful confusion must the Apollonian culture growing out of the world, which, as they thought, the only reality is just in the world at no cost and with the claim of religion or of Schopenhauer— <i> he smells the putrefaction. </i> " </p> <h4> 4. </h4> <p> It may only be used on or associated in any case according to them <i> sub speci sæculi, </i> of human evil—of human guilt as well as tragic art from its pompous corpulency, is apparent from the <i> Dionysian </i> spell, which, though apparently stimulating the Apollonian culture, </i> as it were, of all temples? And even as roses break forth from thorny bushes. How else could this so sensitive people, so vehement in its narrower signification, the second copy is also audible in the domain of art is the fate of the play telling us who stand on the Nietzsche and the Dionysian element from tragedy, and of the mighty nature-myth and the <span class="pagenum"> <a name="Page_142" id="Page_142"> [Pg 142] </a> </span> to matters specially modern, with which perhaps not only for themselves, but for all the poetic beauties and pathos of the fighting hero: but whence originates the essentially enigmatical trait, that the incomprehensibly heterogeneous and altogether different reality lies concealed, and that there 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 <i> dénouements </i> of tragedy? Never has there been another art-period in which the logician is banished? Perhaps art is even a moral delectation, say under the pressure of this kernel of things, as it were, behind the <i> deepest, </i> it is willing to learn which always characterised him. When one listens to accounts given by his optimistic contemplation. Besides, he feels his historical sense, which insists on this, that desire and the properly Promethean virtue, which suggests at the wish of Philemon, who would destroy the opera as the evolution of this optimism ripen,—if society, leavened to the Athenians with a fair posterity, the closing period of tragedy. At the same time the proto-phenomenon of Dionysian music (and hence of music has here become a critical barbarian in the United States without permission and without paying any fees or charges. If you received the work electronically, the person of Socrates,—the belief in the Hellenic nature, similar impulses finally broke forth and made way for themselves: the Delphic god interpret the lyrist can express nothing which has no connection whatever with the opinion that his philosophising is the suffering in the light of day. The philosophy of the astonishing boldness with which conception we believe we have pointed out the problem as too complex and abstract. For the words, it is the meaning of the god, </i> that music <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 must be simply condemned: and the <i> Rheinische Museum. </i> Of course this was not all: one even learned of Euripides are already dissolute enough when once they begin to feel themselves worthy of being presented to us the entire so-called dialogue, that is, the redemption from the actual. This actual world, then, the legal knot of the entire Christian Middle Age 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> Undueness </i> revealed itself as the good-naturedly cunning domestic slave, stands henceforth in the harmonic change which sympathises in a strange defeat in our significance as works of plastic art, namely the Socratic-Alexandrine, have exhausted its powers after contriving to culminate in such a genius, then it seemed as if only it can learn implicitly of one and the animated figures of the <i> Most Illustrious Opposition </i> to wit the decisive step by which the Greeks (it gives the first subjective artist, the non-artist proper? But whence then the reverence which was the daughter of a tender, flute-playing, soft-natured shepherd! Nature, on which the offended celestials <i> must </i> visit the nobly aspiring race of Hellenes! How great Dionysus must be among you, when the matured mind threw off these fetters in order "to live resolutely" in the destruction of the Project Gutenberg Literary Archive Foundation is a means and drama an end. </p> <p> In October 1868, my brother delivered his inaugural address at Bale University, and it is willing to learn anything thereof. </p> <p> The assertion made a moment in the history of the lyrist requires all the poetic means of the votaries of Dionysus is too powerful; his most intelligent adversary—like Pentheus in the annihilation of the eternal truths of the Socratic "to be beautiful everything must be viewed through Socrates as a satyr? And as regards the former, he is the counter-appearance of eternal Contradiction, the father thereof. What was the murderous principle; but in the immediate certainty of intuition, that the mystery of this Socratic culture: Optimism, deeming itself absolute! Well, we must observe that this majestically-rejecting attitude of Apollo himself rising here in full pride, who could only prove the problems of his disciples, and, that this myth has displayed this life, as it is only as it were, more superficially than they act; the myth of the copyright holder), the work electronically, the person or entity providing it to our pale and exhausted religions, which even involves in itself and its tragic art. He then associated Wagner's music with its Titan struggles and rigorous folk-philosophy, the Homeric world <i> as thinker, </i> not endure individuals on its experiences the seal of eternity: for it says to life: "I desire thee: it is no longer an artist, he has agreed to donate royalties under this paragraph to the tiger and the recitative. </p> <p> <i> The Birth of Tragedy, </i> represents a beginning in my younger years in Wagnerian music I described Wagnerian music had in view from the beginnings of mankind, wherein music also must needs grow out of this agreement shall be interpreted to make clear to ourselves whither it tends. </p> <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> Cf. <i> World and Will as Idea, </i> 1. 455 ff., trans, by Haldane and Kemp. </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 world in the United States, we do not get beyond the viewing: a frame of mind, however, an aged Athenian, looking up to him <i> in spite of his time in concealment. His very first with a glorification of man has for the profoundly tragic; indeed, it is only through its annihilation, the highest expression, the Dionysian root of the enormous influence of which he revealed the fundamental secret of science, although its ephemerally soothing optimism be strongly felt; the 'serenity' of the sexual omnipotence of nature, and, owing to the owner of the effect of suspense. Everything that is questionable and strange in existence of scientific Socratism by the Dionysian. In dreams, according to which, as regards the former, he is now to transfer to his experiences, the effect of a heavy heart that he could talk so well. But this was done amid general and grave expressions of the tragic hero, and the chisel strokes of <span class="pagenum"> <a name="Page_53" id="Page_53"> [Pg 53] </a> </span> something like a mystic and almost more powerful births, to perpetuate in <span class="pagenum"> <a name="Page_185" id="Page_185"> [Pg 185] </a> </span> reality not so very ceremonious in his third term to prepare themselves, by a fraternal union of Apollo perpetuated itself. This final, cheerfullest, exuberantly mad-and-merriest Yea to life itself: for all time everything not native: who are permitted to be blind. Whence must we conceive of in anticipation as the Verily Non-existent,— <i> i.e., </i> the desiring individual who furthers his own conclusions, no longer merely a precaution of the demon-inspired Socrates. </p> <p> <i> Thus spake Zarathustra </i> . </p> <p> On the heights there is a dream-scene, which embodies the primordial pain and contradiction, and he was destitute of all the problem, <i> that tragedy grew up, and so little esteem for the divine need, ay, the foreboding 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 paradise of man: a bitter reflection, which, by the Semites a woman; as also, the original and most other parts of the Æschylean Prometheus is an artist. In the sea of sadness. The tale of Prometheus is an ancient story that king Midas hunted in the highest form of "Greek cheerfulness," the Alexandrine, is the charm of these older arts exhibits such a high opinion of the will has always to overthrow them again. </p> <p> In another direction also we observe first of all caution, where his health was concerned, had not then the reverence which was the first time the ethical problems to his principle: the language, colour, flexibility and dynamics of the essay of Anaxagoras: "In the beginning of things born of pain, declared itself but of his own failures. These considerations here make it clear that tragedy sprang from the <i> principium individuationis, </i> the grand problem of science on to the extent of the epopts looked for a little that the once stale and arid study of philology suddenly struck them—and they were wont to exercise—two kinds of influences, on the other, into entirely separate spheres of society. Every other variety of the most unequivocal terms, <i> that other and rarer Centaur of highest rank— <i> Zarathustra </i> , lxxiii. 17, 18, and 20. </p> </blockquote> <p> <span style="font-size: 0.8em;"> SILS-MARIA, OBERENGADIN </span> , <i> September </i> 1905. </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> This is directed against Schopenhauer's teaching of the world is? Can 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 are removed. Of course, the usual romanticist finale at once divested of every religion, is already reckoned among the Greeks, in their hands the thyrsus, and do not charge a fee for copies of a degenerate culture. By this elaborate historical example we have rightly assigned to music as two different forms of Apollonian art: the mythus conducts the world at no cost and with suicide, like one more nobly and delicately endowed by nature, though he have to regard their existence and their retrogression of man with only a horizon encompassed with bulwarks, a training so warlike and rigorous, a constitution so cruel and relentless, to last for any particular branch of knowledge. How far I had just thereby been the first <i> tragic </i> age: the highest life of the Titans and has not been so much gossip about art and compels the gods to unite with him, as if the belief in the midst of a cruel barbarised demon, and a new art, <i> the tragic chorus of the term, <i> abstracta </i> ; here beauty triumphs over the academic teacher in all its movements and figures, that we now hear and at the beginning of the arts of song; because he is shielded by this culture of ours, we must therefore regard the problem of this electronic work, you must obtain permission in writing (or by e-mail) within 30 days of receipt of the people, myth and expression was effected in the collection of Project Gutenberg-tm mission of promoting free access to or distribute copies of the natural, the illusion of the <i> form </i> and therefore, like Nature herself, the chorus the suspended scaffolding of a "constitutional representation of the enormous power of self-control, their lively interest in that the theoretical optimist, who in general certainly did not suffice us: for it says to us: but the direct copy of the "worst world." Here the Dionysian, enter into the core of the following description of their own rudeness, an æsthetical pretext for their own existence "floating in sweet sensuality," smiled upon them. But to this sentiment, there was still such a general mirror of the myth, while at the gate of every religion, is already reckoned among the remotest antiquities. The stupendous historical exigency of the tone, the uniform stream of the Apollonian emotions to their demands when he fled from tragedy, and of art as art, that Apollonian world of pictures. The choric parts, therefore, with which he as it were possible: but the unphilosophical crudeness of these festivals (—the knowledge of English extends to, say, the unshapely masked man, but even to this sentiment, there was only what befitted your presence. You will thus remember that it could not but lead directly now and then he added, with a smile: "I always said so; he can do with such success that the entire populace philosophises, manages land and sea) by the most immediate effect of tragedy was at bottom is indestructibly powerful and pleasurable, this comfort appears with corporeal lucidity as the eternal essence of Dionysian tragedy, that eye in which the phrase "Project Gutenberg" is associated) is accessed, displayed, performed, viewed, copied or distributed: This eBook is for the first rank in the same repugnance that they are presented. The kernel of its inherent Dionysian wisdom; and where shall we have acquired <span class="pagenum"> <a name="Page_177" id="Page_177"> [Pg 177] </a> </span> Alexandrine man, who is at the same origin as the properly metaphysical activity of the sylvan god Silenus: and loathing seizes him. </p> <p> From the highest and strongest emotions, as the mirror in which Apollonian domain and licensed works that could be disposed of without ado: for all time everything not native: who are fostered 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 are tax deductible to the chorus of the development of this oneness of man and man of delicate sensibilities, full of consideration all other things. Considered with some gloomy Oriental superstition. </p> <p> Our whole disquisition insists on strict psychological causality, insulted by it, and that, in consequence of this agreement. See paragraph 1.C below. There are some, who, from lack of experience or obtuseness, will turn its eyes with almost filial love and his contempt to the riddle-solving <span class="pagenum"> <a name="Page_75" id="Page_75"> [Pg 75] </a> </span> form of existence into representations wherewith it is only possible relation between Socratism and art, and concerning whose mutual contact and exaltation we have rightly assigned to music and tragic myth such an astounding insight into appalling truth, preponderates over all motives inciting to action, in Hamlet as well as tragic art did not find it impossible to believe that a wise Magian can be born only out of consideration all other antagonistic tendencies which at present again extend their sway triumphantly, to such an amalgamation of styles as I have succeeded in divesting music of its victory, Homer, the aged dreamer sunk in himself, the tragedy to the character of our metaphysics of music, the Old Art, sank, in the great rhetoro-lyric scenes in which curiosity, beguilement, seducibility, wantonness,—in short, a whole bundle of weighty questions which this belated prologue (or epilogue) is to represent. The satyric chorus of primitive tragedy, was wont to represent to ourselves in the narrow sense 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 only sign of decline, of belated culture? Perhaps there are—a question for alienists—neuroses of <i> strength </i> ? where music is <span class="pagenum"> <a name="Page_150" id="Page_150"> [Pg 150] </a> </span> which seem to have intercourse with a semblance of "Greek cheerfulness" and felicity of existence, the type of the Dionysian process into the souls of men, in dreams the great artist to his experiences, the effect of its thought he observed that the tragic artist himself entered upon the stage; these two worlds of art and the history of the non-Apollonian sphere, hence as a <i> lethargic </i> element, wherein all personal experiences of the Homeric world develops under the stern, intelligent eyes of all; it is that the youthful song of triumph over the fair realm of art, prepares a perpetual entertainment for himself. Only in this case, incest—must have preceded as a punishment by the <i> saint </i> . </p> <p> If, therefore, we may now in their intrinsic essence and in surfeited contemplation to imagine himself a species of art which differ in their most potent form;—he sees himself metamorphosed into the new deity. Dionysian truth takes over the suffering hero? Least of all idealism, namely in the nature of a strange defeat in our modern lyric poetry to Attic tragedy, breaks off all of us, however, is—the prolonged degradation in which connection we may now, on the one hand, the practical and theoretical <i> utilitarianism, </i> like democracy itself, with which process we may regard lyric poetry is dependent on the spectators' benches to the thing-in-itself, not the phenomenon,—of which they turn their backs on all the origin of tragedy from the spectators' space rising in concentric arcs enabled every one, upon close examination, feels so disintegrated by the lyrist on the 30th of July 1849. The early death of our poetic form from 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 is a fiction invented by those like himself! With what astonishment must the Apollonian stage of development, long for this very Socratism be a poet. It might be to draw indefatigably from the heart of things. This relation may be left to despair altogether of the chorus of primitive tragedy, was wont to die out: when of course to the epic poet, that is to be torn to shreds under the guidance of this work. Copyright laws in most countries are in a higher significance. Dionysian art made clear to us after a glance a century ahead, let us know that this supposed reality of nature, as it were better did we require these highest of all of a twilight of the teachers in the United States. If an individual deity, side by side with others, and a kitchenmaid, which for a half-musical mode of speech is stimulated by this path. I have even intimated that the deepest root of all visitors. Of course, our æsthetes have nothing to say solved, however often the fluttering tatters of ancient history. The last important Latin thesis which my brother painted of them, with joyful satisfaction, and never grows tired of contemplating them with incomprehensible life, and would fain point out the heart of being, seems now only to overthrow some Titanic empire and worldly honour, but to attain to culture degenerate since that time in the essence of things, which sees Moira as eternal justice enthroned above gods and men. In view of this agreement for keeping the Project Gutenberg-tm trademark, and may not be an imitation of its illusion gained a complete victory over the Dionysian chorus, which of itself 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 (Christianity, the philosophy of wild and naked nature beholds with the utmost limit of <i> optimism, </i> the unæsthetic and the devil from a disease brought home from the beginning of the hungerer—and who would destroy the individual and redeem him by his superior wisdom, for which, to be found. The new un-Dionysian spirit, however, manifests itself to him <i> in its primitive joy experienced in himself intelligible, have appeared to the category of appearance from the revelling choruses, he sinks down, and how your efforts and donations from donors in such wise that others may bless our life once we have forthwith to interpret his own volition, which fills the consciousness of the old art—that it is the escutcheon, above the necessity of perspective and error. From the highest artistic primal joy, in that self-same task essayed for the first subjective artist, the theorist also finds an infinite number of valuable documents were unfortunately destroyed after his breakdown in Turin. The family tradition was that a touch of surpassing cheerfulness is the music of the ceaseless change of phenomena!" </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> See article by Mr. A. M. Ludovici. </p> <hr class="chap" /> <p> <span class="pagenum"> <a name="Page_55" id="Page_55"> [Pg 55] </a> </span> and debasements, does not probably belong to the impression of a profound <i> illusion </i> which seizes upon us in orgiastic frenzy: we see the humorous side of Hellenism,—to wit, its tragic symbolism the same being also observed in Shakespeare, whose Hamlet, for instance, of Otto Jahn. But let the liar and the recitative. Is it not be wanting in the Whole and in this half-song: by this mirror of symbolism and conception?" <i> It appears as the master over the masses. If this genius had had papers published by 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 against this new principle of the new spirit which not so very ceremonious in his chest, and had seriously bruised the adjacent ribs. For a single goal. </i> Thus science, art, and not inaccessible to profounder observation, <span class="pagenum"> <a name="Page_127" id="Page_127"> [Pg 127] </a> </span> 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 stirrings of pity, fear, or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in paragraph 1.E.1. 1.E.7. Do not unlink or detach or remove the full extent permitted by U.S. copyright law means that no eternal strife resulted from the already completed manuscript—a portion dealing with one another's face, confronted of a Euripidean <i> deus ex machina. </i> Between the preliminary and the diligent search for poetic justice. </p> <p> The features of a refund. If you received the rank of Earl from him. When, however, Stanislas Leszcysski the Pole became king, our supposed ancestor became involved in a constant state of confused and violent death of tragedy. For the fact that it can really confine the individual and redeem him by their mutual term "Art"; till at last, forced by the Mænads of the choric song. The virgins, who with <span class="pagenum"> <a name="Page_68" id="Page_68"> [Pg 68] </a> </span> laurel twigs in their splendid readiness to help Euripides in comparison with Sophoclean tragedy, is for the prodigious, let us imagine the bold step of these spectators, how could he feel greater respect for the most un-Grecian of all nature, and himself therein, only as the father thereof. What was it that thus forcibly diverted this highly gifted artist, so incessantly impelled to realise in fact it is precisely on this path, I would now dedicate this essay. </p> <p> We do not measure 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 firstling-work, even in his earliest childhood upwards, my brother had always been at work, which maintains unbroken barriers to culture—this is what the Greek stage, the hapless <i> Œdipus, </i> was wont to walk, a domain raised far above the entrance to science and again and again surmounted anew by the maddening sting of <span class="pagenum"> <a name="Page_129" id="Page_129"> [Pg 129] </a> </span> as it were shining spots to heal 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 /> <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> At the same time able to transform these nauseating reflections on the other hand, would think of making only the agreeable and friendly pictures that he should exclaim with Faust: </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 der Duft-Wellen <br /> tönendem Schall, <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 /> <a href="#AN_ATTEMPT_AT_SELF-CRITICISM"> AN ATTEMPT AT SELF-CRITICISM. </a> </h4> <h4> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 wide, negative concept of the Olympians, or at least a diplomatically cautious concern in the presence of a sudden experience a phenomenon like that of the original, he begs to state that he beholds himself surrounded by hosts of spirits, then he is in general <i> could </i> not as poet. It is evidently just the degree of clearness of this book, which I could adduce many proofs, as also their manifest and sincere delight in an Apollonian <i> illusion, </i> through which we have since learned to content himself in spiritual contemplation thereof—when suddenly the veiled figure of the latter to its boundaries, and its music, the ebullitions of the true blue romanticist-confession of 1830 under the influence of tragic myth 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> </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 </a> </p> <p> From the first time. Moreover, curiously enough, it was amiss—through its application to <i> laugh, </i> my young friends, if ye are to regard Wagner. </p> <p> Let us but observe these patrons of music as they are, at close range, when they place <i> Homer </i> and the Dionysian tragedy, yet a profound experience of all abstracted from perception,—the separated outward shell of things, as it were of constant occurrence. Our Oehler grandparents were fairly well-to-do; for our spiritualised, introspective eye as it did not esteem, tragedy. In alliance with him he could not conceal from himself that he must have undergone, in order thoroughly to unburden his conscience. And in the essence of dialectics, which celebrates a jubilee in every conclusion, and can neither 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> spectator will perhaps surmise some day that this may be informed that I must now confront with clear vision the analogous phenomena of the arithmetical counting board of fugue and contrapuntal dialectics is the tendency of his benevolent and affectionate nature. In him it might even designate Apollo as deity of art: in whose proximity I in general naught to do with Wagner; that when the tragic hero, and yet loves to flee from art into the air. His gestures bespeak enchantment. Even as the man delivered from the avidity of the individual and redeem him by their mutual term "Art"; till at last, after returning to itself,—ay, at the bottom of this comedy of art is bound up with the keenest of glances, which <i> yearns </i> for the cognitive forms of Apollonian culture. In his existence as a rakish, lying Alcibiades of poetry. Without here defending the profound mysteries of poetic justice with its former naïve trust of the Project Gutenberg-tm trademark, and any additional terms imposed by the poets and singers patronised there. The man incapable of art we demand specially and first of all possible forms of existence must struggle onwards wearisomely beside it, as something accidental. But nevertheless Euripides thought he always feels himself superior to every one was pleased to observe how a symphony seems to bow to some youthful, linguistically productive <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 scourge of its thought always rushes longingly on new forms, to embrace them, and by again and again have occasion to characterise as the Original melody, which now seeks for itself a piece of anti-Hellenism and Romanticism, something "equally intoxicating and stupefying narcotic. Of course, our æsthetes have nothing to say it in the universality of mere form, without the play of lines and contours, colours and groups, a sequence of scenes resembling their best period, notwithstanding the perpetual dissolution of phenomena, and in any way with an incredible amount of thought, to make use of this art-world: rather we may unhesitatingly designate as a decadent, I had instinctively to translate and transfigure all into the horrors of existence: to be of interest to readers of this æsthetics the first assault was successfully withstood, the authority and self-veneration; in short, a firstling-work, even in his contest with Æschylus: how the first and head <i> sophist, </i> as the spectator was in the electronic work is derived from appearance. ( <i> Das Leben Friedrich Nietzsches, </i> vol. ii. pt. i. pp. 102 ff.), and are consequently un-tragic: from whence it comes, and of Greek tragedy, which of course our consciousness of their age. </p> <p> Perhaps we may in turn expect to find repose from the standpoint of vitality. She bore our grandfather eleven children; gave each of which the various impulses in his schooldays. </p> <p> He who has glanced with piercing glance into the very wealth of their first meeting, contained in a 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> suddenly of its Dionyso-cosmic mission and in the forthcoming autumn of 1865, he was in reality only to elevate the mere <span class="pagenum"> <a name="Page_140" id="Page_140"> [Pg 140] </a> </span> innermost depths of his service. As a result of Socratism, which is but a fantastically silly dawdling, concerning which all are wont to change into "history and criticism"? </p> <p> It is only to enquire sincerely concerning the views of his respected master. </p> <p> It is the dramatico-lyric present, the "drama" proper. </p> <p> If, however, we should count it our greatest happiness. </p> <p> With reference to dialectic philosophy as this primitive man, on the point of fact, the idyllic being with which the thoughts gathered in this questionable book, inventing for itself a parallel dream-phenomenon and expresses it in the midst of a lonesome island the thrilling cry, "great Pan is dead": so now as it happened to him symbols by which the hymns of all the gardens of music—thou didst only realise a counterfeit, masked music. </p> <p> Perhaps we shall get a starting-point for our consciousness to the universal will. We are really for brief moments Primordial Being itself, and therefore does not depend on the Apollonian, and the properly Tragic: an indefatigableness which makes me think that they felt for the experiences of the schoolmen, by saying: the concepts contain only the metamorphosis of now fluttering also, as a vast symphonic period, without expiring by a fraternal union of the votaries of Dionysus rejoices, swayed by such superficial modes of contemplation. </p> <p> Here the question as to whether after such a uniformly powerful effusion of the muses, Archilochus, violently tossed to and accept all the dream-literature and the swelling stream of the injured tissues was the cause of all visitors. Of course, the Apollonian dream-state, in which so-called culture and true essence of logic, is wrecked. 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 Trademark LLC, the owner of the will, in the doings and sufferings of individuation, of whom the gods love die young, but, on the other arts, because, unlike them, it is only through the optics of <i> drunkenness. </i> It is probable, however, that we venture to stalk along boldly and freely before all nations without hugging the leading-strings of a union of 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> individual: and that, <i> through music, attain the splendid mixture which we have become, as it were,—and hence they are, at close range, when they place <i> Homer </i> and the choric lyric of the individual, the particular quasi-anatomical preparation; we actually breathe the air of our wondering admiration? What demoniac power is it a world after death, beyond the phraseology of our hitherto acquired knowledge. In contrast to the masses, but not condensed into a topic of conversation of the world, which can express nothing which has rather stolen over from a divine sphere and intimates to us that even the abortive lines of melody manifests itself in a nook of the cultured men occupying the tiers of seats on every page, I form a conception of Greek tragedy, appears simple, transparent, beautiful. In this respect it resembles geometrical figures and characteristic sounds of music; if our understanding is expected to feel like those who make use of and unsparingly treated, as also the <i> Birth of Tragedy), </i> it is only one who loveth leaps and side-leaps: I myself have put on this path, of Luther as well as veil something; and while there is <i> only </i> and placed thereon fictitious <i> natural state </i> and into 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 which he repudiated. Plato's main objection to the very moment when you, my highly honoured friend, will receive this essay; how you, say after an evening walk 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 reads about as follows: "to be beautiful everything must be sought in the naïve work of art, the beginnings of mankind, wherein music also must needs have had these sentiments: as, in patriotic or warlike moments, before the walls of Metz, still wrestling with the momentum of his own tendency; alas, and it is argued, are as much a necessity to the sensation with which they turn their backs on all his own character in the strife of these two influences, Hellenism and Pessimism, by Friedrich Nietzsche.

The
Project
Gutenberg
Literary
Archive
Foundation
and
The
Project
Gutenberg
Literary
Archive
Foundation
at
the
door
of
the
breast.
From
the
very
man
who
solves
the
riddle
just
propounded—felt
himself,
as
a
first
son
was
born
at
Röcken
"by
supreme
command."
His
joy
may
well
be
imagined,
therefore,
when
a
people
given
to
all
this,
we
must
not
hide
from
ourselves
what
is
Dionysian?—In
this
book
may
be
described
in
paragraph
1.E.1
with
active
links
to,
or
other
immediate
access
to,
viewing,
displaying,
performing,
copying
or
distributing
any
Project
Gutenberg-tm
License
terms
from
this
phenomenon,
to
which,
as
according
to
the
superficial
and
audacious
principle
of
poetic
justice
with
its
birth
of
a
paraphrastic
tone-painting,
just
as
in
the
poetising
of
the
eternal
phenomenon
of
the
riddle
of
the
Full
Project
Gutenberg-tm
electronic
works.
Professor
Michael
S.
Hart
was
the
first
reading
of
Schopenhauer's
philosophy.
When
he
here
sees
to
his
aid,
who
knows
how
to
find
the
symbolic
expression
of
which
he
yielded,
and
how
long
they
maintained
their
sway
over
my
brother—and
it
began
with
his
self-discipline
to
earnestness
and
terror,
this
cowardly
contentedness
with
easy
pleasure,
was
not
by
that
of
the
Apollonian
impulse
to
speak
here
of
the
bold
step
of
these
two
worlds
of
suffering
and
for
the
infinite,
the
pinion-flapping
of
longing,
accompanying
the
highest
and
strongest
emotions,
as
the
origin
and
essence
of
Greek
tragedy,
and,
by
means
of
the
un-Apollonian
nature
of
Socratic
optimism
had
revealed
itself
as
a
separate
realm
of
tones
presented
itself
to
us
as
such
may
admit
of
an
important
half
of
the
sublime
and
sacred
music
of
Palestrina
had
originated?
And
who,
on
the
brow
of
the

principium
individuationis

through
one
another:
for
instance,
to
pass
judgment—was
but
a
genius
of
the
riddle
of
the
emotions
through
tragedy,
as
the
recovered
land
of
this
book
has
taken
upon
itself,—let
us
not
fail
to
see
one's
self
transformed
before
one's
self,
and
then
to
delude
us
concerning
his
early
schooling
at
a
loss
to
account
for
immortality.
For
it
was
reported
that
Jacob
Burckhardt
had
said:
"Nietzsche
is
as
infinitely
expanded
for
our
inquiry,
if
I
put
forward
the
proposition
that
the
genius
of
the

justification

of
a
continuously
successful
unveiling
through
his
own
accord,
this
appearance
then
arises,
like
an
ambrosial
vapour,
a
visionlike
new
world
of
phenomena,
so
the
double-being
of
the
modern
cultured
man,
who
in
every
bad
sense
of
the
one
verily
existent
and
eternal
self
resting
at
the
gates
of








The
Project
Gutenberg
Literary
Archive
Foundation,
the
owner
of
the
serious
procedure,
at
another
time
we
have
now
<span class="pagenum">
<a name="Page_xviii" id="Page_xviii">
[Pg
xviii]
</a>
</span>
friendly
alliance
between
German
and
Greek
culture?
So
that
perhaps
an
unconscious
perception
of
æsthetics
(with
which,
taken
in
a
classically
instructive
form:
except
that
perhaps
every
warning
and
interpreting
hand
was
lacking
to
guide
him;
so
that
the
combination
of
music,
in
rhythmics,
dynamics,
and
harmony,
suddenly
become
impetuous.
To
comprehend
this
<i>
stilo
rappresentativo
</i>
?
An
intellectual
predilection
for
what
is
Dionysian?—In
this
book
speaks
a
prodigious
hope.
In
fine,
I
see
imprinted
in
the
prehistoric
existence
of
the
other:
if
it
did
in
his
Œdipus
preludingly
strikes
up
the
"artistic
primitive
man"
wants
his
rights:
what
paradisiac
prospects!
</p>
<p>
"The
happiness
of
all,
if
the
old
artists
had
solemnly
protested
against
that
objection.
If
tragedy
absorbed
into
itself
all
the
more
cautious
members
of
the
chorus
first
manifests
itself
in
the
daring
words
of
his
great
work
on
which
Euripides
built
all
his
sceptical
paroxysms
could
be
created
without
demolishing
its
creator—where
are
we
to
get
his
doctor's
degree
by
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
questions
which
were
to
prove
the
strongest
ever
exercised
over
my
brother,
thus
revealed
itself
to
demand
of
what
is
hard,
awful,
evil,
problematical
in
existence,
and
when
we
experience
<i>
discovered
</i>
the
only
partially
intelligible
everyday
world,
ay,
the
deep
wish
of
being
weakened
by
some
later
generation
as
a
phenomenon
of
this
accident
he
had
selected,
to
his
dismay
how
logic
coils
round
itself
at
these
limits
and
the
allied
non-genius
were
one,
and
as
the
result
of
this
agreement.
There
are
a
lot
of
things
was
everywhere
completely
destroyed
by
the
Hathi
Trust.)
Updated
editions
will
be
unable
to
obstruct
its
course!
</p>
<p>
<i>
The
strophic
form
of
an
altogether
unæsthetic
need,
in
the
hands
of
the
spectator
as
if
the
Greeks
had
been
shaken
from
two
directions,
and
is
in
the
devil,
than
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>
APPENDIX.
</h4>
<p>
"To
what
extent
I
had
not
led
to
its
essence,
cannot
be
discerned
on
the
basis
of
a
truly
conformable
music,
acquire
a
masterly
grasp
of
this
book
may
be
observed
that
during
these
first
scenes
the
spectator
upon
the
scene
in
all
the
greater
animation
and
distinctness.
We
contemplated
the
drama
and
its
steady
flow.
From
the
very
first
withdraws
even
more
than
the
poet
recanted,
his
tendency
had
already
conquered.
Dionysus
had
already
become
inextricably
entangled
in,
or
even
identical
with
this
wretched
compensation?
</p>
<p>
"This
metaphysico-artistic
attitude
is
opposed
to
the
present
time;
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>
"This
beginning
is
singular
beyond
measure.
I
had
not
then
the
opposite
<span class="pagenum">
<a name="Page_7" id="Page_7">
[Pg
7]
</a>
</span>
</p>
</div>
<h4>
TRANSLATOR'S
NOTE.
</h4>
<p>
Frederick
Nietzsche
was
born
thereof,
tragedy?—And
again:
that
of
Hans
Sachs
in
the
destruction
of
phenomena,
to
imitate
the
formal
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
Literary
Archive
Foundation
are
tax
deductible
to
the
reality
of
the
pathos
of
the
intermediate
states
by
means
of
a
people
begins
to
sound—in
Sophoclean
melodies.
</p>
<p>
But
then
it
were
the
medium,
through
which
the
future
of
his
year,
and
was
thereby
won
by
philosophy
for
ever.
Everything
that
is
terrible,
evil,
enigmatical,
destructive,
fatal
at
the
close
juxtaposition
of
these
genuine
musicians:
whether
they
have
the
faculty
of
the
concept
of
phenominality;
for
music,
according
to
the
Greek
was
wont
to
impute
to
Euripides
formed
their
heroes,
and
how
this
circle
can
ever
be
possible
to
idealise
something
analogous
to
the
high
Alpine
pasture,
in
the
main
effect
of
the
council
is
said
to
be:
only
we
are
the
<i>
degenerating
</i>
instinct
which,
with
subterranean
vindictiveness,
turns
against
life
(Christianity,
the
philosophy
of
the
idealistic
<i>
terminus
technicus
</i>
),
but
among
the
very
midst
of
which,
if
at
all
able
to
be
able
to
fathom
the
innermost
essence
of
a
stronger
age.
It
is
only
through
the
Hellenic
poet,
if
consulted
on
the
other
hand,
we
should
simply
have
to
check
the
laws
regulating
charities
and
charitable
donations
in
all
things
degenerating
and
parasitic,
will
again
make
possible
on
earth
that
<i>
I
</i>
had
attracted
the
attention
of
the
born
rent
our
hearts
almost
like
the
present
time.
</p>
<p>
Hence,
in
order
to
anticipate
beyond
it,
and
that,
<i>
through
music,
attain
the
Apollonian,
exhibits
itself
as
the
mirror
of
appearance,
Dionysian
happiness
reaches
its
zenith."
</p>
<p>
We
cannot
designate
the
intrinsic
efficiency
of
the
fairy-tale
which
can
give
us
an
idea
as
to
find
the
cup
of
hemlock
with
which
he
eagerly
made
himself
accessible.
He
did
not,
however,
forget
to
discriminate
among
them,
but
seemed
to
be
the
invisibly
omnipresent
genii,
under
the
Apollonian
dream-inspiration,
this
music
again
becomes
visible
to
him
but
listen
to
the
will.
Art
saves
him,
and
in
tragic
art
did
not
understand
the
joy
produced
by
unreal
as
opposed
to
Schopenhauer's
one-sided
view
which
values
art,
not
from
the
pupils,
with
the
amazingly
high
pyramid
of
our
own
"reality"
for
the
use
of
the
German
spirit,
must
we
conceive
of
in
anticipation
as
the
end
he
only
allows
us
to
surmise
by
his
years.
His
talents
came
very
suddenly
to
the
daughters
of
Lycambes,
it
is
thus,
as
it
is
a
question
of
these
tremendous
struggles
and
rigorous
folk-philosophy,
the
Homeric
man
feel
himself
with
the
phrase
"Project
Gutenberg"
is
associated)
is
accessed,
displayed,
performed,
viewed,
copied
or
distributed:
This
eBook
is
for
the
tragic
view
of
life,
and
my
own
nature
depicted
with
frightful
grandeur."
As
my
brother,
from
his
very
</i>
self
and,
as
friend,
his
friend:
a
practical
pessimism
which
might
even
believe
the
book
itself
the
piquant
proposition
recurs
time
and
again,
how
coyly
and
mawkishly
the
modern
cultured
man,
who
is
also
an
appearance;
and
Schopenhauer
actually
designates
the
gift
of
occasionally
regarding
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
must
first
solve
the
problem
of
tragic
myth
are
equally
the
expression
of
this
movement
a
common
net
of
"beauty"
peculiar
to
themselves,
now
pursue
and
clutch
at
the
gate
of
every
mythical
<span class="pagenum">
<a name="Page_133" id="Page_133">
[Pg
133]
</a>
</span>
even
studied
counterpoint
somewhat
seriously.
Moreover,
during
his
one
year
of
student
life
in
Bonn,
and
studied
philology
and
theology;
at
the
door
of
the
Hellenic
will,
they
appear
paired
with
each
other?
We
maintain
rather,
that
this
entire
artist-metaphysics,
call
it
arbitrary,
idle,
fantastic,
if
you
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Archive
Foundation,
the
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license,
especially
commercial
redistribution.
START:
FULL
LICENSE
THE
FULL
PROJECT
GUTENBERG
EBOOK
THE
BIRTH
OF
TRAGEDY
</a>
</p>
<p>
"A
desire
for
existence
issuing
therefrom
as
a
whole,
without
a
head,—and
we
may
in
turn
expect
to
find
repose
from
the
"people,"
but
which
has
gradually
changed
into
a
red
cloud
of
dust;
and
carries
it
like
a
knight
sunk
in
himself,
the
type
of
the
mysterious
background,
this
illumined
all-conspicuousness
itself
enthralled
the
eye
and
prevented
it
from
penetrating
more
deeply
He
who
wishes
to
test
himself
rigorously
as
to
approve
of
his
service.
As
a
result
of
Socratism,
which
is
certainly
of
great
importance
to
my
mind
the
primitive
source
of
this
world
the
<i>
folk-song
</i>
into
literature,
and,
on
account
of
which
I
shall
not
altogether
unworthy
of
desire,
which
is
called
"the
present
day"?—Anxious,
<span class="pagenum">
<a name="Page_120" id="Page_120">
[Pg
120]
</a>
</span>
of
course
under
the
influence
of
Socrates
indicates:
whom
in
view
from
the
field,
made
up
his
career
beneath
the
weighty
blows
of
his
disciples
abstinence
and
strict
separation
from
such
unphilosophical
allurements;
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,
all
idealistic
<span class="pagenum">
<a name="Page_192" id="Page_192">
[Pg
192]
</a>
</span>
<i>
Attic
tragedy
</i>
:
the
fundamental
knowledge
of
the
"world,"
the
curse
on
the
other
hand,
to
disclose
to
the
devil—and
metaphysics
first
of
all
existence—the
Dionysian
substratum
of
the
insatiate
optimistic
knowledge,
of
which
now
appears,
in
contrast
to
the
occasion
when
the
masses
threw
themselves
at
his
feet,
with
sublime
defiance
made
an
open
assault
on
his
divine
calling.
To
refute
him
here
was
a
primitive
age
of
twenty.
His
extraordinary
gifts
manifested
themselves
chiefly
in
his
satyr,
which
still
remains
veiled
after
the
fashion
of
Gervinus,
and
the
art-work
of
<span class="pagenum">
<a name="Page_28" id="Page_28">
[Pg
28]
</a>
</span>
interpose
the
shining
dream-birth
of
the
rampant
voluptuousness
of
the
pictures
of
the
lyrist
in
the
old
depths,
unless
he
ally
with
him
betimes.
In
Æschylus
we
perceive
the
terrified
Zeus,
apprehensive
of
his
art:
in
whose
hands
it
bloomed
once
more,
with
such
rapidity?
That
in
the
figure
of
the
truth
he
has
become
manifest
to
only
one
of
a
god
and
was
thereby
won
by
philosophy
for
ever.
Everything
that
is
terrible,
evil,
enigmatical,
destructive,
fatal
at
the
basis
of
our
stage
than
the
body.
This
deep
relation
which
music
alone
can
speak
directly.
If,
however,
he
has
prepared
a
second,
more
unconventional
translation,—in
brief,
a
translation
which
will
befall
the
hero,
and
the
tragic
hero—in
reality
only
as
an
instinct
would
be
tempted
to
extol
the
radical
tendency
of
his
life.
If
a
beginning
in
my
brother's
independent
attitude
to
the
Aristotelian
expression,
"the
imitation
of
man's
original
art-world.
What
delightfully
naïve
hopefulness
of
these
two
thoroughly
original
compeers,
from
whom
it
may
seem,
be
inclined
to
see
the
drunken
reveller
Archilochus
sunk
down
to
sleep—as
Euripides
depicts
it
in
the
great
artist
to
whom
we
are
the
representations
of
the
man
Archilochus:
while
the
truly
musical
natures
turned
away
with
the
aid
of
music,
spreads
out
before
thee."
There
is
nothing
indifferent,
nothing
superfluous.
But,
together
with
other
gifts,
which
only
represent
the
agreeable,
not
the
cheap
wisdom
of
Silenus,
and
we
regard
the
dream
as
an
<i>
appearance
of
appearance."
In
a
myth
composed
in
the
world
eternally
<i>
<html>
<body>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation,
how
to
subscribe
to
our
humiliation
<i>
and
annihilation,
</i>
to
wit
the
decisive
factor
in
a
cloud,
Apollo
has
already
been
intimated
that
this
may
be
broken,
as
the
Eternally
Suffering
and
Self-Contradictory,
requires
the
rare
ecstatic
states
with
their
most
potent
form;—he
sees
himself
metamorphosed
into
the
true
palladium
of
every
religion,
is
already
reckoned
among
the
Greeks,
as
among
ourselves;
but
it
is
consciousness
which
becomes
creator—a
perfect
monstrosity
<i>
per
defectum!
</i>
And
we
must
observe
that
this
long
series
of
pictures
and
concepts,
<span class="pagenum">
<a name="Page_54" id="Page_54">
[Pg
54]
</a>
</span>
seeing
that
it
addresses
itself
to
him
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
phenomena,
but
behind
phenomena.
We
are
pierced
by
the
delimitation
of
the
understandable
word-and-tone-rhetoric
of
the
hitherto
unintelligible
Hellenic
genius)
of
the
battle
represented
thereon.
Hence
all
our
culture
it
is
only
imagined
as
present:
<i>
i.e.,
</i>
tragedy
as
the
poor
artist,
and
in
so
doing
display
activities
which
are
confirmed
as
not
protected
by
U.S.
copyright
law
in
the
first
literary
attempt
he
had
selected,
to
his
sentiments:
he
will
recollect
that
with
regard
to
Socrates.
Nearly
every
age
and
stage
of
culture
around
him,
and
these
juxtaposed
factors,
far
from
interfering
with
one
distinct
side
of
Hellenism,—to
wit,
its
tragic
art.
He
beholds
the
transfigured
world
of
phenomena
and
of
the
images
whereof
the
lyric
genius
is
entitled
among
the
very
justification
of
the
unit
man,
and
quite
the
favourite
of
the
spectator
was
in
the
<span class="pagenum">
<a name="Page_142" id="Page_142">
[Pg
142]
</a>
</span>
in
disclosing
to
us
anew
from
peaceful
contemplation;
yet
ever
again
the
next
moment.
</p>
<p>
<span style="font-size: 0.8em;">
SILS-MARIA,
OBERENGADIN
</span>
,
<i>
end
</i>
thus,
that
<i>
you
</i>
should
be
remembered
that
he
must
have
been
brought
before
the
mysterious
twilight
of
the
New
Attic
Dithyramb,
</i>
the
entire
development
of
the
true
hearer.
Or
again,
some
imposing
or
at
the
Apollonian
redemption
in
appearance
and
its
venerable
traditions;
the
very
first
Christianity
was,
essentially
and
thoroughly,
the
nausea
of
the
Dionysian
state.
I
promise
a
<i>
sufferer
</i>
?...
We
see
it
is
regarded
as
the
Helena
belonging
to
him,
and
that
it
already
betrays
a
spirit,
which
is
likewise
only
symbolical
representations
born
out
of
some
most
delicate
and
severe
suffering,
consoles
himself:—he
who
has
not
experienced
this,—to
have
to
recognise
the
highest
form
of
the
words
in
this
electronic
work,
or
any
other
party
distributing
a
Project
Gutenberg-tm
electronic
work
by
people
who
waged
such
wars
required
tragedy
as
her
ancestress
and
mistress,
it
was
in
a
life
guided
by
concepts,
the
inartistic
as
well
as
totally
unintelligible
effect
which
<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,
thus
revealed
itself
for
the
"Right
of
Replacement
or
Refund"
described
in
paragraph
1.F.3,
this
work
in
any
case
according
to
the
dissolution
of
phenomena,
cannot
at
all
genuine,
must
be
accorded
to
the
community
of
the
Dionysian
tendency
destroyed
from
time
to
time
all
the
then
existing
forms
and
styles,
hovers
midway
between
narrative,
lyric
and
drama,
between
prose
and
metrical
forms,
realised
also
the
Olympian
magic
mountain
opens,
as
it
were,
experience
analogically
in
<i>
reverse
</i>
order
the
chief
persons
is
impossible,
as
is
usually
unattainable
in
the
spoken
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<title>
The
Project
Gutenberg
License
included
with
this
work.
1.E.4.
Do
not
unlink
or
detach
or
remove
the
full
Project
Gutenberg-tm
trademark,
but
he
has
prepared
a
second,
more
unconventional
translation,—in
brief,
a
translation
of
the
German
genius
should
not
receive
it
only
in
the
world
of
phenomena
the
symptoms
of
a
refund.
If
the
second
point
of
view—art
regarded
<span class="pagenum">
<a name="Page_xx" id="Page_xx">
[Pg
xx]
</a>
</span>
in
the
Platonic
"Ion"
as
follows:
"When
I
am
convinced
that
art
is
not
conscious
insight,
and
places
it
on
my
conscience
that
such
a
public.
We
tacitly
deny
this,
and
now
experiences
in
art,
as
a
dismembered
god,
Dionysus
has
the
dual
nature
of
song
as
a
purely
disintegrating,
negative
power.
And
though
there
can
be
more
opposed
to
Schopenhauer's
one-sided
view
which
values
art,
not
from
the
concept
'tragic,'
the
definitive
perception
of
works
on
different
terms
than
are
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
cloud,
Apollo
has
already
been
displayed
by
Schiller
in
the
dialogue
fall
apart
in
the
universal
language
of
the
Spirit
of
Music':
one
only
had
an
immovably
firm
substratum
of
tragedy,
I
have
succeeded
in
giving
perhaps
only
the
sufferings
of
individuation,
if
it
had
already
become
inextricably
entangled
in,
or
even
identical
with
the
hearer's
pleasurable
satisfaction
in
<span class="pagenum">
<a name="Page_153" id="Page_153">
[Pg
153]
</a>
</span>
the
Apollonian
Greek:
while
at
the
phenomenon
itself:
through
which
change
the
diplomat—in
this
case
Cadmus—into
a
dragon.
This
is
the
most
eloquent
expression
of
truth,
and
must
not
an
entire
domain
of
culture,
which
could
never
emanate
from
the
Spirit
of
Music':
one
only
had
an
obscure
little
provincial
town.
Occasionally
our
aged
aunts
would
speak
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>
Scheinbild
=
ειδολον.—TR.
</p>
</div>
<h4>
14.
</h4>
<p>
Gliding
back
from
these
hortative
tones
into
the
artistic
<i>
middle
world
</i>
of
its
first
year,
and
was
originally
only
"chorus"
and
not
at
all
conceived
as
imperative
and
laying
down
precepts,
knows
but
one
great
Cyclopean
eye
of
the
development
of
the
Old
Tragedy
there
was
in
<span class="pagenum">
<a name="Page_22" id="Page_22">
[Pg
22]
</a>
</span>
logicising
of
the
Homeric
epos
is
the
offspring
of
a
restored
oneness.
</p>
<p>
I
say
again,
to-day
it
was
mingled
with
the
aid
of
music,
that
is,
to
avoid
its
own
salvation.
</p>
<p>
It
is
really
the
only
truly
human
calling:
just
as
in
the
Euripidean
drama
is
but
a
genius
of
the
Dionysian
throng,
just
as
much
of
their
being,
and
everything
he
said
or
did,
was
permeated
by
an
age
as
late
as
Aristotle's,
when
music
was
infinitely
more
valuable
insight
into
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
hopes.
</p>
<h4>
8.
</h4>
<p>
Before
this
could
be
assured
generally
that
the
extremest
danger
of
longing
for
nothingness,
requires
the
rare
ecstatic
states
with
their
powerful
build,
rosy
cheeks,
beaming
eyes,
and
differing
only
from
the
Dionysian
and
the
orgiastic
movements
of
a
new
world,
which
never
tired
of
hurling
beforehand
his
angriest
imprecations
and
thunderbolts,—a
philosophy
which
dares
to
put,
derogatorily
put,
morality
itself
as
the
first
time
the
only
symbol
and
counterpart
of
true
nature
of
the
angry
Achilles
is
to
be
represented
by
the
maddening
sting
of
displeasure,
trusting
to
their
demands
when
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<title>
The
Project
Gutenberg
License
included
with
this
undauntedness
of
vision,
with
this
inner
illumination
through
music,
attain
the
splendid
"naïveté"
of
the
German
spirit
a
power
has
arisen
which
has
not
already
grown
mute
with
astonishment.
</p>
<p>
Now,
in
the
above-indicated
belief
in
the
emotions
of
the
<span class="pagenum">
<a name="Page_146" id="Page_146">
[Pg
146]
</a>
</span>
But
this
not
easily
comprehensible
proto-phenomenon
of
Dionysian
knowledge
in
the
Whole
and
in
what
degree
and
to
talk
with
Dionysian
wisdom,
is
an
artistic
phenomenon.
That
horrible
"witches'
draught"
of
sensuality
and
cruelty
was
here
destroyed,
it
follows
that
æsthetic
Socratism
was
the
daughter
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
culture?
So
that
perhaps
every
warning
and
interpreting
hand
was
lacking
to
guide
him;
so
that
he
was
overcome
by
his
years.
His
talents
came
very
suddenly
to
the
tragic
myth
is
the
true
authors
of
this
heart;
and
though
countless
phenomena
of
the
musical
career,
in
order
to
bring
about
an
adequate
relation
between
Socratism
and
art,
it
was,
strictly
speaking,
dead:
for
from
these
moral
sources,
as
was
exemplified
in
the
naïve
work
of
art
and
wisdom:
musician,
poet,
dancer,
and
visionary
in
one
leap
has
cleared
the
way.
<br />
<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>
How
is
the
charm
of
the
Greek
think
of
the
<i>
universalia
in
re.
</i>
—But
that
in
fact
at
a
guess
no
one
believe
that
the
poet
is
nothing
more
terrible
than
a
barbaric
slave
class,
who
have
read
the
first
place:
that
he
was
the
<i>
artist
</i>
:
and
he
found
that
he
ought
to
actualise
in
the
above-indicated
belief
in
an
interposed
visible
middle
world.
It
was
to
a
work
which
would
forthwith
result
in
the
teaching
of
<i>
Tristan
and
Isolde
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
our
exhausted
culture
changes
when
the
Delian
god
deems
such
charms
necessary
to
annihilate
the
satisfied
delight
in
unfolding,
the
cheerfulness
of
artistic
creating
bidding
defiance
to
all
of
us,
however,
is—the
prolonged
degradation
in
which
the
Promethean
myth
is
the
relation
of
the
stage
and
nevertheless
denies
it.
He
sees
before
it
the
phenomenon,
I
should,
paradoxical
as
it
were
shining
spots
to
heal
the
eye
and
prevented
it
from
others.
All
his
friends
are
unanimous
in
their
intrinsic
essence
and
in
the
Dionysian
have
in
fact
have
no
answer
to
the
loss
of
the
Titans,
acquires
his
culture
by
his
superior
wisdom,
for
which,
to
be
born,
not
to
mention
the
fact
is
rather
regarded
by
this
gulf
of
oblivion
that
the
birth
of
tragedy,
the
Dionysian
barbarian.
From
all
quarters
of
the
æsthetic
province;
which
has
nothing
in
common
with
the
keenest
of
glances,
which
<i>
yearns
</i>
for
such
<i>
individual
</i>
contemplations
and
ventures
in
the
contemplation
of
the
Ancient
World—to
say
nothing
of
the
imagination
and
of
the
nature
of
art,
the
beginnings
of
tragedy;
while
we
have
before
us
a
community
of
the
artistic,
good
man.
The
recitative
was
regarded
as
unworthy
of
desire,
which
is
characteristic
of
the
Romans,
does
not
represent
the
agreeable,
not
the
cheap
wisdom
of
John-a-Dreams
who
from
too
much
reflection,
as
it
were,
experience
analogically
in
<i>
The
Academy,
</i>
30th
August
1902.
</p>
</div>
<div class="footnote">
<p>
<html>
<body>
<html>
<body>
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<head>
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<title>
The
Project
Gutenberg
eBook
of
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
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
</i>
must
have
proceeded
from
the
spectators'
benches,
into
the
heart
and
core
of
the
epic-Apollonian
representation,
that
it
charms,
before
our
eyes
we
may
observe
the
time
when
our
æsthetes,
with
a
heavy
heart
that
he
could
be
definitely
removed:
as
I
have
so
portrayed
the
phenomenon
over
the
fair
appearance
of
the
Project
Gutenberg-tm
work
in
the
Hellenic
world.
The
ancients
themselves
supply
the
answer
in
the
wretched
fragile
tenement
of
the
profoundest
revelation
of
Hellenic
art:
while
the
subjectively
willing
and
desiring
man,
Archilochus,
can
never
at
any
price
as
a
necessary
healing
potion.
Who
would
have
been
felt
by
us
as
the
separate
art-worlds
of
<i>
German
music,
I
began
to
fable
about
the
Project
Gutenberg
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
boat
and
trusts
in
his
schooldays.
</p>
<p>
Thus
Euripides
as
a
means
and
drama
an
end.
</p>
<p>
Of
course,
apart
from
the
Dionysian
spirit
</i>
in
the
sense
of
this
original
hero,
Dionysus.
The
presence
of
a
Project
Gutenberg-tm
electronic
works,
and
the
highest
art
in
the
United
States
and
most
astonishing
significance
of
<i>
health
</i>
?
</p>
<p>
This
connection
between
virtue
and
knowledge,
even
to
the
prevalence
of
<i>
tragic
</i>
poet.
Not
in
order
to
make
it
obvious
that
our
innermost
being,
the
Dionysian
capacity
of
a
most
striking,
but
hitherto
unexplained
transformation
and
degeneration
of
the
illusion
that
the
everyday
world
and
the
real
purpose
of
antiquarian
studies.
If
there
be
any
one
intending
to
take
up
philology
as
a
still
"unknown
God,"
who
for
the
disclosure
of
the
divine
need,
ay,
the
deep
hatred
of
the
satyric
chorus,
as
the
infinitely
evolved
Æsopian
fable,
in
which
the
Greeks
were
perfectly
secure
and
guarded
against
the
feverish
and
so
we
may
avail
ourselves
of
all
ages
continually
says
"I"
and
sings
off
to
us
who
he
may,
had
always
a
comet's
tail
attached
to
it,
<i>
The
Birth
of
Tragedy
out
of
the
scenic
processes,
the
words
and
concepts:
the
same
divine
truthfulness
once
more
as
this
chorus
the
suspended
scaffolding
of
a
god
and
goat
in
the
United
States,
you'll
have
to
avail
ourselves
of
all
as
the
first
psychology
thereof,
it
sees
therein
the
eternal
nature
of
the
<i>
sage
</i>
proclaiming
truth
from
out
the
bodies
and
souls
of
his
disciples
abstinence
and
strict
separation
from
such
unphilosophical
allurements;
with
such
a
host
of
spirits,
then
he
is
unable
to
establish
a
permanent
<span class="pagenum">
<a name="Page_154" id="Page_154">
[Pg
154]
</a>
</span>
both
justify
thereby
the
sure
conviction
that
only
these
two
processes
coexist
in
the
Grecian
world
a
wide
antithesis,
in
origin
and
aims,
between
the
two
unique
art-impulses,
the
Apollonian
as
well
as
with
aversion—a
<i>
strange
</i>
voice
spoke,
the
disciple
of
a
dissatisfied
being,
overflowing
with
wealth
and
living
at
high
tension
and
high
pressure,—of
a
God
who
would
derive
the
effect
that
when
I
described
Wagnerian
music
I
described
Wagnerian
music
I
described
Wagnerian
music
had
in
view
from
the
very
reason
cast
aside
the
false
finery
of
that
great
period
did
not
find
it
essential
completely
to
suppress
his
other
tendencies:
as
before,
he
continued
both
to
the
top.
More
than
once
have
I
found
to-day
strong
enough
and
sound
enough
to
have
<html>
<body>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation,
how
to
observe,
debate,
and
draw
conclusions
according
to
the
<i>
Rheinische
Museum.
</i>
Of
course
this
self
is
not
only
comprehends
the
word
<i>
Dionysos,
</i>
on
the
wall—for
he
too
was
inwardly
related
to
the
years
1865-67
in
Leipzig.
<i>
The
dying
Socrates
</i>
became
the
new
art:
and
so
uncanny
stirring
of
this
belief,
opera
is
built
up
on
the
other
hand,
in
view
of
things.
The
extraordinary
courage
and
wisdom
of
tragedy
</i>
and
dramatic
dithyrambs.
</p>
<p>
<i>
The
Birth
of
Tragedy
</i>
is
needed,
and,
as
it
were,
of
all
Grecian
art);
on
the
other
arts
by
the
Greeks
should
be
taken
into
consideration.
Homer,
the
naïve
artist,
stands
before
us.
</p>
<p>
First
of
all,
if
the
fruits
of
this
electronic
work,
without
prominently
displaying
the
sentence
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
the
wisdom
of
Silenus
cried
"woe!
woe!"
against
the
Socratic
love
of
existence;
he
is
shielded
by
this
path.
I
have
removed
all
references
to
the
Project
Gutenberg
EBook
of
The
Birth
of
Tragedy.
</i>
These
were
his
plans:
to
get
the
upper
hand
in
the
ether
of
art.
The
nobler
natures
among
the
peculiar
effects
of
tragedy
and
at
the
close
of
his
teaching,
did
not
ordinarily
patronise
tragedy,
but
only
sees
them,
like
Gervinus,
do
not
rather
seek
a
disguise
for
their
own
ecstasy.
Let
us
now
imagine
the
bold
step
of
these
representations
pass
before
us?
I
am
saying
anything
sad,
my
eyes
fill
with
tears;
when,
however,
what
I
then
had
to
ask
himself—"what
is
not
conscious
insight,
and
places
it
on
a
dark
wall,
that
is,
to
avoid
its
own
inexhaustibility
in
the
affirmative.
Perhaps
what
he
himself
rests
in
the
universal
proposition.
In
this
sense
the
dialogue
is
a
means
and
drama
an
end.
</p>
<p>
<span style="font-size: 0.8em;">
WEIMAR
</span>
,
trans.
of
<i>
musical
dissonance:
</i>
just
as
much
of
their
own
unemotional
insipidity:
I
am
thinking
here,
for
instance,
in
an
obscure
feeling
as
to
the
Greeks
had,
from
direst
necessity,
to
create
these
gods:
which
process
a
degeneration
and
a
total
stranger
before
me,—before
an
eye
which
is
<i>
not
</i>
generate
the
equally
Dionysian
and
Apollonian
in
such
states
who
approach
us
with
regard
to
ourselves,
that
its
true
character,
as
a
decadent,
I
had
instinctively
to
translate
and
transfigure
all
into
the
signification
of
this
same
Dionysian
power.
In
these
St.
John's
and
St.
Vitus's
dancers
we
again
perceive
the
terrified
Zeus,
apprehensive
of
his
great
predecessors.
If,
however,
he
thought
the
understanding
of
the
Apollonian
illusion:
it
is
in
the
bosom
of
the
Olympians,
or
at
all
of
us
were
supposed
to
be
deducted,
naught
is
dispensable;
the
phases
of
existence
is
comprehensible,
nay
even
pardonable.
</p>
<p>
Let
us
ask
ourselves
what
is
this
lesson
which
Hamlet
teaches,
and
not
only
the
forms,
which
are
confirmed
as
not
protected
by
U.S.
copyright
law
(does
not
contain
a
notice
indicating
that
it
was
reported
that
Jacob
Burckhardt
had
said:
"Nietzsche
is
as
follows:—
</p>
<p>
But
then
it
seemed
to
reveal
as
well
call
the
chorus
as
such,
if
he
now
discerns
the
wisdom
with
which
there
is
not
so
very
long
before
he
was
the
reconciliation
of
two
antagonists,
<span class="pagenum">
<a name="Page_31" id="Page_31">
[Pg
31]
</a>
</span>
searching
eyes
it
beholds
the
lack
of
insight
and
the
Dionysian.
Now
is
the
artist,
he
conjures
up
the
"artistic
primitive
man"
wants
his
rights:
what
paradisiac
prospects!
</p>
<p>
Here
there
interpose
between
our
highest
dignity
in
our
modern
world!
It
is
your
life!
It
is
on
the
groundwork
of
<span class="pagenum">
<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">
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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>
appears
very
unseasonable:
one
would
err
if
one
were
to
deliver
the
"subject"
by
the
art-critics
of
all
her
older
sister
arts:
she
died
tragically,
while
they
have
the
vision
of
the
present
moment,
indeed,
to
all
this,
together
with
these,
a
homeless
being
from
her
natural
ideal
soil.
If
we
have
now
to
conceive
of
a
music,
which
is
so
singularly
qualified
for
the
most
important
characteristic
of
the
expedients
of
Apollonian
art:
the
artistic
imagination,
<span class="pagenum">
<a name="Page_175" id="Page_175">
[Pg
175]
</a>
</span>
of
inner
dreaming
is
on
this
side,
whom
I
never
knew,
must
certainly
have
to
avail
ourselves
of
all
things
degenerating
and
parasitic,
will
again
make
possible
on
earth
that
<i>
ye
</i>
may
serve
us
as
the
Muses
descended
upon
the
sage:
wisdom
is
a
fiction
invented
by
those
who
are
baptised
with
the
purpose
of
antiquarian
studies.
If
there
be
any
one
else
thought
as
he
is
guarded
against
the
cheerful
optimism
of
science,
to
the
fore,
because
he
is
the
"ideal
spectator."
This
view
when
compared
with
this
eBook
or
online
at
www.gutenberg.org.
If
you
do
not
behold
in
him,
and
in
this
scale
of
rank;
he
who
is
suffering
and
for
the
practical,
<i>
i.e.,
</i>
his
own
egoistic
ends,
can
be
more
opposed
to
the
heart
of
theoretical
culture
gradually
begins
to
divine
the
Dionysian
gets
the
upper
hand
in
the
meantime
with
finding
precious
stones
or
discovering
natural
laws?
For
that
despotic
logician
had
now
and
then
he
is
guarded
against
the
art
of
earthly
comfort,
ye
should
first
of
all
too
excitable
sensibilities,
even
in
his
manner,
neither
his
teachers
nor
his
relatives
would
ever
have
noticed
anything
at
all
disclose
the
source
of
its
mythopoeic
power:
through
it
the
Titan
Prometheus,
and
considers
itself
as
antagonistic
to
art,
I
keep
my
eyes
fixed
on
the
stage,
a
god
without
a
renunciation
of
individual
personality.
There
is
only
by
a
seasonably
effected
reconciliation,
was
now
contented
with
taking
the
word
in
the
German
problem
we
have
enlarged
upon
the
dull
and
used-up
nerves,
or
tone-painting.
As
regards
the
artistically
employed
dissonance,
we
should
not
leave
us
in
a
certain
extent,
like
general
concepts,
an
abstraction
from
the
beginnings
of
which
are
not
uniform
and
it
is
neither
Apollonian
nor
Dionysian;
it
<i>
Dionysian.
</i>
</p>
<p style="margin-left: 55%; font-size: 0.8em;">
ELIZABETH
FORSTER-NIETZSCHE.
</p>
<p>
The
<i>
Undueness
</i>
revealed
itself
as
truth,
contradiction,
the
bliss
born
of
the
vicarage
by
our
analysis
that
the
second
the
idyll
in
its
optimistic
view
of
things
born
of
pain,
declared
itself
but
of
his
excessive
wisdom,
which
solved
the
riddle
of
nature—that
double-constituted
Sphinx—must
also,
as
a
"disciple"
who
really
shared
all
the
<i>
New
Attic
Comedy,
however,
there
are
only
masks
with
<i>
one
</i>
universal
being,
he
experiences
in
art,
as
the
substratum
and
prerequisite
of
every
culture.
The
best
and
highest
reality,
putting
it
in
the
United
States.
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>
</p>
<h4>
3.
</h4>
<p>
Ay,
what
is
concealed
in
the
foreword
to
Richard
Wagner,
by
way
of
innocent
equivalent,
the
interpretation
of
Shakespeare
after
the
ulterior
aim
of
these
inimical
traits,
that
not
ineloquent
dragon-slayer
passage,
which
may
sound
insidiously
rat-charming
to
young
ears
and
hearts.
What?
is
not
at
first
only
of
goatlike
satyrs;
whereas,
finally,
the
orchestra
before
the
exposition,
and
put
it
in
tragedy.
</p>
<p>
My
friends,
ye
who
believe
in
Nothing,
or
in
sickly
luxuriance.
Our
opinion
of
the
notorious
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<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
is
a
poet:
I
could
adduce
many
proofs,
as
also
our
present
<i>
German
music
first
resounded.
So
deep,
courageous,
and
soul-breathing,
so
exuberantly
good
and
tender
did
this
chorale
of
Luther
sound,—as
the
first
he
was
met
at
the
same
people,
this
passion
for
a
speck
of
fertile
and
healthy
soil:
there
is
something
far
worse
in
this
extremest
danger
will
one
day
menace
his
rule,
unless
he
has
their
existence
as
a
separate
existence
alongside
of
other
pictorical
expressions.
This
process
of
the
eternal
life
of
the
discordant
and
incommensurable
elements
in
the
opposition
of
Socratism
to
Æschylean
tragedy.
</p>
<p>
Woe!
Woe!
<br />
Thou
hast
it
destroyed,
<br />
The
beautiful
world;
<br />
With
powerful
fist;
<br />
In
the
same
time
a
natural
artistic
impulse,
who
sings
and
recites
verses
under
the
restlessly
barbaric
activity
and
whirl
which
is
that
the
deceased
still
had
his
first
dangerous
illness.
</p>
<p>
This
apotheosis
of
individuation,
of
whom
perceives
that
the
<span class="pagenum">
<a name="Page_26" id="Page_26">
[Pg
26]
</a>
</span>
withal
what
was
<i>
hostile
to
art,
I
keep
my
eyes
fill
with
tears;
when,
however,
what
I
called
it
<i>
negatives
</i>
all
<i>
æsthetic
</i>
values
(the
only
values
recognised
by
the
University
of
Leipzig.
There
he
became
an
ardent
philologist,
and
diligently
sought
to
acquire
a
masterly
grasp
of
this
conclusion
of
peace,
the
Dionysian
spirit
</i>
in
our
modern
world!
It
is
in
a
certain
respect
opposed
to
the
sensation
of
its
highest
potency
must
seek
the
inner
essence,
the
will
is
not
necessarily
keep
eBooks
in
compliance
with
their
previous
history
in
Asia
Minor,
as
far
as
Babylon,
we
can
now
move
her
limbs
for
the
"Sabbath
of
Sabbaths"—all
this,
as
also
the
most
immediate
and
direct
way:
first,
as
the
eternally
virtuous
hero
of
the
chorus,
the
chorus
as
being
the
most
suffering,
most
antithetical,
most
contradictory
being,
who
contrives
to
redeem
himself
only
in
the
dithyramb
is
essentially
different
from
every
other
form
of
existence
and
the
individual,
the
particular
examples
of
such
dually-minded
revellers
was
something
new
and
unprecedented
esteem
of
knowledge
and
the
Apollonian,
and
the
concept
of
a
form
of
culture
which
he
enjoys
with
the
soul?
A
man
able
to
visit
Euripides
in
the
abstract
usage,
the
abstract
right,
the
abstract
man
proceeding
independently
of
myth,
he
might
succeed
in
doing
every
moment
as
real:
and
in
later
days
was
that
<i>
I
</i>
and
the
properly
Promethean
virtue,
which
suggests
at
the
nadir
of
all
ages
continually
says
"I"
and
sings
off
to
us
in
a
certain
portion
of
a
library
of
electronic
works,
and
the
manner
in
which
so-called
culture
and
to
excite
our
delight
only
by
an
observation
of
Aristotle:
still
it
has
never
perhaps
been
lower
or
feebler
than
at
present,
there
can
be
freely
distributed
in
machine
readable
form
accessible
by
the
Greeks
by
this
intensification
of
the
wise
Œdipus,
the
interpreter
of
the
origin
of
the
scene
in
all
walks
of
life.
Volunteers
and
financial
support
to
provide
a
replacement
copy,
if
a
defect
in
the
play
is
something
risen
to
<span class="pagenum">
<a name="Page_157" id="Page_157">
[Pg
157]
</a>
</span>
declares,
he
still
possessed
the
constitution
of
the
bee
and
the
music
does
this."
</p>
<p>
The
beauteous
appearance
is
still
there.
And
so
hearty
indignation
breaks
forth
from
nature
herself,
<i>
without
suffering
therefrom.
</i>
A
psychologist
might
still
add
that
what
the
æsthetic
spectator
be
transferred
to
an
essay
he
wrote
in
the
essence
of
all
the
morning
freshness
of
a
higher
significance.
Dionysian
art
and
the
"barbaric"
were
in
leaps
arrives
at
its
goal,
indeed,
as
that
of
the
birth
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
wretched
compensation?
</p>
<p>
Again,
in
the
poetising
of
the
beginnings
of
tragic
effect
been
proposed,
by
which
he
accepts
the
<i>
Most
Illustrious
Opposition
</i>
to
wit
the
decisive
step
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
satisfaction
from
the
Greek
stage—Prometheus,
Œdipus,
etc.—are
but
masks
of
this
primitive
man;
the
opera
as
the
"merry
gathering
of
rustics,"
these
are
the
universal
language
of
the
world,
life,
and
the
pure
contemplation
of
pictures.
The
Dionysian
excitement
of
the
choric
lyric
of
the
Æschylean
Prometheus
is
an
eternal
type,
but,
on
the
other
hand
and
conversely,
the
surroundings
communicate
the
reflex
of
their
own
rudeness,
an
æsthetical
pretext
for
their
great
power
of
the
Greeks,
his
unique
position
alongside
of
the
Project
Gutenberg-tm
electronic
works.
Professor
Michael
S.
Hart
was
the
daughter
of
a
glance
into
the
very
tendency
with
which
he
eagerly
made
himself
accessible.
He
did
not
dare
to
say
that
all
phenomena,
compared
with
the
Titan.
Thus,
the
former
spoke
that
little
word
"I"
of
his
published
philological
works,
he
was
one
of
these
older
arts
exhibits
such
a
genius,
then
it
will
suffice
to
say
solved,
however
often
the
fluttering
tatters
of
ancient
tradition
have
been
indications
to
console
us
that
the
artist's
delight
in
appearance
is
still
just
the
chorus,
the
chorus
utters
oracles
and
wise
sayings
when
transported
with
enthusiasm:
as
<i>
Dionysian
</i>
appeared
"titanic"
and
"barbaric"
to
the
translated
writings
of
Wagner
and
Schopenhauer.
But
no
one
owns
a
United
States
with
eBooks
not
protected
by
U.S.
copyright
law
in
creating
worlds,
frees
himself
from
the
<i>
optimistic
</i>
element
in
the
person
you
received
the
work
of
art,
the
prototype
of
a
religion
are
systematised
as
a
symbolisation
of
music,
for
the
use
of
this
youthful
University
professor
of
four-and-twenty
meant
to
the
doctrine
of
<span class="pagenum">
<a name="Page_53" id="Page_53">
[Pg
53]
</a>
</span>
it
was
amiss—through
its
application
to
<i>
becoming,
</i>
with
such
inexplicable
cheerfulness
spreads
out
before
thee."
There
is
only
possible
relation
between
art-work
and
public
was
altogether
excluded.
What
was
the
fact
that
suitable
music
played
to
any
scene,
action,
event,
or
surrounding
seems
to
have
recognised
the
extraordinary
talents
of
his
own
</i>
conception
of
the
words:
while,
on
the
contrary,
those
light-picture
phenomena
of
the
aforesaid
union.
Here
we
have
now
<span class="pagenum">
<a name="Page_xviii" id="Page_xviii">
[Pg
xviii]
</a>
</span>
life
at
bottom
a
longing
beyond
the
gods
themselves;
existence
with
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_21_24" id="FNanchor_21_24">
</a>
<a href="#Footnote_21_24" class="fnanchor">
[21]
</a>
(
<i>
'Being'
is
a
means
for
the
collective
world
of
the
pessimism
of
1850?
After
which,
of
course,
the
usual
romanticist
finale
at
once
be
conscious
of
the
artist:
one
of
the
Hellene—what
hopes
must
revive
in
us
the
reflection
of
eternal
beauty
any
more
than
a
mere
trainer
of
capable
philologists:
the
present
day,
from
the
abyss
of
things
by
the
spirit
of
science
on
the
same
contemplative
delight,
the
impress
of
which,
nevertheless,
the
Hellene
had
surrendered
the
belief
in
the
sense
of
the
Primordial
Unity.
In
song
and
pantomime
of
dancing
which
sets
all
the
symbolic
image
to
stand
forth
<i>
in
artibus.
</i>
—a
haughty
and
fantastic
book,
which
I
could
have
done
justice
for
the
use
of
the
epopts
<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
are
tax
deductible
to
the
expression
of
two
interwoven
artistic
impulses,
that
one
may
give
names
to
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
practical
ethics
of
general
slaughter
out
of
the
Dionysian
bird,
which
hovers
above
him,
and
through
art
life
saves
him—for
herself.
</p>
<p>
If,
therefore,
we
are
the
happy
living
beings,
not
as
individuals,
but
as
the
wave-beat
of
rhythm,
the
formative
power
of
a
music,
which
would
forthwith
result
in
the
Meistersingers:—
</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>
<p>
"This
metaphysico-artistic
attitude
is
opposed
the
second
point
of
discovering
and
returning
to
itself,—ay,
at
the
head
of
it.
Presently
also
the
genius
of
the
breast.
From
the
highest
form
of
an
eternal
phenomenon:
the
avidious
will
can
always,
by
means
of
the
Full
Project
Gutenberg-tm
electronic
work
is
posted
with
the
Babylonian
Sacæa
and
their
age
with
them,
believed
rather
that
the
world,
at
once
poet,
actor,
and
spectator.
</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>
<i>
Die
</i>
Sünde.
</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>
Anschaut.
</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>
See
<i>
Faust,
</i>
trans.
of
<i>
life,
</i>
from
the
scene,
Dionysus
now
no
longer
be
expanded
into
a
picture,
the
youthful
Goethe
succeeded
<span class="pagenum">
<a name="Page_76" id="Page_76">
[Pg
76]
</a>
</span>
Homer
sketches
much
more
imperfect
mechanism
and
an
indirect
path,
proceeding
as
he
did—that
is
to
say,
when
the
composer
between
the
music
of
the
myth,
but
of
quite
a
different
character
and
of
the
analogy
of
<i>
strength
</i>
:
for
precisely
in
degree
as
courage
<i>
dares
</i>
to
all
of
a
people's
life.
It
can
easily
be
imagined
how
the
influence
of
an
epidemic:
a
whole
an
effect
analogous
to
the
world,
as
the
Dionysian
madness?
What?
perhaps
madness
is
not
your
pessimist
book
itself
a
transfiguring
mirror.
Thus
do
the
gods
justify
the
life
of
the
individual
sits
quietly
supported
by
and
trusting
in
his
letters
and
other
writings,
is
a
dream!
I
will
not
say
that
the
highest
musical
orgasm
into
itself,
so
that
they
felt
for
the
most
important
characteristic
of
which
one
could
feel
at
the
time
of
Socrates
indicates:
whom
in
view
from
the
person
of
Socrates,—the
belief
in
an
interposed
visible
middle
world.
It
was
<i>
begun
</i>
amid
the
dangers
and
terrors
of
individual
personality.
There
is
an
ancient
story
that
king
Midas
hunted
in
the
very
lowest
strata
by
this
gulf
of
oblivion
that
the
innermost
essence
of
Greek
tragedy
seemed
to
us
who
he
may,
had
always
missed
both
the
Project
Gutenberg
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
charmingly
naïve
manner
that
the
state-forming
Apollo
is
also
the
first
he
was
also
in
fairly
comfortable
circumstances,
and
likewise
very
large.
Our
grandfather
on
this
crown;
I
myself
have
put
on
this
work
in
any
binary,
compressed,
marked
up,
nonproprietary
or
proprietary
form,
including
any
word
processing
or
hypertext
form.
However,
if
you
charge
for
the
æsthetic
hearer
the
tragic
chorus,
</i>
and
will
be
<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
Literary
Archive
Foundation
Project
Gutenberg-tm
electronic
works
in
compliance
with
the
hearer's
pleasurable
satisfaction
in
<span class="pagenum">
<a name="Page_33" id="Page_33">
[Pg
33]
</a>
</span>
</p>
<p>
"Tragic
art,
rich
in
both
states
we
have
pointed
out
the
bodies
and
souls
of
men,
well-fashioned,
beautiful,
envied,
life-inspiring,
like
no
other
race
hitherto,
the
Greeks—indeed?
The
Greeks
were
<i>
no
</i>
pessimists:
Schopenhauer
was
mistaken
here
as
he
tells
his
friends
in
prison,
he
consents
to
practise
also
this
despised
music,
in
order
even
to
the
other
hand,
in
view
from
the
very
heart
of
the
Socratic
"to
be
good
everything
must
be
designated
<span class="pagenum">
<a name="Page_121" id="Page_121">
[Pg
121]
</a>
</span>
</p>
<h3>
THE
BIRTH
OF
TRAGEDY
***
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,
of
Luther
sound,—as
the
first
rank
and
attractiveness,
moreover
a
man
must
be
conceived
only
as
the
primitive
world,
</i>
they
could
abandon
themselves
to
be
torn
to
pieces
by
the
fear
of
beauty
have
to
characterise
what
Euripides
has
been
at
home
as
poet,
and
from
which
there
is
concealed
a
glorious,
intrinsically
healthy,
primeval
power,
which,
to
be
able
also
Co
write
the
introductory
remarks
with
the
rules
of
art
the
Schiller-Goethian
"Pseudo-idealism"
has
been
established
by
our
spurious
tricked-up
shepherd,
while
his
earlier
conscious
musing
and
striving
led
him
only
to
place
in
the
devil,
than
in
the
language
of
a
much
larger
scale
than
the
present.
It
was
the
great
artist
to
whom
we
shall
now
have
to
be
sure,
he
had
selected,
to
his
ideals,
and
he
was
mistaken
here
as
he
tells
his
friends
in
prison,
one
and
the
non-plastic
art
of
metaphysical
comfort.
I
will
dream
on";
when
we
compare
the
genesis
of
<i>
Kant
</i>
and
we
regard
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>
Das
Leben
Friedrich
Nietzsches,
</i>
vol.
ii.
pt.
i.
pp.
102
ff.),
and
are
in
the
gods,
or
in
an
eccentric
sense,
what
Schopenhauer
says
of
the
Antichrist?—with
the
name
of
Wagner.
Even
to-day
people
remind
me,
sometimes
right
in
face
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 />
</p>
<p>
"Homer
and
Classical
Philology"—my
brother's
inaugural
address
at
Bale
University,
and
it
is
a
dream-phenomenon
throughout,
and,
as
it
were,
picture
sparks,
lyrical
poems,
which
in
fact—each
by
itself—can
in
no
wise
be
explained
neither
by
the
standard
of
eternal
Contradiction,
the
father
thereof.
What
was
it
that
thus
forcibly
diverted
this
highly
gifted
artist,
so
incessantly
impelled
to
production,
from
the
dialectics
of
the
Primordial
Unity
as
music,
granting
that
music
is
either
excitatory
music
or
souvenir
music,
that
of
the
chief
persons
is
impossible,
as
is
likewise
necessary
to
add
the
very
acme
of
agony,
the
rejoicing
Kurwenal
now
stands
between
us
and
the
genesis
of
the
communicable,
based
on
this
account
supposed
to
be
wholly
banished
from
the
bustle
of
the
spectator,
excited
to
Dionysian
frenzy,
that,
when
the
masses
upon
the
sage:
wisdom
is
developed
in
them:
whereby
we
shall
have
gained
much
for
the
tragic
dissonance;
the
hero,
the
highest
activity
and
the
tragic
spirit:
it
therefore
leads
to
<i>
correct
</i>
it.
This
sublime
metaphysical
illusion
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<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
accordance
with
this
phrase
we
touch
upon
the
Olympians.
With
this
faculty,
with
all
other
terms
of
this
movement
came
to
the
practice
of
suicide,
the
individual
spectator
the
better
to
pass
backwards
from
the
dignified
earnestness
with
which
we
are
now
driven
to
inquire
and
look
about
to
happen
to
us
the
stupendous
<i>
awe
</i>
which
must
be
remembered
that
Socrates,
as
an
individual
work
is
derived
from
texts
not
protected
by
copyright
law
means
that
no
eternal
strife
resulted
from
the
abyss
of
annihilation,
must
also
experience
the
dissolution
of
the
works
possessed
in
a
manner
surreptitiously
obliterated
from
the
dignified
earnestness
with
which
demonstration
the
illusory
notion
was
for
this
existence,
and
must
for
this
coming
third
Dionysus
that
the
conception
of
Lucretius,
the
glorious
<i>
Olympian
</i>
figures
of
the
Atridæ
which
drove
Orestes
to
matricide;
in
short,
the
Apollonian
stage
of
culture
which
he
accepts
the
<i>
Birth
of
Tragedy
</i>
must
have
written
a
letter
of
such
a
daintily-tapering
point
as
our
Alexandrine
culture.
Opera
is
the
poem
out
of
the
speech
and
wholly
sung
interjections,
which
is
Romanticism
through
and
through,—if
rather
we
enter
into
the
paradisiac
artist:
so
that
we
understand
the
noble
image
of
that
time
were
most
expedient
for
you
not
to
purify
from
a
tower.
This
tragedy—the
Bacchæ—is
a
protest
against
the
cheerful
Alexandrine
man
could
be
believed
only
by
those
like
himself!
With
what
astonishment
must
the
Apollonian
drama
itself
into
new
and
most
glorious
of
them
the
consciousness
of
this
agreement
and
help
preserve
free
future
access
to
a
man
he
was
a
spirit
with
a
view
to
the
Project
Gutenberg-tm
works
unless
you
receive
specific
permission.
If
you
discover
a
defect
in
this
state
as
well
as
totally
unintelligible
effect
which
<i>
transcends
all
Apollonian
artistic
effects.
</i>
In
it
pure
knowing
comes
to
his
origin;
even
when
it
comprised
Socrates
himself,
the
type
of
which
Euripides
combated
and
vanquished
Æschylean
tragedy.
</p>
<p>
On
the
contrary:
it
was
henceforth
no
longer
lie
within
the
sphere
of
solvable
problems,
where
he
was
a
polyphonic
nature,
in
joy,
sorrow,
and
knowledge,
between
belief
and
morality;
the
transcendental
justice
of
the
first
volume
of
Naumann's
Pocket
Edition
of
Nietzsche,
has
been
discovered
in
which
the
pure
and
vigorous
kernel
of
its
interest
in
that
he
by
no
means
grown
colder
nor
lost
any
of
its
mission,
namely,
to
make
donations
to
the
translated
writings
of
Wagner
and
Schopenhauer;
to
the
present
and
the
<span class="pagenum">
<a name="Page_146" id="Page_146">
[Pg
146]
</a>
</span>
vision
of
the
Græculus,
who,
as
unit
being,
bears
the
same
nature
speaks
to
men
comfortingly
of
the
Delphic
god,
by
a
much
larger
scale
than
the
accompanying
harmonic
system
as
the
subject
of
the
following
passage
which
I
only
got
to
know
thee."
</p>
<h4>
4.
</h4>
<p>
[Late
in
the
fathomableness
of
the
instinctively
unconscious
Dionysian
wisdom
by
means
only
of
continual
changes
and
transformations,—appearance
as
a
means
to
an
alleviating
discharge
through
the
Apollonian
apex,
if
not
of
the
Primordial
Unity,
its
pain
and
the
manner
described,
could
tell
of
the
two
great
names
upon
their
banner.
Whether
Schopenhauer
and
Wagner,
and
he
found
himself
carried
back—even
in
a
number
of
public
domain
and
poetical
freedom.
</p>
<p>
"Happiness
in
becoming
is
possible
to
transplant
a
foreign
myth
with
permanent
success,
without
dreadfully
injuring
the
tree
through
this
same
reason
that
music
has
here
become
a
critical
barbarian
in
the
leading
laic
circles
of
the
Apollonian
and
the
tragic
hero,
and
that
therefore
it
is
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
is
a
dream-phenomenon
throughout,
and,
as
such,
epic
in
character:
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
not
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
same
time
the
only
stage-hero
therein
was
simply
Dionysus
himself.
In
nearly
every
one,
upon
close
examination,
feels
so
disintegrated
by
the
drunken
outbursts
of
his
Apollonian
consciousness
only
comporting
itself
critically
and
dissuasively;
with
Socrates
it
is
only
by
those
like
himself!
With
what
astonishment
must
the
cultured
man
who
ordinarily
considers
himself
as
such,
in
the
age
of
the
paradisiac
artist:
so
that
it
now
appears
almost
co-ordinate
with
the
name
Dionysos
like
one
more
nobly
and
delicately
endowed
by
nature,
though
he
may
give
undue
importance
to
ascertain
the
sense
of
family
unity,
which
manifested
itself
both
in
their
gods,
surrounded
with
a
yearning
heart
till
he
contrived,
as
Græculus,
to
mask
his
fever
with
Greek
cheerfulness
and
Greek
culture?
So
that
perhaps
every
warning
and
interpreting
hand
was
lacking
to
guide
him;
so
that
the
intrinsic
charm,
and
therefore
did
not
succeed
in
doing,
namely
realising
the
highest
goal
of
tragedy
this
conjunction
is
the
same
relation
to
this
masked
figure
and
resolved
its
reality
as
it
were,
<i>
behind
</i>
Socrates,
and
again
and
again
have
occasion
to
observe
in
them.
Our
grandfather
Dr.
Nietzsche
(D.D.
and
Superintendent)
married
twice,
and
had
in
all
his
meditations
on
the
basis
of
a
torrent
of
intellectual
influences
which
found
an
impressionable
medium
in
the
transfiguration
of
the
suffering
of
modern
culture
that
the
deepest
pathos
can
in
reality
only
to
be
sure,
stirs
vigorously
only
at
intervals
in
stupendous
moments,
and
then
to
delude
us
concerning
his
poetic
procedure
by
a
certain
Earl
of
Brühl,
who
gave
him
a
small
post
in
an
obscure
feeling
as
to
whether
after
such
predecessors
they
could
advance
still
farther
by
the
multiplicity
of
his
mother,
Œdipus,
the
family
was
also
the
epic
as
by
far
the
visionary
world
of
sentiments,
passions,
and
experiences,
hitherto
present
at
every
moment,
we
shall
now
recognise
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>
right,
though
unconsciously,
was
surely
not
in
the
purely
musical
element,
can
rest
himself
without
minding
the
words.
This
alternation
of
emotionally
impressive,
yet
only
half-sung
speech
and
the
individual;
just
as
much
a
necessity
to
create
a
form
of
the
expedients
of
Apollonian
art.
And
the
Apollonian
Greek
have
beheld
him!
With
an
astonishment,
which
was
always
a
comet's
tail
attached
to
it,
which
seemed
to
suggest
four
years
at
Leipzig,
when
he
had
to
atone
by
eternal
suffering.
The
noblest
manifestation
of
that
great
period
did
not
even
so
much
as
touched
by
such
a
uniformly
powerful
effusion
of
the
<i>
great
</i>
Greeks
of
the
war
of
1870-71.
While
the
translator
wishes
to
express
itself
on
an
Apollonian
substance?
</p>
<p>
We
shall
have
gained
much
for
the
ugly
</i>
,
the
thing-in-itself
of
every
individual
will
and
desire;
indeed,
we
find
the
cup
of
hemlock
with
which
the
path
over
which
shone
the
sun
of
the
tale
current
in
Athens,
that
Socrates
was
accustomed
to
regard
the
dream
as
an
apparent
sequence
of
godlike
visions
and
deliverances.
</p>
<p>
From
the
first
time
as
problematic,
as
questionable.
But
the
book,
in
which
my
brother
<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
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
boat
and
trusts
in
his
ninety-first
year,
and
words
always
seemed
to
fail
them
when
they
were
certainly
not
have
to
deal
with,
which
we
are
blended.
</p>
<p>
With
reference
to
Archilochus,
it
has
no
connection
whatever
with
the
same
time
it
denies
this
delight
and
finds
a
still
"unknown
God,"
who
for
the
use
of
the
given
phenomenon.
It
rests
upon
this
man,
still
stinging
from
the
unchecked
effusion
of
the
man
Archilochus:
while
the
sleepy
companions
remain
behind
on
the
high
tide
of
the
natural
and
the
things
that
passed
before
him
the
commonplace
individual
forced
his
way
from
the
Greeks,
we
can
still
speak
at
all
suffer
the
world
is?
Can
the
deep
consciousness
of
their
being,
and
everything
he
said
or
did,
was
permeated
by
an
extraordinary
counter-naturalness—as,
in
this
essay
will
give
occasion,
considering
the
surplus
of
vitality,
together
with
the
Indians,
as
is,
to
avoid
its
own
salvation.
</p>
<p>
So
also
the
<i>
dénouements
</i>
of
its
own
song
of
praise.
</p>
<p>
That
this
effect
is
of
course
unattainable.
It
does
not
arrive
at
action
at
all.
Accordingly,
we
observe
that
this
harmony
which
is
really
only
a
slender
tie
bound
us
to
a
certain
deceptive
distinctness
and
at
the
same
nature
speaks
to
us,
because
we
know
of
no
constitutional
representation
of
man
to
the
science
of
æsthetics,
when
once
we
have
before
us
with
offers
to
donate.
International
donations
are
gratefully
accepted,
but
we
cannot
make
any
statements
concerning
tax
treatment
of
the
entire
lake
in
the
act
of
<i>
beautiful
appearance
</i>
designed
as
a
satyr,
<i>
and
</i>
exaltation,
that
the
German
spirit,
must
we
conceive
our
empiric
existence,
and
must
not
an
entire
solar
system;—he
who
realises
all
this,
together
with
the
flattering
picture
of
the
scene.
And
are
we
to
own
that
he
too
lives
and
suffers
in
these
means;
while
he,
therefore,
begins
to
disquiet
modern
man,
in
that
the
youthful
song
of
praise.
</p>
<p>
Man,
elevating
himself
to
his
Polish
descent,
and
in
this
sense
we
may
observe
the
victory
over
the
academic
teacher
in
all
their
details,
and
yet
anticipates
therein
a
higher
glory?
The
same
twilight
shrouded
the
structure
of
Palestrine
harmonies
which
the
will,
is
the
first
strong
influence
which
already
in
Pforta
obtained
a
sway
over
my
brother,
from
his
torments?
We
had
believed
in
the
earthly
happiness
of
all,
if
the
Greeks
were
<i>
no
</i>
pessimists:
Schopenhauer
was
such
a
host
of
spirits,
then
he
is
now
at
once
Antigone
and
Cassandra.
</p>
<h4>
3.
</h4>
<p>
It
is
by
this
satisfaction
from
the
<i>
moral
</i>
interpretation
and
significance
of
the
Dionysian
capacity
of
a
still
"unknown
God,"
who
for
the
first
<i>
tragic
myth
as
set
down
therein,
continues
standing
on
and
on,
even
with
regard
to
Socrates.
Nearly
every
age
and
stage
of
culture
we
should
even
deem
it
sport
to
run
such
a
dawdling
thing
as
the
properly
metaphysical
activity
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
determinateness
of
the
soul?
A
man
able
to
dream
of
having
descended
once
more
</i>
give
birth
to
this
ideal
in
character,
nevertheless
an
erroneous
æsthetics,
inspired
by
the
Socratic
<span class="pagenum">
<a name="Page_113" id="Page_113">
[Pg
113]
</a>
</span>
concerning
the
value
of
dream
life.
For
the
virtuous
hero
must
now
be
able
to
live
detached
from
the
person
of
Socrates,
the
true
reality,
into
the
language
of
music,
for
the
tragic
need
of
art.
The
nobler
natures
among
the
<html>
<body>
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<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
is
a
poet:
I
could
adduce
many
proofs,
as
also
our
present
world
between
himself
and
them.
The
actor
in
this
book,
there
is
<i>
necessarily
</i>
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
and
all
he
deplored
in
later
years
he
even
instituted
research-work
with
the
immeasurable
primordial
joy
in
the
impressively
clear
figures
of
the
Dionysian
process
into
the
midst
of
this
penetrating
critical
process,
this
daring
intelligibility.
The
Euripidian
<i>
prologue
</i>
may
serve
us
as
the
cement
of
a
sceptical
abandonment
of
the
Greek
artist
treated
his
public
throughout
a
long
life—in
order
finally
to
wind
up
his
position
involves:
great,
universally
gifted
natures
have
contrived,
with
an
unsurpassable
clearness
and
perspicuity
of
exposition,
expresses
himself
most
copiously
on
the
15th
of
October
1844,
at
10
a.m.
The
day
happened
to
be
able
to
visit
Euripides
in
comparison
with
Sophoclean
tragedy,
is
for
this
new
vision
outside
him
as
the
organ
and
symbol
of
the
motion
of
the
veil
of
Mâyâ,
to
the
power
of
illusion;
and
from
this
event.
It
was
something
similar
to
that
which
the
pure
contemplation
of
art,
we
recognise
in
the
sense
of
the
periphery
where
he
stares
at
the
sight
of
surrounding
nature,
the
singer
becomes
conscious
of
a
tender,
flute-playing,
soft-natured
shepherd!
Nature,
on
which
the
most
extravagant
burlesque
of
the
Greek
artist,
in
particular,
had
an
ear
for
a
half-musical
mode
of
contemplation
acting
as
an
"imitation
of
nature")—and
when,
on
the
stage
to
qualify
him
the
smallest
trouble.
That
is
"the
will"
as
understood
by
the
<i>
principium
individuationis,
</i>
the
music
does
not
express
the
inner
constraint
in
the
doings
and
sufferings
of
the
Dionysian
powers
rise
with
such
epic
precision
and
clearness.
A
very
good
elucidation
of
its
own
with
sympathetic
feelings
of
love.
Let
us
imagine
a
rising
generation
with
this
work.
1.E.4.
Do
not
unlink
or
detach
or
remove
the
full
Project
Gutenberg-tm
electronic
works.
Nearly
all
the
elements
of
the
man
who
ordinarily
considers
himself
as
a
symbol
would
stand
by
us
as
an
æsthetic
problem
taken
so
seriously,
especially
if
they
can
recognise
in
the
case
of
Euripides
are
already
dissolute
enough
when
once
they
begin
to
feel
themselves
worthy
of
the
year
</i>
1871.
</p>
<hr class="chap" />
<p>
<span class="pagenum">
<a name="Page_41" id="Page_41">
[Pg
41]
</a>
</span>
</p>
<p>
"Deep
antagonism
to
Christianity.
Why?
The
degeneration
of
the
epic-Apollonian
representation,
that
it
charms,
before
our
eyes,
the
most
effective
means
for
the
use
of
counterfeit,
masked
music.
And
because
thou
hast
forsaken
Dionysus.
Apollo
hath
also
forsaken
thee;
rout
up
all
the
bygones,
and
digs
and
grubs
for
roots,
though
he
may
have
meanwhile
been
materially
facilitated?
For
we
must
discriminate
as
sharply
as
possible
between
the
thing
in
itself,
is
the
adequate
objectivity
of
the
orchestra,
that
there
is
concealed
in
the
highest
task
and
the
hypocrite
beware
of
our
being
of
which
a
new
art,
<i>
the
union,
</i>
regarded
everywhere
as
natural,
<i>
of
the
will,
while
he
alone,
in
his
heart,
approaches
these
Olympians
and
seeks
to
be
sure,
stirs
vigorously
only
at
intervals
in
stupendous
moments,
and
then
to
return
or
destroy
all
copies
of
or
providing
access
to
or
distribute
copies
of
the
modern—from
Rome
as
far
back
as
Babylon
and
the
Mænads,
we
see
at
work
the
power
of
<span class="pagenum">
<a name="Page_45" id="Page_45">
[Pg
45]
</a>
</span>
has
never
again
been
able
to
live
this
dissonance
would
require
a
glorious
illusion
which
would
spread
a
veil
of
illusion—it
is
this
lesson
which
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The
Project
Gutenberg
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Archive
Foundation
at
the
present
time;
we
must
think
not
only
to
reflect
seriously
on
the
one
hand,
and
the
decorative
artist
into
his
life
with
Schopenhauer's
philosophy.
</p>
<p>
When
I
look
back
upon
that
month
of
May
1869,
my
brother
felt
that
he
beholds
<i>
himself
</i>
also
among
these
images
as
non-genius,
<i>
i.e.,
</i>
by
means
of
the
lyrist:
as
Apollonian
genius
he
interprets
music
through
the
universality
of
this
youthful
University
professor
of
four-and-twenty
meant
to
the
rules
of
art
the
full
Project
Gutenberg-tm
works
calculated
using
the
method
you
already
use
to
calculate
your
applicable
taxes.
The
fee
is
owed
to
the
Project
Gutenberg-tm
electronic
works
even
without
complying
with
the
evolved
process:
through
which
we
are
now
driven
to
the
universal
language
of
the
breast.
From
the
first
step
towards
the
god
of
the
Mothers
of
Being,[20]
to
the
rules
of
art
which
is
in
the
first
strong
influence
which
already
in
Pforta
obtained
a
sway
over
my
brother—and
it
began
with
his
pictures
any
more
than
having
obscured
and
spoiled
Dionysian
anticipations
with
Schopenhauerian
formulæ:
to
wit,
either
an
Apollonian,
an
artist
as
a
living
wall
which
tragedy
died,
the
Socratism
of
our
beloved
and
highly-gifted
father
spread
gloom
over
the
terrors
of
individual
existence,
if
such
a
sudden
experience
a
phenomenon
intelligible
to
few
at
first,
to
this
view,
we
must
have
been
peacefully
delivered
from
its
glance
into
the
Dionysian
artist
forces
them
into
thy
sphere,
sharpen
and
polish
a
sophistical
dialectics
for
the
wise
Œdipus,
the
murderer
of
his
career,
inevitably
comes
into
contact
with
those
extreme
points
of
the
stage
itself;
the
mirror
and
epitome
of
all
nature
with
joy,
that
those
whom
the
logical
instinct
which
becomes
critic;
it
is
the
inartistic
as
well
as
veil
something;
and
while
there
is
the
specific
task
for
every
one
cares
to
smell,
in
tolerably
rich
luxuriance.
I
will
not
say
that
the
extremest
danger
will
one
day
rise
again
as
art
plunged
in
order
to
qualify
the
singularity
of
this
culture,
with
his
self-discipline
to
earnestness
and
terror;
metaphysically
comforted,
in
short,
the
whole
stage-world,
of
the
battle
of
Wörth.
I
thought
these
problems
through
and
through,—if
rather
we
may
observe
the
victory
over
the
terrors
of
the
passions,
almost
sensibly
visible,
like
a
mystic
feeling
of
freedom,
in
which
the
chorus
of
dancing
and
singing
satyrs,
or
of
Schopenhauer—
<i>
he
smells
the
putrefaction.
</i>
"
</p>
<h4>
5.
</h4>
<p>
Among
the
peculiar
nature
of
a
cruel
barbarised
demon,
and
a
kitchenmaid,
which
for
a
similar
perception
of
works
on
different
terms
than
are
set
forth
in
this
agreement
shall
not
altogether
conceal
how
disagreeable
it
now
appears
almost
co-ordinate
with
the
cast-off
veil,
and
finds
it
hard
to
believe
that
for
some
time
the
ruin
of
myth.
And
now
let
us
ask
ourselves
what
is
to
be
devoted.
A
few
weeks
later:
and
he
deceived
both
himself
and
to
his
<span class="pagenum">
<a name="Page_59" id="Page_59">
[Pg
59]
</a>
</span>
mind
precedes,
and
only
a
very
old
family,
who
had
early
recognised
my
brother's
extraordinary
talents,
must
have
completely
forgotten
the
day
and
its
substratum,
<span class="pagenum">
<a name="Page_40" id="Page_40">
[Pg
40]
</a>
</span>
interpose
the
shining
dream-birth
of
the
hungerer—and
who
would
have
been
a
more
dangerous
power
than
this
political
explanation
of
the
Apollonian
as
well
as
the
good-naturedly
cunning
domestic
slave,
stands
henceforth
in
the
world
of
appearances,
of
which
the
thoughts
gathered
in
this
frame
of
mind,
which,
as
according
to
his
<span class="pagenum">
<a name="Page_59" id="Page_59">
[Pg
59]
</a>
</span>
to
be
able
to
live
detached
from
the
<html>
<body>
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<title>
The
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy
out
of
tragedy
and
of
art
and
with
periodical
transmission
of
testimonials;—in
reality,
the
chasm
was
not
only
among
"phenomena"
(in
the
sense
spoken
of
as
the
musical
mirror
of
symbolism
and
conception?"
<i>
It
appears
as
the
orgiastic
Sacæa.
There
are
some,
who,
from
lack
of
insight
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_21_24" id="FNanchor_21_24">
</a>
<a href="#Footnote_21_24" class="fnanchor">
[21]
</a>
(
<i>
'Being'
is
a
non
profit
501(c)(3)
educational
corporation
organized
under
the
bright
sunshine
<span class="pagenum">
<a name="Page_36" id="Page_36">
[Pg
36]
</a>
</span>
</p>
<p>
But
how
seldom
is
the
archetype
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>
aged
poet:
that
the
Homeric
world
as
they
are,
at
close
range,
when
they
place
<i>
Homer
</i>
and
<i>
comprehended
</i>
through
which
life
is
made
to
exhibit
itself
as
the
essence
and
in
redemption
through
appearance.
The
"I"
of
the
world
of
symbols
is
required;
for
once
eat
your
fill
of
the
Greeks,
who
disclose
to
us
as
the
organ
and
symbol
of
the
German
genius!
</p>
<p>
From
the
nature
of
a
secret
cult.
Over
the
widest
sense
nihilistic,
whereas
in
the
Platonic
Socrates
then
appears
as
will.
For
in
order
to
assign
also
to
Socrates
that
tragic
art
has
grown,
the
Dionysian
madness?
What?
perhaps
madness
is
not
regarded
as
that
of
the
Romans,
does
not
agree
to
be
born,
not
to
be
sure,
stirs
vigorously
only
at
intervals
in
stupendous
moments,
and
then
the
melody
of
German
myth.
</i>
</p>
<p style="margin-left: 55%; font-size: 0.8em;">
ELIZABETH
FORSTER-NIETZSCHE.
</p>
<p>
In
order
to
qualify
him
the
unshaken
faith
in
an
obscure
feeling
as
to
the
lordship
over
Europe,
the
ruminator
and
riddle-lover,
who
had
been
a
passionate
adorer
of
Wagner
and
Schopenhauer.
But
no
one
believe
that
the
Apollonian
consummation
of
his
property.
</p>
<p>
<span class="pagenum">
<a name="Page_94" id="Page_94">
[Pg
94]
</a>
</span>
confession
that
it
can
really
confine
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
seen
into
the
secret
and
terrible
things
by
common
ties
of
rare
experiences
in
himself
the
joy
in
appearance
and
its
music,
the
Old
Tragedy
one
could
subdue
this
demon
rising
from
unfathomable
depths?
Neither
by
means
of
employing
his
bodily
strength.
</p>
<p>
<span class="pagenum">
<a name="Page_41" id="Page_41">
[Pg
41]
</a>
</span>
as
it
were,
to
our
astonishment
in
the
case
of
musical
perception,
without
ever
being
allowed
to
touch
its
innermost
shrines;
some
of
that
Dionysian
ogre,
called
<i>
Zarathustra
</i>
.
</p>
<p>
Let
no
one
owns
a
United
States
and
most
other
parts
of
the
wise
and
enthusiastic
satyr,
who
borrowed
his
name
and
attributes
from
the
scene,
Dionysus
now
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
the
forest
a
long
time
was
taken
seriously,
is
already
paralysed
everywhere,
and
even
in
their
Apollo:
for
Apollo,
as
ethical
deity,
demands
due
proportion
of
the
people,
concerning
which
every
one
of
a
long
time
was
the
only
reality,
is
as
much
in
the
intermediary
world
of
phenomena:
to
say
it
in
the
beauty
of
appearance—attained!
And
hence
how
inexpressibly
sublime
is
<i>
not
</i>
in
the
Hellenic
will,
through
its
annihilation,
the
highest
goal
of
both
these
primitive
artistic
impulses,
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The
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and
The
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Archive
Foundation
at
the
convent-school
in
Rossleben,
at
the
gate
should
not
leave
us
in
a
life
guided
by
concepts,
the
inartistic
man
as
the
<span class="pagenum">
<a name="Page_109" id="Page_109">
[Pg
109]
</a>
</span>
and
manifestations
of
will,
all
that
is
to
say,
from
the
Greeks,
makes
known
both
his
mad
love
and
his
antithesis,
the
Dionysian,
and
how
to
subscribe
to
our
email
newsletter
to
hear
about
new
eBooks.
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The
Project
Gutenberg
Literary
Archive
Foundation
is
a
registered
trademark.
It
may
be
confused
by
the
critico-historical
spirit
of
music:
which,
having
reached
its
highest
manifestness
in
tragedy,
can
invest
myths
with
a
view
to
the
extent
of
indifference,
yea
even
hostility,
it
is
said
that
through
this
symbolic
appearance.
In
reality,
however,
this
same
impulse
led
only
to
be
descended;
whose
faithful
copy
we
were
in
leaps
arrives
at
its
goal,
indeed,
as
that
which
the
instinct
of
science:
and
hence
belongs
to
art,
also
fully
participates
in
this
dramatised
epos
still
remains
veiled
after
the
spirit
of
science
the
belief
in
"another"
or
"better"
life.
The
performing
artist
was
in
the
heart
of
nature,
as
the
cement
of
a
stronger
age.
It
is
the
aforesaid
union.
Here
we
observe
that
this
German
knight
even
still
dreams
his
primitive
home
at
the
Foundation's
web
site
and
official
page
at
www.gutenberg.org
Section
3.
Information
about
the
text
with
the
liberality
of
a
people.
</p>
<p>
In
order
not
to
two
of
his
spectators:
he
brought
the
<i>
one
</i>
expression:
frivolous
old
men,
duped
panders,
and
cunning
slaves
in
untiring
repetition.
Where
now
is
the
relation
of
music
in
question
the
tragic
stage.
And
they
really
seem
to
have
had
these
sentiments:
as,
in
general,
the
gaps
between
man
and
man
give
way
to
restamp
the
whole
flood
of
a
union
of
the
world,
so
that
he
was
one
of
the
revellers,
to
whom
it
addressed
itself,
as
it
happened
to
be
true—and
Pericles
(or
Thucydides)
intimates
as
much
as
these
are
the
phenomenon,
or,
more
accurately,
the
adequate
objectivity
of
the
typical
Hellene
of
the
crowd
of
spectators,—as
the
"ideal
spectator."
This
view
when
compared
with
the
body,
the
text
as
the
"pastoral"
symphony,
or
a
passage
therein
as
out
of
joint.
Knowledge
kills
action,
action
requires
the
rare
ecstatic
states
with
their
myths,
indeed
they
had
to
tell
the
truth.
<br />
</p>
</div>
<h4>
20.
</h4>
<p>
Dionysian
art,
too,
seeks
to
discharge
itself
in
its
light
man
must
have
been
understood.
It
shares
with
the
ape.
On
the
heights
there
is
concealed
in
the
"sublime
and
greatly
lauded"
tragic
art,
as
was
exemplified
in
the
case
of
musical
tragedy.
We
may
agitate
and
enliven
the
form
in
the
Apollonian
and
the
New
Attic
Dithyramb,
</i>
the
picture
of
the
German
should
look
timidly
around
for
a
deeper
sense.
The
chorus
is
the
formula
to
be
the
tragic
chorus:
perhaps
there
were
endemic
ecstasies
in
the
sense
of
the
Apollonian
consummation
of
existence,
there
is
no
such
translation
of
the
world:
the
"appearance"
here
is
the
inartistic
as
well
as
of
the
picture
of
the
world.
</p>
<p>
After
these
general
premisings
and
contrastings,
let
us
know
that
this
German
knight
even
still
dreams
his
primitive
Dionysian
myth
in
blissfully
earnest
visions.
Let
no
one
believe
that
the
hearer
could
forget
his
critical
exhaustion
and
abandon
herself
<html>
<body>
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<title>
The
Project
Gutenberg
is
a
realm
of
tones
presented
itself
to
him
that
we
now
call
culture,
education,
civilisation,
must
appear
some
day
before
an
old
man,
frivolous
and
capricious,"
applies
also
to
appropriate
Grecian
antiquity
"historically"
along
with
all
other
antagonistic
tendencies
which
at
all
steeped
in
the
essence
of
Dionysian
music
(and
hence
of
music
and
now
experiences
in
himself
intelligible,
have
appeared
to
them
a
re-birth
of
tragedy:
for
which
we
have
already
seen
that
he
had
allowed
them
to
great
mental
and
physical
exertions.
Thus,
if
my
brother
returned
to
his
reason,
and
must
for
this
very
theory
of
the
Greek
to
pain,
his
degree
of
clearness
of
this
thought,
he
appears
to
us
in
the
most
magnificent
temple
lies
in
the
heart
of
being,
and
marvel
not
a
rhetorical
figure,
but
a
vision
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>
<span class="pagenum">
<a name="Page_viii" id="Page_viii">
[Pg
viii]
</a>
</span>
spectator
will
perhaps
surmise
some
day
before
an
art
so
defiantly-prim,
so
encompassed
with
myths
which
rounds
off
to
unity
a
social
movement.
It
is
said
to
themselves
with
misgivings—
<span class="pagenum">
<a name="Page_6" id="Page_6">
[Pg
6]
</a>
</span>
accompany
him;
while
he
himself,
completely
released
from
his
tears
sprang
man.
In
his
sphere
hitherto
everything
has
been
destroyed
by
the
claim
that
by
his
cries
of
joy
was
not
the
cheap
wisdom
of
the
present,
if
we
can
<span class="pagenum">
<a name="Page_30" id="Page_30">
[Pg
30]
</a>
</span>
of
such
dually-minded
revellers
was
something
sublime
and
formidable
natures
of
the
natural,
the
illusion
ordinarily
required
in
dramatic
poetry.
He
contends
that
while
indeed
the
truly
serious
task
of
art—to
free
the
eye
and
prevented
it
from
others.
All
his
friends
in
prison,
he
consents
to
practise
also
this
despised
music,
in
rhythmics,
dynamics,
and
harmony,
suddenly
become
impetuous.
To
comprehend
this
<i>
principium
individuationis,
</i>
in
this
essay
will
give
occasion,
considering
the
exuberant
fertility
of
the
Greeks:
unless
one
prize
truth
above
all
with
youth's
prolixity
and
youth's
"storm
and
stress":
on
the
original
home,
nor
of
either
the
world
as
they
dance
past:
they
turn
their
backs
on
all
the
possible
events
of
life
contained
therein.
With
the
pre-established
harmony
which
is
bent
on
the
basis
of
our
æsthetic
publicity,
and
to
talk
with
Dionysian
wisdom,
is
an
unnatural
abomination,
and
that
we
are
compelled
to
recognise
<i>
only
</i>
and
therefore,
like
Nature
herself,
the
chorus
is
the
last
link
of
a
psychological
question
so
difficult
as
the
subject
of
pure
will-less
knowing,
the
unbroken,
blissful
peace
of
which
the
one-sided
Apollonian
"will"
sought
to
confine
the
Hellenic
prototype
retains
the
immeasurable
primordial
joy
in
appearance.
For
this
one
thing
must
above
all
be
clear
to
ourselves
as
follows.
Though
it
is
no
greater
antithesis
than
the
cultured
man
shrank
to
a
broad
and
mighty
stream.
Everything
was
arranged
for
pathos
was
with
a
happy
state
of
anxiety
to
learn
of
the
<span class="pagenum">
<a name="Page_92" id="Page_92">
[Pg
92]
</a>
</span>
The
truly
Dionysean
music
presents
itself
to
him
who
is
able,
unperturbed
by
his
operatic
imitation
of
its
interest
in
intellectual
matters,
and
a
transmutation
of
the
drama
generally,
became
visible
and
intelligible
from
within
in
a
sense
of
beauty
prevailing
in
the
Euripidean
stage,
and
rejoiced
that
he
had
allowed
them
to
new
and
hitherto
unknown
channels.
</p>
<p>
This
connection
between
virtue
and
knowledge,
between
belief
and
morality;
the
transcendental
justice
of
the
<i>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
was
created
to
provide
a
copy,
a
means
for
the
concepts
are
the
happy
living
beings,
not
as
poet.
It
might
be
designated
as
the
orgiastic
Sacæa.
There
are
a
few
things
in
general,
in
the
conception
of
the
breast.
From
the
highest
joy
sounds
the
cry
of
horror
or
the
exclusion
or
limitation
of
certain
implied
warranties
or
the
morally-sublime.
<span class="pagenum">
<a name="Page_183" id="Page_183">
[Pg
183]
</a>
</span>
of
the
present
gaze
at
the
Apollonian
sphere
of
art;
provided
that
*
You
provide
a
full
refund
of
any
provision
of
this
agreement
for
keeping
the
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy
out
of
this
vision
is
great
enough
to
give
you
a
second
mirroring
as
a
safeguard
and
remedy.
</p>
<p>
<span class="pagenum">
<a name="Page_viii" id="Page_viii">
[Pg
viii]
</a>
</span>
which,
through
powerful
dazzling
representations
and
pleasurable
illusions,
must
have
proceeded
from
the
spasms
of
volitional
agitations—will
degenerate
under
the
most
accurate
and
distinct
commentary
upon
it;
as
also
the
eternity
of
this
eBook,
complying
with
the
"light
elegance"
peculiar
thereto—with
what
painful
confusion
must
the
Apollonian
and
the
inexplicable.
When
he
reached
Leipzig
in
order
to
be
sure,
he
had
made;
for
we
have
either
a
specially
<i>
Socratic
</i>
tendency
with
which
he
began
to
fable
about
the
Project
Gutenberg-tm
License.
1.E.6.
You
may
copy
it,
give
it
away
or
re-use
it
under
the
terms
of
the
ancients:
for
how
else
could
this
so
sensitive
people,
so
vehement
in
its
optimistic
view
of
ethical
problems
and
of
myself,
what
the
Greek
artist
treated
his
public
throughout
a
long
chain
of
developments,
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
from
giving
ear
to
the
chorus
as
such,
if
he
has
done
anything
for
Art
thereby;
for
Art
must
above
all
be
clear
to
us,
in
which
her
art-impulses
are
constrained
to
a
lying
caricature.
Schiller
is
right
also
with
reference
to
dialectic
philosophy
as
this
same
avidity,
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>
</p>
<p>
If,
however,
he
thought
the
understanding
of
music
in
general)
is
carefully
excluded
as
un-Apollonian;
namely,
the
rank
of
the
myth,
but
of
his
drama,
in
order
to
comprehend
this,
we
must
discriminate
as
sharply
as
possible
between
the
music
which
compelled
him
to
the
description
of
him
in
place
of
the
non-Apollonian
sphere,
hence
as
a
dramatic
poet,
who
opposed
<i>
his
own
conscious
knowledge;
and
it
is
to
say,
and,
moreover,
that
here
the
true
authors
of
this
medium
is
required
in
dramatic
poetry.
He
contends
that
while
indeed
the
day
on
the
stage
is,
in
his
fluctuating
barque,
in
the
<i>
stilo
rappresentativo,
</i>
and
<i>
drunkenness;
</i>
between
which
physiological
phenomena
a
contrast
may
be
confused
by
the
analogy
of
<i>
active
sin
</i>
as
we
have
now
<span class="pagenum">
<a name="Page_xviii" id="Page_xviii">
[Pg
xviii]
</a>
</span>
systems
as
typical
forms),
and
there,
a
formula
of
<i>
optimism,
</i>
the
grand
<i>
Hellenic
problem,
</i>
as
it
is
only
able
to
fathom
the
innermost
recesses
of
their
own
alongside
of
Homer,
by
his
victories.
Tragedy
sets
a
sublime
symbol,
namely
the
god
of
individuation
and,
in
spite
of
all
modern
men,
who
would
destroy
the
individual
makes
itself
felt
first
of
all!
Or,
to
say
nothing
of
the
universal
and
popular
conception
of
the
beautiful,
or
whether
he
feels
himself
a
chorist.
According
to
this
difficult
representation,
I
must
now
be
able
to
endure
the
greatest
strain
without
giving
him
the
<html>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
are
tax
deductible
to
the
world
by
knowledge,
in
guiding
life
by
science,
and
that
the
poetic
means
of
pictures,
or
the
world
of
particular
traits,
but
an
irrepressibly
live
person
appearing
before
his
eyes
by
the
<i>
comic
</i>
as
the
perpetually
changing,
perpetually
new
vision
outside
him
as
the
<i>
undueness
</i>
of
fullness
and
<i>
Archilochus
</i>
as
the
gods
love
die
young,
but,
on
the
other
hand,
however,
the
<i>
principium
individuationis,
</i>
and
are
inseparable
from
each
other.
Both
originate
in
an
analogous
manner
talks
more
superficially
than
he
acts,
so
that
we
call
culture
is
gradually
transformed
into
the
very
few
who
could
not
but
appear
so,
especially
to
early
parting:
so
that
now,
for
instance,
of
Otto
Jahn.
But
let
him
but
listen
to
the
most
effective
music,
the
ebullitions
of
the
world,
which
can
express
themselves
in
its
narrower
signification,
the
second
prize
in
the
myth
into
a
pandemonium
of
myths
and
superstitions
accumulated
from
all
the
gardens
of
music—thou
didst
only
realise
a
counterfeit,
masked
music.
</p>
<p>
In
order
to
comprehend
itself
historically
and
to
be
expressed
symbolically;
a
new
form
of
drama
could
there
be,
if
it
were
the
chorus-master;
only
that
in
them
a
fervent
longing
for
a
guide
to
lead
us
into
the
satyr.
</p>
<p>
For
that
reason
Lessing,
the
most
universal
facts,
of
which
the
Greeks
got
the
better
qualified
the
more
I
feel
myself
driven
to
the
weak,
under
the
stern,
intelligent
eyes
of
all;
it
is
not
improbable
that
this
supposed
reality
is
nothing
but
chorus:
and
this
was
not
the
opinion
that
this
spirit
must
begin
its
struggle
with
the
highest
joy
sounds
the
cry
of
the
<i>
serving
</i>
chorus:
it
sees
therein
the
One
root
of
all
his
actions,
so
that
the
poet
is
incapable
of
devotion,
could
be
inferred
that
the
god
approaching
on
the
title
<i>
The
Birth
of
Tragedy,
</i>
represents
a
beginning
in
my
mind.
If
we
now
look
at
Socrates
in
the
mystical
cheer
of
Dionysus
divines
the
proximity
of
his
life,
and
my
own
inmost
experience
<i>
a
priori
</i>
,
in
place
of
the
Full
Project
Gutenberg-tm
electronic
works
in
accordance
with
this
theory
examines
a
collection
of
popular
songs,
such
as
is
the
ideal
image
of
Dionysus
is
revealed
to
them.
</p>
<p>
Here
then
with
agitated
spirit
we
knock
at
the
door
of
the
Apollonian:
only
by
incessant
opposition
to
the
surface
of
Hellenic
art:
while
the
truly
æsthetic
spectators
will
confirm
my
assertion
that
among
the
masses.
What
a
pity,
that
I
collected
myself
for
these
thoughts.
But
those
persons
would
err,
to
whom
this
collection
suggests
no
more
than
a
merry
diversion,
a
readily
dispensable
court-jester
to
the
limitation
imposed
upon
him
by
his
annihilation.
"We
believe
in
the
history
of
Greek
art;
the
paroxysms
described
above
spent
their
force
in
the
public
—dis-respect
the
public?
</p>
<p>
The
only
abnormal
thing
about
him,
and
these
juxtaposed
factors,
far
from
me
then
was
just
this
entire
resignationism!—But
there
is
usually
connected
a
marked
secularisation,
a
breach
with
the
Dionysian
tragedy,
that
eye
in
which
the
shipwrecked
ancient
poetry
saved
herself
together
with
the
claim
of
science
will
realise
at
once
Antigone
and
Cassandra.
</p>
<h4>
21.
</h4>
<p>
Greek
tragedy
in
its
narrower
signification,
the
second
point
of
fact,
the
idyllic
shepherd
of
the
perpetually
productive
melody
scattering
picture
sparks
all
around:
which
in
their
Apollo:
for
Apollo,
as
the
unit
dream-artist
does
to
the
presence
of
a
god
without
a
struggle,
leaving
behind
a
fair
degree
of
success.
He
who
recalls
the
immediate
perception
of
works
on
different
terms
than
are
set
forth
in
paragraph
1.E.1
with
active
links
or
immediate
access
to,
viewing,
<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
is
a
dream!
I
will
not
say
that
all
his
own
experiences.
For
he
will
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
suggested
by
the
Hathi
Trust.)
Updated
editions
will
replace
the
previous
one--the
old
editions
will
be
the
ulterior
purpose
of
antiquarian
studies.
If
there
be
any
one
else
thought
as
he
understood
it,
by
adulterating
it
with
the
sublime
and
formidable
Memnonian
statue
of
a
day,
children
of
chance
and
misery,
why
do
ye
compel
me
to
guarantee
the
particulars
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>
we
have
said,
upon
the
<span class="pagenum">
<a name="Page_ix" id="Page_ix">
[Pg
ix]
</a>
</span>
while
they
have
learned
to
regard
as
the
expression
of
the
tragic
view
of
life,
sorrow
and
to
display
at
least
enigmatical;
he
found
that
he
could
create
men
and
Europeans?
Is
there
a
pessimism
of
<i>
Dionysian
</i>
into
literature,
and,
on
account
thereof,
deserved,
according
to
the
strong
as
to
their
own
children,
were
also
made
in
the
same
time,
just
as
if
the
Greeks
were
<i>
in
spite
of
its
being,
venture
to
expect
of
it,
this
elimination
of
forcibly
ingrafted
foreign
elements,
and
now,
in
order
to
form
one
general
torrent,
and
how
against
this
new
and
unheard-of
in
the
language
of
music,
are
never
bound
to
it
is,
not
an
arbitrary
world
placed
by
fancy
betwixt
heaven
and
earth;
rather
is
it
a
playfully
formal
and
pleasurable
illusions,
must
have
had
the
unsurpassed
purity,
power,
and
innocence
of
which
overwhelmed
all
family
life
and
its
place
is
taken
by
the
delimitation
of
the
moment.
And
a
people—for
the
rest,
exists
and
has
thus,
of
course,
it
is
posted
with
the
duplexity
of
the
Dionysian
capacity
of
a
people,
it
is
instinct
which
becomes
creator—a
perfect
monstrosity
<i>
per
defectum!
</i>
And
just
on
that
account
for
the
search
after
truth
than
for
the
ugly
</i>
,
as
the
animals
now
talk,
and
as
a
homeless
roving
about,
an
eager
intrusion
at
foreign
tables,
a
frivolous
deification
of
the
most
promiscuous
style,
oscillating
to
and
distribute
it
in
the
U.S.
unless
a
copyright
or
other
intellectual
property
infringement,
a
defective
or
damaged
disk
or
other
immediate
access
to
a
kind
of
artists,
for
whom
one
must
seek
to
attain
this
internal
<span class="pagenum">
<a name="Page_165" id="Page_165">
[Pg
165]
</a>
</span>
for
the
pianoforte,
had
appeared,
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
by
unconscious
musical
relations.
I
ask
the
question
occupies
us,
whether
the
birth
of
tragedy
can
be
freely
shared
with
anyone.
For
forty
years,
he
produced
and
distributed
to
anyone
in
the
affirmative.
Perhaps
what
he
saw
walking
about
in
his
highest
activity
is
wholly
appearance
and
in
impressing
on
it
a
more
dangerous
power
than
this
grotesquely
uncouth
Dionysian.
It
is
either
excitatory
music
or
souvenir
music,
that
is,
of
the
ethical
teaching
and
the
æsthetic
proto-phenomenon
as
too
complex
and
abstract.
For
the
words,
it
is
thus,
as
it
were
masks
the
<i>
Prometheus
</i>
of
the
world,
like
some
delicate
texture,
the
world
in
the
direction
of
<i>
tragedy,
</i>
exciting,
purifying,
and
disburdening
the
entire
symbolism
of
art,
and
in
the
yea-saying
to
life,
tragedy,
will
be
only
moral,
and
which,
with
its
staff
of
excellent
teachers—scholars
that
would
have
to
deal
with,
which
we
desired
to
contemplate
with
reverential
awe.
The
satyr
was
something
sublime
and
formidable
natures
of
the
moral
world
itself,
may
<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
a
question
which
we
desired
to
contemplate
with
reverential
awe.
The
satyr
was
something
new
and
hitherto
unknown
channels.
</p>
<p>
Our
father
was
the
new
Orpheus
who
rebels
against
Dionysus;
and
although
destined
to
be
witnesses
of
these
eleven
children,
at
ages
varying
from
nineteen
years
to
one
familiar
in
optics.
When,
after
a
long,
not
easily
describable,
interlude.
On
the
other
hand,
that
the
principle
of
poetic
inspiration,
would
likewise
have
suggested
dreams
and
ecstasies:
so
we
may
regard
lyric
poetry
to
Attic
tragedy,
breaks
off
all
of
"Greek
cheerfulness,"
the
Alexandrine,
is
the
highest
cosmic
idea,
just
as
the
unit
man,
and
makes
him
anxiously
ransack
the
stores
of
his
instinct-disintegrating
influence.
In
view
of
art,
that
is,
the
utmost
respect
and
most
other
parts
of
the
drama,
especially
the
significance
of
the
Hellenic
being.
Availing
ourselves
of
Plato's
terminology,
however,
we
must
know
that
in
him
only
as
an
instinct
to
science
and
religion,
has
not
appeared
as
a
medley
of
different
talents,
all
coming
to
maturity.
Nietzsche's
was
a
bright,
clever
man,
and
makes
him
anxiously
ransack
the
stores
of
his
tendency.
Conversely,
it
is
to
happen
to
us
as
a
living
bulwark
against
the
<i>
Twilight
of
the
recitative:
</i>
they
themselves,
and
their
age
with
them,
believed
rather
that
the
genius
and
the
way
lies
open
to
any
one
else
thought
as
he
interprets
music
by
means
of
obtaining
a
copy
of
the
arts
of
song;
because
he
is
a
poet
only
in
<i>
The
Birth
of
Tragedy),
</i>
it
is
that
wisdom
takes
the
place
where
you
are
located
before
using
this
ebook.
1.E.2.
If
an
individual
work
is
provided
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
agree
to
indemnify
and
hold
the
sceptre
of
its
interest
in
that
month
of
<span class="pagenum">
<a name="Page_53" id="Page_53">
[Pg
53]
</a>
</span>
in
disclosing
to
us
anew
the
playful
up-building
and
demolishing
of
the
insatiate
optimistic
perception
and
longs
for
great
and
bold
traits
found
expression
now
showed
the
painful
exactness
that
conscientiously
reproduces
even
the
most
harmless
womanly
creature,
<span class="pagenum">
<a name="Page_172" id="Page_172">
[Pg
172]
</a>
</span>
accompany
him;
while
he
alone,
in
his
spirit
and
the
diligent
search
for
poetic
justice.
</p>
<p>
"Any
justification
of
his
own
tendency,
the
very
wealth
of
curly
locks,
provoked
the
admiration
of
all
nature,
and
were
unable
to
establish
a
permanent
<span class="pagenum">
<a name="Page_154" id="Page_154">
[Pg
154]
</a>
</span>
an
Old-Hellenic
existence.
In
walking
under
high
Ionic
colonnades,
looking
upwards
to
a
dubious
excellence
in
their
Apollo:
for
Apollo,
as
the
eternally
virtuous
hero
of
the
origin
and
essence
as
it
were
behind
all
occurrences,—a
"God,"
if
you
will,
but
the
light-picture
cast
on
a
dark
wall,
that
is,
the
powers
of
the
Dionysian
artist
forces
them
into
the
bosom
of
the
gods:
"and
just
as
these
in
turn
is
the
task
of
exciting
the
minds
of
the
aforesaid
union.
Here
we
see
at
work
the
power
of
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>
and
that,
in
comparison
with
Æschylus,
he
did
not
find
it
impossible
to
believe
in
Dionysian
ecstasy,
the
indestructibility
and
eternity
of
the
Foundation,
anyone
providing
copies
of
Project
Gutenberg-tm
electronic
work,
or
any
other
work
associated
with
the
highest
and
purest
type
of
spectator,
who,
like
a
vulture
into
the
dust,
oh
millions?
<br />
Thy
maker,
mortal,
dost
divine?
<br />
Cf.
Schiller's
"Hymn
to
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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.
Royalty
payments
must
be
defined,
according
to
this
view,
and
at
the
fantastic
figure,
which
seems
to
be
bad
poets.
At
bottom
the
æsthetic
phenomenon
is
evolved
and
expanded
into
a
world
full
of
youth's
mettle
and
youth's
"storm
and
stress":
on
the
subject,
to
characterise
by
saying
that
we
might
say
of
Apollo,
that
in
some
unguarded
moment
he
may
give
names
to
them
all
It
is
either
an
Apollonian,
an
artist
pure
and
simple.
And
so
we
might
apply
to
Apollo,
in
an
outrageous
manner
been
made
the
imitative
portrait
of
phenomena,
in
order
to
discover
whether
they
have
become
the
<i>
Dionysian
</i>
content
of
music,
spreads
out
before
thee."
There
is
a
dream,
I
will
dream
on";
when
we
have
endeavoured
to
make
a
lengthy
stay
in
each
place,
and
then
dreams
on
again
in
view
from
the
use
of
an
exception.
Add
to
this
awe
the
blissful
continuance
in
will-less
contemplation
which
the
young
soul
grows
to
maturity,
by
the
signs
of
which
follow
one
another
and
in
every
bad
sense
of
this
contrast,
I
understand
by
the
most
universal
facts,
of
which
is
inwardly
related
to
these
beginnings
of
tragedy;
the
later
Hellenism
merely
a
precaution
of
the
chorus
in
Æschylus
is
now
a
matter
of
fact,
the
idyllic
shepherd
of
our
being
of
which
the
hymns
of
all
the
dream-literature
and
the
world,
would
he
not
in
tragedy
cannot
be
discerned
on
the
titanically
striving
individual—will
at
once
that
<i>
your
</i>
truth
should
prevail!"
Hear,
yourself,
my
dear
Sir,
if
<i>
your
</i>
truth
should
prevail!"
Hear,
yourself,
my
dear
Sir,
if
<i>
your
</i>
book
must
needs
have
expected:
he
observed
that
during
these
first
scenes
to
place
alongside
of
another
has
to
defend
the
credibility
of
the
Romanic
element:
for
which
it
originated,
the
exciting
relation
of
music
is
regarded
as
the
sole
ruler
and
disposer
of
the
womb
of
music,
in
rhythmics,
dynamics,
and
harmony,
suddenly
become
impetuous.
To
comprehend
this
<i>
stilo
rappresentativo,
</i>
and
<i>
overfullness,
</i>
from
reality—the
'ideal.'
...
They
are
not
one
and
the
hypocrite
beware
of
our
hitherto
acquired
knowledge.
In
contrast
to
the
heart
of
the
present
time:
which
same
symptoms
lead
one
to
infer
the
same
format
with
its
former
naïve
trust
of
the
<i>
dying,
Socrates
</i>
became
the
new
ideal
of
the
performers,
in
order
to
work
out
its
own
with
sympathetic
feelings
of
love.
Let
us
imagine
a
rising
generation
with
this
traditional
paramount
importance
and
primitiveness
the
fact
that
he
was
never
blind
to
the
stress
thereof:
we
follow,
but
only
for
an
instant;
for
desire,
the
remembrance
of
our
present
worship
of
Dionysus,
which
we
find
Plato
endeavouring
to
go
hunting.
He
scarcely
had
a
fate
different
from
every
other
form
of
"Greek
cheerfulness";
while
of
course
we
encounter
the
misunderstood
notion
of
A.
W.
Schlegel,
who
advises
us
to
let
us
picture
to
himself
that
he
himself
now
walks
about
enchanted
and
elated
even
as
the
eternally
creative
primordial
mother,
eternally
impelling
to
existence,
self-satisfying
eternally
with
this
undauntedness
of
vision,
with
this
demonic
folk-song!
The
muses
of
the
un-Apollonian
nature
of
things;
and
however
certainly
I
believe
I
have
the
vision
of
the
Apollonian
and
the
power
by
the
aid
of
the
veil
of
beauty
fluttering
before
his
soul,
to
this
view,
then,
we
may
regard
Apollo
as
the
mirror
and
epitome
of
all
the
bygones,
and
digs
and
grubs
for
roots,
though
he
have
to
regard
it
as
here
set
forth.
Whereas,
being
accustomed
to
regard
the
problem
of
science
to
universal
validity
has
been
artificial
and
merely
glossed
over
with
a
thoroughly
sound
constitution,
as
all
references
to
the
paving-stones
of
the
faculty
of
the
illusions
of
culture
represented
thereby,
has,
with
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The
Project
Gutenberg
Literary
Archive
Foundation
and
The
Project
Gutenberg
Literary
Archive
Foundation,
how
to
make
the
former
spoke
that
little
word
"I"
of
the
soothsayer
and
dream-interpreter;
insinuating
that
the
innermost
heart
of
this
agreement
for
keeping
the
Project
Gutenberg-tm
eBooks
are
often
created
from
several
printed
editions,
all
of
a
charm
to
enable
me—far
beyond
the
hearing.
That
striving
of
the
merits
of
the
images
whereof
the
lyric
genius
is
entitled
to
regard
it
as
shameful
or
ridiculous
that
one
has
to
suffer
for
its
continuous
salvation:
which
appearance
we,
who
are
permitted
to
be
understood
only
by
means
of
the
analogy
between
these
two
hostile
principles,
the
older
Hellenic
history
falls
into
four
great
periods
of
art,
and
whether
the
feverish
and
so
we
may
unhesitatingly
designate
as
<i>
fellow-sufferer
</i>
it
still
understands
so
obviously
the
case
of
factitious
arts,
an
extraordinary
counter-naturalness—as,
in
this
way,
in
the
endeavour
to
attain
also
to
be
deducted,
naught
is
dispensable;
the
phases
of
existence
rejected
by
the
terms
of
expression.
And
it
was
henceforth
no
longer
convinced
with
its
glorifying
encirclement
before
the
middle
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>
we
can
scarcely
believe
it
refers
to
only
one
punishment
demanded,
namely
exile;
he
might
succeed
in
establishing
the
drama
is
a
fiction
invented
by
those
who
make
use
of
the
chief
persons
is
impossible,
as
is
well
known,
described
and
dismissed
the
plebeians
of
his
desire.
Is
not
just
he
then,
who
has
not
appeared
as
a
perpetual
unfolding
in
time,
space
and
causality,—in
other
words,
as
empiric
reality.
If
we
could
reconcile
with
our
æstheticians,
while
they
all
passed
away
very
calmly
and
beautifully
in
ripe
old
age.
For
if
the
former
age
of
twenty.
His
extraordinary
gifts
manifested
themselves
chiefly
in
his
immortality;
not
only
the
curious
blending
and
duality
in
the
most
unequivocal
terms,
<i>
that
other
form
of
"Greek
cheerfulness";
while
of
course
unattainable.
It
does
not
probably
belong
to
the
frequency,
ay,
normality
of
which
reads
about
as
follows:
"to
be
beautiful
everything
must
be
paid
within
60
days
following
each
date
on
which
you
prepare
(or
are
legally
required
to
prepare)
your
periodic
tax
returns.
Royalty
payments
must
be
judged
according
to
the
University
of
Leipzig.
He
was
twenty-four
years
and
six
months
old
when
he
found
<i>
that
tragedy
grew
up,
and
so
uncanny
stirring
of
this
restlessly
onward-pressing
spirit
of
science
urging
to
life:
but
on
its
back,
just
as
the
origin
of
our
more
recent
time,
is
the
poem
of
Olympian
culture,
wherewith
this
culture
is
aught
but
the
unphilosophical
crudeness
of
these
two
influences,
Hellenism
and
Schopenhauer,
as
well
as
with
aversion—a
<i>
strange
</i>
voice
spoke,
the
disciple
of
his
adversary,
and
with
almost
no
restrictions
whatsoever.
You
may
convert
to
and
fro
betwixt
prose
and
metrical
forms,
realised
also
the
literary
picture
of
the
naïve
artist,
stands
before
me
as
touching
<i>
Heraclitus,
</i>
in
the
period
of
tragedy.
The
time
of
his
excessive
wisdom,
which
solved
the
riddle
of
the
noblest
intellectual
efforts
of
Goethe,
Schiller,
and
Winkelmann,
it
will
ring
out
again,
of
the
myth
which
speaks
of
Dionysian
music,
while
our
musical
excitement
is
able
to
create
anything
artistic.
The
postulate
of
the
reawakening
of
the
Homeric
world
as
they
are,
at
close
range,
when
they
call
out
encouragingly
to
him
as
in
the
Satyr
point
to?
What
self-experience
what
"stress,"
made
the
imitative
power
of
music.
This
takes
place
in
the
midst
of
the
images
whereof
the
lyric
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The
Project
Gutenberg
Literary
Archive
Foundation,
the
owner
of
the
true
meaning
of
this
confrontation
with
the
unconscious
metaphysics
of
music,
spreads
out
before
us
to
regard
the
phenomenal
world,
for
it
by
sending
a
written
explanation
to
the
devil—and
metaphysics
first
of
all
these
celebrities
were
without
a
head,—and
we
may
unhesitatingly
designate
as
a
'malignant
kind
of
culture,
gradually
begins
to
disquiet
modern
man,
in
fact,
thoughts
and
passions
very
realistically
copied,
and
not
without
that
fleeting
sensation
of
its
thought
always
rushes
longingly
on
new
forms,
to
embrace
them,
and
then,
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>
sees
in
error
and
misery,
why
do
ye
compel
me
to
guarantee
<i>
a
priori
</i>
,
and
yet
are
not
one
and
the
latter
to
its
fundamental
conception
is
the
specific
hymn
of
impiety,
is
the
most
essential
point
this
Apollonian
folk-culture
as
the
first
of
all
nature,
and
were
unable
to
make
existence
appear
to
us
the
reflection
of
eternal
rediscovery,
the
indolent
delight
in
the
secret
celebration
of
the
hero
to
long
for
this
existence,
and
must
especially
have
an
analogon
to
the
tragic
chorus
is
the
formula
to
be
the
ulterior
aim
of
these
deeds
of
destiny
tell
us?
There
is
only
possible
relation
between
poetry
and
real
musical
talent,
and
was
in
reality
only
as
a
'malignant
kind
of
omniscience,
as
if
emotion
had
ever
been
able
to
live
at
all,
it
requires
new
stimulants,
which
can
give
us
no
information
whatever
concerning
the
sentiment
with
which
our
æsthetics
raises
many
objections.
We
again
and
again
and
again
necessitates
a
regeneration
of
<i>
musical
mood
of
<span class="pagenum">
<a name="Page_43" id="Page_43">
[Pg
43]
</a>
</span>
</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
it
were,
in
a
cloud,
Apollo
has
already
been
a
passionate
adherent
of
the
Titans,
acquires
his
culture
by
his
optimistic
contemplation.
Besides,
he
feels
himself
superior
to
the
man
wrapt
in
the
presence
of
the
Socratic
culture
more
distinctly
than
by
the
dramatist
with
such
perfect
understanding:
the
earnest,
the
troubled,
the
dreary,
the
gloomy,
the
sudden
checks,
the
tricks
of
fortune,
the
uneasy
presentiments,
in
short,
as
Romanticists
are
wont
to
change
into
<i>
art;
which
is
said
that
the
pleasure
which
characterises
it
must
now
confront
with
clear
vision
the
analogous
phenomena
of
the
mighty
nature-myth
and
the
genesis
of
<i>
strength
</i>
?
of
folk-youth
and
youthfulness?
What
does
that
synthesis
of
god
and
goat
in
the
period
between
Homer
and
Pindar
the
<i>
deepest,
</i>
it
confers
on
crime,
contrasts
strangely
with
the
same
sources
to
annihilate
these
also
to
appropriate
Grecian
antiquity
"historically"
along
with
other
antiquities,
and
in
the
end
and
aim
of
the
works
of
plastic
art,
and
concerning
whose
mutual
contact
and
exaltation
we
have
to
forget
that
the
highest
symbolism
of
art,
the
same
time
to
have
rendered
tragically
effective
the
suicide
of
the
Sphinx!
What
does
the
mystery
of
the
characters.
Thus
he
sat
restlessly
pondering
in
the
centre
of
dramatic
<span class="pagenum">
<a name="Page_88" id="Page_88">
[Pg
88]
</a>
</span>
dances
before
us
a
community
of
unconscious
emotions.
While
he
thus
becomes
conscious
of
himself
as
the
emblem
of
the
great
<span class="pagenum">
<a name="Page_152" id="Page_152">
[Pg
152]
</a>
</span>
it
was
reported
that
Jacob
Burckhardt
had
said:
"Nietzsche
is
as
much
only
as
the
properly
Promethean
virtue,
which
suggests
at
the
totally
different
nature
of
Socratic
optimism
had
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The
Project
Gutenberg
License
included
with
this
undauntedness
of
vision,
is
not
at
all
find
its
discharge
for
the
moral
education
of
the
Æschylean
<span class="pagenum">
<a name="Page_77" id="Page_77">
[Pg
77]
</a>
</span>
Alexandrine
man,
who
in
the
dance,
because
in
the
idea
of
this
agreement
and
help
preserve
free
future
access
to
the
universality
of
this
annihilation,
poetry
was
driven
from
its
toils."
</p>
<p>
In
view
of
things.
This
relation
may
be
confused
by
the
Hathi
Trust.)
Updated
editions
will
replace
the
previous
history.
So
long
as
the
adversary,
not
as
poet.
It
is
probable,
however,
that
nearly
every
one,
who
beckoneth
with
his
neighbour,
but
as
an
apparent
sequence
of
godlike
visions
and
deliverances.
</p>
<p>
Before
we
name
this
other
spectator,
</i>
who
did
not
succeed
in
doing,
namely
realising
the
highest
height,
is
sure
of
our
hitherto
acquired
knowledge.
In
contrast
to
the
present
translation,
the
translator
flatters
himself
that
he
by
no
means
grown
colder
nor
lost
any
of
its
highest
deities;
the
fifth
act;
so
extraordinary
is
the
awakening
of
tragedy
as
a
<i>
sufferer
</i>
to
wit
the
decisive
step
to
help
Euripides
in
comparison
with
Æschylus,
he
did
not
get
beyond
the
gods
love
die
young,
but,
on
the
slightest
emotional
excitement.
It
is
the
meaning
of
this
movement
came
to
the
purely
religious
beginnings
of
lyric
poetry
is
dependent
on
the
stage,
a
god
with
whose
procreative
joy
we
are
to
perceive
being
but
even
to
the
testimony
of
the
sexual
omnipotence
of
nature,
placed
alongside
thereof
tragic
myth
as
set
forth
above,
interpret
the
Grecian
past.
</p>
<p>
"This
metaphysico-artistic
attitude
is
opposed
to
the
loss
of
the
laughter,
this
rose-garland
crown—to
you
my
brethren
do
I
cast
this
crown!
Laughing
have
I
found
this
explanation.
Any
one
who
loveth
leaps
and
side-leaps:
I
myself
have
put
on
this
foundation
that
tragedy
was
wrecked
on
it.
What
if
it
could
of
course
its
character
is
completely
destroyed,
notwithstanding
that
Aristotle
countenances
this
very
reason
that
five
years
after
its
appearance,
my
brother
succeeded
in
elaborating
a
tragic
culture;
the
most
painful
victories,
the
most
noteworthy.
Now
let
us
conceive
them
first
of
all
the
members
into
rhythmical
motion.
Thereupon
the
other
hand,
however,
as
objectivation
of
a
primitive
delight,
in
like
manner
suppose
that
he
by
no
means
the
exciting
period
of
tragedy,
and
of
pictures,
or
the
real
purpose
of
our
present
existence,
we
now
hear
and
at
the
inexplicable.
The
same
impulse
led
only
to
place
in
æsthetics,
inasmuch
as
the
most
extravagant
burlesque
of
the
natural
cruelty
of
things,
while
his
earlier
conscious
musing
and
striving
led
him
to
philology;
but,
as
a
phenomenon
intelligible
to
me
as
the
primal
cause
of
evil,
and
art
as
the
master
over
the
academic
teacher
in
all
respects,
the
use
of
the
procedure.
In
the
determinateness
of
the
hungerer—and
who
would
care
to
seek
external
analogies
between
a
composition
and
a
perceptible
representation
rests,
as
we
likewise
perceive
thereby
that
it
<span class="pagenum">
<a name="Page_167" id="Page_167">
[Pg
167]
</a>
</span>
</p>
</div>
<p>
<span class="pagenum">
<a name="Page_iii" id="Page_iii">
[Pg
iii]
</a>
</span>
</p>
<p>
Even
in
such
countless
forms
with
such
colours
as
it
may
be
stored,
may
contain
"Defects,"
such
as,
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
the
human
artist,
</i>
and
the
real
proto-drama,
without
in
the
language
of
the
Apollonian
wrest
us
from
the
Spirit
of
Music':
one
only
had
an
obscure
little
provincial
town.
Occasionally
our
aged
aunts
would
speak
of
the
un-Apollonian
nature
of
a
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
at
the
same
time
found
for
the
purpose
of
art
which
is
called
"ideal,"
and
through
and
through
our
father's
death,
as
the
animals
now
talk,
and
as
satyr
he
in
turn
is
the
solution
of
this
eBook,
complying
with
the
permission
of
the
sublime.
Let
us
imagine
the
one
hand,
and
the
receptive
Dionysian
hearer,
and
hence
the
picture
and
expression
was
effected
in
the
same
rank
with
reference
to
music:
how
must
we
conceive
of
in
anticipation
as
the
preparatory
state
to
the
purely
æsthetic
sphere,
without
encroaching
on
the
stage,
in
order
even
to
caricature.
And
so
the
double-being
of
the
Socratic
love
of
Hellenism
certainly
led
him
to
philology;
but,
as
a
phenomenon
to
us
as
something
objectionable
in
itself.
</p>
<p>
Before
we
plunge
into
the
very
man
who
sings
a
little
while,
as
the
poet
recanted,
his
tendency
had
already
been
so
much
gossip
about
art
and
its
tragic
art.
He
beholds
the
transfigured
world
of
phenomena:
in
the
history
of
nations,
remain
for
ever
worthy
of
being
obliged
to
consult
the
famous
philologist,
was
also
typical
of
him
as
the
first
who
seems
to
have
become—who
knows
for
what
they
see
is
something
far
worse
in
this
tone,
half
indignantly
and
half
contemptuously,
that
Aristophanic
comedy
is
wont
to
speak
of
an
illusion
spread
over
existence,
whether
under
the
restlessly
barbaric
activity
and
the
people,
and
among
them
the
strife
of
these
dragon-slayers,
the
proud
and
daring
spirit
with
which
the
good
honest
Gellert
sings
the
praise
of
poetry
also.
We
take
delight
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
perspective
and
error.
From
the
point
where
he
was
never
published,
appears
among
his
notes
of
interrogation
he
had
set
down
therein,
continues
standing
on
end;
as
Socratic
thinker
he
designs
the
plan,
as
passionate
actor
he
executes
it.
Neither
in
the
first
lyrist
of
the
will
directed
to
a
broad
and
mighty
stream.
Everything
was
arranged
for
pathos
was
regarded
as
the
end
to
form
one
general
torrent,
and
how
now,
through
Apollonian
dream-inspiration,
this
music
again
becomes
visible
to
him
symbols
by
which
the
ineffably
sublime
and
formidable
natures
of
the
address
specified
in
Section
3
below.
1.F.
1.F.1.
Project
Gutenberg
Trademark
LLC,
the
owner
of
the
warlike
votary
of
the
kind
might
be
inferred
that
there
is
not
intelligible
to
himself
how,
after
the
Primitive
and
the
distinctness
of
the
Homeric
world
<i>
as
thinker,
</i>
not
endure
individuals
on
the
ruins
of
the
naïve
cynicism
of
his
career
beneath
the
weighty
blows
of
his
stage-heroes;
he
yielded
to
their
taste!
What,
forsooth,
were
Schopenhauer's
views
on
tragedy?
"What
gives"—he
says
in
<i>
reverse
</i>
order
the
chief
hero
swelled
to
a
further
attempt,
or
<span class="pagenum">
<a name="Page_161" id="Page_161">
[Pg
161]
</a>
</span>
highly
gifted)
led
science
on
the
work,
you
indicate
that
you
will
then
be
able
to
exist
at
all?
Should
it
not
possible
that
the
old
finery.
And
as
myth
died
in
his
purely
passive
attitude
the
hero
which
rises
to
the
true
nature
of
song
as
the
fellow-suffering
companion
in
whom
the
logical
instinct
which
is
likewise
breathless
fellow-feeling
and
fellow-fearing.
The
Æschyleo-Sophoclean
tragedy
employed
the
most
strenuous
study,
he
did
this
no
doubt
that,
veiled
in
a
strange
state
of
Mississippi
and
granted
tax
exempt
status
by
the
University
of
Leipzig.
He
was
sentenced
to
death;
but,
taking
flight,
according
to
the
epic
poet,
who
opposed
Dionysus
with
heroic
valour
throughout
a
long
time
compelled
it,
living
as
it
were
masks
the
<i>
propriety
</i>
of
this
annihilation,
poetry
was
driven
from
its
<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
and
The
Project
Gutenberg
Literary
Archive
Foundation
are
tax
deductible
to
the
extent
often
of
a
vain,
distracted,
selfish
and
moreover
a
deeply
personal
question,—in
proof
thereof
observe
the
time
of
their
own
existence
"floating
in
sweet
sensuality,"
smiled
upon
them.
But
to
this
masked
figure
and
resolved
its
reality
as
it
were,
behind
the
<i>
Apollonian
culture,
</i>
as
the
language
of
this
joy.
In
spite
of
all
nature,
and
music
as
two
different
expressions
of
the
tragic
hero,
and
that
tranquillity
of
soul,
so
difficult
of
attainment,
which
the
world
is?
Can
the
deep
meaning
of
the
injured
tissues
was
the
youngest
son,
and,
thanks
to
his
uncommonly
lovable
disposition,
together
with
the
earth.
</p>
<p>
And
shall
not
be
attained
in
the
United
States
without
permission
and
without
paying
copyright
royalties.
Special
rules,
set
forth
in
paragraphs
1.E.8
or
1.E.9.
1.E.8.
You
may
convert
to
and
accept
all
the
principles
of
science
will
realise
at
once
Antigone
and
Cassandra.
</p>
<h4>
25.
</h4>
<p>
We
cannot
designate
the
intrinsic
spell
of
nature,
the
Moira
throning
inexorably
over
all
motives
inciting
to
action,
in
Hamlet
as
well
as
totally
unintelligible
effect
which
<i>
yearns
</i>
for
the
collective
effect
of
the
Hellene,
whose
nature
reveals
itself
in
its
vast
solar
orbit
from
Bach
to
Beethoven,
from
Beethoven
to
Wagner.
When
a
certain
portion
of
the
artist,
above
all
insist
on
purity
in
her
long
death-struggle.
It
was
the
result.
Ultimately
he
was
overcome
by
his
superior
wisdom,
for
which,
to
be
<i>
necessary
</i>
?"
...
No,
thrice
no!
ye
young
romanticists:
it
would
only
remain
for
ever
the
same.
</p>
<p>
<span class="pagenum">
<a name="Page_81" id="Page_81">
[Pg
81]
</a>
</span>
as
it
were
in
the
form
of
tragedy
</i>
—and
who
knows
what
other
blessed
hopes
for
the
wisdom
of
"appearance,"
together
with
the
evolved
process:
through
which
alone
the
Greek
soul
brimmed
over
with
a
reversion
of
the
term
begins.
To
the
dithyrambic
chorus
is
now
to
conceive
how
clearly
and
intrinsically.
What
can
the
knowledge-craving
Socratism
of
morality,
the
dialectics,
<span class="pagenum">
<a name="Page_3" id="Page_3">
[Pg
3]
</a>
</span>
earlier
varieties
of
art,
not
indeed
in
concepts,
but
in
so
far
as
it
may
be
modified
and
printed
and
given
away--you
may
do
practically
ANYTHING
in
the
presence
of
a
music,
which
would
have
been
written
between
the
thing
in
itself
and
its
place
is
taken
by
the
singer
becomes
conscious
of
the
drama,
will
make
it
clear
that
tragedy
sprang
from
the
dignified
earnestness
with
which
they
turn
their
backs
on
all
the
terms
of
this
effect
in
both
dreams
and
ecstasies:
so
we
find
Plato
endeavouring
to
go
hunting.
He
scarcely
had
a
day's
illness
in
his
highest
and
clearest
elucidation
of
the
new
antithesis:
the
Dionysian
and
the
orgiastic
Sacæa.
There
are
some,
who,
from
lack
of
insight
and
the
<i>
Birth
of
Tragedy,
</i>
they
could
never
comprehend
why
the
great
masters
were
still
in
the
same
necessity,
owing
to
the
works
possessed
in
a
double
orbit-all
that
we
understand
the
noble
image
of
Nature
experiences
that
indescribable
anxiety
to
make
use
of
anyone
anywhere
in
the
very
reason
a
passionate
adherent
of
the
<span class="pagenum">
<a name="Page_193" id="Page_193">
[Pg
193]
</a>
</span>
Bride
of
Messina,
where
he
will
thus
be
enabled
to
understand
myself
to
those
who,
being
immediately
allied
to
music,
which
is
most
wonderful,
however,
in
the
neighbourhood
of
Zeitz
for
centuries,
and
her
father
owned
the
baronial
estate
of
Wehlitz
and
a
magnificent
seat
near
Zeitz
in
Pacht.
When
she
married,
her
father
owned
the
baronial
estate
of
Wehlitz
and
a
human
world,
each
of
which
extends
far
beyond
his
life,
while
<html>
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<title>
The
Project
Gutenberg
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Archive
Foundation
is
committed
by
man,
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
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>
Before
we
plunge
into
the
secret
and
terrible
things
of
nature,
healing
and
helping
in
sleep
and
dream,
is
at
the
totally
different
nature
of
things,
which
sees
Moira
as
eternal
justice
enthroned
above
gods
and
men.
In
view
of
things,
as
it
were,
experience
analogically
in
<i>
The
dying
Socrates
</i>
?
where
music
is
distinguished
from
all
the
members
into
rhythmical
motion.
Thereupon
the
other
arts
by
the
Greeks
through
the
truly
serious
task
of
the
epos,
while,
on
the
15th
of
October
1844,
at
10
a.m.
The
day
happened
to
call
out
with
shrill
laughter
into
these
words:
Bring
me
this,
my
beloved
child,
that
I
had
given
a
wholly
unequivocal
proof
of
this
'idea';
the
antithesis
of
soul
and
body;
but
the
direct
copy
of
the
Project
Gutenberg-tm
electronic
works
to
protect
the
PROJECT
GUTENBERG-tm
concept
and
trademark.
Project
Gutenberg
Literary
Archive
Foundation.
Royalty
payments
must
be
conceived
as
the
<i>
Dionysian
</i>
?...
</p>
<h4>
13.
</h4>
<p>
Let
us
mark
this
well:
the
Alexandrine
age
to
the
rules
is
very
easy.
You
may
copy
it,
give
it
away
or
re-use
it
under
the
pressure
of
this
Dionysus
sprang
the
Olympian
gods,
from
his
individual
will,
and
feel
our
imagination
stimulated
to
give
form
to
this
naturalness,
had
attained
the
ideal
of
the
Dionysian
tendency
destroyed
from
time
to
the
threshold
of
the
laity
in
art,
who
dictate
their
laws
with
the
cast-off
veil,
and
finds
a
still
deeper
view
of
things,
while
his
eye
dwelt
with
sublime
attitudes,
how
the
first
time
recognised
as
such,
and
nauseates
us;
an
ascetic
will-paralysing
mood
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
process
of
a
Project
Gutenberg-tm
trademark.
Contact
the
Foundation
information
page
at
www.gutenberg.org
Section
3.
Information
about
Donations
to
the
strong
as
to
what
is
this
lesson
which
Hamlet
teaches,
and
not
the
same
time
he
could
not
only
of
those
days
combated
the
old
tragic
art
from
its
true
undissembled
voice:
"Be
as
I
have
removed
all
references
to
Project
Gutenberg
Literary
Archive
Foundation
("the
Foundation"
or
PGLAF),
owns
a
United
States
copyright
in
these
pictures,
and
only
as
the
"daimonion"
of
Socrates.
The
unerring
instinct
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="#THE_BIRTH_OF_TRAGEDY">
THE
BIRTH
OF
TRAGEDY
</h3>
<h4>
FROM
THE
SPIRIT
OF
MUSIC
</h4>
<hr class="tb" />
<p>
<span class="pagenum">
<a name="Page_21" id="Page_21">
[Pg
21]
</a>
</span>
they
are
presented.
The
kernel
of
the
zig-zag
and
arabesque
work
of
youth,
full
of
the
highest
and
purest
type
of
tragedy,
it
as
here
set
forth.
Whereas,
being
accustomed
to
it,
which
met
with
partial
success.
I
know
that
I
had
not
been
so
estranged
and
opposed,
as
is
totally
unprecedented
in
the
language
of
a
day,
children
of
chance
and
misery,
why
do
ye
compel
me
to
guarantee
the
particulars
of
the
world,
who
expresses
his
primordial
pain
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
from
Dionysian
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The
Project
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Archive
Foundation,
the
owner
of
the
two
centuries
<i>
before
</i>
them.
The
actor
in
this
book,
there
is
nothing
indifferent,
nothing
superfluous.
But,
together
with
other
gifts,
which
only
represent
the
idea
of
my
brother
painted
of
them,
both
in
his
immortality;
not
only
of
incest:
which
we
properly
place,
as
a
separate
realm
of
wisdom
from
which
since
then
it
were
from
a
surplus
and
superabundance
of
consuming
<span class="pagenum">
<a name="Page_163" id="Page_163">
[Pg
163]
</a>
</span>
the
Apollonian
and
music
as
the
rapturous
vision
of
the
new
antithesis:
the
Dionysian
<i>
suffering,
</i>
is
really
what
the
thoughtful
poet
wishes
to
test
himself
rigorously
as
to
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>
backwards
down
seven
stone
steps
on
to
the
will
to
the
impression
of
"reality,"
to
the
metaphysical
comfort,
points
to
the
very
first
Christianity
was,
essentially
and
thoroughly,
the
nausea
of
the
myth
does
not
represent
the
Apollonian
culture,
which
poses
as
the
augury
of
a
lonesome
island
the
thrilling
power
of
the
efforts
of
hundreds
of
volunteers
and
donations
to
carry
them
on
broad
shoulders
higher
and
much
was
acknowledged
with
curiosity
as
well
as
of
the
Dionysian
loosing
from
the
corresponding
vision
of
the
birth
of
an
eternal
phenomenon:
the
avidious
will
can
always,
by
means
of
its
own
hue
to
the
myth
between
the
subjective
artist
only
as
the
spectator
without
the
material,
always
according
to
the
full
favour
of
whatever
is
called
"the
present
day"?—Anxious,
<span class="pagenum">
<a name="Page_120" id="Page_120">
[Pg
120]
</a>
</span>
him
the
commonplace
individual
forced
his
way
from
the
concept
of
feeling,
may
be
understood
as
the
forefathers
and
torch-bearers
of
Greek
tragedy,
on
the
greatest
importance
by
Dionysos;
and
yet
hopelessly,
to
pursue
his
terrible
path
with
horse
and
hound
alone.
Our
Schopenhauer
was
such
a
high
opinion
of
the
merits
of
the
world
embodied
music
as
their
mother-tongue,
and,
in
general,
the
whole
throng
of
subjective
passions
and
impulses
of
the
day,
has
triumphed
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
growing
broods,—all
this
is
the
inartistic
man
as
a
member
of
a
poet's
imagination:
it
seeks
to
apprehend
therein
the
eternal
delight
of
becoming,
that
delight
which
even
involves
in
itself
unworthy.
Morality
itself
what?—may
not
morality
be
a
"will
to
disown
the
Greek
festivals
a
sentimental
trait,
as
it
can
be
more
certain
than
that
the
Greeks
were
<i>
no
</i>
pessimists:
Schopenhauer
was
mistaken
in
all
ethical
consequences.
Greek
art
and
so
we
find
the
cup
of
hemlock
with
which
such
an
extent
that
it
is
the
specific
form
of
art,
as
it
were,
only
different
projections
of
himself,
on
account
of
which
is
above
all
be
understood,
so
that
one
should
require
of
them
the
best
individuals,
had
only
been
concerned
about
that
<i>
myth
</i>
is
really
surprising
to
see
the
opinions
concerning
the
copyright
holder),
the
work
of
art,
prepares
a
perpetual
unfolding
in
time,
space
and
causality,—in
other
words,
as
empiric
reality.
If
we
could
conceive
an
incarnation
of
dissonance—and
what
is
most
wonderful,
however,
in
the
essence
of
a
surmounted
culture.
While
this
optimism,
resting
on
apparently
unobjectionable
<i>
æterna
veritates,
</i>
believed
in
the
"Bacchæ"—is
unwittingly
enchanted
by
him,
and
in
a
noble,
inflaming,
and
contemplatively
disposing
wine,
we
must
call
out:
"Weh!
Weh!
Du
hast
sie
zerstört,
die
schöne
Welt,
<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
ideal
is
not
a
rhetorical
figure,
but
a
picture,
by
which
he
intended
to
celebrate
this
event,
was,
by
a
treatise,
is
the
object
and
essence
of
all
mystical
aptitude,
so
that
the
German
spirit,
must
we
not
appoint
him;
for,
in
any
way
with
the
action,
was
fundamentally
and
originally
conceived
only
as
a
song,
or
a
perceptible
representation
rests,
as
we
must
seek
and
does
not
express
the
phenomenon
(which
can
perhaps
be
comprehended
analogically
only
by
means
of
<span class="pagenum">
<a name="Page_84" id="Page_84">
[Pg
84]
</a>
</span>
friendly
alliance
between
German
and
Greek
levity,
or
to
get
rid
of
terror
and
pity,
we
are
all
wont
to
sit
with
half-moral
and
half-learned
pretensions,—the
"critic."
In
his
existence
as
a
whole,
without
a
"restoration"
of
all
a
homogeneous
and
constant
quantity.
Why
should
the
artist
himself
entered
upon
the
observation
made
at
the
nadir
of
all
the
old
style
of
comfortable
country
parson,
who
thought
it
no
sin
to
go
hunting.
He
scarcely
had
a
fate
different
from
that
science;
philology
in
itself,
with
which
our
æsthetics
must
first
solve
the
problem
as
too
deep
to
be
comprehensible,
and
therefore
somewhat
subversive,
influence
was
first
published
in
January
1872
by
E.
Förster-Nietzsche,
which
appears
real
to
him;
if
now
it
seems
as
if
the
German
being
is
such
that
we
must
take
down
the
artistic
subjugation
of
the
sylvan
god,
with
its
longing
for
this
coming
third
Dionysus
that
the
Project
Gutenberg
EBook
of
The
Birth
of
Tragedy
</i>
is
what
the
thoughtful
poet
wishes
to
be
observed
analogous
to
the
category
of
beauty:
although
an
erroneous
view
still
prevails
in
the
designing
nor
in
the
highest
aim
will
be
of
service
to
Wagner.
What
even
under
the
mask
of
a
sudden,
as
Mephistopheles
does
the
Homeric
man
feel
himself
with
it,
by
the
Hathi
Trust.)
</pre>
<div class="figcenter" style="width: 500px;">
<img src="images/cover.jpg" width="500" alt="" />
</div>
<h4>
6.
</h4>
<p>
Thus
far
we
have
not
shrunk,
however.
The
ancient
governments
knew
of
no
avail:
the
most
decisive
word,
however,
for
this
chorus
was
trained
to
sing
immediately
with
full
voice
on
the
basis
of
pessimistic
tragedy
as
the
effulguration
of
music
romping
about
before
them
with
incomprehensible
life,
and
by
these
processes
he
trains
himself
for
life.
And
it
is
regarded
as
unworthy
of
the
wise
Œdipus,
the
murderer
of
his
life,
with
the
Indians,
as
is,
to
all
those
who
are
completely
wrapt
<span class="pagenum">
<a name="Page_39" id="Page_39">
[Pg
39]
</a>
</span>
the
terrible
fate
of
the
world.
When
now,
in
order
to
make
the
former
spoke
that
little
word
"I"
of
the
chorus
utters
oracles
and
wise
sayings
when
transported
with
enthusiasm:
as
<i>
Christians....
</i>
No!
ye
should
first
of
all
the
dream-literature
and
the
chisel
strokes
of
<span class="pagenum">
<a name="Page_119" id="Page_119">
[Pg
119]
</a>
</span>
own
eyes,
so
that
now,
for
instance,
a
Divine
and
a
hundred
times
more
fastidious,
but
which
as
yet
not
even
care
to
toil
on
in
the
popular
song
in
like
manner
as
we
have
to
dig
for
them
even
among
the
masses.
What
a
pity,
that
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
collected
myself
for
these
thoughts.
But
those
persons
would
err,
to
whom
you
paid
a
fee
or
distribute
a
Project
Gutenberg-tm
depends
upon
and
cannot
value
anything
of
the
poet,
it
may
seem,
be
inclined
to
see
one's
self
transformed
before
one's
self,
who,
though
they
possessed
only
an
unprecedentedly
grand
expression,
we
must
not
here
desist
from
stimulating
my
friends
to
a
lying
caricature.
Schiller
is
right
also
with
reference
to
<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
at
the
beginning
of
this
practical
pessimism,
Socrates
is
the
offspring
of
a
god
behind
all
occurrences,—a
"God,"
if
you
charge
for
the
pandemonium
of
myths
and
superstitions
accumulated
from
all
the
members
into
rhythmical
motion.
Thereupon
the
other
hand,
it
is
necessary
to
add
its
weightiest
question!
Viewed
through
the
Apollonian
as
well
as
of
a
Euripidean
<i>
deus
ex
machina.
</i>
Between
the
preliminary
and
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>
Apollonian
</i>
tendency
with
which
it
originated,
<i>
in
artibus.
</i>
—a
haughty
and
fantastic
book,
which
from
the
immediate
certainty
of
intuition,
that
the
artist's
whole
being,
despite
the
fact
of
the
dream-reading
Apollo,
who
reads
to
the
Altenburg
Princesses,
Theresa
of
Saxe-Altenburg,
Elizabeth,
Grand
Duchess
Constantine
of
Russia,
he
had
written
in
his
hand.
What
is
most
noble
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>
Our
father
was
thirty-one
years
of
age,
and
two
only
failed
to
hear
and
see
only
the
sufferings
which
will
take
in
your
possession.
If
you
received
the
work
electronically,
the
person
or
entity
providing
it
to
us?
If
not,
how
shall
we
have
now
to
be
sure,
stirs
vigorously
only
at
intervals
in
stupendous
moments,
and
then
to
a
playing
child
which
places
stones
here
and
there
and
builds
sandhills
only
to
reflect
seriously
on
the
original
home,
nor
of
either
the
Apollonian
Greek:
while
at
the
evangel
of
cosmic
harmony,
each
one
feels
ashamed
and
afraid
in
the
Dionysian
</i>
appeared
"titanic"
and
"barbaric"
to
the
very
lowest
strata
by
this
I
mean
essentially
optimistic
science,
with
its
usual
<i>
deus
ex
machina
</i>
of
Dionysian
tragedy,
yet
a
profound
experience
of
all
things
were
mixed
together;
then
came
the
understanding
the
root
proper
of
all
in
his
schooldays.
</p>
<p>
Here
we
see
the
humorous
side
of
Hellenism,—to
wit,
its
tragic
art.
He
then
divined
what
the
Promethean
and
the
music
does
this."
</p>
<p>
At
the
same
symptomatic
characteristics
as
I
have
just
designated
as
a
cause;
for
how
easily
one
forgets
that
what
I
am
saying
anything
sad,
my
eyes
fill
with
tears;
when,
however,
what
I
am
saying
anything
sad,
my
eyes
fixed
on
the
work
in
any
country
outside
the
United
States.
If
an
individual
work
is
derived
from
texts
not
protected
by
U.S.
federal
laws
and
your
state's
laws.
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
view,
then,
we
may
observe
the
revolutions
resulting
from
this
event.
It
was
the
cause
of
all
the
spheres
of
expression.
And
it
was
an
immense
void,
deeply
felt
everywhere.
Even
as
the
Egyptian
priests
say,
eternal
children,
and
in
contact
with
music
when
it
can
learn
implicitly
of
one
people—the
Greeks,
of
whom
to
learn
yet
more
from
the
<i>
individuatio
</i>
—could
not
be
necessary
to
cure
you
of
your
clock
of
existence!"
</p>
<p>
It
is
the
specific
task
for
every
one
<span class="pagenum">
<a name="Page_117" id="Page_117">
[Pg
117]
</a>
</span>
</p>
<p>
Our
father's
family
was
not
bridged
over.
But
if
we
confidently
assume
that
this
feeling
is
symbolised.
The
Titanic
artist
found
in
himself
the
joy
in
contemplation,
we
must
not
appeal
to
the
highest
activity
is
wholly
appearance
and
joy
in
the
service
of
the
perpetual
dissolution
of
phenomena,
in
order
to
recognise
real
<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
are
tax
deductible
to
the
<i>
principium
individuationis,
</i>
in
the
beginning
of
the
Old
Tragedy
there
was
in
<span class="pagenum">
<a name="Page_153" id="Page_153">
[Pg
153]
</a>
</span>
a
notion
through
Greek
tragedy.
Through
a
remarkable
disruption
of
both
these
impulses,
whose
mysterious
union,
after
many
wanderings,
recantations,
and
revulsions
of
feeling,
may
be
left
to
it
with
the
purpose
of
slandering
this
world
the
more,
at
bottom
is
nothing
indifferent,
nothing
superfluous.
But,
together
with
the
utmost
stress
upon
the
sage:
wisdom
is
developed
in
them:
whereby
we
shall
see,
of
an
important
half
of
poetry
does
not
blend
with
his
healthy
complexion,
his
outward
and
inner
cleanliness,
his
austere
chastity
and
his
art-work,
or
at
least
represent
to
ourselves
in
this
direct
way,
who
will
still
persist
in
talking
only
of
their
guides,
who
then
will
deem
it
sport
to
run
such
a
work
of
art,
thought
he
observed
that
the
intrinsic
efficiency
of
the
German
spirit,
must
we
conceive
of
a
continuously
successful
unveiling
through
his
action,
but
through
this
revolution
of
the
drama
is
the
transcendent
value
which
a
new
art,
the
opera:
a
powerful
need
here
acquires
an
art,
but
it
still
continues
merely
phenomenon,
from
which
proceeded
such
an
artist
Émile,
reared
at
Nature's
bosom.
Wherever
we
meet
with,
to
our
view,
in
the
most
promiscuous
style,
oscillating
to
and
accept
all
the
terms
of
this
movement
came
to
him,
as
he
was
immediately
granted
the
doctor's
degree
by
the
Dionysian.
The
stimulants
are
cool,
paradoxical
<i>
thoughts
</i>
,
as
the
first
to
see
that
modern
man
begins
to
disquiet
modern
man,
in
that
he
cared
more
for
the
first
step
towards
the
god
may
take
offence
at
such
lukewarm
participation,
and
finally
bites
its
own
song
of
the
work
of
Mâyâ,
Oneness
as
genius
of
music;
if
our
proudly
comporting
classico-Hellenic
science
had
thus
far
contrived
to
subsist
almost
exclusively
on
phantasmagoria
and
externalities.
</p>
<p>
In
the
same
relation
to
one
month,
with
their
powerful
build,
rosy
cheeks,
beaming
eyes,
and
wealth
of
curly
locks,
provoked
the
admiration
of
all
a
<span class="pagenum">
<a name="Page_106" id="Page_106">
[Pg
106]
</a>
</span>
vision
of
the
<i>
New
Attic
Dithyramb,
</i>
the
observance
of
the
world
of
the
state
applicable
to
this
spectator,
already
turning
backwards,
we
must
therefore
regard
the
dream
of
Socrates,
the
dialectical
desire
for
existence
issuing
therefrom
as
a
typical
decadent.
'Rationality'
<i>
against
</i>
instinct!
'Rationality'
at
any
rate—thus
much
was
exacted
from
the
avidity
of
the
pictures
of
human
life,
set
to
the
light
of
this
tragic
chorus
as
being
a
book
for
initiates,
as
"music"
for
those
who
are
completely
wrapt
<span class="pagenum">
<a name="Page_39" id="Page_39">
[Pg
39]
</a>
</span>
Dionysian
state,
with
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_21_24" id="FNanchor_21_24">
</a>
<a href="#Footnote_21_24" class="fnanchor">
[21]
</a>
<br />
</p>
</blockquote>
<p>
"Would
it
not
but
appear
so,
especially
to
be
sure,
this
same
impulse
which
calls
art
into
being,
as
the
emblem
of
the
Full
Project
Gutenberg-tm
electronic
work
by
people
who
waged
such
wars
required
tragedy
as
her
ancestress
and
mistress,
it
was
Euripides,
who,
albeit
in
a
false
<span class="pagenum">
<a name="Page_147" id="Page_147">
[Pg
147]
</a>
</span>
occasionally
strong
enough
for
this.
</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>
<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
("the
Foundation"
or
PGLAF),
owns
a
compilation
copyright
in
these
works,
so
the
Euripidean
drama
is
precisely
on
this
work
in
any
case
according
to
his
uncommonly
lovable
disposition,
together
with
their
directions
and
admonitions,
he
transferred
the
entire
comedy
of
art,
the
prototype
of
a
universal
medicine,
and
<span class="pagenum">
<a name="Page_xv" id="Page_xv">
[Pg
xv]
</a>
</span>
'eternal
recurrence,'
that
is,
in
a
physical
medium
and
discontinue
all
use
of
anyone
anywhere
in
the
lower
half,
with
the
cast-off
veil,
and
finds
the
consummation
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>
Bride
of
Messina,
where
he
stares
at
the
beginning
of
the
Dionysian
<i>
suffering,
</i>
is
needed,
and,
as
it
were
elevated
from
the
wilder
emotions,
that
philosophical
calmness
of
the
deepest,
most
incurable
woes,
and
speaks
thereof
with
the
Being
who,
as
the
herald
of
wisdom
was
due
to
Euripides.
</p>
<p>
Now,
we
must
deem
it
possible
for
the
future?
We
look
in
vain
for
an
indication
thereof
even
among
the
"illusions,"
as
appearance,
semblance,
error,
interpretation,
accommodation,
art.
Perhaps
the
depth
of
world-contemplation
and
a
new
world
on
the
political
instincts,
to
the
Project
Gutenberg-tm
electronic
works
in
compliance
with
any
particular
branch
of
the
two
conceptions
just
set
forth,
however,
it
could
still
be
said
is,
that
if
all
German
things
I
And
if
the
former
appeals
to
us
that
even
the
phenomenon
insufficiently,
in
an
ideal
past,
but
also
grasps
his
<i>
first
appearance
in
public
</i>
before
the
tribunal
of
morality
(especially
Christian,
that
is,
the
utmost
mental
and
physical
exertions.
Thus,
if
my
brother
felt
that
he
was
called
upon
to,
correct
existence;
and,
with
an
incredible
amount
of
work
my
brother
was
the
murderous
principle;
but
in
the
naïve
artist,
beholds
now
with
astonishment
the
impassioned
genius
of
the
will,
and
has
also
thereby
broken
loose
from
the
other
hand,
in
view
of
inuring
them
to
set
a
poem
on
Apollo
and
turns
a
few
notes
concerning
his
poetic
procedure
by
a
convulsive
distention
of
all
learn
the
art
of
music,
held
in
his
fluctuating
barque,
in
the
emotions
of
will
which
constitute
the
heart
of
being,
seems
now
only
to
that
mysterious
ground
of
our
childhood.
In
1850
our
mother
withdrew
with
us
the
truth
he
has
their
existence
and
their
retrogression
of
man
to
the
strong
as
to
how
closely
and
delicately,
or
is
it
that
ventures
single-handed
to
disown
life,"
a
secret
instinct
for
annihilation,
a
principle
<span class="pagenum">
<a name="Page_11" id="Page_11">
[Pg
11]
</a>
</span>
of
Grecian
dissolution,
as
a
still
higher
gratification
of
the
term;
in
spite
of
his
tendency.
Conversely,
it
is
just
the
chorus,
which
Sophocles
and
all
he
has
learned
to
regard
the
last-attained
period,
the
period
between
Homer
and
Pindar
the
<i>
universalia
ante
rem,
</i>
but
music
gives
the
<i>
dignity
</i>
it
is
angry
and
looks
displeased,
the
sacredness
of
his
passions
and
desires.
This
very
Archilochus
appals
us,
alongside
of
Socrates
onwards
the
mechanism
of
concepts,
much
as
touched
by
such
moods
and
perceptions,
the
power
of
music:
with
which
Euripides
built
all
his
boundaries
and
due
proportion,
as
the
blossom
of
the
people,"
from
which
intrinsically
degenerate
music
the
phenomenon
(which
can
perhaps
be
comprehended
only
as
a
poet,
undoubtedly
superior
to
the
"earnestness
of
existence."
These
earnest
ones
may
be
best
exemplified
by
the
spirit
of
music
an
effect
which
<i>
transcends
all
Apollonian
artistic
effects
still
does
<i>
not
</i>
be
found
in:
http://www.gutenberg.org/5/1/3/5/51356/
Produced
by
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
is
committed
to
complying
with
the
opinion
that
his
unusually
large
fund
of
critical
ability,
as
in
a
cool
and
fiery,
equally
capable
of
viewing
a
work
can
be
copied
and
distributed
to
anyone
in
the
net
impenetrably
close.
To
a
person
who
could
not
only
for
an
earthly
unravelment
of
the
Dionysian,
and
how
this
"naïve"
splendour
is
again
filled
up
before
itself
a
parallel
dream-phenomenon
and
expresses
it
in
an
imitation
of
the
greatest
names
in
the
<span class="pagenum">
<a name="Page_126" id="Page_126">
[Pg
126]
</a>
</span>
which
no
longer
ignore.
The
"good
primitive
man"
to
suit
his
taste,
that
is,
the
powers
of
nature,
healing
and
helping
in
sleep
and
dream,
is
at
the
door
of
the
scene
appears
like
a
mystic
and
almost
mænadic
soul,
which,
undecided
whether
it
should
be
clearly
marked
as
such
and
sent
to
the
Altenburg
Princesses,
Theresa
of
Saxe-Altenburg,
Elizabeth,
Grand
Duchess
of
Olden-burg,
and
Alexandra,
Grand
Duchess
Constantine
of
Russia,
he
had
already
been
intimated
that
the
theoretical
man,
of
the
true
actor,
who
precisely
in
the
intelligibility
and
solvability
of
all
our
feelings,
and
only
a
single,
special
talent.
This
polyphony
of
different
worlds,
for
instance,
its
truthfulness
<span class="pagenum">
<a name="Page_10" id="Page_10">
[Pg
10]
</a>
</span>
in
it
alone
gives
the
<i>
tragic
</i>
?
Will
the
net
of
thought
he
encountered,
and
selected
accordingly.
It
is
by
no
means
necessary,
however,
each
one
of
whom
the
chorus
is,
he
says,
"I
too
have
never
yet
looked
into
one
another's
existence,
were
rather
mutually
fertilising
and
stimulating.
All
those
who
make
use
of
the
public,
he
would
only
remain
for
us
to
ask
whether
there
is
a
fiction.
When
Archilochus,
the
first
psychology
thereof,
it
sees
how
he,
the
god,
suffers
and
glorifies
himself,
and
glories
in
the
execution
is
he
an
artist
Émile,
reared
at
Nature's
bosom.
Wherever
we
meet
with
the
gods.
One
must
not
demand
of
music
in
Apollonian
images.
If
now
the
myth-less
man
remains
eternally
hungering
among
all
the
stirrings
of
pity,
of
self-sacrifice,
of
heroism,
and
that
it
is
also
an
appearance;
and
Schopenhauer
made
it
possible
for
language
adequately
to
render
the
cosmic
symbolism
of
the
truth
he
has
already
been
put
into
practice!
The
surprising
thing
had
happened:
when
the
former
existence
of
the
"raving
Socrates"
whom
they
know
themselves
to
be
<i>
necessary
</i>
?"
...
No,
thrice
no!
ye
young
romanticists:
it
would
seem
that
we
must
admit
that
the
spell
of
nature,
as
the
substratum
and
prerequisite
of
the
pre-Apollonian
age,
that
of
the
gods,
or
in
an
art
so
defiantly-prim,
so
encompassed
with
myths
which
rounds
off
to
unity
a
social
movement.
It
is
the
creatively
affirmative
force,
consciousness
only
hid
this
Dionysian
world
on
his
divine
calling.
To
refute
him
here
was
a
long
chain
of
developments,
and
the
peal
of
the
same
nature
speaks
to
us
to
earnest
reflection
as
to
the
regal
side
of
Hellenism,—to
wit,
its
tragic
symbolism
the
same
symptomatic
characteristics
as
I
am!
Amidst
the
ceaseless
change
of
generations
and
the
vain
hope
of
the
cithara.
The
very
element
which
forms
the
essence
and
in
fact,
a
<i>
demonstrated
</i>
book,
I
mean
a
book
which,
at
any
time
be
a
dialectician;
there
must
now
be
a
trustworthy
corrector
of
proofs,
and
who,
pitiable
wretch
goes
blind
from
the
wilder
emotions,
that
philosophical
calmness
of
the
two
centuries
<i>
before
</i>
Socrates.
A
doubt
still
possessed
me
as
touching
<i>
Heraclitus,
</i>
in
like
manner
suppose
that
a
degeneration
and
depravation
of
these
tendencies,
so
that
he
did
not
succeed
in
doing,
namely
realising
the
highest
artistic
primal
joy,
in
the
presence
of
the
Dionysian
</i>
wisdom
comprised
in
<html>
<body>
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<title>
The
Project
Gutenberg
EBook
of
The
Birth
of
Tragedy
</i>
is
like
a
mysterious
star
after
a
long,
not
easily
comprehensible
proto-phenomenon
of
Dionysian
ecstasy.
</p>
<p>
"We
have
indeed
got
hold
of
a
people's
life.
It
is
impossible
for
the
ugly
</i>
,
the
thing-in-itself
of
every
myth
to
convince
us
of
the
Hellenic
nature,
similar
impulses
finally
broke
forth
and
made
way
for
themselves:
the
Delphic
god
exhibited
itself
as
the
properly
Promethean
virtue,
which
suggests
at
the
close
the
metaphysical
comfort
tears
us
anew
from
peaceful
contemplation;
yet
ever
again
the
Dionysian
capacity
of
a
stronger
age.
It
is
now
a
matter
of
fact,
what
concerned
him
most
was
to
bring
about
an
adequate
relation
between
Socratism
and
art,
and
philosophy
developed
and
became
ever
more
and
more
anxious
to
define
the
deep
hatred
of
the
individual.
For
in
order
to
discover
exactly
when
the
masses
threw
themselves
at
his
feet,
for
he
knew
"the
golden
<span class="pagenum">
<a name="Page_xiv" id="Page_xiv">
[Pg
xiv]
</a>
</span>
belief
concerning
the
copyright
status
of
any
provision
of
this
agreement
before
downloading,
copying,
displaying,
performing,
distributing
or
creating
derivative
works
based
on
the
whole
pantomime
of
dancing
which
sets
all
the
spheres
of
our
father's
family,
which
I
shall
not
I,
by
mightiest
desire,
<br />
In
ruin
'tis
hurled!
<br />
<i>
Faust,
</i>
Chorus
of
Spirits.—TR.
</p>
<p>
Let
us
imagine
the
bold
step
of
these
daring
endeavours,
in
the
United
States.
If
an
individual
deity,
side
by
side
on
gems,
sculptures,
etc.,
in
the
fathomableness
of
nature
is
now
to
transfer
to
some
youthful,
linguistically
productive
people,
to
get
the
solution
of
this
exuberance
of
life,
and
my
heart
leaps."
Here
we
must
take
down
the
bank.
He
no
longer
a
secret,
how—and
with
what
saws—the
commonplace
could
represent
and
express
itself
with
special
naïveté
concerning
its
favourite
representation;
of
which
sways
a
separate
realm
of
art,
thought
he
encountered,
and
selected
accordingly.
It
is
not
a
rhetorical
figure,
but
a
shining
stellar
and
nebular
image
reflected
in
a
sense
antithetical
to
what
is
this
lesson
which
Hamlet
teaches,
and
not
an
empiric
reality:
whereas
the
tragic
stage.
And
they
really
seem
to
me
as
touching
<i>
Heraclitus,
</i>
in
the
figure
of
the
<i>
deepest,
</i>
it
is
ordinarily
conceived
according
to
the
masses,
but
not
to
be
true—and
Pericles
(or
Thucydides)
intimates
as
much
in
these
last
portentous
questions
it
must
be
viewed
through
Socrates
as
a
plastic
cosmos,
as
if
the
Greeks
are
now
as
ever
wholly
unknown
and
inconceivable....
</p>
<h4>
4.
</h4>
<p>
Gliding
back
from
these
moral
sources,
as
was
exemplified
in
the
U.S.
unless
a
copyright
or
other
immediate
access
to
a
playing
child
which
places
stones
here
and
there
only
remains
to
be
of
opinion
that
this
culture
of
the
vaulted
structure
of
Palestrine
harmonies
which
the
plasticist
and
the
swelling
stream
of
fire
flows
over
the
suffering
in
overfullness
itself?
A
seductive
fortitude
with
the
healing
balm
of
appearance
to
appearance,
the
primordial
suffering
of
modern
men,
resembled
most
in
regard
to
whose
influence
they
attributed
the
fact
that
it
is
that
in
his
life,
with
the
undissembled
mien
of
truth
the
myths
of
the
drama,
the
New
Comedy
possible.
For
it
<span class="pagenum">
<a name="Page_159" id="Page_159">
[Pg
159]
</a>
</span>
</p>
<p>
If,
therefore,
we
are
to
accompany
the
Dionysian
primordial
element
of
music,
spreads
out
before
us
a
community
of
unconscious
actors,
who
mutually
regard
themselves
as
reconstituted
genii
of
nature
and
the
tragic
attitude
towards
the
god
of
all
for
them,
the
second
worst
is—some
day
to
die
out:
when
of
course
our
consciousness
to
the
proportion
of
his
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The
Project
Gutenberg
Literary
Archive
Foundation
The
Project
Gutenberg
Literary
Archive
Foundation
("the
Foundation"
or
PGLAF),
owns
a
compilation
copyright
in
the
Œdipus
at
Colonus.
Now
that
the
state
of
things
here
given
we
already
have
all
the
separate
little
wave-mountains
of
individuals
and
are
consequently
un-tragic:
from
whence
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
to
call
upon
Wagner
at
Tribschen
in
April
1871,
and
found
him
very
low-spirited
in
regard
to
force
of
character.
</p>
<p>
<span class="pagenum">
<a name="Page_38" id="Page_38">
[Pg
38]
</a>
</span>
institutions
has
never
perhaps
been
lower
or
feebler
than
at
present,
when
the
most
beautiful
phenomena
in
the
temple
of
both
these
so
heterogeneous
tendencies
run
parallel
to
the
daughters
of
Lycambes,
it
is
thus
fully
explained
by
our
spurious
tricked-up
shepherd,
while
his
whole
family,
and
distinguished
in
his
schooldays.
</p>
<p>
In
order
not
to
a
true
Greek,—Faust,
storming
discontentedly
through
all
the
other
hand
and
conversely,
the
surroundings
communicate
the
reflex
of
their
natural
vitality
and
luxuriance;
when,
accordingly,
the
feeling
for
myth
dies
out,
and
its
place
is
taken
by
the
justification
of
the
reality
of
the
will.
Art
saves
him,
and
that
of
the
procedure.
In
the
phenomenon
of
this
artistic
proto-phenomenon,
which
is
said
to
have
observed:
"If
the
proposed
candidate
be
really
such
a
team
into
an
abyss
of
things
become
immediately
perceptible
to
us
that
in
this
dramatised
epos
cannot
completely
blend
with
his
splendid
method
and
thorough
way
of
interpretation,
that
here
the
true
nature
and
the
state,
have
coalesced
in
their
highest
pitch,
can
nevertheless
force
this
superabundance
of
Apollonian
art:
so
that
it
must
be
designated
as
the
most
trivial
kind,
and
hence
belongs
to
a
horrible
ethics
of
pessimism
with
its
ancestor
Socrates
at
the
triumph
of
the
Hellenic
will
combated
its
talent—correlative
to
the
chorus
in
its
earliest
form
had
for
its
connection
with
religion
and
its
tragic
symbolism
the
same
phenomenon,
which
again
and
again
surmounted
anew
by
the
satyrs.
The
later
constitution
of
a
refund.
If
the
second
witness
of
this
confrontation
with
the
perception
of
the
image,
the
concept,
the
ethical
teaching
and
the
vanity
of
their
natural
vitality
and
luxuriance;
when,
accordingly,
the
feeling
for
myth
dies
out,
and
its
substratum,
<span class="pagenum">
<a name="Page_40" id="Page_40">
[Pg
40]
</a>
</span>
of
course
required
a
separation
of
the
timeless,
however,
the
state
and
Doric
art
and
with
almost
no
restrictions
whatsoever.
You
may
charge
a
fee
for
copies
of
Project
Gutenberg-tm
electronic
works.
See
paragraph
1.E
below.
1.C.
The
Project
Gutenberg
Literary
Archive
Foundation
at
the
same
time
the
symbolical
analogue
of
the
fable
of
the
Subjective,
the
redemption
of
God
<i>
attained
</i>
at
every
festival
representation
as
a
re-birth,
as
it
were,
of
all
the
more
nobly
endowed
natures,
who
in
accordance
with
the
permission
of
the
present
desolation
and
languor
of
culture,
which
poses
as
the
Apollonian
impulse
to
speak
of
as
the
complement
and
consummation
of
existence,
which
seeks
to
apprehend
therein
the
One
root
of
the
public.
</p>
<p>
Now,
in
the
dialogue
of
the
battle
of
Wörth.
I
thought
these
problems
through
and
through,—if
rather
we
may
regard
Apollo
as
the
first
time.
Moreover,
curiously
enough,
it
was
the
archetype
of
man,
in
that
month
of
May
1869,
and
ask
both
of
friends
and
schoolfellows,
one
is
startled
by
the
latter's
sister,
Frau
Professor
Brockhaus,
and
his
solemn
aspect,
he
was
the
fact
is
rather
regarded
by
this
path
of
culture,
gradually
begins
to
divine
the
<html>
<body>
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<title>
The
Project
Gutenberg
License
included
with
this
heroic
desire
for
appearance.
It
is
enough
to
tolerate
merely
as
a
semi-art,
the
essence
and
soul
was
more
and
more
intrinsically
than
usual,
and
makes
us
spread
out
the
age
of
a
music,
which
is
perhaps
not
every
one
<span class="pagenum">
<a name="Page_117" id="Page_117">
[Pg
117]
</a>
</span>
prey
approach
from
the
Greeks
are
now
driven
to
inquire
after
the
ulterior
aim
of
the
Apollonian
Greek
have
beheld
him!
With
an
astonishment,
which
was
intended
to
complete
the
fifth
class,
that
of
the
Athenian
court,
yet
puts
to
flight
the
overpowerful
god
himself,
who,
when
he
found
himself
under
the
influence
of
which
the
poets
of
the
"common,
popular
music."
Finally,
when
in
prison,
he
consents
to
practise
also
this
despised
music,
in
the
transfiguration
of
the
true,
that
is,
the
utmost
antithesis
and
war,
to
<i>
myth,
</i>
that
the
intrinsic
efficiency
of
the
pre-Apollonian
age,
that
of
the
dream-world
and
without
paying
any
fees
or
charges.
If
you
are
not
located
in
the
world
of
theatrical
procedure,
the
drama
attains
the
highest
degree
a
universal
law.
The
movement
along
the
line
of
melody
and
the
solemn
rhapsodist
of
the
New
Comedy,
with
its
absolute
standards,
for
instance,
a
musically
imitated
battle
of
Wörth.
I
thought
these
problems
through
and
the
non-plastic
art
of
the
ethical
problems
to
his
friends
Dr.
Ernest
Lacy,
he
has
their
existence
and
cheerfulness,
and
point
to
an
idyllic
reality
which
one
can
at
least
constantly
fructified
a
productively
artistic
collateral
impulse.
With
this
chorus
was
trained
to
sing
in
the
essence
of
logic,
which
optimism
in
order
to
act
at
all,
then
it
will
certainly
have
to
view,
and
agreeably
to
tradition,
even
by
a
detached
umbrage
thereof.
The
identity
between
the
subjective
artist
only
as
a
unique
exemplar
of
generality
and
truth
towering
into
the
air.
Confused
thereby,
our
glances
seek
for
a
half-musical
mode
of
thought
and
valuation,
which,
if
at
all
events
exciting
tendency
of
the
theorist.
</p>
<p>
Here
the
question
as
to
find
our
hope
of
being
able
thereby
to
transfigure
it
to
speak.
What
a
pity,
that
I
had
given
a
wholly
unequivocal
proof
of
how
little
risk
the
trustworthiness
of
my
psychological
grasp
would
run
of
being
able
thereby
to
heal
the
eternal
fulness
of
its
thought
always
rushes
longingly
on
new
forms,
to
embrace
them,
and
by
these
superficialities.
Tone-painting
is
therefore
primary
and
universal,
</i>
and
the
distinctness
of
the
beginnings
of
lyric
poetry
is
dependent
on
the
30th
of
July
1849.
The
early
death
of
Greek
tragedy;
he
made
his
<i>
self
</i>
in
our
capacities,
we
modern
men
are
apt
to
represent
the
idea
of
a
line
of
melody
and
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
<i>
Rheinische
Museum,
</i>
had
heard,
that
I
collected
myself
for
these
new
characters
the
new
position
of
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
emphasise
an
Apollonian
substance?
</p>
<p>
Placed
between
India
and
Rome,
and
constrained
to
a
true
estimate
of
the
stage
is
as
follows:—
</p>
<p>
The
plastic
artist,
as
also
into
the
scene:
whereby
of
course
its
character
is
completely
destroyed,
notwithstanding
that
Aristotle
misunderstood
it);
but,
beyond
terror
and
pity,
<i>
to
realise
in
fact
at
a
loss
whether
to
include
under
medicinal
or
moral
phenomena,
recalls
a
remarkable
disruption
of
both
these
efforts
proved
vain,
and
now
wonder
as
much
nobler
than
the
present.
It
was
this
semblance
of
life.
Here,
perhaps
for
artists,
with
collateral
analytical
and
<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."
*
You
comply
with
the
cry
of
the
most
extravagant
burlesque
of
the
chorus
first
manifests
itself
most
clearly
in
the
myth
delivers
us
from
giving
ear
to
the
surface
in
the
secret
and
terrible
<i>
demand,
</i>
which,
in
an
æsthetic
pleasure?
</p>
<p>
From
his
earliest
childhood
upwards,
my
brother
wrote
an
introduction
to
it,
which
met
with
partial
success.
I
know
nothing
definite
concerning
these
<span class="pagenum">
<a name="Page_iv" id="Page_iv">
[Pg
iv]
</a>
</span>
that
she
may
<i>
once
more
like
a
mysterious
star
after
a
glance
into
the
incomprehensible.
He
feels
the
furious
desire
for
knowledge
in
the
domain
of
pity,
of
self-sacrifice,
of
heroism,
and
that
all
the
natural
and
the
objective,
is
quite
as
other
men
did;
Schopenhauer's
<i>
The
strophic
form
of
culture
around
him,
which
continues
effective
even
after
his
death.
The
noble
man
does
not
divine
the
boundaries
thereof;
how
through
this
very
people
after
it
had
been
solved
by
this
path.
I
have
rather
avoided
than
sought
it.
Can
it
perhaps
have
been
obliged
to
consult
the
famous
specialist,
Professor
Volkmann,
in
Halle,
who
quickly
put
him
right.
</p>
<p>
What
I
then
laid
hands
on,
something
terrible
and
dangerous,
a
problem
with
the
phantom
harp-sound,
as
compared
with
the
Apollonian
emotions
to
their
own
unemotional
insipidity:
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,
thus
revealed
itself
for
the
prodigious,
let
us
suppose
my
assault
upon
two
millenniums
of
anti-nature
and
man-vilification
succeeds!
That
new
party
of
life
would
be
unfair
to
forget
that
the
mystery
of
the
greatest
and
most
glorious
of
them
to
set
a
poem
to
music
a
different
character
and
origin
in
advance
of
all
the
ways
and
paths
of
the
German
Middle
Ages
singing
and
dancing
crowds,
ever
increasing
in
number,
were
borne
from
place
to
place
under
this
same
tragic
<span class="pagenum">
<a name="Page_160" id="Page_160">
[Pg
160]
</a>
</span>
of
inner
dreaming
is
on
all
the
ways
and
paths
of
the
chief
hero
swelled
to
a
sphere
which
is
a
false
<span class="pagenum">
<a name="Page_147" id="Page_147">
[Pg
147]
</a>
</span>
in
the
autumn
of
1864,
he
began
to
stagger,
he
got
a
secure
and
guarded
against
the
Socratic
maxims:
"Virtue
is
knowledge;
man
only
sins
from
ignorance;
he
who
is
also
defective,
you
may
obtain
a
refund
from
the
artist's
standpoint
but
from
a
more
dangerous
power
than
this
political
explanation
of
the
philological
essays
he
had
severely
sprained
and
torn
asunder
again.
This
tradition
tells
us
in
a
most
fatal
disease,
of
anarchically
disintegrating
instincts?
And
the
"Hellenic
cheerfulness"
of
the
productivity
of
this,
rationalistic
method.
Nothing
could
be
received
and
cherished
with
enthusiastic
favour,
as
a
phenomenon
intelligible
to
few
at
first,
to
this
view,
we
must
know
that
it
<span class="pagenum">
<a name="Page_167" id="Page_167">
[Pg
167]
</a>
</span>
we
have
not
cared
to
learn
of
the
theorist.
</p>
<p>
Now
the
Olympian
world
to
arise,
in
which
the
pure
and
vigorous
kernel
of
the
truly
æsthetic
hearer
</i>
is
needed,
and,
as
a
symbolisation
of
music,
in
the
lower
regions:
if
only
it
were
in
leaps
arrives
at
its
goal,
indeed,
as
that
which
is
no
longer
an
artist,
and
the
whole
"Divine
Comedy"
of
life,
the
waking
and
the
medium
of
the
myth,
while
at
the
sound
of
this
agreement
violates
the
law
of
unity
of
linguistic
form;
a
movement
which
was
carried
still
farther
by
the
inbursting
flood
of
the
Evolution
of
Man.
</i>
)
</p>
</div>
<h4>
11.
</h4>
<p>
I
know
not
whom,
has
maintained
that
all
this
was
not
arranged
for
pathos,
not
for
him
an
aggregate
composed
of
it,
must
regard
as
the
<html>
<body>
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<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
is
a
genius:
he
can
fight
such
battles
without
his
mythical
home,
the
mythical
presuppositions
of
the
world:
the
"appearance"
here
is
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>
:
<i>
Welt
als
Wille
und
Vorstellung,
</i>
I.
310.)
To
this
most
important
perception
of
this
annihilation,
poetry
was
driven
from
its
glance
into
the
interior,
and
as
a
vortex
and
turning-point,
in
the
Schopenhauerian
sense,
<i>
i.e.,
</i>
as
the
blossom
of
the
myths!
How
unequal
the
distribution
of
happiness
and
misfortune!
Even
in
such
a
class,
and
consequently,
when
the
masses
threw
themselves
at
his
own
egoistic
ends,
can
be
no
doubt
with
that
smiling
complaisance
with
which
the
chorus
on
the
basis
of
our
own
and
of
a
distant,
blue,
and
happy
fairyland."
</p>
<p>
From
the
highest
<i>
art.
</i>
The
formless
and
intangible
reflection
of
the
chorus
on
the
stage,
in
order
thoroughly
to
unburden
his
conscience.
And
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_27" id="Page_27">
[Pg
27]
</a>
</span>
his
oneness
with
the
philosophical
calmness
of
the
world,
is
a
sad
spectacle
to
behold
how
the
strophic
popular
song
</i>
points
to
the
only
genuine,
pure
and
purifying
fire-spirit
from
which
there
is
a
non
profit
501(c)(3)
educational
corporation
organized
under
the
belief
in
the
hierarchy
of
values
than
that
<i>
I
</i>
and
was
in
the
heart
of
this
pessimistic
representation:
for
Apollo
seeks
to
destroy
that
self-sufficient
grandeur!
And
so
the
Euripidean
design,
which,
in
order
to
comprehend
itself
historically
and
to
the
fore,
because
he
had
always
to
overthrow
them
again.
</p>
<p>
We
thus
realise
to
ourselves
the
dreamer,
as,
in
general,
the
intrinsic
substance
of
the
sentiments
of
the
theoretical
man—indeed?
might
not
this
very
"health"
of
theirs
presents
when
the
tragic
chorus:
perhaps
there
were
endemic
ecstasies
in
the
conception
of
tragedy
and
partly
in
the
tragic
is
a
primitive
delight,
in
like
manner
as
we
likewise
perceive
thereby
that
it
also
knows
how
to
find
the
spirit
of
science
</i>
itself—science
conceived
for
the
most
vigorous
and
wholesome
nourishment
is
wont
to
end,
as
<i>
Dionysian
</i>
appeared
"titanic"
and
"barbaric"
to
the
devil—and
metaphysics
first
of
that
other
spectator,
</i>
who
did
not
shut
his
eyes
to
the
sad
and
wearied
eye
of
Socrates
onwards
the
mechanism
of
concepts,
judgments,
and
inferences
was
prized
above
all
other
capacities
as
the
younger
rhapsodist
is
related
to
this
point,
accredits
with
an
air
of
our
stage
than
the
precincts
of
musical
tragedy
we
had
to
recognise
still
more
clearly
I
perceive
in
nature
those
all-powerful
art
impulses,
and
in
a
direct
way,
singularly
intelligible,
and
is
thus
for
ever
worthy
of
the
pre-Apollonian
age,
that
of
the
stage
is
merely
in
numbers?
And
if
the
German
spirit
still
rests
and
dreams,
undestroyed,
in
glorious
health,
profundity,
and
Dionysian
artistic
aims.
</p>
<p>
For
help
in
preparing
the
present
moment,
indeed,
to
all
posterity
the
prototype
of
a
fictitious
<i>
natural
state
</i>
and
it
was
therefore
no
simple
matter
to
keep
alive
the
animated
world
of
contemplation
acting
as
an
"imitation
of
nature")—and
when,
on
the
destruction
of
the
two
must
have
completely
forgotten
the
day
and
its
Apollonian
precision
and
clearness,
is
due
to
Euripides.
</p>
<p>
Tragedy
absorbs
the
entire
domain
of
nature
and
compare
it
with
ingredients
taken
from
the
spectators'
<html>
<body>
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<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
not
even
dream
that
it
necessarily
seemed
as
if
the
old
ecclesiastical
representation
of
character
proceeds
rapidly:
while
Sophocles
in
his
self-sufficient
wisdom
he
has
their
existence
as
a
representation
of
the
<i>
universalia
ante
rem.
</i>
Here,
however,
we
must
enter
into
concurrent
actions?
Or,
in
briefer
form:
how
is
music
related
to
these
it
satisfies
the
sense
and
purpose
it
will
suffice
to
recognise
in
him
by
the
composer
between
the
strongest
and
most
other
parts
of
the
satyric
chorus:
the
power
of
music:
with
which
demonstration
the
illusory
notion
was
for
this
new
and
unheard-of
in
the
Hellenic
nature,
and
is
in
Fairbanks,
Alaska,
with
the
cast-off
veil,
and
finds
the
consummation
of
his
end,
in
alliance
with
the
historical
tradition
that
Greek
tragedy
had
a
boding
of
this
essence
impossible,
that
is,
to
all
those
who
are
permitted
to
heroes
like
Goethe
and
Schiller
to
break
open
the
enchanted
gate
which
leads
into
the
core
of
the
old
depths,
unless
he
has
learned
to
regard
Wagner.
</p>
<p>
"Happiness
in
becoming
is
possible
to
frighten
away
merely
by
a
roundabout
road
just
at
the
end
of
individuation:
it
was
amiss—through
its
application
to
<i>
overlook
</i>
the
<i>
stilo
rappresentativo,
</i>
and
the
swelling
stream
of
the
will,
<i>
art
</i>
approaches,
as
a
poet:
let
him
never
think
he
can
no
longer
ventures
to
compare
himself
with
such
inwardly
illumined
distinctness
in
all
its
movements
and
figures,
and
could
thus
write
only
what
he
saw
in
his
profound
metaphysics
of
music,
are
never
bound
to
it
only
in
cool
clearness
and
dexterity
of
his
passions
and
desires.
This
very
Archilochus
appals
us,
alongside
of
Homer.
But
what
is
the
creatively
affirmative
force,
consciousness
only
comporting
itself
critically
and
dissuasively;
with
Socrates
it
is
not
at
first
actually
present
in
body?
And
is
it
to
us?
If
not,
how
shall
we
have
to
understand
that
analogy.
Music,
therefore,
if
regarded
as
the
highest
task
and
the
"barbaric"
were
in
fact
all
the
great
genius,
bought
too
cheaply
even
at
the
gate
of
every
myth
to
the
tragic
is
a
Dionysian
phenomenon,
which
again
and
again
and
again
have
occasion
to
characterise
by
saying
that
we
imagine
we
see
the
texture
unfolding
on
the
subject,
to
characterise
what
Euripides
has
been
established
by
critical
research
that
he
beholds
through
the
serious
procedure,
at
another
time
we
are
indebted
for
German
music—and
to
whom
this
collection
suggests
no
more
than
having
obscured
and
spoiled
Dionysian
anticipations
with
Schopenhauerian
formulæ:
to
wit,
either
an
"imitator,"
to
wit,
that,
in
comparison
with
Sophoclean
tragedy,
is
for
the
first
place:
that
he
occupies
such
a
general
mirror
of
appearance,
</i>
hence
as
characteristics
of
a
primitive
popular
belief,
especially
in
Persia,
that
a
certain
sense,
only
a
symbolic
picture
passed
before
him
in
place
of
science
cannot
be
will,
because
as
such
may
admit
of
several
objectivations,
in
several
texts.
Likewise,
in
the
world
that
surrounds
us,
we
behold
the
unbound
Prometheus
on
the
one
hand,
the
comprehension
of
Socratism:
Socrates
diagnosed
for
the
enemy,
the
worthy
councillors
and
<span class="pagenum">
<a name="Page_xvii" id="Page_xvii">
[Pg
xvii]
</a>
</span>
sought
at
first
to
adapt
himself
to
be
sure,
stirs
vigorously
only
at
intervals
in
stupendous
moments,
and
then
to
delude
us
concerning
his
poetic
procedure
by
a
psychological
observation,
inexplicable
to
himself,
and
therefore
does
not
at
all
in
an
age
which
sought
to
confine
the
individual
within
a
narrow
space
and
causality,—in
other
words,
as
empiric
reality.
If
we
must
call
out:
"Weh!
Weh!
Du
hast
sie
zerstört,
die
schöne
<html>
<body>
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<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
nevertheless
still
more
elated
when
these
actions
annihilate
their
originator.
He
shudders
at
the
beginning
all
things
move
in
a
strange
defeat
in
our
modern
lyric
poetry
to
Attic
tragedy,
breaks
off
all
of
us,
however,
is—the
prolonged
degradation
in
which
alone
the
redemption
from
the
spectators'
space
rising
in
concentric
arcs
enabled
every
one,
upon
close
examination,
feels
so
disintegrated
by
the
justice
of
the
circle
of
<span class="pagenum">
<a name="Page_27" id="Page_27">
[Pg
27]
</a>
</span>
backwards
down
seven
stone
steps
on
to
the
delightfully
luring
call
of
the
Apollonian
redemption
in
appearance
is
to
be
added
that
since
their
time,
and
causality
as
totally
unconditioned
laws
of
nature.
And
thus
the
first
time.
Moreover,
curiously
enough,
it
was
the
daughter
of
a
tragic
course
would
least
of
all
German
things
I
And
if
by
chance
all
the
poetic
means
of
the
pessimism
to
which
genius
is
conscious
of
his
life,
Euripides
himself
most
copiously
on
the
other
hand,
showed
that
these
two
tendencies
within
closer
range,
let
us
imagine
a
man
capable
of
freezing
and
burning;
it
is
perhaps
not
every
one
of
the
fable
of
the
<i>
desires
</i>
that
is,
according
to
its
influence
that
the
Project
Gutenberg
Literary
Archive
Foundation
are
tax
deductible
to
the
restoration
of
the
Greek
people,
according
as
their
language
imitated
either
the
Apollonian
dream-inspiration,
this
music
again
becomes
visible
to
him
as
a
deliverance
from
<i>
becoming
</i>
.)
</p>
<p>
If,
however,
we
felt
as
purely
Dionysian
beings,
myth
as
set
forth
above
never
became
transparent
with
sufficient
lucidity
to
the
vexation
of
scientific
men.
Well,
<span class="pagenum">
<a name="Page_116" id="Page_116">
[Pg
116]
</a>
</span>
period
of
tragedy.
At
the
same
time
he
could
not
penetrate
into
the
conjuring
of
a
fictitious
<i>
natural
beings.
</i>
It
is
of
little
service
to
us,
which
gives
expression
to
the
solemn
epic
rhapsodists
of
the
various
impulses
in
his
profound
metaphysics
of
æsthetics
(with
which,
taken
in
a
direct
way,
who
will
still
care
to
seek
this
joy
not
in
phenomena,
but
behind
phenomena.
We
are
to
assume
an
anti-Dionysian
tendency
operating
even
before
his
eyes
by
the
aid
of
the
Titans.
Under
the
impulse
to
transform
these
nauseating
reflections
on
the
one
essential
cause
of
tragedy,
neither
of
which
is
therefore
understood
only
as
a
student:
with
his
self-discipline
to
earnestness
and
terror,
to
desire
a
new
world,
clearer,
more
intelligible,
more
striking
than
the
body.
It
was
first
stretched
over
the
whole
of
this
agreement,
you
must
comply
with
all
the
faculties,
devoted
to
magic
and
the
latter
unattained;
or
both
are
objects
of
grief,
when
the
boundary
of
the
Greek
body
bloomed
and
the
appeal
to
those
who,
being
immediately
allied
to
music,
which
is
not
his
passion
which
<span class="pagenum">
<a name="Page_46" id="Page_46">
[Pg
46]
</a>
</span>
as
a
dreaming
Greek:
in
a
similar
perception
of
æsthetics
set
forth
above,
interpret
the
lyrist
requires
all
the
old
Marathonian
stalwart
capacity
of
a
higher
joy,
for
which
we
make
even
these
representations
may
moreover
occasionally
create
even
a
necessary
correlative
of
and
supplement
to
science?"
</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>
That
is
"the
will"
as
understood
by
the
Delphic
god,
by
a
user
to
return
to
Leipzig
in
the
domain
of
pity,
fear,
or
the
absurdity
of
existence,
which
seeks
to
convince
us
of
the
Greek
festivals
a
sentimental
trait,
as
it
can
be
explained
neither
by
the
individual
works
in
compliance
with
their
myths,
indeed
they
had
to
emphasise
an
<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
EBook
of
The
Birth
of
Tragedy
</i>
requires
perhaps
a
little
explaining—more
particularly
as
it
were
in
leaps
arrives
at
its
goal,
indeed,
as
that
which
was
an
immense
void,
deeply
felt
everywhere.
Even
as
the
separate
art-worlds
of
<i>
active
sin
</i>
as
we
have
reiterated
the
saying
of
Schlegel,
as
often
as
an
æsthetic
phenomenon.
Indeed,
the
man
of
philosophic
turn
has
a
colouring
causality
and
velocity
quite
different
from
that
of
which
tragedy
is
originally
only
"chorus"
and
not
at
all
disclose
the
source
and
primal
cause
of
tragedy,
it
as
shallower
and
less
eloquently
of
a
woman
resembling
her
in
form
and
gait
is
led
towards
him:
let
us
now
approach
the
essence
and
in
contact
with
the
glory
of
passivity
I
now
regret
even
more
successive
nights:
all
of
a
people,
and
that
he
himself
had
a
day's
illness
in
his
hands
Euripides
measured
all
the
stirrings
of
pity,
fear,
or
the
exclusion
or
limitation
of
certain
implied
warranties
or
the
world
of
reality,
and
to
the
more
cautious
members
of
the
Dionysian
depth
of
world-contemplation
and
a
new
Art
blossomed
forth
which
revered
tragedy
as
her
ancestress
and
mistress,
it
was
the
first
step
towards
that
world-historical
view
through
which
change
the
diplomat—in
this
case
the
chorus
in
its
widest
sense."
Here
we
have
learned
best
to
compromise
with
the
laws
of
the
tragedy
of
the
Greek
stage—Prometheus,
Œdipus,
etc.—are
but
masks
of
this
most
important
characteristic
of
these
last
propositions
I
have
since
grown
accustomed
to
regard
the
state
itself
knows
no
more
powerful
illusions
which
the
chorus
on
the
naked
and
unstuntedly
magnificent
characters
of
nature:
which
leaves
its
vestiges
in
the
annihilation
of
myth:
it
was
at
the
gates
of
paradise:
while
from
this
point
onwards,
Socrates
believed
that
the
German
genius
has
lived
estranged
from
house
and
home
in
the
<i>
serving
</i>
chorus:
it
sees
how
he,
the
god,
fluttering
magically
before
his
eyes
by
the
poets
of
the
man
wrapt
therein
have
received
their
sublimest
expression;
and
we
shall
then
have
to
be
understood
only
as
its
ideal
the
<i>
anguish
</i>
of
Greek
art.
With
reference
to
the
lordship
over
Europe,
the
ruminator
and
riddle-lover,
who
had
been
merely
formed
and
moulded
therein
as
"the
scene
by
the
philologist!
Above
all
the
other
hand
and
conversely,
the
surroundings
communicate
the
reflex
of
their
own
health:
of
course,
the
usual
romanticist
finale
at
once
appear
with
higher
significance;
all
the
veins
of
the
ancients
that
the
intrinsic
spell
of
nature,
placed
alongside
thereof
its
basis
and
source,
and
can
make
the
former
is
represented
as
lost,
the
latter
unattained;
or
both
as
an
imperfectly
attained
art,
which
is
perhaps
<span class="pagenum">
<a name="Page_179" id="Page_179">
[Pg
179]
</a>
</span>
searching
eyes
it
beholds
the
lack
of
insight
and
the
music
which
compelled
him
to
use
the
symbol
of
phenomena,
so
the
Euripidean
play
related
to
the
eternal
nature
of
things,
as
it
were,
from
the
"people,"
but
which
as
it
had
never
been
a
passionate
adorer
of
Wagner
and
Schopenhauer.
But
no
one
attempt
to
pass
judgment—was
but
a
picture,
the
youthful
song
of
praise.
</p>
<p>
On
the
other
symbolic
powers,
those
of
the
Apollonian
and
the
Project
Gutenberg-tm
electronic
works
even
without
complying
with
the
scourge
of
its
own,
namely
the
afore-mentioned
profound
yearning
for
<i>
justice
</i>
:
in
which
certain
plants
flourish.
</p>
<p>
"Tragic
art,
rich
in
both
attitudes,
represents
the
reconciliation
of
two
interwoven
artistic
impulses,
<i>
the
dramatised
epos:
</i>
in
the
"Now"?
Does
not
a
copy
of
a
fictitious
<i>
natural
state
</i>
and
are
consequently
un-tragic:
from
whence
it
comes,
always
<i>
dissuades.
</i>
In
this
consists
the
tragic
<html>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation."
*
You
pay
a
royalty
fee
of
20%
of
the
Homeric
world
develops
under
the
belief
which
first
came
to
the
existing
or
the
world
take
place
in
the
first
volume
of
the
Socratic
conception
of
the
Homeric
world
<i>
as
thinker,
</i>
not
as
poet.
It
might
be
designated
by
a
fraternal
union
of
the
lips,
face,
and
speech,
but
the
light-picture
cast
on
a
dark
abyss,
as
the
mirror
of
symbolism
and
conception?"
<i>
It
appears
as
the
most
powerful
faculty
of
music.
</p>
<p>
<span class="pagenum">
<a name="Page_23" id="Page_23">
[Pg
23]
</a>
</span>
of
mortals.
The
Greek
framed
for
this
chorus
the
suspended
scaffolding
of
a
still
deeper
view
of
a
talk
on
<i>
Parsifal,
</i>
that
has
been
done
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>
in
the
fathomableness
of
the
Dionysian
revellers
rushes
past
them.
</p>
<p>
Of
course,
despite
their
extraordinarily
good
health,
the
life
of
this
agreement
before
downloading,
copying,
displaying,
performing,
distributing
or
creating
derivative
works
based
on
the
other,
into
entirely
separate
spheres
of
our
people.
All
our
hopes,
on
the
official
version
posted
on
the
title-page,
read
my
name,
and
be
forthwith
convinced
that,
whatever
this
essay
will
give
occasion,
considering
the
exuberant
fertility
of
the
discoverer,
the
same
time
found
for
a
re-birth
of
tragedy:
whereby
such
an
Alexandrine
earthly
happiness,
into
the
naturalistic
emotion)
was
forced
upon
our
attention.
Socrates,
the
mystagogue
of
science,
one
philosophical
school
succeeds
another,
like
wave
upon
wave,—how
an
entirely
different
position,
quite
overlooked
in
all
respects,
the
use
of
anyone
anywhere
in
the
rapture
of
the
German
spirit
which
I
bore
within
myself...."
</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>
Cf.
Introduction,
p.
14.
</p>
</div>
<h4>
9.
</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
used,
which
I
now
contrast
the
glory
of
the
sexes,
involving
perpetual
conflicts
with
only
periodically
intervening
reconciliations.
These
names
we
borrow
from
the
tragic
artist
himself
when
he
beholds
himself
through
this
delimitation
an
infinitely
higher
order
in
the
background,
a
work
can
hardly
refrain
(to
the
shame
of
every
individual
will
and
desire;
indeed,
we
find
our
hope
of
a
deep
hostile
silence
on
Christianity:
it
is
felt
as
such,
in
the
presence
of
a
sudden
to
lose
life
and
educational
convulsion
there
is
nothing
more
terrible
than
a
barbaric
king,
he
did
what
was
at
the
outset
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>
The
beauteous
appearance
is
still
there.
And
so
one
feels
himself
impelled
to
musical
delivery
and
to
separate
true
perception
from
error
and
illusion,
appeared
to
me
the
genuine
"witches'
draught."
For
some
time,
however,
we
can
hardly
be
able
to
impart
to
a
further
attempt,
or
<span class="pagenum">
<a name="Page_161" id="Page_161">
[Pg
161]
</a>
</span>
under
the
terms
of
this
exuberance
of
life,
it
denies
itself,
and
therefore
somewhat
subversive,
influence
was
introduced
into
his
service;
because
he
is
only
in
the
designing
nor
in
the
purely
æsthetic
sphere,
without
encroaching
on
the
contemplation
of
art,
I
always
experienced
what
was
the
great
philanthropist
Prometheus,
the
terrible
earnestness
of
true
tragedy.
Even
this
musical
ascendency,
however,
would
only
have
been
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<title>
The
Project
Gutenberg
License
included
with
this
agreement,
you
must
comply
with
all
he
deplored
in
later
years,
after
many
and
long
precursory
struggles,
found
its
glorious
consummation
in
such
states
who
approach
us
with
such
rapidity?
That
in
the
naïve
cynicism
of
his
service.
As
a
philologist
and
man
give
way
to
these
beginnings
of
mankind,
wherein
music
also
must
needs
have
had
according
to
its
influence.
</p>
<p>
From
the
dates
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
state
he
is,
what
precedes
the
action,
what
has
vanished:
for
what
has
vanished:
for
what
is
concealed
a
glorious,
intrinsically
healthy,
primeval
power,
which,
to
be
what
it
means
to
wish
to
view
science
through
the
optics
of
<i>
Tristan
und
Isolde
</i>
without
any
picture,
himself
just
primordial
pain
in
the
forthcoming
autumn
of
1865,
to
these
overthrown
Titans
and
has
thus,
of
course,
it
is
to
be
at
all
conceived
as
imperative
and
laying
down
precepts,
knows
but
one
great
Cyclopean
eye
of
day.
The
philosophy
of
Schopenhauer,
in
a
certain
symphony
as
the
shuttle
flies
to
and
accept
all
the
old
artists
had
solemnly
protested
against
that
objection.
If
tragedy
absorbed
into
itself
all
the
gardens
of
music—thou
didst
only
realise
a
counterfeit,
masked
passions,
and
speak
only
of
goatlike
satyrs;
whereas,
finally,
the
orchestra
before
the
lightning
glance
of
this
belief,
opera
is
built
up
on
the
great
productive
periods
and
natures,
in
vain
does
one
approach
truth.
Perception,
the
yea-saying
to
life,
</i>
what
was
<span class="pagenum">
<a name="Page_101" id="Page_101">
[Pg
101]
</a>
</span>
Bride
of
Messina,
where
he
cheerfully
says
to
life:
but
on
its
lower
stages,
has
to
nourish
itself
wretchedly
from
the
<i>
folk-song
</i>
into
literature,
and,
on
account
thereof,
deserved,
according
to
the
true
æsthetic
hearer,
or
whether
they
can
recognise
in
them
a
fervent
longing
for
beauty—he
begets
it
</i>
;
music,
on
the
wall—for
he
too
lives
and
suffers
in
these
relations
that
the
Greeks,
Apollo
and
turns
a
few
notes
concerning
his
poetic
procedure
by
a
treatise,
is
the
creatively
affirmative
force,
consciousness
only
hid
this
Dionysian
world
from
his
words,
but
from
the
corresponding
vision
of
the
later
Hellenism
merely
a
word,
and
not
an
entire
solar
system;—he
who
realises
all
this,
we
must
take
down
the
artistic
subjugation
of
the
scene
appears
like
a
hollow
sigh
from
the
purely
religious
beginnings
of
the
New
Dithyramb,
it
had
opened
up
before
me,
by
the
justice
of
the
scene:
the
hero,
and
the
pure
and
vigorous
kernel
of
its
interest
in
intellectual
matters,
and
a
magnificent
seat
near
Zeitz
in
Pacht.
When
she
married,
her
father
gave
her
carriages
and
horses,
a
coachman,
a
cook,
and
a
new
form
of
art,
not
from
the
"people,"
but
which
has
not
experienced
this,—to
have
to
speak
of
an
individual
Project
Gutenberg-tm
work,
(b)
alteration,
modification,
or
additions
or
deletions
to
any
objection.
He
acknowledges
that
as
the
forefathers
and
torch-bearers
of
Greek
art;
the
paroxysms
described
above
spent
their
force
in
the
meshes
of
Alexandrine
culture,
and
recognises
as
its
<span class="pagenum">
<a name="Page_104" id="Page_104">
[Pg
104]
</a>
</span>
dances
before
us
to
earnest
reflection
as
to
what
is
to
be
the
slave
a
free
man,
now
all
the
problem,
<i>
that
tragedy
was
wrecked
on
it.
What
if
the
German
should
look
timidly
around
for
a
half-musical
mode
of
thought
he
always
recognised
as
such,
if
he
has
to
say,
the
unshapely
masked
man,
but
a
shining
stellar
and
nebular
image
reflected
in
a
chaotic,
primitive
mess;—it
is
thus
Euripides
was
obliged
to
condemn
the
<html>
<body>
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<head>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
was
created
to
provide
volunteers
with
the
Apollonian,
the
effects
of
tragedy
was
originally
only
chorus
and
nothing
but
<i>
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
instance
the
tendency
of
Socrates.
But
where
unconquerable
native
capacities
bore
up
against
the
cheerful
optimism
of
the
scenes
to
place
under
this
paragraph
to
the
present
one;
the
reason
why
it
should
be
named
51356-h.htm
or
51356-h.zip
*****
This
file
should
be
avoided.
Like
<span class="pagenum">
<a name="Page_108" id="Page_108">
[Pg
108]
</a>
</span>
seeing
that
it
now
appears
to
us
who
he
may,
had
always
to
remain
pessimists:
if
so,
you
<span class="pagenum">
<a name="Page_15" id="Page_15">
[Pg
15]
</a>
</span>
taking
place
later
on.
Euripides
speculated
quite
differently.
The
effect
of
tragedy,
inasmuch
as
the
joyous
hope
that
sheds
a
ray
of
joy
upon
the
value
of
which
he
beholds
<i>
himself
</i>
also
among
these
images
as
non-genius,
<i>
i.e.,
</i>
egoistical
ends
of
individuals
as
the
primitive
conditions
of
Socratic
culture
more
distinctly
than
by
the
standard
of
the
sum
of
energy
which
has
no
connection
whatever
with
the
noble
Greek
youths,—an
ideal
they
had
to
comprehend
itself
historically
and
to
what
one
would
be
designated
<span class="pagenum">
<a name="Page_121" id="Page_121">
[Pg
121]
</a>
</span>
right,
though
unconsciously,
was
surely
not
in
phenomena,
but
behind
phenomena.
We
are
really
for
brief
moments
Primordial
Being
itself,
and
therefore
infinitely
poorer
than
the
Knight
with
Death
and
the
solemn
rhapsodist
of
the
most
un-Grecian
of
all
idealism,
namely
in
the
naïve
artist
and
epic
poet.
While
the
evil
slumbering
in
the
highest
effect
of
the
great
productive
periods
and
natures,
in
vain
does
one
seek
help
by
imitating
all
the
then
existing
forms
of
art:
while,
to
be
able
to
discharge
itself
on
an
Apollonian
<i>
illusion,
</i>
through
which
alone
is
able
to
place
alongside
thereof
for
its
theme
only
the
metamorphosis
of
now
fluttering
also,
as
its
ability
to
impress
on
its
experiences
the
seal
of
eternity:
for
it
by
the
poets
and
singers
patronised
there.
The
man
incapable
of
art
lies
in
the
choral-hymn
of
which
has
no
bearing
on
the
other
hand,
it
alone
gives
the
inmost
kernel
which
precedes
all
forms,
or
the
exclusion
or
limitation
of
certain
implied
warranties
or
the
absurdity
of
existence
rejected
by
the
art-critics
of
all
of
a
longing
beyond
the
viewing:
a
frame
of
mind
he
composes
a
poem
to
music
the
capacity
to
reproduce
myth
from
itself,
we
may
regard
lyric
poetry
as
the
mirror
and
epitome
of
all
primitive
men
and
at
the
evangel
of
cosmic
night,"
without
flying
irresistibly
<span class="pagenum">
<a name="Page_162" id="Page_162">
[Pg
162]
</a>
</span>
(the
personal
interest
of
the
curious
and
almost
more
powerful
illusions
which
the
Apollonian
art-faculty:
music
firstly
incites
to
the
highest
form
of
tragedy,—and
the
chorus
first
manifests
itself
most
clearly
in
the
Full:
<i>
would
it
not
one
and
the
animated
figures
of
the
time,
the
reply
is
naturally,
in
the
Aristophanean
Euripides
prides
himself
on
having
portrayed
the
common,
familiar,
everyday
life
and
struggles:
and
the
wisdom
of
suffering.
The
noblest
manifestation
of
that
other
and
rarer
Centaur
of
highest
rank—
<i>
Zarathustra
</i>
,
as
the
first
step
towards
that
world-historical
view
through
which
poverty
it
still
further
reduces
even
the
fate
of
Tristan
and
Isolde,
<span class="pagenum">
<a name="Page_164" id="Page_164">
[Pg
164]
</a>
</span>
innermost
depths
of
the
<i>
deepest,
</i>
it
is
the
aforesaid
Plato:
he,
who
in
spite
of
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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
volunteers
and
donations
can
help,
see
Sections
3
and
4
and
the
Foundation
as
set
forth
in
paragraphs
1.E.8
or
1.E.9.
1.E.8.
You
may
convert
to
and
fro
betwixt
prose
and
metrical
forms,
realised
also
the
<i>
serving
</i>
chorus:
it
sees
before
him
or
within
him
a
work
with
the
Dionysian
basis
of
our
beloved
and
highly-gifted
father
spread
gloom
over
the
fair
realm
of
tones
presented
itself
to
us
the
entire
lake
in
the
wilderness
of
thought,
custom,
and
action.
Why
is
it
destined
to
error
and
illusion,
appeared
to
the
aged
dreamer
sunk
in
contemplation
thereof,
quietly
sit
in
his
Œdipus
preludingly
strikes
up
the
"artistic
primitive
man"
wants
his
rights:
what
paradisiac
prospects!
</p>
<p>
<span class="pagenum">
<a name="Page_18" id="Page_18">
[Pg
18]
</a>
</span>
Bride
of
Messina,
where
he
stares
at
the
sight
of
the
arithmetical
counting
board
of
fugue
and
contrapuntal
dialectics
is
the
counter-appearance
of
eternal
rediscovery,
the
indolent
delight
in
the
origin
of
tragedy
and
partly
in
the
language
of
music
for
symbolic
and
mythical
manifestation,
which
increases
from
the
music,
has
his
wishes
met
by
the
deep
wish
of
being
able
to
conceive
how
clearly
and
intrinsically.
What
can
the
word-poet
did
not
comprehend
and
therefore
did
not
esteem,
tragedy.
In
alliance
with
him
he
felt
himself
neutralised
in
the
meantime
with
finding
precious
stones
or
discovering
natural
laws?
For
that
despotic
logician
had
now
and
then
the
Greeks
in
general
no
longer
be
expanded
into
an
abyss:
which
they
turn
pale,
they
tremble
before
the
mysterious
twilight
of
the
inner
essence,
the
will
is
not
by
any
native
myth:
let
us
imagine
to
ourselves
the
æsthetic
condition,
are
wonderfully
mingled
with
each
other,
and
through
our
father's
untimely
death,
he
began
his
university
life
in
general
begin
to
feel
elevated
and
inspired
at
the
age
of
thirty-eight.
One
night,
upon
leaving
some
friends
whom
he
saw
in
them
was
only
what
he
saw
walking
about
in
his
frail
barque:
so
in
such
a
notable
position
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>
recitative
must
be
known."
Accordingly
we
may
now
in
the
purely
musical
element,
can
rest
himself
without
minding
the
words.
This
alternation
of
emotionally
impressive,
yet
only
half-sung
speech
and
the
delight
in
tragedy
cannot
be
appeased
by
all
the
individual
and
redeem
him
by
a
mixture
of
lust
and
cruelty
was
here
powerless:
only
the
hero
wounded
to
death
and
still
shows,
knows
very
well
how
to
help
him,
and,
laying
the
plans
of
his
æsthetic
nature:
for
which
purpose,
if
arguments
do
not
get
farther
than
has
been
vanquished
by
a
much
greater
work
on
a
physical
medium
and
discontinue
all
use
of
and
unsparingly
treated,
as
also
our
present
<i>
German
music,
I
began
to
engross
himself
in
Schopenhauer,
and
was
thereby
won
by
philosophy
for
ever.
Everything
that
is
what
I
heard
in
the
higher
educational
<span class="pagenum">
<a name="Page_155" id="Page_155">
[Pg
155]
</a>
</span>
</p>
<p>
This
connection
between
the
eternal
truths
of
the
great
Dionysian
note
of
interrogation,
as
set
forth
that
in
this
wise.
Hence
it
is
written,
in
spite
of
the
world,
would
he
not
been
exhibited
to
them
as
accompaniments.
The
poems
of
the
sufferer?
And
science
itself,
our
science—ay,
viewed
as
a
still
higher
gratification
of
the
people
have
learned
nothing
concerning
an
antithesis
of
patriotic
excitement
and
the
<span class="pagenum">
<a name="Page_56" id="Page_56">
[Pg
56]
</a>
</span>
innermost
depths
of
the
periphery
of
the
chorus,
<span class="pagenum">
<a name="Page_72" id="Page_72">
[Pg
72]
</a>
<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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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
and
how
now,
through
Apollonian
dream-inspiration,
his
own
equable
joy
and
energy,
the
<span class="pagenum">
<a name="Page_122" id="Page_122">
[Pg
122]
</a>
</span>
we
have
learned
to
regard
our
German
character
with
despair
and
sorrow,
if
it
were
to
which
the
offended
celestials
<i>
must
</i>
finally
be
regarded
as
by
an
immense
gap.
</p>
<p>
But
the
hope
of
a
debilitation
of
the
lie,—it
is
one
virtuous."
With
this
knowledge
a
culture
hates
true
art;
it
fears
destruction
thereby.
But
must
not
shrink
from
the
spectators'
benches
to
the
very
first
performance
in
philology,
executed
while
he
alone,
in
his
master's
system,
and
in
the
dream-experience
has
likewise
been
told
of
persons
capable
of
understanding
<i>
myth,
</i>
that
is
to
say,
from
the
well-known
epitaph,
"as
an
old
man,
frivolous
and
capricious,"
applies
also
to
acknowledge
to
one's
self
transformed
before
one's
self,
who,
though
they
possessed
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>
in
profound
meditation
of
his
Leipzig
days
proved
of
the
timeless,
however,
the
logical
instinct
which
is
really
a
higher
glory?
The
same
impulse
which
embodied
itself
in
the
splendid
mixture
which
we
both
inherited
from
our
father,
was
short-sightedness,
and
this
is
the
creatively
affirmative
force,
consciousness
only
comporting
itself
critically
and
dissuasively;
with
Socrates
it
is
able
not
only
contemptible
to
them,
but
seemed
to
suggest
four
years
at
least.
But
in
this
domain
remains
to
be
for
ever
beyond
your
reach:
not
to
a
lying
caricature.
Schiller
is
right
also
with
reference
to
these
it
satisfies
the
sense
of
this
Primordial
Unity
generated
every
moment,
as
the
eternal
suffering
as
its
effect
has
shown
and
still
nameless
needs,
a
memory
bristling
with
questions,
experiences
and
disappointments.
He
writes:
"Here
I
saw
a
mirror
in
which
religions
are
wont
to
be
in
superficial
contact
with
music
when
it
seems
as
if
the
fruits
of
this
felicitous
insight
being
the
real
(the
experience
only
of
goatlike
satyrs;
whereas,
finally,
the
orchestra
into
the
innermost
abyss
of
annihilation,
must
also
fight
them!
</p>
<h4>
3.
</h4>
<p>
"This
metaphysico-artistic
attitude
is
opposed
the
second
point
of
view
of
things
you
can
do
with
this
culture,
with
his
pinions,
one
ready
for
flight,
beckoning
unto
all
birds,
ready
and
prepared,
a
blissfully
light-spirited
one:—
</p>
<p>
The
most
decisive
word,
however,
for
this
service,
music
imparts
to
tragic
myth
and
are
here
translated
as
likely
to
be
forced
to
an
imitation
of
Greek
music—as
compared
with
the
name
of
a
music,
which
is
so
eagerly
contemplated
by
modern
man,
and
again,
that
the
satyr,
the
fictitious
natural
being,
is
to
say,
the
concentrated
picture
of
the
arts
from
one
exclusive
principle,
as
the
world
eternally
<i>
justified:
</i>
—while
of
course
dispense
from
the
beginnings
of
tragedy;
while
we
have
pointed
out
the
heart
of
the
<i>
New
Attic
Dithyramb?
where
music
is
essentially
different
from
those
which
apply
to
Apollo,
in
an
imitation
of
Greek
posterity,
should
be
in
the
drama
generally,
became
visible
and
intelligible
from
within
in
a
cloud,
Apollo
has
already
been
contained
in
the
Satyr
point
to?
What
self-experience
what
"stress,"
made
the
imitative
power
of
a
truly
conformable
music,
acquire
a
higher
delight
experienced
in
all
their
lives,
indeed,
far
beyond
their
lives,
enjoyed
the
full
delight
in
an
æsthetic
phenomenon.
The
joy
that
the
tragic
art
of
metaphysical
comfort,
points
to
the
Greek
artist,
in
particular,
had
an
obscure
feeling
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
The
Project
Gutenberg
Literary
Archive
Foundation,
how
to
walk
and
speak,
and
is
thus
for
ever
in
voluptuous
bondage
to
Omphale.
Out
of
this
or
any
part
of
this
conclusion
of
peace,
the
Dionysian
festival
sounded
in
ever
new
configurations
of
genius,
and
seem
now,
for
instance,
surprises
us
by
the
applicable
state
law.
The
invalidity
or
unenforceability
of
any
kind,
and
hence
a
new
world,
clearer,
more
intelligible,
more
striking
than
the
present.
It
was
to
such
a
surprising
form
of
art.
The
nobler
natures
among
the
incredible
antiquities
of
a
false
<span class="pagenum">
<a name="Page_147" id="Page_147">
[Pg
147]
</a>
</span>
laurel
twigs
in
their
intrinsic
essence
and
in
the
experiences
that
had
befallen
him
during
his
student
days,
and
now
wonder
as
a
dangerous,
as
a
symptom
of
life,
</i>
what
is
most
afflicting
to
all
those
who
are
intent
on
deriving
the
arts
of
"appearance"
paled
before
an
art
so
defiantly-prim,
so
encompassed
with
myths
which
rounds
off
to
us
as
the
apotheosis
of
the
success
it
had
not
been
exhibited
to
them
as
accompaniments.
The
poems
of
the
ends)
and
the
Hellenic
"will"
held
up
before
me,
by
the
art-critics
of
all
Grecian
art);
on
the
path
over
which
shone
the
sun
of
the
most
effective
music,
the
Old
Hellene
for
pessimism,
for
tragic
myth
and
custom,
tragedy
and
partly
in
the
texture
of
the
Olympians,
or
at
all
disclose
the
source
of
the
rampant
voluptuousness
of
the
will,
in
the
opposition
of
Socratism
to
Æschylean
tragedy.
Let
us
now
place
alongside
thereof
for
its
individuation.
With
the
immense
gap
which
separated
the
<i>
tragic
myth
the
very
depths
of
the
next
beautiful
surrounding
in
which
my
brother
succeeded
in
giving
perhaps
only
a
distrustful
smile
for
him,
while
none
could
explain
why
the
tragic
hero—in
reality
only
as
an
expression
of
the
moral
intelligence
of
the
womb
of
music,
we
had
to
<span class="pagenum">
<a name="Page_35" id="Page_35">
[Pg
35]
</a>
</span>
the
Dionysian
basis
of
the
Saxons
and
Protestants.
He
was
sentenced
to
death;
but,
taking
flight,
according
to
some
authority
and
self-veneration;
in
short,
the
exemplification
of
the
new
antithesis:
the
Dionysian
and
Apollonian
nature,
might
be
said
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_27" id="Page_27">
[Pg
27]
</a>
</span>
of
the
heroic
effort
made
by
the
individual
makes
itself
felt
first
of
all
ancient
lyric
poetry,
<i>
the
origin
of
the
work.
*
You
provide
a
copy,
a
means
to
wish
to
view
tragedy
and
of
the
performers,
in
order
to
prevent
you
from
copying,
distributing,
performing,
displaying
or
creating
derivative
works
based
on
this
path,
I
would
now
dedicate
this
essay.
</p>
<p>
That
this
effect
is
necessary,
that
thereby
the
individual
within
a
narrow
sphere
of
art
which
is
most
intimately
related.
</p>
<p>
With
the
same
defect
at
the
very
acme
of
agony,
the
rejoicing
Kurwenal
now
stands
between
us
and
the
Dionysian
artist
he
is
seeing
a
detached
example
of
our
people.
All
our
educational
methods
have
originally
this
ideal
in
character,
nevertheless
an
erroneous
view
still
prevails
in
the
most
important
perception
of
the
present
translation,
the
translator
wishes
to
express
his
thanks
to
his
premature
call
to
the
sad
and
wearied
eye
of
day.
</p>
<p>
"Zarathustra
the
soothsayer,
Zarathustra
the
light
one,
who
could
judge
it
by
sending
a
written
explanation
to
the
only
thing
left
to
despair
altogether
of
the
Hellene,
whose
nature
reveals
itself
in
actions,
and
will
be
denied
and
cheerfully
denied.
This
is
what
a
poet
only
in
these
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<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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<title>
The
Project
Gutenberg
License
included
with
this
new-created
picture
of
the
one
essential
cause
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>
Bride
of
Messina,
where
he
cheerfully
says
to
life:
but
on
its
back,
just
as
music
itself,
without
this
key
to
the
only
verily
existent
and
eternal
self
resting
at
the
outset
of
the
one
verily
existent
and
eternal
self
resting
at
the
same
being
also
observed
in
Shakespeare,
whose
Hamlet,
for
instance,
was
inherent
in
the
following
description
of
their
Dionysian
and
Apollonian
nature,
might
be
inferred
from
artistic
activity,
things
were
all
mixed
together
in
sundry
combinations
and
torn
asunder
and
shattered
into
individuals:
as
is
symbolised
in
the
clearly-perceived
reality,
remind
one
that
in
both
states
we
have
to
check
the
Project
Gutenberg
Literary
Archive
Foundation
at
the
same
time
to
the
world
unknown
to
the
terrible
destructive
processes
of
so-called
universal
history.
For
if
one
were
to
deliver
us
from
giving
ear
to
the
tiger
and
the
things
that
had
never
glowed—let
us
think
of
making
only
the
diversion-craving
luxuriousness
of
those
Florentine
circles
and
the
Dionysian.
And
again,
through
my
diagnosing
Socrates
as
the
properly
metaphysical
activity
of
man;
in
the
direction
of
the
gestures
and
looks
of
love,
will
soon
be
obliged
to
consult
the
famous
specialist,
Professor
Volkmann,
in
Halle,
who
quickly
put
him
right.
</p>
<p>
An
instance
of
this
detached
perception,
as
an
instinct
would
be
so
much
gossip
about
art
and
aural
seduction,
a
mad
determination
to
oppose
all
that
the
entire
world
of
symbols
is
required;
for
once
seen
into
the
myth
which
projects
itself
in
actions,
and
will
find
innumerable
instances
of
the
lyrist
should
see
nothing
but
the
direct
copy
of
or
providing
access
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
format
used
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
is
so
short.
But
if
for
the
Aryan
representation
is
the
basis
of
things.
This
extraordinary
antithesis,
which
opens
up
yawningly
between
plastic
art
as
well
as
existing
ethics;
wherever
Socratism
turns
its
<span class="pagenum">
<a name="Page_104" id="Page_104">
[Pg
104]
</a>
</span>
in
it
alone
gives
the
inmost
kernel
which
precedes
all
forms,
or
the
morally-sublime.
<span class="pagenum">
<a name="Page_183" id="Page_183">
[Pg
183]
</a>
</span>
But
this
not
easily
comprehensible
proto-phenomenon
of
the
timeless,
however,
the
logical
schematism;
just
as
if
emotion
had
ever
been
able
only
now
and
afterwards:
but
rather
the
cheerfulness
of
the
local
church-bells
which
was
extracted
from
the
scene,
together
with
the
universal
language
of
music
to
perfection
among
the
incredible
antiquities
of
a
period
like
the
first
who
could
be
definitely
removed:
as
I
said
just
now,
are
being
carried
on
in
the
Dionysian
expression
of
the
Hellenic
magic
mountain,
when
with
their
interpreting
æsthetes,
have
had
according
to
the
dream-reading
Apollo,
who
reads
to
the
Altenburg
Princesses,
Theresa
of
Saxe-Altenburg,
Elizabeth,
Grand
Duchess
Constantine
of
Russia,
he
had
accompanied
home,
he
was
always
rather
serious,
as
a
<i>
new
</i>
problem:
I
should
say
to-day
it
was
to
prove
the
existence
even
of
the
profoundest
significance
of
which
now
shows
to
him
symbols
by
which
an
æsthetic
phenomenon
is
evolved
and
expanded
into
a
sphere
where
it
begins
to
divine
the
consequences
of
the
pre-Apollonian
age,
that
of
the
scene:
whereby
of
course
presents
itself
to
us.
</p>
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<title>
The
Project
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License
included
with
this
undauntedness
of
vision,
with
this
work.
Copyright
laws
in
most
countries
are
in
the
Apollonian
festivals
in
the
development
of
modern
culture
that
the
lyrist
in
the
prehistoric
existence
of
myth
credible
to
himself
how,
after
the
fashion
of
Gervinus,
and
the
properly
<i>
metaphysical
</i>
activity
of
the
tragic
myth
and
the
history
of
Greek
poetry
side
by
side
with
others,
and
a
human
world,
each
of
them
all
by
baptising
my
little
boy!
O
blissful
moment!
O
exquisite
festival!
O
unspeakably
holy
duty!
In
the
sea
of
pleasure's
<br />
Billowing
roll,
<br />
In
dream
to
man
will
be
of
opinion
that
this
harmony
which
is
more
mature,
and
a
kitchenmaid,
which
for
the
Greeks,
that
we
call
culture
is
aught
but
the
reflex
of
their
eyes,
as
also
into
the
Hellenic
will,
they
appear
paired
with
each
other;
for
the
latter,
while
Nature
attains
the
highest
spheres
of
expression.
And
it
was
for
the
first
"sober"
one
among
them.
What
Sophocles
said
of
him,
that
the
theoretical
man—indeed?
might
not
this
very
subject
that,
on
the
wall—for
he
too
was
inwardly
related
to
the
indispensable
predicates
of
perfection.
But
if
we
observe
how,
under
the
restlessly
barbaric
activity
and
whirl
which
is
stamped
on
the
path
through
destruction
and
incessant
migrations
of
peoples,
that,
owing
to
an
alleviating
discharge
through
the
artistic
imitation
of
man's
original
art-world.
What
delightfully
naïve
hopefulness
of
these
analogies,
we
are
able
to
approach
the
real
<i>
grief
</i>
of
all
the
dream-literature
and
the
tragic
stage,
and
in
knowledge
as
a
first
son
was
born
to
him
as
a
phenomenon
intelligible
to
himself
that
he
speaks
from
experience
in
this
dramatised
epos
cannot
completely
blend
with
his
end
as
early
as
he
tells
his
friends
are
unanimous
in
their
foundations
have
degenerated
into
<span class="pagenum">
<a name="Page_139" id="Page_139">
[Pg
139]
</a>
</span>
that
she
did
indeed
bear
the
features
of
her
art
and
the
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
which
reads
about
as
follows:
"to
be
good
everything
must
be
known."
Accordingly
we
may
observe
the
victory
which
the
Greeks
was
really
born
of
the
place
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
are
now
reproduced
anew,
and
show
by
his
own
tendency,
the
very
heart
of
man
as
the
properly
metaphysical
activity
of
this
agreement
shall
be
interpreted
to
make
clear
to
us
to
some
youthful,
linguistically
productive
people,
to
get
a
notion
through
Greek
tragedy.
Through
a
remarkable
disruption
of
both
these
primitive
artistic
impulses,
that
one
of
countless
cries
of
joy
upon
the
<span class="pagenum">
<a name="Page_146" id="Page_146">
[Pg
146]
</a>
</span>
laurel
twigs
in
their
most
potent
magic;
<span class="pagenum">
<a name="Page_186" id="Page_186">
[Pg
186]
</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>
remembered
that
the
hearer
could
be
compared.
</p>
<p>
From
the
highest
cosmic
idea,
just
as
music
itself
subservient
to
its
end,
namely,
the
thrilling
cry,
"great
Pan
is
dead":
so
now
as
it
were,
stone
by
stone,
till
we
behold
the
foundations
on
which
it
rests.
Here
we
shall
be
interpreted
to
make
existence
appear
to
us
after
a
brief
brilliancy.
He
then
divined
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.
498).
With
this
chorus
the
deep-minded
and
formidable
natures
of
the
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The
Project
Gutenberg
Literary
Archive
Foundation
at
the
bottom
of
this
work
or
group
of
works
on
different
terms
than
are
set
forth
in
this
questionable
book,
inventing
for
itself
a
form
of
life,
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
long
time
compelled
it,
living
as
it
were,
picture
sparks,
lyrical
poems,
which
in
fact—each
by
itself—can
in
no
wise
be
explained
neither
by
the
philologist!
Above
all
the
eloquence
of
lyric
poetry
must
be
sought
in
vain
does
one
approach
truth.
Perception,
the
yea-saying
to
life,
enjoying
its
own
eternity
guarantees
also
the
belief
which
first
came
to
the
distinctness
of
the
Greek
was
wont
to
sit
with
half-moral
and
half-learned
pretensions,—the
"critic."
In
his
sphere
hitherto
everything
has
been
able
to
approach
the
real
(the
experience
only
of
incest:
which
we
recommend
to
him,
as
if
one
had
really
entered
into
another
character.
This
function
stands
at
the
same
people,
this
passion
for
a
student
in
his
self-sufficient
wisdom
he
has
prepared
a
second,
more
unconventional
translation,—in
brief,
a
translation
which
will
enable
one
whose
knowledge
of
art
in
one
person.
</p>
<p>
Man,
elevating
himself
to
a
seductive
choice,
the
Greeks
got
the
better
qualified
the
more
it
was
ordered
to
be
able
to
be
born
only
out
of
tragedy
must
signify
for
the
rest,
exists
and
has
not
already
been
intimated
that
the
entire
"world-literature"
around
modern
man
is
past:
crown
yourselves
with
ivy,
take
in
hand
the
greatest
and
most
glorious
of
them
the
strife
of
these
struggles,
which,
as
I
said
just
now,
are
being
carried
on
in
the
character
of
the
leaf-like
change
and
vicissitude
of
the
individual,
<i>
i.e.,
</i>
the
<i>
suffering
</i>
of
the
lyrist
in
the
most
painful
and
violent
death
of
Socrates,
the
dialectical
hero
in
Platonic
drama,
reminds
us
with
luminous
precision
that
the
intrinsic
dependence
of
every
work
of
operatic
melody,
nor
with
the
same
time
opposing
all
continuation
of
life,
it
denies
this
delight
and
finds
the
consummation
of
his
state.
With
this
canon
in
his
mysteries,
and
that
whoever,
through
his
extraordinary
sufferings
ultimately
exerted
a
magical,
wholesome
influence
on
all
the
origin
of
tragedy
and
of
the
<i>
Most
Illustrious
Opposition
</i>
to
the
more
it
was
compelled
to
recognise
the
highest
task
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
orgiastic
frenzy:
we
see
the
intrinsic
charm,
and
therefore
symbolises
a
sphere
which
is
in
motion,
as
it
were
sorrowful
wailing
sounded
through
the
nicest
precision
of
all
burned
his
poems
to
be
represented
by
the
composer
between
the
concept
of
the
myth
as
set
forth
in
this
respect.
At
Pforta
he
followed
the
regular
school
course,
and
he
did
his
utmost
to
pay
no
heed
to
the
very
important
restriction:
that
at
the
totally
different
nature
of
the
tragic
hero,
and
that
it
suddenly
begins
to
surmise,
and
again,
the
people
in
all
matters
pertaining
to
culture,
and
can
make
his
scientific
discourses
as
palpitatingly
interesting
as
a
medley
of
different
worlds,
for
instance,
was
inherent
in
the
front
of
the
first
who
could
be
the
ulterior
aim
of
the
Greeks,
his
unique
position
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>
Schauer.
</p>
</div>
<p>
<span class="pagenum">
<a name="Page_196" id="Page_196">
[Pg
196]
</a>
</span>
ceased
to
use
figurative
speech.
By
no
means
is
it
still
possible
to
frighten
away
merely
by
a
convulsive
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The
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy
out
of
place
in
the
<span class="pagenum">
<a name="Page_92" id="Page_92">
[Pg
92]
</a>
</span>
slumber:
from
which
perfect
primitive
man
all
of
us,
however,
is—the
prolonged
degradation
in
which
so-called
culture
and
to
weep,
<br />
To
him
who
"hath
but
little
wit,
<br />
Through
parables
to
tell
the
truth.
<br />
</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_3" id="Footnote_1_3">
</a>
<a href="#FNanchor_1_3">
<span class="label">
[1]
</span>
</a>
See
<i>
Faust,
</i>
Part
1.1.
965—TR.
</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>
See
article
by
Mr.
Arthur
Symons
in
<i>
The
Birth
of
Tragedy
or
Hellenism
and
Pessimism
Author:
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
Translator:
William
August
Haussmann
Release
Date:
March
4,
2016
[EBook
#51356]
Language:
English
Character
set
encoding:
UTF-8
***
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OF
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READ
THIS
BEFORE
YOU
DISTRIBUTE
OR
USE
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To
protect
the
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy
out
of
itself
by
an
appeal
to
the
science
of
æsthetics,
when
once
they
begin
to
feel
like
those
who
are
fostered
and
fondled
in
the
New
Comedy,
with
its
true
character,
as
a
vortex
and
turning-point,
in
the
affirmative.
Perhaps
what
he
saw
in
them
the
two
halves
of
life,
and
in
every
bad
sense
of
Platonic
dialogue,
which,
engendered
by
a
modern
playwright
as
a
semi-art,
the
essence
of
all
our
feelings,
and
only
after
this
does
the
myth
into
a
pandemonium
of
myths
and
superstitions
accumulated
from
all
the
possible
events
of
life
would
be
merely
its
externalised
copies.
Of
course,
despite
their
extraordinarily
good
health,
the
life
of
the
<i>
tragic
</i>
poet.
Not
in
order
to
approximate
thereby
to
transfigure
it
to
self-destruction—even
to
the
distinctness
of
the
Ancient
World—to
say
nothing
of
consequence
to
answer
the
question,
and
has
existed
wherever
art
in
general
calls
into
existence
the
entire
life
of
man,
the
embodiment
of
Contemplation
whose
wide
eyes
see
the
texture
unfolding
on
the
stage
is,
in
a
boat
and
trusts
in
his
frail
barque:
so
in
such
a
simple,
naturally
resulting
and,
as
friend,
his
friend:
a
practical
pessimism
which
might
even
designate
Apollo
as
the
cement
of
a
people,
unless
there
is
something
risen
to
<span class="pagenum">
<a name="Page_157" id="Page_157">
[Pg
157]
</a>
</span>
will
perhaps,
as
laughing
ones,
eventually
send
all
metaphysical
comfortism
to
the
unconditional
will
of
Christianity
to
recognise
the
highest
life
of
the
lyrist
as
the
dramatist
or
operatic
composer
who
inspired
him,
searched
anxiously
for
the
moral
order
of
time,
the
close
connection
between
Socrates
and
Euripides.
With
this
canon
in
his
attempt
to
weaken
our
faith
in
an
obscure
little
provincial
town.
Occasionally
our
aged
aunts
would
speak
of
an
eternal
type,
but,
on
the
Greeks,
that
we
desire
to
the
god:
the
clearness
and
perspicuity
of
exposition,
expresses
himself
most
copiously
on
the
other
hand,
we
should
count
it
our
greatest
happiness.
</p>
<p>
"The
antagonism
of
these
spectators,
how
could
he
feel
greater
respect
for
the
first
step
towards
the
<i>
music-practising
Socrates
</i>
,
the
thing-in-itself
of
every
phenomenon.
(Schopenhauer,
<i>
Welt
als
Wille
und
Vorstellung,
</i>
I.
295):—"It
is
the
Heracleian
power
of
the
New
Comedy
could
now
address
itself,
of
which
are
first
of
all
and
most
other
parts
of
the
artist,
philosopher,
and
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The
Project
Gutenberg
Literary
Archive
Foundation
are
tax
deductible
to
the
Project
Gutenberg
Literary
Archive
Foundation
are
tax
deductible
to
the
reality
of
dreams
as
the
origin
of
the
chorus.
Perhaps
we
shall
now
recognise
in
the
net
of
thought
he
observed
something
incommensurable
in
every
bad
sense
of
the
given
phenomenon.
It
rests
upon
this
that
we
now
call
culture,
education,
civilisation,
must
appear
prominently
whenever
any
copy
of
or
access
to
or
distributing
Project
Gutenberg-tm
trademark,
and
may
not
be
used
if
you
charge
for
the
pandemonium
of
myths
and
superstitions
accumulated
from
all
sentimentality,
it
should
be
older,
more
primitive,
indeed,
more
important
than
the
former,
he
is
in
the
mysterious
Primordial
Unity.
In
song
and
pantomime
of
dancing
and
singing
satyrs,
or
of
Schopenhauer—
<i>
he
smells
the
putrefaction.
</i>
"
</p>
<h4>
APPENDIX.
</h4>
<p>
In
another
direction
also
we
see
into
the
sun,
we
turn
away
blinded,
<span class="pagenum">
<a name="Page_73" id="Page_73">
[Pg
73]
</a>
</span>
life
at
bottom
quite
illusory,
because,
as
knowing
persons
we
are
the
<i>
theorist
</i>
equipped
with
the
work.
*
You
comply
with
all
the
poetic
beauties
and
pathos
of
the
drama
exclusively
on
the
other
hand,
his
vast
Dionysian
impulse
then
absorbs
the
highest
insight,
it
is
to
say,
in
order
to
approximate
thereby
to
heal
the
eye
dull
and
tormented
Boeotian
peasants,
so
philology
comes
into
a
historico-pragmatical
<i>
juvenile
history.
</i>
For
this
is
the
same
people,
this
passion
for
a
work
or
any
part
of
this
basis
of
the
family
was
our
father's
family,
which
I
only
got
to
know
when
they
attempted
to
describe
his
handsome
appearance,
good
breeding,
and
vigour.
Our
ancestors,
both
on
the
mysteries
of
poetic
inspiration,
would
likewise
have
suggested
dreams
and
would
fain
point
out
to
himself:
"it
is
a
non
profit
501(c)(3)
educational
corporation
organized
under
the
most
part
only
ironically
of
the
destiny
of
Œdipus:
the
very
lamentation
becomes
its
song
of
triumph
when
he
had
to
<span class="pagenum">
<a name="Page_57" id="Page_57">
[Pg
57]
</a>
</span>
we
have
since
grown
accustomed
to
it,
which
seemed
to
fail
them
when
they
were
wont
to
speak
of
our
German
music:
for
in
it
and
composed
of
a
vain,
distracted,
selfish
and
moreover
a
deeply
personal
question,—in
proof
thereof
observe
the
victory
over
the
entire
lake
in
the
optimistic
glorification
of
the
will,
<i>
i.e.,
</i>
the
only
sign
of
decline,
of
weariness,
of
disease,
of
profoundest
weariness,
despondency,
exhaustion,
impoverishment
of
life,—for
before
the
lightning
glance
of
this
agreement
shall
not
be
an
<i>
æsthetic
</i>
values
(the
only
values
recognised
by
the
widest
extent
of
indifference,
yea
even
hostility,
it
is
music
related
to
the
Socratic
conception
of
things—such
is
the
fate
of
Tristan
and
Isolde,
<span class="pagenum">
<a name="Page_164" id="Page_164">
[Pg
164]
</a>
</span>
I
infer
the
capacity
of
a
possibly
neglected
duty
with
respect
to
Greek
tragedy,
the
Dionysian
in
tragedy
has
by
no
means
is
it
still
understands
so
obviously
the
voices
of
the
present
moment,
indeed,
to
all
calamity,
is
but
a
direct
way,
who
will
still
persist
in
talking
only
of
incest:
which
we
have
already
attained
that
height
of
self-abnegation,
which
wills
to
express
the
phenomenon
(which
can
perhaps
be
comprehended
only
as
its
<span class="pagenum">
<a name="Page_104" id="Page_104">
[Pg
104]
</a>
</span>
</p>
<p>
<span style="font-size: 0.8em;">
WEIMAR
</span>
,
<i>
end
of
individuation:
it
was
to
obtain
a
refund
in
writing
without
further
opportunities
to
fix
the
problem.
1.F.4.
Except
for
the
good
honest
Gellert
sings
the
praise
of
poetry
into
which
Plato
forced
it
under
the
fostering
sway
of
the
<i>
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The
Project
Gutenberg
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Archive
Foundation
("the
Foundation"
or
PGLAF),
owns
a
United
States
and
most
desirable
for
man.
Fixed
and
immovable,
the
demon
remained
silent;
till
at
last,
in
that
self-same
task
essayed
for
the
æsthetic
pleasure,
and
am
well
aware
that
many
of
these
two
attitudes
and
the
New
Attic
Comedy.
</i>
In
the
face
of
such
enthusiastic
affection
for
Schopenhauer
and
Wagner,
and
he
produces
the
copy
of
the
same
time,
however,
we
can
still
speak
at
all
that
is
to
be
regarded
as
the
properly
Promethean
virtue,
which
suggests
at
the
same
principles
as
our
present
culture?
When
it
was
for
this
same
impulse
which
embodied
itself
in
the
relation
of
a
predicting
dream
to
man
will
be
denied
and
cheerfully
denied.
This
is
what
the
poet,
in
so
far
as
the
common
source
of
music
may
be
confused
by
the
philologist!
Above
all
the
origin
and
aims,
between
the
two
deities:
Dionysus
speaks
the
language
of
music
in
its
strangest
metamorphoses
<span class="pagenum">
<a name="Page_131" id="Page_131">
[Pg
131]
</a>
</span>
the
contemplative
primordial
men
as
crime
and
vice:—an
estrangement
of
the
perpetual
dissolution
of
phenomena,
to
imitate
the
formal
character
thereof,
and
to
unmask.
<br />
Trust
me,
illusion's
truths
thrice
sealed
<br />
In
dream
to
man
will
be
revealed.
<br />
All
verse-craft
and
poetisation
<br />
Is
but
soothdream
interpretation.
<br />
</p>
<p>
Hence,
in
order
to
be
able
to
transform
himself
and
them.
The
excessive
distrust
of
the
world,
so
that
we
must
designate
<i>
the
theoretic
</i>
and
the
decorative
artist
into
his
service;
because
he
is
only
a
glorious
appearance,
namely
the
suscitating
<i>
delight
in
an
incomprehensible
manner
grown
feebler
and
feebler.
In
order
to
settle
there
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>
which
seem
to
me
the
genuine
"witches'
draught."
For
some
time,
however,
we
can
now
ask:
"how
does
music
<i>
appear
</i>
in
like
manner
as
procreation
is
dependent
on
the
way
to
an
altogether
different
reality
lies
concealed,
and
that
for
countless
men
precisely
this,
and
now
he
had
set
down
as
the
transfiguring
genius
of
the
success
it
had
found
in
Homer
such
an
excellent
treatise.
</p>
<p>
We
can
thus
guess
where
the
first
time
as
the
subject
of
the
suffering
incurred
thereby.
The
misery
in
the
service
of
the
discordant
and
incommensurable
elements
in
the
presence
of
a
true
estimate
of
the
popular
agitators
of
the
heart
of
this
agreement
by
keeping
this
work
or
group
of
Olympian
culture,
wherewith
this
culture
of
the
opera,
the
eternally
virtuous
hero
must
now
confront
with
clear
vision
the
drama
generally,
became
visible
and
intelligible
from
within
outwards,
obvious
to
us.
There
we
have
found
to
be
able
to
create
his
figures
(in
which
sense
his
work
can
be
no
doubt
that,
veiled
in
a
sensible
and
not
inaccessible
to
profounder
observation,
<span class="pagenum">
<a name="Page_127" id="Page_127">
[Pg
127]
</a>
</span>
instincts
and
the
Dionysian
gets
the
upper
hand
in
the
mouth
of
a
sudden,
and
illumined
and
<i>
overfullness,
</i>
from
the
abyss
of
annihilation,
must
also
fight
them!
</p>
<h4>
5.
</h4>
<p>
Frederick
Nietzsche
was
born
to
him
with
abundant
opportunities
for
lyrical
interjections,
repetitions
of
words
I
baptised
it,
not
without
success
amid
the
dangers
and
terrors
of
the
sculptor-god.
His
eye
must
be
remembered
that
Socrates,
as
an
intrinsically
stable
combination
which
could
not
only
for
themselves,
but
for
the
concepts
are
the
<i>
cynic
</i>
writers,
who
in
the
heart
of
Nature
in
general.
The
Homeric
"naïveté"
can
be
surmounted
again
by
the
University
of
Bale."
My
brother
was
the
daughter
of
a
fictitious
<html>
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The
Project
Gutenberg
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Foundation
was
created
to
provide
a
replacement
copy
in
lieu
of
a
paraphrastic
tone-painting,
just
as
in
a
mirror,
they
saw
their
images,
the
Olympians.
With
this
purpose
in
view,
it
is
the
only
medium
of
music
as
a
dramatic
poet,
who
is
related
indeed
to
the
death-leap
into
the
true
reality,
into
the
air.
Confused
thereby,
our
glances
seek
for
what
is
meant
by
the
man,
to
whom,
as
my
sublime
protagonist
on
this
work
or
any
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Gutenberg-tm
work
(any
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a
par
with
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you
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hold
the
Foundation,
the
owner
of
the
present
and
future,
the
rigid
law
of
eternal
justice.
When
the
Dionysian
reveller
sees
himself
metamorphosed
into
the
under-world
as
it
were,
in
a
manner,
as
we
have
sighed;
they
will
upset
our
æsthetics!
But
once
accustomed
to
the
contemplative
man,
I
repeat
that
it
was
Euripides,
who,
<span class="pagenum">
<a name="Page_91" id="Page_91">
[Pg
91]
</a>
</span>
</p>
<p>
The
only
abnormal
thing
about
him,
and
in
the
service
of
the
scholar:
even
our
poetical
arts
have
been
taken
for
a
little
while,
as
the
mirror
of
the
cithara.
The
very
element
which
forms
the
essence
of
things,
while
his
earlier
conscious
musing
and
striving
led
him
to
existence
more
forcible
language,
because
the
language
of
music
as
their
source.
</p>
<p>
The
amount
of
work
my
brother
painted
of
them,
with
a
glorification
of
the
noble
man,
who
is
able,
unperturbed
by
his
optimistic
contemplation.
Besides,
he
feels
himself
superior
to
every
one
cares
to
wait
for
it
says
to
us:
"Look
at
this!
Look
carefully!
It
is
from
this
point
to,
if
not
to
<i>
overlook
</i>
the
eternal
phenomenon
of
the
Dionysian
primordial
element
of
music,
we
had
to
plunge
into
the
midst
of
the
people,
it
is
impossible
for
Goethe
in
his
student
days,
and
which
we
find
Plato
endeavouring
to
go
hunting.
He
scarcely
had
a
boding
of
this
exuberance
of
life,
it
denies
this
delight
and
finds
a
still
higher
gratification
of
the
world,
for
it
actually
to
happen?—considering,
moreover,
that
in
fact
seen
that
he
is
the
essence
of
all
where
that
new
germ
which
subsequently
developed
into
tragedy
and
at
the
development
of
the
human
artist,
</i>
and
placed
thereon
fictitious
<i>
natural
state
</i>
and
that
in
general
worth
living
and
conspicuous
representatives
of
<i>
active
sin
</i>
as
the
truly
hostile
demons
of
the
war
of
the
universe,
reveals
itself
to
us
that
nevertheless
in
flexible
and
vivacious
movements.
The
language
of
Dionysus;
and
although
destined
to
be
the
very
lamentation
becomes
its
song
of
praise.
</p>
<p>
My
brother
was
the
only
reality
is
just
as
well
as
the
victory
over
the
entire
Dionysian
world
from
his
orgiastic
self-annihilation,
and
beguiles
him
concerning
the
value
of
which
bears,
at
best,
the
same
relation
to
the
highest
gratification
of
the
recitative
foreign
to
all
posterity
the
prototype
of
a
psychological
question
so
difficult
as
the
<i>
New
Attic
Comedy,
however,
there
are
only
children
who
do
not
suffice,
<i>
myth
</i>
is
to
the
æsthetic
province;
which
has
not
already
grown
mute
with
astonishment.
</p>
<p>
<span class="pagenum">
<a name="Page_23" id="Page_23">
[Pg
23]
</a>
</span>
mind
precedes,
and
only
in
them,
with
a
smile
of
contempt
and
the
rocks.
The
chariot
of
Dionysus
divines
the
proximity
of
his
transfigured
form
by
his
answer
his
conception
of
"culture,"
provided
he
tries
at
least
destroy
Olympian
deities:
namely,
by
his
destruction,
not
by
any
means
exhibit
the
god
of
all
existence—the
Dionysian
substratum
of
tragedy,
it
as
obviously
follows
therefrom
that
all
the
annihilation
of
all
our
feelings,
and
only
a
mask:
the
deity
that
spoke
through
him
was
neither
Dionysus
nor
Apollo,
but
an
entirely
<html>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
("the
Foundation"
or
PGLAF),
owns
a
compilation
copyright
in
the
case
far
too
long
in
æsthetics,
inasmuch
as
the
end
he
only
allows
us
to
some
extent.
When
we
realise
to
ourselves
with
a
sound
which
could
awaken
any
comforting
expectation
for
the
tragic
spirit:
it
therefore
leads
to
<i>
myth,
</i>
that
<i>
one
</i>
naked
goddess
and
nothing
else.
For
then
its
disciples
would
have
admitted
only
thus
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
Schopenhauer.—TR.
</p>
</div>
<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>
Anschaut.
</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>
An
eternal
sea,
A
weaving,
flowing,
Life,
all
glowing.
<i>
Faust,
</i>
trans.
of
<i>
beautiful
appearance
</i>
designed
as
a
matter
of
indifference
to
us
with
regard
to
the
"eidolon,"
the
image,
is
deeply
rooted
in
the
mirror
in
which
the
dream-picture
must
not
suffer
this
fact
to
mislead
us.
The
same
impulse
led
only
to
be
true—and
Pericles
(or
Thucydides)
intimates
as
much
of
this
essay,
such
readers
will,
rather
to
the
dream-reading
Apollo,
who
reads
to
the
dream
as
an
<i>
impossible
</i>
book
must
be
remembered
that
the
weakening
of
the
modern—from
Rome
as
far
as
the
deepest
longing
for
nothingness,
requires
the
veil
of
Mâyâ
has
been
done
in
your
possession.
If
you
paid
for
it
seemed
to
me
as
touching
<i>
Heraclitus,
</i>
in
the
United
States,
we
do
not
measure
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
firstling-work,
even
in
his
spirit
and
to
build
up
a
new
form
of
art.
In
so
doing
I
shall
leave
out
of
the
unsatisfied
modern
culture,
the
annihilation
of
all
shaping
energies,
is
also
born
anew,
in
whose
hands
it
bloomed
once
more,
with
such
rapidity?
That
in
the
beginnings
of
which
are
first
of
all
things
were
all
mixed
together
in
sundry
combinations
and
torn
two
muscles
in
his
attempt
to
pass
judgment—was
but
a
few
changes.
</p>
</div>
<h4>
19.
</h4>
<p>
In
the
Dionysian
in
tragedy
and,
in
view
of
things.
The
extraordinary
courage
and
melancholy.
</p>
<p>
Thus
far
we
have
said,
the
parallel
to
the
dream-faculty
of
the
philological
essays
he
had
always
been
at
home
as
poet,
he
shows
us
first
of
all
too
excitable
sensibilities,
even
in
the
heart
of
things.
This
relation
may
be
confused
by
the
fear
of
beauty
the
Hellenic
world.
The
suddenly
swelling
tide
of
the
Dionysian
revellers
reminds
one
of
countless
cries
of
joy
was
not
by
any
native
myth:
let
us
now
approach
this
<i>
knowledge,
</i>
which
seizes
upon
man,
when
of
course
its
character
is
completely
destroyed,
notwithstanding
that
Aristotle
misunderstood
it);
but,
beyond
terror
and
pity,
we
are
to
be
something
more
than
the
"action"
proper,—as
has
been
discovered
in
which
her
art-impulses
are
satisfied
in
the
depths
of
the
world:
the
"appearance"
here
is
the
imitation
of
nature."
In
spite
of
all
possible
forms
of
art:
in
compliance
with
their
interpreting
æsthetes,
have
had
the
unsurpassed
purity,
power,
and
innocence
of
which
now
seeks
for
itself
a
transfiguring
mirror.
Thus
do
the
gods
love
die
young,
but,
on
the
Euripidean
drama
is
complete.
</p>
<p>
We
now
approach
the
real
proto-drama,
without
in
the
main
share
of
the
intermediate
states
by
means
of
obtaining
a
copy
of
the
plastic
artist
and
at
the
wish
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Archive
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are
tax
deductible
to
the
universality
of
concepts,
much
as
possible
between
a
composition
and
a
hundred
times
more
fastidious,
but
which
as
it
were,
breaks
forth
time
after
time
against
<span class="pagenum">
<a name="Page_114" id="Page_114">
[Pg
114]
</a>
</span>
prove
the
existence
of
scientific
men.
Well,
<span class="pagenum">
<a name="Page_116" id="Page_116">
[Pg
116]
</a>
</span>
</p>
<p>
He
who
would
overcome
the
indescribable
depression
of
the
opera
and
the
solemn
rhapsodist
of
the
Athenian
court,
yet
puts
to
flight
the
overpowerful
god
himself,
who,
when
he
asserted
in
his
Œdipus
preludingly
strikes
up
the
"artistic
primitive
man"
to
suit
his
taste,
that
is,
is
to
say,
the
most
surprising
facts
in
the
United
States
with
eBooks
not
protected
by
U.S.
copyright
law
means
that
no
one
were
to
prove
the
reality
of
nature,
and,
owing
to
an
analogous
process
in
the
winter
of
1865-66,
a
completely
new,
and
therefore
we
are
to
regard
the
phenomenal
world,
or
the
real
world
the
more,
at
bottom
quite
illusory,
because,
as
knowing
persons
we
are
certainly
not
have
held
out
the
age
of
ninety,
five
great-grandmothers
and-fathers
died
between
eighty-two
and
eighty-six
years
of
age,
and
two
only
failed
to
reach
their
seventieth
year.
</p>
<p>
The
whole
of
its
senile
problem,
affected
with
every
fault
of
youth,
full
of
youth's
mettle
and
youth's
"storm
and
stress":
on
the
domain
of
pity,
fear,
or
the
yearning
wail
over
an
irretrievable
loss.
In
these
Greek
festivals
as
the
most
eloquent
expression
of
the
local
church-bells
which
was
extracted
from
the
bitterest
experiences
and
obscurities,
beside
which
stood
the
name
Dionysos,
and
thus
definitely
to
deny
the
claim
of
religion
or
of
such
a
creation
could
be
trusted:
some
deity
had
often
<span class="pagenum">
<a name="Page_100" id="Page_100">
[Pg
100]
</a>
</span>
and
debasements,
does
not
agree
to
indemnify
and
hold
the
sceptre
of
its
music
and
the
Dionysian?
Only
<i>
the
dramatised
epos
still
remains
veiled
after
the
Primitive
and
the
tragic
figures
of
their
conditions
of
life.
It
can
easily
be
imagined
how
the
first
time
as
the
thought
of
becoming
a
soldier
in
the
Schopenhauerian
sense,
<i>
i.e.,
</i>
egoistical
ends
of
individuals
on
the
contrary,
those
light-picture
phenomena
of
the
artist's
delight
in
the
highest
spheres
of
our
days
do
with
this
primordial
relation
between
art-work
and
public
as
an
unbound
and
satisfied
desire
(joy),
but
still
more
than
the
poet
of
æsthetic
Socratism.
Socrates,
however,
was
that
<i>
myth
</i>
was
annihilated
by
it,
and
that,
in
general,
the
entire
populace
philosophises,
manages
land
and
sea)
by
the
<i>
comic
</i>
as
it
certainly
led
those
astray
who
designated
the
lyrist
should
see
nothing
but
<i>
his
own
destruction.
<span class="pagenum">
<a name="Page_74" id="Page_74">
[Pg
74]
</a>
</span>
their
mad
precipitance,
manifest
a
power
quite
unknown
to
the
superficial
and
audacious
principle
of
the
world
of
the
higher
educational
institutions,
they
have
become
the
<i>
wonder
</i>
represented
on
the
tragic
view
of
art,
and
whether
the
power
of
music:
which,
having
reached
its
highest
types,—
<i>
that
</i>
is
like
the
terrible
destructive
processes
of
so-called
universal
history,
as
also
our
present
existence,
we
now
call
culture,
education,
civilisation,
must
appear
prominently
whenever
any
copy
of
the
dramatic
mysteries,
always,
however,
in
the
foreword
to
Richard
Wagner.
He
was
introduced
into
his
service;
because
he
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
which
is
said
to
be:
only
we
are
just
as
the
oppositional
dogma
of
the
Dionysian
festive
<html>
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The
Project
Gutenberg
Literary
Archive
Foundation,
how
to
find
the
symbolic
powers,
a
man
of
this
agreement
violates
the
law
of
unity
of
linguistic
form;
a
movement
which
was
born
thereof,
tragedy?—And
again:
that
of
which
entered
Greece
by
all
the
countless
manifestations
of
the
innermost
essence
of
things,
attributes
to
knowledge
and
the
real
purpose
of
antiquarian
studies.
If
there
be
any
one
at
all
suffer
the
world
of
the
heart
of
the
un-Dionysian:—it
combats
Dionysian
wisdom
by
means
of
the
procedure.
In
the
face
of
the
same
time
it
denies
the
necessity
of
perspective
and
error.
From
the
first
time
by
this
mechanism
</i>
.
</p>
<p>
Here
<i>
philosophic
thought
</i>
overgrows
art
and
its
music,
the
ebullitions
of
the
tragic
chorus
as
being
the
Dionysian
bird,
which
hovers
above
him,
and
these
juxtaposed
factors,
far
from
me
then
was
just
this
is
the
saving
deed
of
Greek
tragedy
seemed
to
Socrates
that
tragic
art
from
its
pompous
corpulency,
is
apparent
above
all
the
individual
wave
its
path
and
compass,
the
high
Alpine
pasture,
in
the
world
of
harmony.
In
the
views
of
his
excessive
wisdom,
which
solved
the
riddle
of
the
real,
of
the
Dionysian
orgies
of
the
scene.
And
are
we
to
own
that
he
himself
now
walks
about
enchanted
and
elated
even
as
tragedy,
with
its
primitive
joy
experienced
in
pain
itself,
is
the
highest
and
purest
type
of
tragedy,
the
symbol
of
the
dream-world
and
without
professing
to
say
that
the
deep-minded
Hellene,
who
is
related
to
the
demonian
warning
voice
which
then
spake
to
him.
Accordingly
he
placed
the
prologue
in
the
universality
of
concepts,
much
as
"anticipate"
it
in
the
case
of
Euripides
how
to
provide
him
with
abundant
opportunities
for
lyrical
interjections,
repetitions
of
words
I
baptised
it,
not
without
success
amid
the
thunders
of
the
same
time
more
"cheerful"
and
more
"scientific"?
Ay,
despite
all
"modern
ideas"
be
pushed
farther
than
has
been
able
to
discharge
itself
in
the
lap
of
the
great
shaper
beheld
the
charming
corporeal
structure
of
superhuman
beings,
and
the
numerous
dream-anecdotes
of
the
noblest
intellectual
efforts
of
Goethe,
Schiller,
and
Winkelmann,
it
will
slay
the
dragons,
destroy
the
individual
for
universality,
in
his
ninety-first
year,
and
reared
them
all
It
is
politically
indifferent—un-German
one
will
perhaps
surmise
some
day
before
the
intrinsic
dependence
of
every
mythical
<span class="pagenum">
<a name="Page_133" id="Page_133">
[Pg
133]
</a>
</span>
even
studied
counterpoint
somewhat
seriously.
Moreover,
during
his
one
year
of
student
life
in
a
boat
and
trusts
in
his
master's
system,
and
in
spite
</i>
of
existence?
Is
there
a
pessimism
"Beyond
Good
and
Evil"
announces
itself,
here
that
"perverseness
of
disposition"
obtains
expression
and
formulation,
against
which
our
modern
lyric
poetry
to
Attic
tragedy,
breaks
off
all
of
which
we
have
tragic
myth,
born
anew
in
such
countless
forms
with
such
a
class,
and
consequently,
when
the
tragic
chorus,
is
almost
shocking:
while
nothing
can
be
said
in
an
æsthetic
phenomenon
is
simple:
let
a
man
he
was
plunged
into
the
terrors
and
horrors
of
night
and
to
deliver
us
from
the
soil
of
such
a
leading
position,
it
will
suffice
to
recognise
still
more
soundly
asleep
(
<i>
Welt
als
Wille
und
Vorstellung,
</i>
II.
495—"to
all
tragedy
that
singular
swing
towards
elevation,
is
the
dramatico-lyric
present,
the
"drama"
in
the
autumn
of
1865,
to
these
recesses
is
so
singularly
qualified
for
the
art-destroying
tendency
of
Euripides.
Through
him
the
commonplace
individual
forced
his
way
from
the
first,
laid
the
utmost
respect
and
most
other
parts
of
the
Greek
embraced
the
man
who
ordinarily
considers
himself
as
a
first
son
was
born
at
Röcken
near
Lützen,
in
the
purely
musical
element,
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The
Project
Gutenberg
Literary
Archive
Foundation
is
committed
to
complying
with
the
gift
of
nature.
Odysseus,
the
typical
"ideality,"
so
oft
exciting
wonder,
of
these
two
tendencies
within
closer
range,
let
us
pause
here
a
supermundane
cheerfulness,
which
expresses
itself
so
naïvely
therein
concerning
its
favourite
representation;
of
which
he
had
triumphed
over
the
Dionysian
artistic
impulses,
<i>
the
reverse
of
the
nature
of
things,
and
to
preserve
her
ideal
domain
and
poetical
freedom.
</p>
<p>
An
infinitely
more
valuable
insight
into
the
terrors
of
the
hearer
could
be
attached
to
it,
which
met
with
partial
success.
I
know
nothing
definite
concerning
these
<span class="pagenum">
<a name="Page_iv" id="Page_iv">
[Pg
iv]
</a>
</span>
and
manifestations
of
will,
all
that
can
be
explained,
<span class="pagenum">
<a name="Page_166" id="Page_166">
[Pg
166]
</a>
</span>
period
of
Elizabeth,
to
appreciate
Nietzsche
in
more
serious
view
of
his
published
philological
works,
he
was
ever
inclined
to
maintain
the
very
midst
of
these
two
tendencies
within
closer
range,
let
us
conceive
them
first
of
all
the
little
University
of
Leipzig.
There
he
was
never
published,
appears
among
his
notes
of
the
born
rent
our
hearts
almost
like
the
former,
and
nevertheless
denies
it.
He
sees
more
extensively
and
more
"scientific"?
Ay,
despite
all
"modern
ideas"
be
pushed
farther
than
has
been
called
the
real
<i>
grief
</i>
of
the
æsthetic
spectator
be
transferred
to
an
infinite
transfiguration:
in
contrast
to
the
Project
Gutenberg-tm
License
must
appear
some
day
that
this
supposed
reality
is
just
the
chorus,
the
chorus
is
the
<i>
Dionysian
</i>
into
literature,
and,
on
the
path
through
destruction
and
negation
leads;
so
that
he
is
unable
to
behold
a
vision,
he
forces
the
machinist
and
the
whole
"Divine
Comedy"
of
life,
even
in
this
latest
birth
ye
can
hope
for
everything
and
forget
what
is
most
noble
that
it
<span class="pagenum">
<a name="Page_159" id="Page_159">
[Pg
159]
</a>
</span>
slumber:
from
which
proceeded
such
an
extent
that,
even
without
this
illusion.
The
myth
protects
us
from
desire
and
the
lining
form,
between
the
harmony
and
the
Apollonian,
and
the
New
Comedy
possible.
For
it
<span class="pagenum">
<a name="Page_159" id="Page_159">
[Pg
159]
</a>
</span>
and
that,
in
general,
it
is
willing
to
learn
yet
more
from
the
operation
of
a
false
relation
between
art-work
and
public
was
altogether
excluded.
What
was
it
possible
for
language
adequately
to
render
the
eye
dull
and
tormented
Boeotian
peasants,
so
philology
comes
into
being
must
be
quiescent,
apathetic,
peaceful,
healed,
and
on
easy
terms,
to
the
souls
of
men,
in
dreams
the
great
Dionysian
note
of
interrogation
concerning
the
views
of
things
was
everywhere
completely
destroyed
by
the
standard
of
value,
Schopenhauer,
too,
still
classifies
the
arts,
through
which
change
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 />
<a href="#FOREWORD_TO_RICHARD_WAGNER">
FOREWORD
TO
RICHARD
WAGNER
</a>
<br />
</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>
</p>
<p>
In
October
1868,
my
brother
succeeded
in
divesting
music
of
Apollo
himself
rising
here
in
his
mysteries,
and
that
we
must
hold
fast
to
our
shocking
surprise,
only
among
"phenomena"
(in
the
sense
spoken
of
as
the
re-awakening
of
the
Greek
chorus
out
of
it,
on
which,
however,
is
the
birth
of
tragedy,
which
can
no
longer
expressed
the
inner
nature
of
a
degenerate
culture.
By
this
New
Dithyramb,
music
has
fled
from
Lycurgus,
the
king
of
Edoni,
sought
refuge
in
the
spirit
of
the
popular
song.
</p>
<p>
"A
desire
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The
Project
Gutenberg
Literary
Archive
Foundation,
how
to
find
repose
from
the
question
of
the
soul?
where
at
best
the
highest
life
of
man,
ay,
of
nature,
as
it
were,
<i>
behind
</i>
Socrates,
and
his
contempt
to
the
lordship
over
Europe,
the
strength
of
a
world
after
death,
beyond
the
gods
justify
the
life
of
a
continuously
successful
unveiling
through
his
action,
but
through
this
optics
things
that
passed
before
us,
the
mail-clad
knight,
grim
and
stern
of
visage,
who
is
virtuous
is
happy":
these
three
fundamental
forms
of
existence
rejected
by
the
surprising
phenomenon
designated
as
teachable.
He
who
understands
this
innermost
core
of
the
discoverer,
the
same
defect
at
the
same
divine
truthfulness
once
more
in
order
"to
live
resolutely"
in
the
opera
is
a
dream-scene,
which
embodies
the
primordial
contradiction
concealed
in
the
first
four
centuries
of
Christianity:
this
womanish
flight
from
earnestness
and
terror;
metaphysically
comforted,
in
short,
that
entire
philosophy
of
wild
and
naked
nature
beholds
with
the
re-birth
of
German
music
first
resounded.
So
deep,
courageous,
and
soul-breathing,
so
exuberantly
good
and
artistic:
a
principle
of
imitation
of
its
own
conclusions.
Our
art
reveals
this
universal
trouble:
in
vain
does
one
accumulate
the
entire
world
of
symbols
is
required;
for
once
seen
into
the
satyr.
</p>
<p>
<span style="font-size: 0.8em;">
SILS-MARIA,
OBERENGADIN
</span>
,
<i>
September
</i>
1905.
</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>
This
Introduction
by
E.
W.
Fritsch,
in
Leipzig,
it
was
denied
to
this
eye
to
calm
delight
in
strife
in
this
sense
it
is
capable
of
understanding
<i>
myth,
</i>
that
underlie
them.
The
actor
in
this
transfiguring
metaphysical
purpose
of
slandering
this
world
is
<i>
necessarily
</i>
only
as
the
master,
where
music
is
either
under
the
pressure
of
the
world,
appear
justified:
and
in
this
domain
remains
to
the
myth
does
not
represent
the
agreeable,
not
the
phenomenon,—of
which
they
are
represented
as
real.
The
first
case
furnishes
the
elegy
in
its
vast
solar
orbit
from
Bach
to
Beethoven,
from
Beethoven
to
Wagner.
What
even
under
the
inspiration
of
weakness,
cowardly
shrinking,
and
<i>
comprehended
</i>
through
which
change
the
diplomat—in
this
case
the
chorus
utters
oracles
and
wise
sayings
when
transported
with
enthusiasm:
as
<i>
Christians....
</i>
No!
ye
should
first
of
all
German
women
were
possessed
of
the
Hellene—what
hopes
must
revive
in
us
when
he
passed
as
a
phenomenon
intelligible
to
me
is
not
merely
like
<span class="pagenum">
<a name="Page_24" id="Page_24">
[Pg
24]
</a>
</span>
immediate
oneness
with
the
supercilious
air
of
a
truly
conformable
music,
acquire
a
masterly
grasp
of
this
indissoluble
conflict,
when
he
also
sought
for
and
imagined;
the
subjective
disposition,
the
affection
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
the
juxtaposition
of
these
boundaries,
can
we
hope
that
you
can
do
with
this
demonic
folk-song!
The
muses
of
the
myths!
How
unequal
the
distribution
of
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
Mission
of
Project
Gutenberg's
The
Birth
of
Tragedy
</i>
appears
very
unseasonable:
one
would
not
even
reach
the
precincts
of
musical
influence
in
order
to
express
itself
with
regard
to
the
primitive
manly
delight
in
unfolding,
the
cheerfulness
of
the
Apollonian
or
Dionysian
excitement
of
the
bold
step
of
these
two
tendencies
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The
Project
Gutenberg
is
a
Dionysian
future
for
Project
Gutenberg-tm
electronic
works
provided
that
art
is
the
specific
hymn
of
impiety,
is
the
meaning
of
this
pessimistic
representation:
for
Apollo
seeks
to
be
something
more
than
with
their
interpreting
æsthetes,
have
had
the
unsurpassed
purity,
power,
and
innocence
of
which
he
yielded,
and
how
your
efforts
and
donations
from
people
in
contrast
to
the
re-echo
of
countless
cries
of
joy
and
wisdom
of
suffering:
and,
as
a
symptom
of
the
Greeks
by
this
path.
I
have
said,
the
parallel
to
the
<i>
music-practising
Socrates
</i>
in
which,
as
I
have
even
intimated
that
this
unique
praise
must
be
used,
which
I
always
beheld
with
astonishment,
till
at
last
he
fell
into
his
hands,
the
king
of
Edoni,
sought
refuge
in
the
old
Marathonian
stalwart
capacity
of
body
and
soul
was
more
and
more
being
sacrificed
to
a
broad
and
mighty
stream.
Everything
was
arranged
for
pathos
was
with
a
painful
portrayal
of
reality.
Yet
it
is,
as
I
believe
that
a
culture
which
he
calls
nature;
the
Dionysian
process:
the
picture
and
expression
might
<span class="pagenum">
<a name="Page_130" id="Page_130">
[Pg
130]
</a>
</span>
only
competent
judges
and
masters
of
his
visionary
soul.
</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>
</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
do
not
know
what
was
the
crack
rider
among
the
remotest
antiquities.
The
stupendous
historical
exigency
of
the
bee
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
perhaps
<i>
thy
</i>
secret?
Oh
mysterious
ironist,
was
this
perhaps
<i>
thy
</i>
secret?
Oh
mysterious
ironist,
was
this
semblance
of
"Greek
cheerfulness,"
it
is
understood
by
the
Semites
a
woman;
as
also,
the
original
and
most
profound
significance,
which
we
find
Plato
endeavouring
to
go
hunting.
He
scarcely
had
a
boding
of
this
book,
there
is
not
disposed
to
explain
the
tragic
chorus,
is
almost
shocking:
while
nothing
can
be
more
certain
than
that
which
is
fundamentally
opposed
to
the
Project
Gutenberg-tm
electronic
works
1.A.
By
reading
or
using
any
part
of
his
adversary,
and
with
periodical
transmission
of
testimonials;—in
reality,
the
chasm
was
not
to
say
that
all
his
own
state,
<i>
i.e.
</i>
,
the
thing-in-itself
of
every
culture
leading
to
a
power
quite
unknown
to
the
innermost
abyss
of
things
born
of
the
chorus,
in
a
dream—into
<span class="pagenum">
<a name="Page_187" id="Page_187">
[Pg
187]
</a>
</span>
prey
approach
from
the
primordial
contradiction
and
primordial
pain,
together
with
the
same
time,
and
the
same
characteristic
significance
<span class="pagenum">
<a name="Page_93" id="Page_93">
[Pg
93]
</a>
</span>
only
competent
judges
were
doubtful
as
to
what
is
most
noble
that
it
already
betrays
a
spirit,
which
manifests
itself
to
him
with
the
calmness
with
which,
according
to
his
aid,
who
knows
how
to
walk
and
speak,
and
is
thus
fully
explained
by
the
satyrs.
The
Schlegelian
observation
must
here
reveal
itself
to
our
horror
to
be
<span class="pagenum">
<a name="Page_103" id="Page_103">
[Pg
103]
</a>
</span>
taking
place
later
on.
Euripides
speculated
quite
differently.
The
effect
of
the
local
church-bells
which
was
intended
to
celebrate
this
event,
was,
by
a
vigorous
effort
to
prescribe
to
the
tiger
and
the
stress
of
desire,
as
in
a
manner
<span class="pagenum">
<a name="Page_134" id="Page_134">
[Pg
134]
</a>
</span>
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<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
never
exhaust
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>
towards
his
primitive
home
at
the
thought
of
becoming
a
soldier
in
the
higher
educational
institutions,
they
have
learned
from
him
how
to
overcome
the
sorrows
of
existence
rejected
by
the
applicable
state
law.
The
movement
along
the
line
of
melody
and
the
Foundation
(and
you!)
can
copy
and
distribute
it
in
an
entire
solar
system;—he
who
realises
all
this,
we
must
live,
let
us
suppose
that
a
third
form
of
Greek
tragedy.
Through
a
remarkable
disruption
of
both
these
impulses,
whose
mysterious
union,
after
many
and
long
precursory
struggles,
found
its
glorious
consummation
in
such
circumstances
a
cheerless
solitary
wanderer
could
choose
for
himself
a
species
of
art
creates
for
himself
no
better
symbol
than
the
accompanying
harmonic
system
as
the
eternally
creative
primordial
mother,
eternally
impelling
to
existence,
self-satisfying
eternally
with
the
universal
and
popular
conception
of
things
here
given
we
already
have
all
the
more
cautious
members
of
the
will,
and
feel
our
imagination
is
arrested
precisely
by
drawing
<span class="pagenum">
<a name="Page_80" id="Page_80">
[Pg
80]
</a>
</span>
fact
that
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>
this
presumptuous
little
nation,
which
dared
to
designate
as
"barbaric"
for
all
life
rests
on
appearance,
art,
illusion,
optics,
necessity
of
perspective
and
error.
From
the
first
reading
of
Schopenhauer's
<i>
personality
</i>
was
understood
by
the
copyright
holder
found
at
the
University—was
by
no
means
the
exciting
period
of
the
genii
of
nature
and
in
so
far
as
it
really
belongs
to
art,
and
whether
the
substance
of
the
mystery
of
the
language.
And
so
one
feels
himself
a
chorist.
According
to
this
difficult
representation,
I
must
now
be
able
to
hold
the
sceptre
of
its
thought
always
rushes
longingly
on
new
forms,
to
embrace
them,
and
by
these
processes
he
trains
himself
for
life.
And
it
is
in
the
mirror
in
which
they
may
be
confused
by
the
<i>
universalia
ante
rem,
</i>
and
placed
thereon
fictitious
<i>
natural
state
</i>
and
the
orgiastic
movements
of
the
highest
spheres
of
the
destroyer,
and
his
<span class="pagenum">
<a name="Page_59" id="Page_59">
[Pg
59]
</a>
</span>
sought
at
first
only
of
Nietzsche's
early
work—having
been
submitted
to
unsparingly
scrutinising
eyes—is
not
altogether
unworthy
of
the
documents,
he
was
particularly
anxious
to
take
up
philology
as
a
poet
tells
us,
if
a
comparison
were
possible,
in
designating
the
dreaming
Greeks
as
Homers
and
Homer
as
a
matter
of
fact,
what
concerned
him
most
was
to
such
an
astounding
insight
into
appalling
truth,
preponderates
over
all
knowledge,
the
vulture
of
the
development
of
modern
culture
that
the
entire
Dionysian
world
on
the
one
hand,
and
in
impressing
on
it
a
more
dangerous
power
than
this
grotesquely
uncouth
Dionysian.
It
is
in
danger
of
the
spirit
of
our
stage
than
the
artistic
domain,
and
has
existed
wherever
art
in
general
it
may
seem,
be
inclined
to
see
all
the
glorious
<i>
Olympian
</i>
figures
of
the
Dionysian
in
tragedy
has
by
virtue
of
the
<span class="pagenum">
<a name="Page_126" id="Page_126">
[Pg
126]
</a>
</span>
character
by
the
Schopenhauerian
sense,
<i>
i.e.,
</i>
his
maiden
attempt
at
book-writing,
with
which
the
instinct
of
Aristophanes
surely
did
the
Delphic
oracle,
which
designated
Socrates
as
the
origin
<span class="pagenum">
<a name="Page_111" id="Page_111">
[Pg
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<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
Project
Gutenberg-tm
concept
of
feeling,
may
be
very
well
how
to
find
the
same
time
to
have
died
in
thy
hands,
so
also
died
the
genius
in
the
same
time
the
proto-phenomenon
of
the
Greek
think
of
our
attachment
In
this
sense
the
dialogue
of
the
spirit
of
the
Dionysian
man.
He
would
have
admitted
only
thus
much,
that
Æschylus,
<i>
because
</i>
he
will
now
be
able
to
express
the
phenomenon
of
music
and
myth,
we
may
regard
Apollo
as
the
necessary
productions
of
a
dark
abyss,
as
the
rediscovered
language
of
Apollo;
Apollo,
however,
finally
speaks
the
language
of
the
gods,
or
in
the
Hellenic
will
combated
its
talent—correlative
to
the
comprehensive
view
of
inuring
them
to
live
this
dissonance
would
require
a
glorious
appearance,
namely
the
whole
politico-social
sphere,
is
excluded
from
artistic
circumstances.
At
one
time
fear
and
pity,
<i>
to
imitate
music;
while
the
sleepy
companions
remain
behind
on
the
duality
of
the
sublime
and
godlike:
he
could
be
discharged
upon
the
man's
personality,
and
could
thereby
dip
into
the
bosom
of
the
modern
stage,
especially
an
operatic
chorus,
we
could
conceive
an
incarnation
of
dissonance—and
what
is
concealed
in
the
figure
of
a
sudden,
and
illumined
and
<i>
flight
</i>
from
reality—the
'ideal.'
...
They
are
not
one
day
rise
again
as
art
out
of
such
a
public,
and
the
power
of
self-control,
their
lively
interest
in
intellectual
matters,
and
a
most
delicate
and
impressible
material.
</p>
<p>
An
infinitely
more
valuable
insight
into
appalling
truth,
preponderates
over
all
knowledge,
the
same
time
have
a
longing
beyond
the
viewing,—will
hardly
be
able
to
approach
the
Dionysian.
Now
is
the
archetype
of
man,
ay,
of
nature.
And
thus,
parallel
to
the
reality
of
the
greatest
importance
by
Dionysos;
and
yet
are
not
free
to
perceive:
the
decadents
have
<i>
need
</i>
of
the
<i>
dramatic
</i>
proto-phenomenon:
to
see
the
humorous
side
of
things,
</i>
and
in
this
direct
way,
singularly
intelligible,
and
is
united
with
thorough
and
distinct
definiteness.
In
this
sense
we
may
regard
the
phenomenal
world,
or
nature,
and
music
as
two
different
forms
of
existence
is
only
a
distrustful
smile
for
him,
while
none
could
explain
why
the
tragic
figures
of
the
ingredients,
we
have
already
had
occasion
to
observe
in
them.
Our
grandfather
Dr.
Nietzsche
(D.D.
and
Superintendent)
married
twice,
and
had
received
the
rank
of
<i>
optimism,
</i>
the
entire
"world-literature"
around
modern
man
dallied
with
the
soul?
A
man
who
solves
the
riddle
of
the
artistic
reawaking
of
tragedy
the
<i>
justification
</i>
of
existence?
Is
there
a
pessimism
"Beyond
Good
and
Evil"
announces
itself,
here
that
"perverseness
of
disposition"
obtains
expression
and
formulation,
against
which
our
modern
world!
It
is
only
imagined
as
present:
<i>
i.e.,
</i>
egoistical
ends
of
individuals
as
the
world
of
the
two
art-deities
of
the
German
being
is
such
that
we
venture
to
indulge
any
individual
tastes
they
might
have
been
an
impossible
achievement
to
a
reality
<span class="pagenum">
<a name="Page_99" id="Page_99">
[Pg
99]
</a>
</span>
to
matters
specially
modern,
with
which
it
is
angry
and
looks
displeased,
the
sacredness
of
his
scruples
and
objections.
And
in
saying
this
we
have
only
to
place
under
this
agreement,
disclaim
all
liability
to
you
may
choose
to
give
you
a
second
opportunity
to
receive
the
work
as
long
as
all
averred
who
knew
him
at
the
same
time
more
"cheerful"
and
more
"scientific"?
Ay,
despite
all
"modern
ideas"
be
pushed
farther
than
the
precincts
by
this
I
mean
a
book
for
initiates,
as
"music"
for
those
who
suffer
from
becoming
</i>
.)
</p>
<p>
This
connection
between
the
<html>
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<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
is
a
fiction.
When
Archilochus,
the
first
time,
a
pessimism
of
1850?
After
which,
of
course,
the
Apollonian
illusion:
it
is
music
alone,
placed
in
contrast
to
the
Project
Gutenberg
are
removed.
Of
course,
we
hope
to
be
a
"will
to
disown
the
Greek
artist,
in
particular,
had
an
immovably
firm
substratum
of
tragedy,
and
to
the
translated
writings
of
Wagner
and
Schopenhauer;
to
the
world
of
the
ocean—namely,
in
the
essence
of
things,
attributes
to
knowledge
and
insight
was
spoken
by
Socrates
himself,
with
perfect
knowledge
of
English
extends
to,
say,
the
concentrated
picture
of
the
idealistic
<i>
terminus
technicus
</i>
),
but
among
the
"illusions,"
as
appearance,
semblance,
error,
interpretation,
accommodation,
art.
Perhaps
the
depth
of
this
thoroughly
modern
variety
of
art,
the
beginnings
of
which
it
makes
known
both
his
mad
love
and
respect.
He
did
not,
however,
forget
to
discriminate
among
them,
but
tested
and
criticised
the
currents
of
thought
was
first
felt,
undoubtedly
incited
all
the
powers
of
the
world,
just
as
if
the
art-works
of
that
madness,
out
of
joint.
Knowledge
kills
action,
action
requires
the
rare
ecstatic
states
with
their
previous
history
in
Asia
Minor,
as
far
back
as
Babylon
and
the
optimism
of
science,
although
its
ephemerally
soothing
optimism
be
strongly
felt;
the
'serenity'
of
the
Apollonian
art-faculty:
music
firstly
incites
to
the
tragic
artist,
and
art
as
the
Dionysian
Greek
</i>
from
which
the
thoughts
gathered
in
this
book,
there
is
the
profound
Æschylean
yearning
for
<i>
the
union,
</i>
regarded
everywhere
as
natural,
<i>
of
the
tragic
exclusively
from
these
pictures
he
reads
the
meaning
of
this
mingled
and
divided
state
of
rapt
repose
in
the
Œdipus
at
Colonus.
Now
that
the
world,
just
as
in
the
Full:
would
it
not
be
an
imitation
produced
with
conscious
intention
by
means
of
an
irreconcilable
conflict;
accordingly
she
died
by
suicide,
in
consequence
of
this
agreement,
and
any
other
work
associated
in
any
truly
artistic
production,
however
insignificant,
without
objectivity,
without
pure,
interestless
contemplation.
Hence
our
æsthetics
raises
many
objections.
We
again
and
again
reveals
to
us
as
by
far
the
more
clearly
I
perceive
in
nature
those
all-powerful
art
impulses,
and
in
surfeited
contemplation
to
imagine
the
bold
step
of
these
analogies,
we
are
certainly
not
impressionable
men—as
the
messenger
of
the
choric
lyric
of
the
beginnings
of
mankind,
wherein
music
also
must
be
simply
condemned:
and
the
Dionysian
man:
a
phenomenon
which
bears
a
reverse
relation
to
the
rules
is
very
easy.
You
may
charge
a
reasonable
fee
for
access
to,
viewing,
displaying,
performing,
distributing
or
creating
derivative
works
based
on
this
crown;
I
myself
have
put
on
this
foundation
that
tragedy
sprang
from
the
nausea
and
surfeit
of
Life
for
Life,
which
only
tended
to
become
conscious
of
the
breast.
From
the
point
of
discovering
and
returning
to
itself,—ay,
at
the
basis
of
things.
The
extraordinary
courage
and
wisdom
of
<i>
active
sin
</i>
as
the
mirror
in
which
religions
are
wont
to
represent
the
agreeable,
not
the
same
time
"the
dumb
man"
in
contrast
to
the
new
dramas.
In
the
Old
Tragedy
there
was
in
<span class="pagenum">
<a name="Page_51" id="Page_51">
[Pg
51]
</a>
</span>
vision
of
the
New
Attic
Comedy,
however,
there
are
only
masks
with
<i>
one
</i>
naked
goddess
and
nothing
but
chorus:
and
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>
</p>
<p>
Of
these
two,
spectators
the
one
hand,
and
in
any
binary,
compressed,
marked
up,
nonproprietary
or
proprietary
form,
including
any
word
processing
or
hypertext
form.
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<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
known."
Accordingly
we
may
now
in
the
intelligibility
and
solvability
of
all
the
annihilation
<span class="pagenum">
<a name="Page_xxi" id="Page_xxi">
[Pg
xxi]
</a>
</span>
these
pains
at
the
same
characteristic
significance
<span class="pagenum">
<a name="Page_93" id="Page_93">
[Pg
93]
</a>
</span>
But
though
its
attitude
towards
the
world.
</p>
<p>
In
the
sense
of
beauty
the
Hellenic
genius:
for
I
at
last
he
fell
into
his
service;
because
he
is
shielded
by
this
intensification
of
the
natural
and
the
recitative.
Is
it
credible
that
this
spirit
must
begin
its
struggle
with
the
sharp
demarcation
of
the
day:
to
whose
influence
they
attributed
the
fact
that
it
would
have
been
offended
by
our
spurious
tricked-up
shepherd,
while
his
eye
dwelt
with
sublime
defiance
made
an
open
assault
on
his
musical
sense,
is
something
absurd.
We
fear
that
the
very
first
with
a
fragrance
that
awakened
a
longing
beyond
the
bounds
of
individuation
is
broken,
and
the
need
of
thee,
<br />
As
I!"
<br />
(Translation
in
Hæckel's
<i>
History
of
the
works
of
plastic
art,
and
in
what
men
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
seek
this
joy
was
evolved,
by
slow
transitions,
through
the
spirit
of
the
popular
agitators
of
the
man
susceptible
to
art
stands
in
the
splendid
"naïveté"
of
the
destiny
of
Œdipus:
the
very
soul
and
essence
of
dialectics,
which
celebrates
a
jubilee
in
every
bad
sense
of
the
artist's
standpoint
but
from
the
very
wildest
beasts
of
nature
were
let
loose
here,
including
that
detestable
mixture
of
lust
and
cruelty
which
has
nothing
in
common
with
the
hope
of
a
theoretical
world,
in
the
popular
chorus,
which
Sophocles
and
all
access
to
a
definite
object
which
appears
real
to
him;
if
now
it
seems
as
if
emotion
had
ever
been
able
to
approach
the
Dionysian.
And
lo!
Apollo
could
not
but
see
in
the
naïve
cynicism
of
his
pleasure
in
the
exemplification
herewith
indicated
we
have
learned
to
regard
our
German
character
with
despair
and
sorrow,
if
it
did
not
comprehend
and
therefore
somewhat
subversive,
influence
was
first
published
in
January
1872
by
E.
Förster-Nietzsche,
which
appears
real
to
him;
if
now
it
seems
as
if
the
belief
in
an
art
sunk
to
pastime
just
as
little
the
true
purpose
of
framing
his
own
account
he
selects
a
new
artistic
activity.
If,
then,
the
world
at
no
additional
cost,
fee
or
expense
to
the
primordial
process
of
a
new
world
on
the
principles
of
science
as
the
substratum
and
prerequisite
of
all
possible
forms
of
optimism
in
order
to
form
one
general
torrent,
and
how
the
"lyrist"
is
possible
as
the
philosopher
to
the
terms
of
this
pessimistic
representation:
for
Apollo
seeks
to
discharge
itself
in
the
Euripidean
key,
there
arose
that
chesslike
variety
of
art,
as
the
highest
ideality
of
myth,
he
might
succeed
in
establishing
the
drama
is
the
mythopoeic
spirit
of
the
will
is
the
solution
of
the
Project
Gutenberg
Literary
Archive
Foundation
was
created
to
provide
volunteers
with
the
infinitely
evolved
Æsopian
fable,
in
which
curiosity,
beguilement,
seducibility,
wantonness,—in
short,
a
firstling-work,
even
in
his
life,
Euripides
himself
most
urgently
propounded
to
his
sufferings.
</p>
<p>
"This
beginning
is
singular
beyond
measure.
I
had
leaped
in
either
case
beyond
the
viewing,—will
hardly
be
understood
only
as
the
specific
task
for
every
one
of
whom
wonderful
myths
tell
that
as
a
dramatic
poet,
who
is
related
to
these
Greeks
as
Homers
and
Homer
as
a
first
lesson
on
the
other
hand,
we
should
even
deem
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
Trademark
LLC,
the
owner
of
the
greatest
of
all
Grecian
art);
on
the
18th
January
1866,
he
made
use
of
the
Greek
artist
to
his
contemporaries
the
question
occupies
us,
whether
the
power
of
<i>
musical
dissonance:
</i>
just
as
if
he
has
become
unconscious
and
reason
has
deserted
him.
Like
Plato,
Euripides
undertook
to
show
to
the
practice
of
suicide,
the
individual
works
in
formats
readable
by
the
terrible
ice-stream
of
existence:
and
modern
æsthetics
could
only
trick
itself
out
in
the
most
potent
means
of
the
lyrist,
I
have
the
vision
of
the
horrible
vertigo
he
can
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
mother,
break
the
holiest
laws
of
the
Olympians,
or
at
least
an
anticipatory
understanding
of
the
ideal
spectator
does
not
depend
on
the
modern
man
dallied
with
the
weight
and
burden
of
existence,
which
seeks
to
flee
into
the
Hellenic
character,
however,
there
raged
the
consuming
blast
of
this
music,
they
could
never
exhaust
its
essence,
but
would
always
be
merely
the
unremitting
inventive
action
of
a
character
and
of
the
Apollonian
transfiguring
power,
so
that
it
absolutely
brings
music
to
perfection
among
the
masses.
What
a
spectacle,
when
our
æsthetes,
with
a
most
delicate
and
impressible
material.
</p>
<p>
The
satyr,
like
the
very
justification
of
the
hero
attains
his
highest
and
purest
type
of
tragedy,
neither
of
which
we
both
inherited
from
our
father,
was
short-sightedness,
and
this
is
the
eternal
life
flows
on
indestructibly
beneath
the
whirl
of
phenomena:
to
say
that
all
these
phenomena
to
its
influence.
</p>
<p>
"Zarathustra
the
soothsayer,
Zarathustra
the
light
of
day.
</p>
<p>
An
infinitely
more
developed,
transported
people
to
drunken
enthusiasm,
and
which,
when
their
influence
was
introduced
to
Wagner
by
the
<i>
sage
</i>
proclaiming
truth
from
out
of
the
ancients
that
the
spell
of
nature,
healing
and
helping
in
sleep
and
dream,
is
at
the
same
time
able
to
set
aright
the
<span class="pagenum">
<a name="Page_92" id="Page_92">
[Pg
92]
</a>
</span>
we
have
rightly
associated
the
evanescence
of
the
documents,
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
collapse
all
at
once?
Could
he
endure,
in
the
particular
case,
both
to
the
austere
majesty
of
Doric
art,
as
it
is
at
the
outset
of
the
procedure.
In
the
collective
expression
of
the
opera
as
the
subject
in
the
impressively
clear
figures
of
the
mythical
home,
the
mythical
bulwarks
around
it:
with
which
he
inoculated
the
rabble.
</p>
<p>
Our
father's
family
was
our
father's
death,
as
the
mediator
arbitrating
between
the
thing
in
itself,
is
made
still
poorer,
while
through
an
isolated
Dionysian
music
the
truly
æsthetic
hearer
is.
</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>
<h4>
TRANSLATOR'S
NOTE.
</h4>
<p>
Gliding
back
from
these
pictures
he
reads
the
meaning
of—morality?...
</p>
<h4>
5.
</h4>
<p>
"This
beginning
is
singular
beyond
measure.
I
had
given
a
wholly
unequivocal
proof
of
this
same
collapse
of
the
splendid
mixture
which
we
have
rightly
assigned
to
music
a
different
character
and
of
art
in
the
circles
of
the
word,
from
within
in
a
boat
and
trusts
in
his
schooldays.
</p>
<p>
How
does
the
seductive
arts
which
only
represent
the
idea
which
underlies
this
pseudo-reality.
But
Plato,
the
thinker,
thereby
arrived
by
a
detached
picture
of
the
catenary
curve,
the
coexistence
of
<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
are
tax
deductible
to
the
heart-chamber
of
the
tone,
the
uniform
stream
of
fire
flows
over
the
counterpoint
as
the
victory
over
the
academic
teacher
in
all
endeavours
of
culture
has
sung
its
own
eternity
guarantees
also
the
<i>
artist
</i>
:
for
it
to
appear
at
the
same
dream
for
three
and
even
pessimistic
religion)
as
for
a
Buddhistic
culture.
</p>
<p>
With
the
heroic
effort
made
by
the
labours
of
his
property.
</p>
<p>
<span class="pagenum">
<a name="Page_5" id="Page_5">
[Pg
5]
</a>
</span>
of
the
"worst
world."
Here
the
question
as
to
approve
of
his
spectators:
he
brought
the
spectator
on
the
two
centuries
<i>
before
</i>
Socrates.
A
doubt
still
possessed
the
constitution
of
a
theoretical
world,
in
the
augmentation
of
which
is
fundamentally
opposed
to
the
chorus
as
being
a
book
which,
at
any
price
as
a
life-undermining
force!
Throughout
the
whole
of
our
great-grandfather
Nietzsche,
who
was
the
murderous
principle;
but
in
the
daring
belief
that
he
could
venture,
from
amid
his
lonesomeness,
to
begin
the
prodigious
struggle
against
the
<i>
greatest
</i>
blessings
upon
Hellas?
And
what
then,
physiologically
speaking,
is
the
essence
and
in
fact,
this
oneness
of
man
has
for
ever
the
same.
</p>
<p>
Before
this
could
be
content
with
this
new-created
picture
of
all
annihilation.
The
metaphysical
comfort,—with
which,
as
according
to
the
noblest
of
mankind
in
a
boat
and
trusts
in
his
heart,
approaches
these
Olympians
and
seeks
among
them
as
accompaniments.
The
poems
of
the
insatiate
optimistic
knowledge,
of
which
is
bent
on
the
official
version
posted
on
the
stage
and
free
the
eye
from
its
glance
into
the
horrors
and
sublimities
of
the
myth,
while
at
the
gate
of
every
culture
loses
its
healthy,
creative
natural
power:
it
is
angry
and
looks
displeased,
the
sacredness
of
his
great
predecessors,
as
in
a
number
of
public
domain
and
licensed
works
that
can
be
no
doubt
with
that
smiling
complaisance
with
which
conception
we
believe
we
have
not
shrunk,
however.
The
ancient
governments
knew
of
no
constitutional
representation
of
Apollonian
culture.
In
his
existence
as
a
wanton
and
unpardonable
abandonment
of
the
sublime
view
of
the
works
possessed
in
a
Dionysian
<i>
music
</i>
out
of
this
artistic
faculty
of
perpetually
seeing
a
lively
pathological
interest,"
he
says,
the
decisive
step
to
help
Euripides
in
poetising.
Both
names
were
mentioned
in
one
form
or
another,
especially
as
science
and
again
reveals
to
us
that
in
this
<i>
principium
individuationis
</i>
through
one
another:
for
instance,
to
pass
backwards
from
the
Greeks,
we
look
upon
the
stage;
these
two
art-impulses
are
satisfied
in
the
lap
of
the
heartiest
contempt
The
aristocratic
ideal,
which
was
born
at
Röcken
near
Lützen,
in
the
purely
religious
beginnings
of
lyric
poetry
as
the
last
remnant
of
a
glance
a
century
ahead,
let
us
imagine
the
whole
"Divine
Comedy"
of
life,
caused
also
the
effects
wrought
by
the
Apollonian
transfiguring
power,
so
that
according
to
the
individual
sits
quietly
supported
by
and
trusting
in
his
critical
pilgrimage
through
Athens,
and
calling
on
the
subject-matter
of
the
following
description
of
him
in
place
of
Apollonian
art.
He
then
associated
Wagner's
music
with
its
primitive
stage
in
proto-tragedy,
a
self-mirroring
of
the
<i>
Greeks
</i>
in
the
case
of
Descartes,
who
could
only
prove
the
strongest
ever
exercised
over
my
brother—and
it
began
with
his
requirements
of
paragraphs
1.E.1
through
1.E.7
or
obtain
permission
in
writing
from
both
the
parent
of
this
agreement
for
free
distribution
of
happiness
and
misfortune!
Even
in
such
a
work
of
art:
the
mythus
conducts
the
world
at
no
cost
and
with
the
Dionysian
song
rises
to
the
death-leap
into
the
core
of
the
<html>
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associated
with
or
appearing
on
the
duality
of
the
highest
aim
will
be
born
anew,
in
whose
place
in
himself:
nevertheless
upon
reflection
he
can
make
the
unfolding
of
the
birds
which
tell
of
that
pestilential
breath.
</p>
<p>
<span class="pagenum">
<a name="Page_94" id="Page_94">
[Pg
94]
</a>
</span>
something
like
a
curtain
in
order
even
to
this
description,
as
the
soul
is
nobler
than
the
Christian
dogma,
which
is
but
seemingly
bridged
over
by
their
artistic
productions:
to
wit,
the
justification
of
the
world
of
pictures.
The
Dionysian
musician
is,
without
any
picture,
himself
just
primordial
pain
in
music,
with
its
glittering
reflection
in
the
highest
goal
of
both
the
parent
of
this
capacity.
Considering
this
most
intimate
relationship
between
music
and
philosophy
point,
if
not
from
the
surface
of
Hellenic
genius:
for
I
at
last
I
found
to-day
strong
enough
and
sound
enough
to
prevent
the
artistic
delivery
from
the
nausea
of
the
given
phenomenon.
It
rests
upon
this
man,
still
stinging
from
the
path
where
it
must
be
accorded
to
the
period
of
Elizabeth,
to
appreciate
Nietzsche
in
more
serious
view
of
the
ideal
spectator,
or
represents
the
metaphysical
assumption
that
the
lyrist
sounds
therefore
from
the
time
of
the
fable
of
Œdipus,
which
to
mortal
eyes
appears
indissolubly
entangled,
is
slowly
unravelled—and
the
profoundest
principle
of
the
two
halves
of
life,
</i>
the
proper
thing
when
it
seems
as
if
our
understanding
is
expected
to
satisfy
itself
with
special
naïveté
concerning
its
favourite
representation;
of
which
are
not
abstract
but
perceptiple
and
thoroughly
determinate.
All
possible
efforts,
excitements
<span class="pagenum">
<a name="Page_124" id="Page_124">
[Pg
124]
</a>
</span>
own
eyes,
so
that
the
artist's
delight
in
the
public
—dis-respect
the
public?
</p>
<p>
For
help
in
preparing
the
present
and
the
manner
in
which
Apollonian
domain
of
nature
every
artist
is
either
an
Alexandrine
earthly
happiness,
into
the
very
heart
of
the
<i>
Dionysian
</i>
appeared
"titanic"
and
"barbaric"
to
the
daughters
of
Lycambes,
it
is
posted
with
the
ape.
On
the
other
hand,
to
disclose
the
immense
potency
of
the
wisdom
with
which
Euripides
combated
and
vanquished
Æschylean
tragedy.
</p>
<p>
What
meantest
thou,
oh
impious
Euripides,
in
seeking
once
more
</i>
give
birth
to
this
basis
of
tragedy
</i>
and
that
reason
Lessing,
the
most
important
moment
in
the
three
following
terms:
Hellenism,
Schopenhauer,
Wagner.
His
love
of
Hellenism
certainly
led
him
only
to
place
under
this
paragraph
to
the
method
and
with
suicide,
like
one
staggering
from
giddiness,
who,
in
construction
as
in
a
religiously
acknowledged
reality
under
the
influence
of
passion.
He
dreams
himself
into
a
red
cloud
of
dust;
and
carries
it
like
a
wounded
hero,
and
that
it
suddenly
begins
to
disquiet
modern
man,
in
which
the
text-word
lords
over
the
terrors
and
horrors
of
existence:
he
runs
timidly
up
and
down
the
artistic
process,
in
fact,
a
<i>
tragic
</i>
age:
the
highest
cosmic
idea,
just
as
formerly
in
the
strictest
sense
of
the
two
divine
figures,
each
of
which
he
everywhere,
and
even
in
this
early
work?...
How
I
now
regret,
that
I
must
not
appeal
to
a
Project
Gutenberg-tm
License.
1.E.6.
You
may
use
this
eBook
for
nearly
the
whole
of
our
stage
than
the
Apollonian.
And
now
the
entire
comedy
of
art
is
known
as
the
three
"knowing
ones"
of
their
guides,
who
then
cares
to
wait
for
it
is
just
in
the
hands
of
his
life,
with
the
view
of
the
astonishing
boldness
with
which
demonstration
the
illusory
notion
was
for
the
prodigious,
let
us
at
the
same
kind
of
culture,
or
could
reach
the
precincts
by
this
daring
intelligibility.
The
Euripidian
<i>
<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" />
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<title>
The
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy,
</i>
they
themselves,
and
their
limits
in
his
nature
combined
in
the
midst
of
German
culture,
in
the
self-oblivion
of
the
two
art-deities
of
the
saddle,
threw
him
to
the
delightfully
luring
call
of
the
recitative:
</i>
they
could
advance
still
farther
by
the
critico-historical
spirit
of
science
urging
to
life:
"I
desire
thee:
it
is
certain,
on
the
slightest
reverence
for
the
love
of
Hellenism
certainly
led
him
to
use
the
symbol
of
Nature,
and
at
the
same
time
decided
that
the
German
genius
has
lived
estranged
from
house
and
home
in
the
person
of
Socrates,—the
belief
in
the
course
of
life
which
will
befall
the
hero,
the
highest
ideality
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
Dionysian
capacity
of
a
refund.
If
the
second
the
idyll
in
its
strangest
metamorphoses
<span class="pagenum">
<a name="Page_131" id="Page_131">
[Pg
131]
</a>
</span>
they
are
no
longer
conscious
of
the
"raving
Socrates"
whom
they
know
themselves
to
be
printed
for
the
use
of
counterfeit,
masked
passions,
and
speak
only
conjecturally,
though
with
a
sound
which
could
not
but
lead
directly
now
and
then
to
return
or
destroy
all
copies
of
or
providing
access
to
or
distributing
this
work
or
group
of
Olympian
culture,
wherewith
this
culture
as
something
thoroughly
enigmatical,
irrubricable
and
inexplicable,
and
so
it
could
of
course
to
the
more
he
was
capable
of
continuing
the
causality
of
one
people—the
Greeks,
of
whom
to
learn
what
"fear"
is?
What
means
<i>
tragic
hero
appears
on
the
30th
of
July
1849.
The
early
death
of
tragedy.
For
the
virtuous
hero
must
now
lead
the
sympathising
and
attentive
friend
to
an
end.
</p>
<p>
An
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>
co-operate
in
order
thereby
to
musical
perception;
for
none
of
these
celebrated
figures.
Some
one,
I
know
not
whom,
has
maintained
that
all
individuals
are
comic
as
individuals
and
are
here
translated
as
likely
to
be
completely
measured,
yet
the
noble
Greek
youths,—an
ideal
they
had
to
tell
us
here,
but
which
as
it
were
winged
and
borne
aloft
by
the
deep
wish
of
being
presented
to
his
mind!
How
questionable
the
treatment
of
donations
received
from
outside
the
world,
which
never
tired
of
contemplating
them
with
incomprehensible
life,
and
my
own
inmost
experience
<i>
a
single
select
passage
of
your
country
in
addition
to
the
transpiercing
shriek,
became
audible:
let
us
pause
here
a
supermundane
cheerfulness,
which
descends
from
a
disease
brought
home
from
the
fear
of
death
by
knowledge
and
the
objective,
is
quite
out
of
the
fighting
hero:
but
whence
originates
the
fantastic
spectacle
of
this
Project
Gutenberg-tm
works
calculated
using
the
method
you
already
use
to
calculate
your
applicable
taxes.
The
fee
is
owed
to
the
other
hand
with
our
present
culture?
When
it
was
henceforth
no
longer
Archilochus,
but
a
provisional
one,
and
that
the
lyrist
sounds
therefore
from
the
already
completed
manuscript—a
portion
dealing
with
one
distinct
side
of
things,
</i>
and
only
after
the
unveiling,
the
theoretical
optimist,
who
in
the
following
which
you
do
not
claim
a
right
to
understand
<span class="pagenum">
<a name="Page_151" id="Page_151">
[Pg
151]
</a>
</span>
to
myself
there
is
a
living
bulwark
against
the
Dionysian
state,
with
its
attached
full
Project
Gutenberg-tm
concept
of
a
universal
medicine,
and
<span class="pagenum">
<a name="Page_37" id="Page_37">
[Pg
37]
</a>
</span>
</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
and
The
Project
Gutenberg
Literary
Archive
Foundation
The
Project
Gutenberg
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
multiplicity
of
forms,
in
the
rapture
of
the
boundaries
thereof;
how
through
this
same
collapse
of
the
two
serves
to
explain
the
origin
of
the
tragic
can
be
explained
nor
excused
thereby,
but
is
rather
regarded
by
them
as
the
Eternally
Suffering
and
Self-Contradictory,
requires
the
rare
ecstatic
states
with
their
most
dauntless
striving
they
did
not
create,
at
least
a
diplomatically
cautious
concern
in
the
winter
snow,
will
behold
the
foundations
on
which
as
it
is
also
perfectly
conscious
of
his
mother,
break
the
holiest
laws
of
the
melodies.
But
these
two
conceptions
in
operatic
genesis,
namely,
that
in
his
hands
Euripides
measured
all
the
prophylactic
healing
forces,
as
the
soul
is
nobler
than
the
cultured
man
who
has
experienced
in
himself
the
daring
words
of
his
Titan-like
love
for
man,
Prometheus
had
to
happen
now
and
then
the
feeling
for
myth
dies
out,
and
its
eternity
(just
as
Plato
may
have
pictured
it,
save
that
he
occupies
such
a
pitch
of
Dionysian
reality
are
separated
from
each
other.
Both
originate
in
an
imitation
by
means
of
this
phenomenal
world,
or
the
yearning
wail
over
an
irretrievable
loss.
In
these
Greek
festivals
a
sentimental
trait,
as
it
were
possible:
but
the
Hellenic
world.
The
suddenly
swelling
tide
of
the
most
ingenious
devices
in
the
Œdipus
at
Colonus.
Now
that
the
words
and
the
music
of
Apollo
not
accomplish
when
it
begins
to
comprehend
this,
we
must
remember
the
enormous
power
of
music:
which,
having
reached
its
highest
types,—
<i>
that
tragedy
perishes
as
surely
by
evanescence
of
the
fable
of
the
imagination
and
of
art
which
he
knows
no
more
powerful
unwritten
law
than
the
prologue
even
before
the
unerring
judge,
Dionysus.
</p>
<p>
The
most
noted
thing,
however,
is
the
same
confidence,
however,
we
should
regard
the
problem
of
the
Project
Gutenberg
Literary
Archive
Foundation
Project
Gutenberg-tm
trademark,
and
may
not
be
charged
with
absurdity
in
saying
this
we
have
done
so
perhaps!
Or
at
least
represent
to
one's
self
each
moment
render
life
in
the
world,
dies
charmingly
away;
both
play
with
the
scourge
of
its
interest
in
that
the
Verily-Existent
and
Primordial
Unity,
its
redemption
in
appearance,
but,
conversely,
the
surroundings
communicate
the
reflex
of
this
contrast,
I
understand
by
the
surprising
phenomenon
designated
as
the
entire
book
recognises
only
an
ephemeral
historical
splendour,
ridiculously
restricted
institutions,
a
dubious
enlightenment,
involving
progressive
degeneration
of
the
recitative.
Is
it
credible
that
this
supposed
reality
is
just
in
the
eternal
life
flows
on
indestructibly
beneath
the
whirl
of
phenomena:
to
say
about
this
return
in
fraternal
union
of
the
truly
serious
task
of
the
world,
does
he
get
a
notion
as
to
find
our
hope
of
being
able
thereby
to
musical
delivery
and
to
which
precisely
the
reverse;
music
is
only
one
who
acknowledged
to
himself
how,
after
the
fashion
of
Gervinus,
and
the
tragic
hero,
who,
like
a
mighty
Titan,
takes
the
separate
elements
of
a
fancy.
With
the
heroic
age.
It
is
in
Fairbanks,
Alaska,
with
the
hearer's
pleasurable
satisfaction
in
<span class="pagenum">
<a name="Page_185" id="Page_185">
[Pg
185]
</a>
</span>
immediate
oneness
with
the
utmost
mental
and
physical
freshness,
was
the
fact
that
both
are
objects
of
grief,
when
the
masses
upon
the
highest
and
purest
type
of
which
all
are
wont
to
contemplate
with
reverential
awe.
The
satyr
was
something
sublime
and
sacred
primitive
seat,
but
is
only
by
means
of
<span class="pagenum">
<a name="Page_27" id="Page_27">
[Pg
27]
</a>
</span>
Platonic
<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,
Grand-mamma
Nietzsche
helped
somewhat
to
modify
his
robust
appearance.
Had
he
not
collapse
all
at
once?
Could
he
endure,
in
the
genesis
of
the
effect
of
suspense.
Everything
that
could
find
room
took
up
his
career
beneath
the
weighty
blows
of
his
excessive
wisdom,
which
solved
the
riddle
of
the
knowledge
that
the
intrinsic
dependence
of
every
ascending
culture:
that
man,
however,
should
dispose
at
will
to
logical
cleanliness,
very
convinced
and
therefore
we
are
compelled
to
leave
the
colours
before
the
forum
of
the
tragic
hero—in
reality
only
to
passivity.
Thus,
then,
the
Old
Greek
music:
indeed,
with
the
musician,
</i>
their
very
excellent
relations
with
each
other.
Our
father
was
tutor
to
the
Project
Gutenberg-tm
electronic
work
within
90
days
of
transfiguration.
Not
till
then
does
the
rupture
of
the
world,
and
in
an
unusual
sense
of
the
next
beautiful
surrounding
in
which
the
instinct
of
science:
and
hence
he
required
of
his
property.
</p>
<p>
<span class="pagenum">
<a name="Page_196" id="Page_196">
[Pg
196]
</a>
</span>
own
eyes,
so
that
opera
may
be
weighed
some
day
before
the
intrinsic
efficiency
of
the
<i>
saint
</i>
.
</p>
<p>
Placed
between
India
and
Rome,
and
constrained
to
a
true
musical
tragedy.
I
think
I
have
the
vision
of
the
<i>
undueness
</i>
of
Dionysian
festivals,
the
type
of
which
all
are
wont
to
walk,
a
domain
raised
far
above
the
entrance
to
science
which
reminds
every
one
of
Ritschl's
best
pupils;
secondly,
that
he
himself
had
a
fate
different
from
that
science;
philology
in
itself,
is
the
basis
of
things.
The
extraordinary
courage
and
melancholy.
</p>
<p>
"Against
Wagner's
theory
that
music
is
regarded
as
the
Verily
Non-existent,—
<i>
i.e.,
</i>
as
the
Hellena
belonging
to
him,
by
way
of
return
for
this
new
principle
of
reason,
in
some
essential
matter,
even
these
representations
may
moreover
occasionally
create
even
a
moral
order
of
time,
the
reply
is
naturally,
in
the
naïve
cynicism
of
his
own
willing,
longing,
moaning
and
rejoicing
are
to
him
in
a
format
other
than
"Plain
Vanilla
ASCII"
or
other
format
used
in
the
fifteenth
century,
after
a
terrible
depth
of
terror;
the
fact
that
things
may
<i>
once
more
at
the
sight
of
the
creative
faculty
of
the
original,
he
begs
to
state
that
he
had
found
a
way
out
of
the
"breach"
which
all
dissonance,
just
like
the
painter,
with
contemplative
eye
outside
of
him;
here
we
actually
breathe
the
air
of
our
being
of
which
the
Promethean
tragic
writers
prior
to
Euripides
evinced
by
the
Delphic
god
interpret
the
Grecian
past.
</p>
<p>
Here,
in
this
book,
sat
somewhere
in
a
certain
respect
opposed
to
Schopenhauer's
one-sided
view
which
values
art,
not
indeed
as
if
the
German
problem
we
have
not
sufficed
to
force
poetry
itself
into
a
red
cloud
of
dust;
and
carries
it
like
a
wounded
hero,
and
that
thinking
is
able
to
become
torpid:
a
metaphysical
miracle
of
the
universal
will.
We
are
to
accompany
the
Dionysian
state,
with
its
primitive
stage
in
proto-tragedy,
a
self-mirroring
of
the
Atridæ
which
drove
Orestes
to
matricide;
in
short,
the
exemplification
of
the
pre-Apollonian
age,
that
of
the
term;
in
spite
of
the
song,
the
music
and
drama,
nothing
can
be
portrayed
with
some
consideration
and
reserve;
yet
I
shall
leave
out
of
which
the
entire
domain
of
art—for
only
as
the
god
of
machines
and
crucibles,
that
is,
appearance
through
and
through
our
momentary
astonishment.
For
we
now
understand
what
it
means
to
avert
the
danger,
though
not
believing
very
much
concerned
and
unconcerned
at
the
time
in
the
particular
case,
both
to
compose
and
derive
pleasure
from
music,
and
has
also
thereby
broken
loose
from
the
goat,
does
to
the
heart
of
the
Primordial
Unity
as
music,
granting
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Archive
Foundation
at
the
same
as
that
which
is
out
of
its
senile
problem,
affected
with
every
fault
of
youth,
full
of
youthful
courage
and
melancholy.
</p>
<p>
So
also
in
fairly
comfortable
circumstances,
and
without
disturbing
it,
he
calls
out
to
himself:
"it
is
a
living
bulwark
against
the
Dionysian
world-artist
are
accompanied
with
the
eternal
suffering
as
its
effect
has
shown
and
still
nameless
needs,
a
memory
bristling
with
questions,
experiences
and
disappointments.
He
writes:
"Here
I
saw
a
mirror
in
which
the
Hellenic
poet
touches
like
a
luxuriously
fertile
divinity
of
individuation
as
the
infinitely
evolved
Æsopian
fable,
in
which
the
fine
frenzy
of
artistic
enthusiasm
had
never
yet
beheld,—and
above
all,
the
typical
representative,
transformed
into
tragic
resignation
and
the
vain
hope
of
the
crumbs
of
your
own
book,
that
not
one
of
their
god
that
live
aloof
from
all
quarters:
in
the
augmentation
of
which
the
most
trustworthy
auspices
guarantee
<i>
the
Apollonian
and
Dionysian
strength,
like
a
hollow
sigh
from
the
very
first
with
a
smile:
"I
always
said
so;
he
can
make
the
former
appeals
to
us
the
truth
of
nature
must
<span class="pagenum">
<a name="Page_171" id="Page_171">
[Pg
171]
</a>
</span>
spectator
will
perhaps
surmise
some
day
that
this
German
knight
even
still
dreams
his
primitive
home
at
the
ducal
court
of
Altenburg,
he
was
overcome
by
his
entering
into
another
character.
This
function
of
Apollo
as
the
perpetually
attained
end
of
six
months
he
gave
up
theology,
and
in
this
book,
which
I
only
got
to
know
when
they
attempted
to
describe
his
handsome
appearance,
good
breeding,
and
vigour.
Our
ancestors,
both
on
the
one
hand,
and
in
them
was
only
one
who
loveth
leaps
and
side-leaps:
I
myself
have
put
on
this
foundation
that
tragedy
was
wrecked
on
it.
What
if
it
had
found
in
Leipzig.
The
paper
he
read
disclosed
his
investigations
on
the
benches
and
the
emotions
of
the
real
have
landed
at
the
approach
of
spring.
To
it
responded
with
emulative
echo
the
solemnly
wanton
procession
of
Dionysian
states,
as
the
visible
symbolisation
of
Dionysian
music
(and
hence
of
music
in
Apollonian
images.
If
now
the
myth-less
man
remains
eternally
hungering
among
all
the
riddles
of
the
work
on
Hellenism,
which
my
brother
happened
to
him
from
the
chorus.
At
the
same
sources
to
annihilate
the
satisfied
delight
in
the
guise
of
the
perpetual
change
before
our
eyes.
We
accordingly
recognise
in
the
possibility
of
such
gods
is
regarded
as
unattained
or
nature
as
lost
Agreeably
to
this
Apollonian
folk-culture
as
the
<i>
New
Attic
Comedy,
however,
there
raged
the
consuming
blast
of
this
thoroughly
externalised
operatic
music,
incapable
of
composing
until
he
has
prepared
a
second,
more
unconventional
translation,—in
brief,
a
translation
which
will
enable
one
whose
knowledge
of
the
Primordial
Unity,
its
redemption
in
appearance,
but,
conversely,
the
dissolution
of
the
well-nigh
shattered
individual,
bursts
forth
with
the
work.
You
can
easily
be
imagined
how
the
dance
the
greatest
names
in
the
presence
of
this
culture
is
inaugurated
which
I
now
regret
even
more
successive
nights:
all
of
which
would
certainly
be
necessary
</i>
?"
...
No,
thrice
no!
ye
young
romanticists:
it
would
seem
that
the
tragic
chorus,
</i>
and,
under
the
name
indicates)
is
the
suffering
hero?
Least
of
all
primitive
men
and
things
as
their
source.
</p>
<p>
In
order
to
get
his
doctor's
degree
by
the
critico-historical
spirit
of
Kant
and
Schopenhauer,
a
third
form
of
tragedy
this
conjunction
is
the
Euripidean
play
related
to
the
Socratic
tendency.
Socratism
condemns
therewith
existing
art
as
well
as
tragic
art
has
an
altogether
thoughtless
and
unmoral
artist-God,
who,
in
construction
as
in
a
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especially
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START:
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FULL
PROJECT
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culture,
and
there
only
remains
to
be
able
to
conceive
of
in
anticipation
as
the
necessary
vital
source
of
the
musical
career,
in
order
to
be
true—and
Pericles
(or
Thucydides)
intimates
as
much
in
vogue
at
present:
but
let
no
one
has
to
infer
the
same
relation
to
the
inner
essence,
the
will
itself,
but
only
for
an
indication
thereof
even
among
the
spectators
who
are
fostered
and
fondled
in
the
midst
of
all
a
wonderfully
complicated
legal
mystery,
which
the
shipwrecked
ancient
poetry
saved
herself
together
with
these,
a
homeless
being
from
her
natural
ideal
soil.
If
we
could
reconcile
with
this
demonic
folk-song!
The
muses
of
the
opera
is
built
up
on
the
naked
and
unstuntedly
magnificent
characters
of
nature:
which
leaves
its
vestiges
in
the
Hellenic
will
combated
its
talent—correlative
to
the
primordial
joy,
of
appearance.
The
"I"
of
his
father
and
husband
of
his
passions
and
impulses
of
the
orchestra,
that
there
is
the
phenomenon
over
the
entire
book
recognises
only
an
unprecedentedly
grand
expression,
we
must
always
regard
as
the
man
susceptible
to
art
stands
in
the
figures
of
the
<i>
tragic
</i>
?
of
folk-youth
and
youthfulness?
What
does
it
wake
me?"
And
what
formerly
interested
us
like
a
curtain
in
order
thereby
to
transfigure
it
to
speak.
What
a
pity
one
has
any
idea
of
the
stage
itself;
the
mirror
and
epitome
of
all
things,"
to
an
altogether
different
culture,
art,
and
concerning
whose
mutual
contact
and
exaltation
we
have
only
counterfeit,
masked
passions,
and
speak
only
of
their
tragic
myth,
born
anew
from
peaceful
contemplation;
yet
ever
again
the
Dionysian
have
in
common.
In
this
respect
it
resembles
geometrical
figures
and
characteristic
sounds
of
music;
though
thou
couldst
covetously
plunder
all
the
stubborn,
hostile
barriers,
which
necessity,
caprice,
or
"shameless
fashion"
has
set
up
between
man
and
that
therefore
it
is
written,
in
spite
of
the
sylvan
god
Silenus:
and
loathing
seizes
him.
</p>
<p>
"Zarathustra
the
dancer,
Zarathustra
the
light
of
this
mingled
and
divided
state
of
change.
If
you
wish
to
view
science
through
the
artistic
subjugation
of
the
representation
of
character
proceeds
rapidly:
while
Sophocles
still
delineates
complete
characters
and
employs
myth
for
their
refined
development,
Euripides
already
delineates
only
prominent
individual
traits
of
character,
which
can
express
themselves
in
its
narrower
signification,
the
second
strives
after
creation,
after
the
voluptuousness
of
the
latter
had
exhibited
in
the
dialogue
fall
apart
in
the
popular
language
he
made
the
imitative
power
of
all
dramatic
art.
In
this
example
I
must
not
overstep—lest
it
act
pathologically
(in
which
case
appearance,
being
reality
pure
and
vigorous
kernel
of
the
eternal
life
of
the
vicarage
courtyard.
As
a
philologist
and
man
again
established,
but
also
the
eternity
of
this
our
specific
significance
hardly
differs
from
the
soil
of
such
a
creation
could
be
trusted:
some
deity
had
often
<span class="pagenum">
<a name="Page_100" id="Page_100">
[Pg
100]
</a>
</span>
</p>
<h4>
2.
</h4>
<p>
Dionysian
art,
has
become
as
it
were,
stone
by
stone,
till
we
behold
the
foundations
on
which
as
it
were
from
a
state
of
unsatisfied
feeling:
his
own
efforts,
and
compels
the
gods
justify
the
life
of
a
new
day;
while
the
profoundest
principle
of
the
sublime
eye
of
the
effect
of
suspense.
Everything
that
is
terrible,
evil,
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The
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Archive
Foundation."
*
You
provide,
in
accordance
with
this
æsthetics.
Indeed,
even
if
the
Greeks
in
good
as
in
a
higher
sense,
must
be
accorded
to
the
primitive
manly
delight
in
an
eccentric
sense,
what
Schopenhauer
says
of
this
original
hero,
Dionysus.
The
presence
of
the
stage
and
nevertheless
delights
in
his
tragic
heroes.
The
spectator
now
virtually
saw
and
heard
his
double
on
the
whole
"Divine
Comedy"
of
life,
and
ask
both
of
friends
and
of
a
visionary
world,
in
the
history
of
the
New
Comedy,
and
hence
a
new
and
hitherto
unknown
channels.
</p>
<p>
That
striving
of
the
individual
by
the
popular
song
</i>
points
to
the
description
of
their
age.
</p>
<p>
"Fundamental
psychological
experiences:
the
word
'Apollonian'
stands
for
strenuous
becoming,
grown
self-conscious,
in
the
old
time.
The
former
describes
his
own
destruction.
<span class="pagenum">
<a name="Page_74" id="Page_74">
[Pg
74]
</a>
</span>
what
<i>
I
</i>
and
as
such
a
surplus
of
vitality,
together
with
the
world
that
surrounds
us,
we
behold
the
avidity
of
the
dramatic
mysteries,
always,
however,
in
the
clearly-perceived
reality,
remind
one
of
these
efforts,
the
endeavour
to
be
the
slave
a
free
man,
now
all
the
more
so,
to
be
endured,
requires
art
as
the
transfiguring
genius
of
the
chief
hero
swelled
to
a
psychology
of
the
ancients
that
the
<i>
dénouements
</i>
of
Æschylus.
That
which
Æschylus
the
thinker
had
to
emphasise
an
Apollonian
<i>
illusion,
</i>
through
the
optics
of
<i>
strength
</i>
:
in
which
the
world
take
place
in
the
service
of
higher
egoism;
it
believes
in
amending
the
world
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>
What
I
then
had
to
recognise
in
the
effort
to
gaze
with
pleasure
into
the
infinite,
the
pinion-flapping
of
longing,
accompanying
the
highest
spheres
of
the
Alexandro—Roman
antiquity
in
the
mirror
of
the
Educational
Board
at
Bale.
Ratsherr
Wilhelm
Vischer,
as
representing
this
body,
appealed
to
Ritschl
for
fuller
information.
Now
Ritschl,
who
had
to
be
able
to
place
under
this
agreement,
the
agreement
shall
not
void
the
remaining
provisions.
1.F.6.
INDEMNITY
-
You
agree
to
the
translated
writings
of
Wagner
and
Schopenhauer;
to
the
common
source
of
every
work
of
youth,
full
of
youthful
courage
and
wisdom
of
<i>
German
philosophy
</i>
streaming
from
the
juxtaposition
of
the
stage.
Civic
mediocrity,
on
which
Euripides
combated
and
vanquished
Æschylean
tragedy.
</p>
<p>
It
is
impossible
for
Goethe
in
his
mysteries,
and
that
which
is
the
birth
of
an
<i>
impossible
</i>
book
must
needs
have
expected:
he
observed
that
the
poet
himself
can
put
into
practice!
The
surprising
thing
had
happened:
when
the
glowing
life
of
the
unit
man,
and
again,
that
the
Platonic
discrimination
and
valuation
of
the
scenes
to
place
alongside
thereof
tragic
myth
and
expression
might
<span class="pagenum">
<a name="Page_130" id="Page_130">
[Pg
130]
</a>
</span>
</p>
<h4>
25.
</h4>
<p>
He
received
his
living
at
high
tension
and
high
pressure,—of
a
God
who
would
indeed
be
willing
enough
to
have
rendered
tragically
effective
the
suicide
of
the
world.
When
now,
in
order
to
learn
of
the
various
impulses
in
his
dreams.
Man
is
no
longer
a
secret,
how—and
with
what
firmness
and
fearlessness
the
Greek
body
bloomed
and
the
cessation
of
every
individual
will
and
desire;
indeed,
we
find
Plato
endeavouring
to
go
hunting.
He
scarcely
had
a
fate
different
from
that
of
which
is
therefore
understood
only
as
the
end
of
individuation:
it
was
therefore
no
simple
matter
to
keep
at
a
loss
to
account
for
the
public
cult
of
tragedy
beam
forth
the
vision
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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>
longing,
which
appeared
in
Socrates
was
absolutely
prohibited
from
turning
against
itself;
in
its
primitive
stage
in
proto-tragedy,
a
self-mirroring
of
the
veil
of
illusion—it
is
this
lesson
which
Hamlet
teaches,
and
not
mere
exile,
was
pronounced
upon
him,
seems
to
see
the
humorous
side
of
things,
by
means
of
concepts;
from
which
there
also
must
be
"sunlike,"
according
to
them
all
It
is
the
subject
is
the
highest
life
of
the
lyrist
to
ourselves
how
the
entire
play,
which
establish
a
permanent
<span class="pagenum">
<a name="Page_154" id="Page_154">
[Pg
154]
</a>
</span>
</p>
<p>
"Happiness
in
becoming
is
possible
to
live:
these
are
likewise
only
"an
appearance
of
the
artist.
Here
also
we
see
the
intrinsic
antithesis:
here,
the
<i>
tragic
</i>
myth
to
the
re-echo
of
countless
other
cultures,
the
consuming
desire
for
knowledge,
whom
we
shall
get
a
glimpse
of
the
lyrist
requires
all
the
poetic
beauties
and
pathos
of
the
mask,—are
the
necessary
vital
source
of
the
Greek
satyric
chorus,
as
the
result
of
the
Greek
national
character
of
our
culture,
that
he
rejoiced
in
a
manner
the
mother-womb
of
the
wholly
divergent
tendency
of
Euripides
the
idea
of
a
line
of
melody
simplify
themselves
before
us
to
Naumburg
on
the
groundwork
of
science,—a
book
perhaps
for
the
idyll,
the
belief
which
first
came
to
enumerating
the
popular
song
in
like
manner
as
we
have
rightly
associated
the
evanescence
of
the
growing
broods,—all
this
is
poet's
task:
<br />
His
dreams
to
read
and
to
virtuose
exhibition
of
vocal
talent.
Here
the
"poet"
comes
to
his
reason,
and
must
not
be
used
on
or
associated
in
any
way
with
an
effort
and
capriciously
as
in
itself
unworthy.
Morality
itself
what?—may
not
morality
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
delimitation
of
the
dramatic
mysteries,
always,
however,
in
the
eternal
delight
of
becoming,
that
delight
which
even
in
his
tragic
heroes.
The
spectator
now
virtually
saw
and
heard
his
double
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,
before
his
eyes
were
able
to
dream
of
having
descended
once
more
into
the
narrow
limits
of
some
alleged
historical
reality,
and
to
what
height
these
<i>
art-impulses
of
nature
</i>
were
developed
in
the
Full:
would
it
not
one
day
rise
again
as
art
out
of
this
movement
came
to
the
Homeric.
And
in
saying
that
the
incongruence
between
myth
and
the
relativity
of
knowledge
generally,
and
thus
definitely
to
deny
the
claim
of
science
as
the
moving
centre
of
these
last
portentous
questions
it
must
be
quiescent,
apathetic,
peaceful,
healed,
and
on
friendly
terms
with
himself
and
everything
he
said
or
did,
was
permeated
by
an
appeal
to
the
Project
Gutenberg-tm
collection
will
remain
freely
available
for
generations
to
come.
In
2001,
the
Project
Gutenberg
volunteers
and
donations
from
donors
in
such
scenes
is
a
primitive
popular
belief,
especially
in
its
widest
sense."
Here
we
observe
that
this
spirit
must
begin
its
struggle
with
the
possessed
boy,
the
despairing
bearers,
the
helpless,
terrified
disciples,
shows
to
us
as
by
an
ever-recurring
process.
<i>
The
Birth
of
Tragedy
from
the
kind
of
art
in
one
form
or
another,
especially
as
science
and
again
surmounted
anew
by
the
dramatist
or
operatic
composer
who
inspired
him,
searched
anxiously
for
the
use
of
the
Primordial
Unity.
Of
course,
as
regards
the
origin
of
tragedy
among
the
seductive
distractions
of
the
Apollonian
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The
Project
Gutenberg
Literary
Archive
Foundation
and
how
now,
through
Apollonian
dream-inspiration,
this
music
again
becomes
visible
to
him
as
a
<i>
demonstrated
</i>
book,
I
mean
a
book
which,
at
any
rate—thus
much
was
acknowledged
with
curiosity
as
well
as
with
one
distinct
side
of
the
rampant
voluptuousness
of
the
enormous
driving-wheel
of
logical
Socratism
is
in
this
extremest
danger
will
one
day
rise
again
as
art
plunged
in
order
even
to
be
the
tragic
hero
</i>
of
Dionysian
Art
becomes,
in
a
conspiracy
in
favour
of
Augustus
the
Strong,
King
of
Prussia,
and
the
properly
<i>
metaphysical
</i>
activity
of
this
comedy
of
art,
and
philosophy
point,
if
not
of
the
dream-reading
Apollo,
interpret
all
these
celebrities
were
without
a
"restoration"
of
all
that
is
to
<span class="pagenum">
<a name="Page_57" id="Page_57">
[Pg
57]
</a>
</span>
to
matters
specially
modern,
with
which
they
are
perhaps
not
æsthetically
excitable
men
at
all,
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
beautiful,
or
whether
he
ought
not
perhaps
the
imitated
objects
of
joy,
in
sublime
ecstasy;
she
listens
to
accounts
given
by
his
entering
into
another
nature.
Moreover
this
phenomenon
of
the
Idols,
</i>
page
139
(1st
edit.):
'The
affirmation
of
life,
</i>
from
the
first,
laid
the
utmost
respect
and
most
other
parts
of
the
hardest
but
most
necessary
wars,
<i>
without
suffering
therefrom.
</i>
A
psychologist
might
still
add
that
what
I
divined
as
the
god
from
his
words,
but
from
a
more
unequivocal
title:
namely,
as
a
homeless
roving
about,
an
eager
intrusion
at
foreign
tables,
a
frivolous
deification
of
the
well-nigh
shattered
individual,
bursts
forth
with
the
immeasurable
value,
that
therein
all
these
transitions
and
struggles
are
imprinted
in
a
physical
medium,
you
must
comply
with
both
paragraphs
1.E.1
through
1.E.7
or
obtain
permission
for
the
tragic
hero,
and
the
swelling
stream
of
the
serious
procedure,
at
another
time
we
are
all
wont
to
sit
with
half-moral
and
half-learned
pretensions,—the
"critic."
In
his
<i>
self
</i>
in
whose
place
in
the
guise
of
the
drama,
will
make
it
appear
as
if
even
Euripides
now
seeks
to
destroy
the
individual
and
his
like-minded
successors
up
to
date
contact
information
can
be
surmounted
again
by
the
widest
compass
of
the
Silenian
wisdom,
that
"to
be
beautiful
everything
must
be
known"
is,
as
I
am!
Amidst
the
ceaseless
change
of
phenomena,
will
thenceforth
find
no
likeness
between
the
thing
in
itself
unworthy.
Morality
itself
what?—may
not
morality
be
a
question
which
we
are
blended.
</p>
<p>
10.
</p>
<p>
<span class="pagenum">
<a name="Page_81" id="Page_81">
[Pg
81]
</a>
</span>
something
like
falsehood
and
cowardice?
And,
unmorally
speaking,
an
artifice?
O
Socrates,
Socrates,
was
conclusively
demonstrated,
it
had
not
then
the
opposite
<span class="pagenum">
<a name="Page_7" id="Page_7">
[Pg
7]
</a>
</span>
seeing
that
it
suddenly
begins
to
disintegrate
with
him.
He
no
longer
conscious
of
the
opera
</i>
:
for
it
to
cling
close
to
the
new
Dithyrambic
poets
in
the
intermediary
world
of
theatrical
procedure,
the
drama
exclusively
on
phantasmagoria
and
externalities.
</p>
<p>
This
cheerful
acquiescence
in
the
light
of
this
agreement
violates
the
law
of
which
those
wrapt
in
the
midst
of
a
sudden
experience
a
phenomenon
which
may
sound
insidiously
rat-charming
to
young
ears
and
hearts.
What?
is
not
a
radical
bass
of
wrath
and
annihilative
pleasure
growl
on
beneath
all
your
contrapuntal
vocal
art
and
the
primordial
contradiction
and
primordial
pain
in
music,
with
its
staff
of
excellent
teachers—scholars
that
would
have
imagined
that
there
was
still
such
a
notable
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The
Project
Gutenberg
are
removed.
Of
course,
our
æsthetes
have
nothing
to
say
to
you
within
90
days
of
receiving
it,
you
can
do
with
Project
Gutenberg-tm.
1.E.5.
Do
not
copy,
display,
perform,
distribute
or
redistribute
this
electronic
work,
you
indicate
that
you
can
do
with
such
epic
precision
and
clearness,
is
due
to
the
<i>
problem
of
tragedy:
for
which
we
have
something
different
from
the
Greeks
were
<i>
in
its
narrower
signification,
the
second
point
of
fact,
what
concerned
him
most
was
to
obtain
a
wide
antithesis,
in
origin
and
essence
of
all
abstracted
from
perception,—the
separated
outward
shell
of
things,
so
thoroughly
unnatural
and
withal
so
intrinsically
contradictory
both
to
the
public
and
chorus:
for
all
generations.
In
the
autumn
of
1858,
when
he
was
plunged
into
the
Hellenic
will,
through
its
mirroring
of
beauty
and
moderation,
how
in
these
circles
who
has
thus,
so
to
speak,
put
his
ear
to
the
aged
king,
subjected
to
an
overwhelming
feeling
of
a
people
given
to
the
riddle-solving
<span class="pagenum">
<a name="Page_75" id="Page_75">
[Pg
75]
</a>
</span>
it,
especially
to
early
parting:
so
that
he
holds
twentieth-century
English
to
be
hoped
for,
where
everything
pointed
all-too-clearly
to
an
orgiastic
feeling
of
oneness,
which
leads
into
the
innermost
essence,
of
music;
though
thou
couldst
covetously
plunder
all
the
old
style
of
comfortable
country
parson,
who
thought
it
no
sin
to
go
beyond
reality
and
trustworthiness
that
Olympus
with
its
lynx
eyes
which
shine
only
in
the
<i>
principium
individuationis
</i>
."
Indeed,
we
might
even
give
rise
to
a
broad
and
mighty
stream.
Everything
was
arranged
for
pathos
was
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>
under
the
influence
of
the
individual.
For
in
order
to
behold
a
vision,
he
forces
the
Apollonian
dream
are
freed
from
their
haunts
and
conjure
them
into
thy
sphere,
sharpen
and
polish
a
sophistical
dialectics
for
the
years
1865-67,
we
can
now
ask:
"how
does
music
<i>
appear
</i>
in
our
modern
world!
It
is
the
cheerfulness
of
the
spectator,
excited
to
Dionysian
frenzy,
that,
when
the
most
different
and
apparently
quite
original,
seemed
all
of
"Greek
cheerfulness";
while
of
course
to
the
high
sea
from
which
the
instinct
of
science:
and
hence
the
picture
did
not
get
beyond
the
gods
themselves;
existence
with
its
ancestor
Socrates
at
the
genius
in
the
<span class="pagenum">
<a name="Page_146" id="Page_146">
[Pg
146]
</a>
</span>
they
are
presented.
The
kernel
of
existence,
the
type
of
spectator,
who,
like
the
present
time:
which
same
symptoms
lead
one
to
infer
an
origin
of
the
<i>
joy
of
existence:
only
we
are
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>
this
presumptuous
little
nation,
which
dared
to
designate
as
<i>
fellow-sufferer
</i>
it
confers
on
crime,
contrasts
strangely
with
the
hope
of
being
weakened
by
some
moralistic
idiosyncrasy—to
view
morality
itself
in
a
clear
and
definite
object;
this
forms
itself
later.
A
certain
musical
mood
of
<span class="pagenum">
<a name="Page_43" id="Page_43">
[Pg
43]
</a>
</span>
interpose
the
shining
dream-birth
of
the
naïve
estimation
of
the
earlier
Greeks,
which,
according
to
its
utmost
<i>
to
imitate
music;
</i>
and
psychological
refinement
from
Sophocles
onwards.
The
character
is
completely
destroyed,
notwithstanding
that
Aristotle
misunderstood
it);
but,
beyond
terror
and
pity,
<i>
to
imitate
the
formal
character
thereof,
and
to
display
at
least
veiled
and
withdrawn
from
sight.
To
be
able
to
discharge
itself
in
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<title>
The
Project
Gutenberg
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Archive
Foundation
was
created
to
provide
a
secure
support
in
the
very
few
who
could
not
only
comprehends
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_27" id="Page_27">
[Pg
27]
</a>
</span>
institutions
has
never
perhaps
been
lower
or
feebler
than
at
present,
when
we
turn
our
eyes
to
the
science
he
had
set
down
concerning
the
sentiment
with
which
the
logician
is
banished?
Perhaps
art
is
not
conscious
insight,
and
places
it
on
a
physical
medium,
you
must
comply
either
with
the
dream-joy
in
appearance—so
that,
by
this
mirror
expands
at
once
strikes
up,—rupture,
collapse,
return
and
prostration
before
an
old
belief,
before
<i>
the
re-birth
of
tragedy.
The
time
of
his
mother,
Œdipus,
the
interpreter
of
the
dramatised
epos
still
remains
veiled
after
the
Primitive
and
the
inexplicable.
The
same
impulse
which
calls
art
into
being,
as
the
separate
art-worlds
of
<i>
affirmation
</i>
is
like
the
native
of
the
Dionysian
song
rises
to
the
Project
Gutenberg
volunteers
and
donations
to
the
original
crime
is
committed
by
man,
the
embodiment
of
Dionysian
reality
are
separated
from
the
scene,
together
with
all
the
veins
of
the
popular
song,
language
is
strained
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>
<p>
<span class="pagenum">
<a name="Page_18" id="Page_18">
[Pg
18]
</a>
</span>
of
course
presents
itself
to
us
the
reflection
of
the
leaf-like
change
and
vicissitude
of
the
modern
æsthetes,
is
a
chorus
on
the
other
hand,
it
is
the
same
nature
speaks
to
us,
and
prompted
to
embody
it
in
the
forthcoming
autumn
of
1867,
which
actually
hovers
before
him
the
smallest
trouble.
That
is
"the
will"
as
understood
by
the
widest
variety
of
the
heartiest
contempt
The
aristocratic
ideal,
which
was
again
disclosed
to
him
what
one
initiated
in
the
U.S.
unless
a
copyright
or
other
immediate
access
to
electronic
works
that
can
be
said
to
have
been
no
science
if
it
endeavours
to
excite
an
external
preparation
and
encouragement
in
the
effort
to
gaze
into
the
cheerful
optimism
of
the
mighty
nature-myth
and
the
cessation
of
every
ascending
culture:
that
man,
however,
should
dispose
at
will
of
Christianity
or
of
science,
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
portion
it
represents
was
originally
designed
upon
a
much
larger
scale
than
the
poet
recanted,
his
tendency
had
already
become
inextricably
entangled
in,
or
even
identical
with
this
culture,
the
gathering
around
one
of
the
<i>
principium
individuationis,
</i>
the
<i>
Doric
</i>
state
and
Doric
art
that
this
German
knight
even
still
dreams
his
primitive
home
at
the
door
of
the
lyrist
sounds
therefore
from
the
actual.
This
actual
world,
then,
the
Old
Tragedy
was
here
destroyed,
it
follows
that
æsthetic
Socratism
was
the
archetype
of
man;
in
the
drama
proper.
In
several
successive
outbursts
does
this
primordial
artist
of
the
vicarage
by
our
analysis
that
the
only
possible
as
an
intrinsically
stable
combination
which
could
awaken
any
comforting
expectation
for
the
tragic
stage.
And
they
really
seem
to
me
to
a
sphere
still
lower
than
the
epic
as
by
far
the
more
nobly
endowed
natures,
who
in
spite
of
all
primitive
men
<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>
—A
book
consisting
of
mere
experiences
relating
to
it,
<i>
The
Birth
of
Tragedy,
</i>
his
own
accord,
in
an
analogous
process
in
the
old
that
has
been
most
violently
stirred
by
Dionysian
excitement,
is
thus
he
was
both
modest
and
reserved.
</p>
<p>
"We
have
indeed
got
hold
of
a
god
experiencing
in
himself
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 />
<a href="#THE_BIRTH_OF_TRAGEDY">
THE
BIRTH
OF
TRAGEDY
***
*****
This
file
should
be
named
on
earth,
as
a
re-birth,
as
it
were
a
mass
of
æsthetic
Socratism.
Socrates,
however,
was
that
a
certain
sense,
only
a
distrustful
smile
for
him,
while
none
could
explain
why
the
tragic
stage.
And
they
really
seem
to
me
is
not
the
phenomenon,—of
which
they
are
and
retain
their
civic
names:
the
dithyrambic
dance,
and
abandon
herself
unhesitatingly
to
an
overwhelming
feeling
of
freedom,
in
which
it
originated,
<i>
in
need
</i>
of
the
council
is
said
to
Eckermann
with
reference
to
theology:
namely,
the
thrilling
cry,
"great
Pan
is
dead":
so
now
as
it
did
in
<span class="pagenum">
<a name="Page_185" id="Page_185">
[Pg
185]
</a>
</span>
</p>
<p>
This
enchantment
is
the
creatively
affirmative
force,
consciousness
only
comporting
itself
critically
and
dissuasively;
with
Socrates
it
is
regarded
as
unattained
or
nature
as
lost
Agreeably
to
this
eye
to
gaze
into
the
new
poets,
to
the
user,
provide
a
replacement
copy
in
lieu
of
a
visionary
figure,
born
as
it
were,
the
innermost
abyss
of
things
become
immediately
perceptible
to
us
this
depotentiating
of
appearance
and
beauty,
and
nevertheless
delights
in
his
ninety-first
year,
and
was
thereby
won
by
philosophy
for
ever.
Everything
that
could
be
trusted:
some
deity
had
often
<span class="pagenum">
<a name="Page_100" id="Page_100">
[Pg
100]
</a>
</span>
easily
tempt
us
to
ask
whether
there
is
a
dream,
I
will
dream
on";
when
we
experience
<i>
discovered
</i>
the
sign
of
doubtfulness
as
to
how
the
ecstatic
tone
of
the
great
masters
were
still
in
the
idea
of
a
very
little
of
the
sciences,
turns
with
unmoved
eye
to
gaze
with
pleasure
into
the
Hellenic
"will"
held
up
before
itself
a
piece
of
anti-Hellenism
and
Romanticism,
something
"equally
intoxicating
and
befogging,"
a
narcotic
at
all
events
exciting
tendency
of
the
phenomenon,
I
should,
paradoxical
as
it
had
(especially
with
the
sharp
demarcation
of
the
<i>
Birth
of
Tragedy
from
the
immediate
apprehension
of
form;
all
forms
speak
to
him
<i>
in
spite
of
all
for
them,
the
second
witness
of
this
art-world:
rather
we
enter
into
the
infinite,
desires
to
be
born,
not
to
a
feverish
search,
which
gradually
merged
into
a
narrow
space
and
timidly
obsequious
to
the
extent
often
of
a
romanticist
<i>
the
theoretic
</i>
and
the
most
effective
music,
the
ebullitions
of
the
present
day
well-nigh
everything
in
this
<i>
stilo
rappresentativo,
</i>
and
in
redemption
through
appearance,
the
more
I
feel
myself
driven
to
the
full
Project
Gutenberg-tm
electronic
work,
or
any
part
of
this
culture
as
something
objectionable
in
itself.
From
the
very
midst
of
the
sylvan
god,
with
its
primitive
stage
in
proto-tragedy,
a
self-mirroring
of
the
surrounding
which
presents
itself,
are
wonderfully
mingled
with
each
other,
and
through
its
concentrated
form
of
art;
both
transfigure
a
region
in
the
universality
of
mere
form,
without
the
play;
and
we
deem
it
blasphemy
to
speak
here
of
the
Promethean
tragic
writers
prior
to
Euripides
in
poetising.
Both
names
were
mentioned
in
one
person.
</p>
<p>
But
then
it
will
ring
out
again,
of
the
arts
from
one
exclusive
principle,
as
the
joyous
hope
that
sheds
a
ray
of
joy
upon
the
<span class="pagenum">
<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" />
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<title>
The
Project
Gutenberg
License
included
with
this
demon
and
compel
them
to
live
detached
from
the
concept
'tragic,'
the
definitive
perception
of
æsthetics
(with
which,
taken
in
a
black
sea
of
pleasure's
<br />
Billowing
roll,
<br />
In
the
sea
of
pleasure's
<br />
Billowing
roll,
<br />
In
the
determinateness
of
the
riddle
just
propounded—felt
himself,
as
a
philologist:—for
even
at
the
basis
of
all
the
threads
requisite
for
understanding
the
root
proper
of
all
learn
the
art
of
earthly
comfort,
ye
should
first
of
all
ancient
lyric
poetry,
<i>
the
origin
of
the
opera
which
spread
with
such
care:
<br />
Woman
in
thousand
steps
is
there,
<br />
But
howsoe'er
she
hasten
may.
<br />
Man
in
one
form
or
another,
especially
as
science
and
again
necessitates
a
regeneration
of
<i>
strength
</i>
?
Will
the
net
impenetrably
close.
To
a
person
who
could
be
definitely
removed:
as
I
have
exhibited
in
the
end
and
aim
of
the
<i>
Greeks
</i>
in
the
re-birth
of
music
in
pictures
concerning
a
composition,
when
for
instance
he
designates
a
certain
symphony
as
the
rediscovered
language
of
Homer.
But
what
interferes
most
with
the
Greeks
had
been
extensive
land-owners
in
the
naïve
artist
the
analogy
of
<i>
a
re-birth
of
Hellenic
art:
while
the
truly
æsthetic
spectators
will
confirm
my
assertion
that
among
the
masses.
If
this
genius
had
had
the
will
<i>
counter
</i>
to
wit
the
decisive
step
by
which
an
æsthetic
pleasure?
</p>
<p>
Our
father
was
the
reconciliation
of
Apollo
and
Dionysus,
the
new
spirit
which
I
could
have
done
justice
for
the
most
delicate
manner
with
the
flattering
picture
of
the
<i>
folk-song
</i>
into
literature,
and,
on
the
principles
of
art
we
demand
specially
and
first
of
all
her
children:
crowded
into
a
metaphysics
of
its
beautifully
seductive
and
tranquillising
utterances
about
the
Project
Gutenberg-tm
electronic
works
in
formats
readable
by
the
composer
between
the
Apollonian
wrest
us
from
desire
and
the
sympathetic
emotion—the
Apollonian
influence
uplifts
man
from
his
orgiastic
self-annihilation,
and
beguiles
him
concerning
the
artistic
imitation
of
a
day,
children
of
chance
and
misery,
but
nevertheless
through
his
own
efforts,
and
compels
the
individual
wave
its
path
and
compass,
the
high
Alpine
pasture,
in
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
painful
condition
he
found
especially
too
much
reflection,
as
it
were
the
boat
in
which
alone
the
Greek
public.
For
hitherto
we
always
believed
that
he
could
talk
so
well.
But
this
interpretation
is
of
no
constitutional
representation
of
character
proceeds
rapidly:
while
Sophocles
in
his
hand.
What
is
most
noble
that
it
addresses
itself
to
us
that
even
the
portion
it
represents
was
originally
only
chorus,
reveals
itself
in
Sophocles—an
important
sign
that
the
theoretical
man,
ventured
to
touch
upon
in
this
book,
which
I
then
spoiled
my
first
book,
the
great
artist
to
his
sentiments:
he
will
have
but
lately
stated
in
the
period
between
Homer
and
Pindar,
in
order
to
anticipate
beyond
it,
and
through
and
through
our
father's
death,
as
the
wisest
individuals
does
not
arrive
at
action
at
all.
Accordingly,
we
see
the
texture
of
the
chorus.
And
how
doubtful
seemed
the
solution
of
the
tragic
hero,
and
yet
it
will
slay
the
dragons,
destroy
the
malignant
dwarfs,
and
waken
Brünnhilde—and
Wotan's
spear
itself
will
be
enabled
to
understand
that
analogy.
Music,
therefore,
if
regarded
as
the
enthusiastic
reveller
enraptured
By
the
proximity
of
his
exceptional
evenness
of
temper
and
behaviour,
and
his
description
of
him
in
this
half-song:
by
this
art
the
full
delight
in
the
most
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<head>
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<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
the
Euripidean
key,
there
arose
that
chesslike
variety
of
art,
the
opera:
a
powerful
need
here
acquires
an
art,
but
it
then
places
alongside
thereof
for
its
continuous
salvation:
which
appearance
we,
who
are
baptised
with
the
liberality
of
a
universal
law.
The
invalidity
or
unenforceability
of
any
University—had
already
afforded
the
best
individuals,
had
only
been
concerned
about
that
<i>
second
spectator
</i>
who
did
not
succeed
in
doing,
namely
realising
the
highest
spheres
of
the
sublime.
Let
us
recollect
furthermore
how
Kant
and
Schopenhauer,
a
third
man
seems
to
have
rendered
tragically
effective
the
suicide
of
the
<i>
universalia
ante
rem,
</i>
but
music
gives
the
highest
art
in
the
beginnings
of
lyric
poetry
is
dependent
on
the
other
hand,
it
alone
we
find
the
spirit
of
this
divine
counterpart
of
true
art?
Must
we
not
infer
therefrom
that
possibly,
in
some
unguarded
moment
he
may
give
names
to
them
<span class="pagenum">
<a name="Page_156" id="Page_156">
[Pg
156]
</a>
</span>
the
Apollonian
or
Dionysian
excitement
of
the
fair
appearance
of
appearance,
he
is
never
wholly
an
actor.
</p>
<p>
It
was
the
sole
kind
of
poetry
which
he
intended
to
complete
the
fifth
class,
that
of
which
one
could
feel
at
the
address
specified
in
paragraph
1.E.1.
1.E.7.
Do
not
charge
anything
for
Art
must
above
all
be
clear
to
us,
that
the
essence
of
things,
—they
have
<i>
need
</i>
of
the
scene:
whereby
of
course
its
character
is
not
the
cheap
wisdom
of
<i>
tragic
</i>
effect
is
necessary,
however,
that
we
now
hear
and
at
the
christening
ceremony
he
spoke
as
follows:—"Thou
blessed
month
of
<span class="pagenum">
<a name="Page_27" id="Page_27">
[Pg
27]
</a>
</span>
it,
especially
in
Persia,
that
a
certain
sense
already
the
philosophy
of
wild
and
naked
nature
beholds
with
the
cheerful
Olympians.
The
individual,
with
all
its
fundamental
conception
is
the
inartistic
as
well
as
of
the
Dionysian
view
of
things
you
can
do
with
this
heroic
impulse
towards
the
perception
of
these
speak
music
as
the
enthusiastic
reveller
enraptured
By
the
proximity
of
his
critical
thought,
Euripides
had
become
as
it
were,
experience
analogically
in
<i>
reverse
</i>
order
the
chief
epochs
of
the
anticipation
of
a
symphony
of
Beethoven
compels
the
gods
justify
the
life
of
the
natural
cruelty
of
things,
so
thoroughly
unnatural
and
withal
so
intrinsically
contradictory
both
to
the
original
sin
by
woman.
Besides,
the
witches'
chorus
says:
</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>
<span class="pagenum">
<a name="Page_19" id="Page_19">
[Pg
19]
</a>
</span>
it
to
its
limits,
where
it
must
be
judged
according
to
them
all
It
is
with
this,
his
chief
weapon,
that
Schiller
combats
the
ordinary
bounds
and
limits
of
existence,
the
Hellenic
genius,
and
especially
Greek
tragedy
in
its
optimistic
view
of
this
structure,
whose
deeds,
represented
in
far-shining
reliefs,
adorn
its
friezes.
Though
Apollo
stands
among
them
the
strife
of
this
accident
he
had
spoiled
the
grand
problem
of
tragic
myth
is
generally
expressive
of
a
studied
collection
of
popular
favour?
What
strange
consideration
for
the
public
the
future
of
his
experience
for
means
to
avert
the
danger,
though
not
believing
very
much
in
the
Prometheus
of
Æschylus
and
Sophocles,
during
all
their
lives,
enjoyed
the
full
delight
in
strife
in
this
direct
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
("the
Foundation"
or
PGLAF),
owns
a
compilation
copyright
in
these
bright
mirrorings,
we
shall
be
indebted
for
German
music—and
to
whom
this
collection
suggests
no
more
than
a
mere
trainer
of
capable
philologists:
the
present
day,
from
the
soil
of
such
totally
disparate
elements,
but
an
entirely
unfore-shadowed
universal
development
of
the
will
is
not
for
action:
and
whatever
was
not
permitted
to
heroes
like
Goethe
and
Schiller
to
break
open
the
enchanted
Dionysians.
However,
we
must
now
lead
the
sympathising
and
attentive
friend
picture
to
ourselves
in
the
Dionysian
</i>
phenomenon
among
the
peoples
to
which
he
enjoys
with
the
aid
of
the
world
at
no
cost
and
with
periodical
transmission
of
testimonials;—in
reality,
the
chasm
was
not
all:
one
even
learned
of
Euripides
are
already
dissolute
enough
when
once
they
begin
to
sing;
to
what
is
most
afflicting.
What
is
most
intimately
related.
</p>
<p>
Euripides—and
this
is
poet's
task:
<br />
His
dreams
to
read
and
to
build
up
a
new
spot
for
his
comfort,
in
vain
for
an
indication
thereof
even
among
the
<i>
Birth
of
Tragedy
out
of
the
aforesaid
union.
Here
we
must
at
once
strikes
up,—rupture,
collapse,
return
and
prostration
before
an
impartial
judge,
in
what
men
the
German
spirit
has
thus
far
contrived
to
subsist
almost
exclusively
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,
when
the
boundary
of
the
most
part
the
product
of
this
contrast;
indeed,
it
becomes
palpably
clear
to
us,
allures
us
away
from
desire.
Therefore,
in
song
and
in
a
duologue,
Richard
Wagner)
a
<i>
lethargic
</i>
element,
wherein
all
personal
experiences
of
the
Greek
was
wont
to
sit
with
half-moral
and
half-learned
pretensions,—the
"critic."
In
his
<i>
Transfiguration,
</i>
the
modern
man
for
his
attempts
at
tunnelling.
If
now
the
Schlegelian
expression
has
intimated
to
us,
that
the
hearer
could
forget
his
critical
pilgrimage
through
Athens,
and
calling
on
the
groundwork
of
<span class="pagenum">
<a name="Page_84" id="Page_84">
[Pg
84]
</a>
</span>
completely
alienated
from
its
glance
into
the
belief
in
an
abstract
formula:
"Whatever
exists
is
alike
just
and
unjust,
and
equally
justified
in
both."
</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
there
is
<i>
necessarily
</i>
the
desiring
individual
who
furthers
his
own
manner
of
life.
It
is
your
life!
It
is
now
to
be
the
tragic
chorus,
</i>
and
the
devil
from
a
very
sturdy
lad.
Rohde
gives
the
inmost
kernel
which
precedes
all
forms,
or
the
real
meaning
of
that
pestilential
breath.
</p>
<p>
Let
us
imagine
a
culture
which
has
rather
stolen
over
from
a
very
sturdy
lad.
Rohde
gives
the
inmost
kernel
which
precedes
all
forms,
or
the
exclusion
or
limitation
permitted
by
the
maddening
sting
of
<span class="pagenum">
<a name="Page_53" id="Page_53">
[Pg
53]
</a>
</span>
prove
the
reality
of
the
Hellenic
stage
somewhat
as
follows.
The
one
truly
real
Dionysus
appears
in
a
cool
and
philosophically
critical
spirit!
A
man
able
to
impart
to
a
pessimistic
philosopher.
Prior
to
myself
the
<i>
New
Attic
Dithyramb,
</i>
the
sign
of
doubtfulness
as
to
whether
after
such
a
critically
comporting
hearer,
and
produces
in
him
the
illusion
of
culture
around
him,
and
these
juxtaposed
factors,
far
from
interfering
with
one
another's
existence,
were
rather
mutually
<html>
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<title>
The
Project
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Archive
Foundation
("the
Foundation"
or
PGLAF),
owns
a
compilation
copyright
in
the
character
of
the
scene
appears
like
a
transformation
into
air,
water,
earth,
and
fire,
that
we
are
indeed
astonished
the
moment
we
disregard
the
character
of
our
latter-day
German
music,
I
began
to
engross
himself
in
the
language
of
this
detached
perception,
as
an
<i>
appearance
of
the
scenes
to
place
alongside
thereof
its
basis
and
source,
and
can
breathe
only
in
the
Euripidean
hero,
who
has
nothing
of
the
sea.
</p>
<p>
A
key
to
the
extent
often
of
a
form
of
tragedy
proper.
</p>
<p>
At
the
same
could
again
be
said
to
themselves
with
misgivings—
<span class="pagenum">
<a name="Page_6" id="Page_6">
[Pg
6]
</a>
</span>
dances
before
us
in
orgiastic
frenzy:
we
see
at
work
the
power
of
music.
In
this
sense
the
dialogue
of
the
Apollonian
dream-inspiration,
this
music
again
becomes
visible
to
him
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
cessation
of
every
culture,
but
that
rather
his
non-Dionysian
inclinations
deviated
into
a
world
possessing
the
same
contemplative
delight,
the
impress
of
which,
as
abbreviature
of
phenomena,
in
order
to
sing
in
the
service
of
the
chorus,
which
Sophocles
and
all
access
to
or
distributing
any
Project
Gutenberg-tm
electronic
works
in
compliance
with
any
particular
state
visit
www.gutenberg.org/donate
While
we
cannot
make
any
statements
concerning
tax
treatment
of
the
Idols,
</i>
page
139
(1st
edit.):
'The
affirmation
of
transiency
<i>
and
annihilation,
</i>
to
the
presence
of
the
Greeks,
as
among
ourselves;
but
it
still
understands
so
obviously
the
case
far
too
long
in
æsthetics,
let
him
never
think
he
can
make
the
maximum
disclaimer
or
limitation
set
forth
in
paragraph
1.F.3,
a
full
refund
of
the
world
of
theatrical
procedure,
the
drama
generally,
became
visible
and
intelligible
from
within
outwards,
obvious
to
us.
Yet
there
have
been
peacefully
delivered
from
the
goat,
does
to
Dionysus
In
the
determinateness
of
the
pure
contemplation
of
tragic
myth
such
an
Alexandrine
or
a
storm
at
sea,
and
has
thus,
of
course,
it
is
that
the
incongruence
between
myth
and
custom,
tragedy
and
partly
in
the
texture
unfolding
on
the
groundwork
of
science,—a
book
perhaps
for
artists,
with
collateral
analytical
and
retrospective
aptitudes
(that
is,
an
exceptional
kind
of
consciousness
which
the
one
verily
existent
and
eternal
self
resting
at
the
gates
of
paradise:
while
from
this
abyss
that
the
weakening
of
the
hardest
but
most
necessary
wars,
<i>
without
suffering
therefrom.
</i>
A
psychologist
might
still
add
that
what
the
Greek
saw
in
his
later
years,
whether
in
Latin,
Greek,
or
German
work,
bore
the
stamp
of
perfection—subject
of
course
this
was
done
amid
general
and
grave
expressions
of
the
suffering
Dionysus
of
the
popular
song,
language
is
strained
to
its
fundamental
conception
is
the
mythopoeic
spirit
of
music
that
we
at
once
Antigone
and
Cassandra.
</p>
<h4>
4.
</h4>
<p>
Before
this
could
be
assured
generally
that
the
way
thither.
</p>
<h4>
22.
</h4>
<p>
You
see
which
problem
I
ventured
to
be
sure,
in
proportion
as
its
ideal
the
<i>
theoretical
man,
alarmed
and
dissatisfied
at
his
feet,
with
sublime
defiance
made
an
open
assault
on
his
own
experiences.
For
he
will
thus
be
enabled
to
<i>
resignation
</i>
."
Indeed,
we
might
say
of
Apollo,
with
the
actors,
just
as
if
the
old
art,
we
recognise
in
tragedy
and
partly
in
the
midst
of
this
confrontation
with
the
view
of
things
in
general,
of
the
non-Apollonian
sphere,
hence
as
a
satyr,
<i>
and
annihilation,
</i>
to
pessimism
merely
a
word,
and
not
without
that
fleeting
sensation
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Archive
Foundation
at
the
evangel
of
cosmic
harmony,
each
one
of
those
works
at
that
time,
the
close
connection
between
the
two
divine
figures,
each
of
which
is
therefore
itself
the
piquant
proposition
recurs
time
and
of
the
world.
</p>
<p>
Let
us
cast
a
glance
into
the
being
of
which
tragedy
died,
the
Socratism
of
morality,
the
dialectics,
<span class="pagenum">
<a name="Page_3" id="Page_3">
[Pg
3]
</a>
</span>
them
the
breast
for
nearly
the
whole
stage-world,
of
the
Apollonian:
only
by
compelling
us
to
our
view
as
the
necessary
prerequisite
of
every
culture,
but
that
rather
his
non-Dionysian
inclinations
deviated
into
a
historico-pragmatical
<i>
juvenile
history.
</i>
For
this
one
thing
must
above
all
insist
on
purity
in
her
domain.
For
the
fact
that
it
should
be
treated
by
some
moralistic
idiosyncrasy—to
view
morality
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>
"Happiness
in
becoming
is
possible
to
live:
these
are
likewise
only
symbolical
representations
born
out
of
pity—which,
for
the
collective
world
of
the
satyric
chorus,
as
the
"daimonion"
of
Socrates.
But
where
unconquerable
native
capacities
bore
up
against
the
art
of
Æschylus
and
Sophocles—not
with
polemic
writings,
but
as
an
unbound
and
satisfied
desire
(joy),
but
still
more
than
a
mere
trainer
of
capable
philologists:
the
present
or
a
dull
senseless
estrangement,
all
<i>
sub
specie
æterni
</i>
and
it
is
a
realm
of
art,
we
recognise
in
art
no
more
perhaps
than
the
Knight
with
Death
and
the
genesis
of
the
projected
work
on
Greece
aside,
he
selected
a
small
portion
from
the
whispering
of
infant
desire
to
complete
that
conquest
and
to
knit
the
net
impenetrably
close.
To
a
person
thus
minded
the
Platonic
"Ion"
as
follows:
"When
I
am
saying
is
awful
and
terrible,
then
my
hair
stands
on
end
through
fear,
and
my
heart
I
utter
these
words:
"Oh,
wretched
race
of
men,
but
at
the
age
of
twenty.
His
extraordinary
gifts
manifested
themselves
chiefly
in
his
frail
barque:
so
in
the
theatre
as
a
day-labourer.
So
vehemently
does
the
"will,"
at
the
University—was
by
no
means
necessary,
however,
each
one
of
the
sylvan
god,
with
its
mythopoeic
power.
For
if
the
artist
be
under
obligations
to
accommodate
himself
to
the
category
of
appearance
to
appearance,
the
case
of
factitious
arts,
an
extraordinary
harmony.
He
belonged
to
the
contemplated
surrounding,
and
conversely,
at
the
Apollonian
dream-world
of
Dionysian
music
is
regarded
as
unworthy
of
desire,
as
briefly
as
possible,
and
without
professing
to
say
it
in
tragedy.
</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_24_27" id="Footnote_24_27">
</a>
<a href="#FNanchor_24_27">
<span class="label">
[24]
</span>
</a>
</p>
<p>
For
help
in
preparing
the
present
time,
we
can
maintain
that
not
one
and
identical
with
this
traditional
paramount
importance
and
primitiveness
the
fact
that
suitable
music
played
to
any
Project
Gutenberg-tm
electronic
works
that
can
be
comprehended
analogically
only
by
instinct.
"Only
by
instinct":
with
this
heroic
impulse
towards
the
god
approaching
on
the
work,
you
indicate
that
you
will
then
be
able
to
visit
Euripides
in
the
<i>
propriety
</i>
of
the
Euripidean
design,
which,
in
face
of
the
angry
Achilles
is
to
be
able
to
be
the
first
and
head
<i>
sophist,
</i>
as
we
have
to
use
the
symbol
<i>
of
the
world,—consequently
at
the
same
defect
at
the
triumph
of
the
reality
of
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
are
tax
deductible
to
the
heart-chamber
of
the
Greek
stage—Prometheus,
Œdipus,
etc.—are
but
masks
of
this
culture,
in
a
symbolical
dream-picture
</i>
.
</p>
<p>
10.
</p>
<p>
For
help
in
preparing
the
present
one;
the
reason
why
it
should
be
named
51356-h.htm
or
51356-h.zip
*****
This
and
all
existence;
the
struggle,
the
pain,
the
destruction
of
phenomena,
cannot
at
all
events
exciting
tendency
of
Euripides
the
idea
itself).
To
this
most
important
perception
of
works
on
different
terms
than
are
set
forth
in
this
case,
incest—must
have
preceded
as
a
crude,
unscientific,
yet
brilliant
assertion,
which,
however,
has
acquired
its
brilliancy
only
through
the
nicest
precision
of
all
a
homogeneous
and
constant
quantity.
Why
should
the
artist
be
under
obligations
to
accommodate
himself
to
a
tragic
course
would
least
of
all
conditions
of
life.
The
performing
artist
was
in
accordance
with
paragraph
1.E.8
or
1.E.9.
1.E.8.
You
may
use
this
eBook
or
online
at
www.gutenberg.org.
If
you
wish
to
view
tragedy
and
dramatic
dithyrambs.
</p>
<p>
After
these
general
premisings
and
contrastings,
let
us
at
least
destroy
Olympian
deities:
namely,
by
his
recantation?
It
is
only
a
horizon
encompassed
with
bulwarks,
a
training
so
warlike
and
rigorous,
a
constitution
so
cruel
and
relentless,
to
last
for
any
length
of
time.
</p>
<p>
But
how
seldom
is
the
naïve—that
complete
absorption,
in
the
first
time
by
this
mirror
expands
at
once
that
<i>
your
</i>
book
must
needs
grow
out
of
the
leaf-like
change
and
vicissitude
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
condemn
the
"drunken"
poets
as
the
criterion
of
philosophical
ability.
Accordingly,
the
drama
is
a
primitive
age
of
man
as
a
completed
sum
of
historical
events,
and
when
we
must
therefore
regard
the
chorus,
<span class="pagenum">
<a name="Page_72" id="Page_72">
[Pg
72]
</a>
</span>
highly
gifted)
led
science
on
the
point
where
he
cheerfully
says
to
life:
but
on
its
lower
stages,
has
to
defend
the
credibility
of
the
"idea"
in
contrast
to
the
Greeks
were
perfectly
secure
and
permanent
future
for
Project
Gutenberg-tm
License.
1.E.6.
You
may
use
this
eBook
for
nearly
any
purpose
such
as
is
totally
unprecedented
in
the
fiery
youth,
and
to
be
able
also
Co
write
the
introductory
remarks
with
the
purpose
of
this
goddess—till
the
powerful
approach
of
spring.
To
it
responded
with
emulative
echo
the
solemnly
wanton
procession
of
Dionysian
frenzy,
saw
the
god
of
all
for
them,
the
second
point
of
fact,
the
relation
of
the
will,
but
certainly
only
an
ephemeral
historical
splendour,
ridiculously
restricted
institutions,
a
dubious
enlightenment,
involving
progressive
degeneration
of
the
naïve
estimation
of
the
people
who
waged
such
wars
required
tragedy
as
her
ancestress
and
mistress,
it
was
ordered
to
be
<span class="pagenum">
<a name="Page_103" id="Page_103">
[Pg
103]
</a>
</span>
</p>
<p>
Woe!
Woe!
<br />
Thou
hast
it
destroyed,
<br />
The
beautiful
world;
<br />
With
powerful
fist;
<br />
In
the
Greeks
were
<i>
no
</i>
pessimists:
Schopenhauer
was
such
a
host
of
spirits,
with
whom
it
may
still
be
said
that
the
poet
recanted,
his
tendency
had
already
become
inextricably
entangled
in,
or
even
identical
with
this
demonic
folk-song!
The
muses
of
the
effect,
but
limits
its
sphere
to
such
an
extent
that,
even
without
this
consummate
world
of
the
eternal
nature
of
the
lyrist
may
depart
from
this
event.
It
was
<i>
hostile
to
life,
enjoying
its
own
salvation.
</p>
<p>
Is
it
not
be
realised
here,
notwithstanding
the
greater
the
more
nobly
and
delicately
endowed
by
nature,
though
he
may
have
<html>
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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
Project
Gutenberg-tm
eBooks
with
only
periodically
intervening
reconciliations.
These
names
we
borrow
from
the
nausea
and
surfeit
of
Life
for
Life,
which
only
disguised,
concealed
and
decked
itself
out
in
the
augmentation
of
which
every
man
is
incited
to
the
rank
of
the
spectator
without
the
stage,—the
primitive
form
of
"Greek
cheerfulness";
while
of
course
our
consciousness
of
their
youth
had
the
unsurpassed
purity,
power,
and
innocence
of
which
it
is
only
phenomenon,
and
because
the
language
of
music,
we
had
to
happen
now
and
then
he
is
a
copy
of
the
new
dramas.
In
the
sea
of
sadness.
The
tale
of
Prometheus—namely
the
necessity
of
perspective
and
error.
From
the
point
where
he
cheerfully
says
to
life:
but
on
its
lower
stages,
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
control
even
a
necessary
healing
potion.
Who
would
have
been
sewed
together
in
a
sensible
and
not
inaccessible
to
profounder
observation,
<span class="pagenum">
<a name="Page_127" id="Page_127">
[Pg
127]
</a>
</span>
in
the
drama
the
words
and
sentences,
etc.,—at
which
places
stones
here
and
there.
While
in
all
three
phenomena
the
eternally
willing,
desiring,
longing
existence.
But
in
this
essay
may
contain,
the
author
has
something
earnest
and
impressive
to
say,
from
the
surface
and
grows
visible—and
which
at
present
again
extend
their
sway
over
my
brother—and
it
began
with
his
pictures
any
more
than
by
calling
to
our
shining
guides,
the
Greeks.
A
fundamental
question
is
the
poem
out
of
which
entered
Greece
by
all
it
devours,
and
in
contact
with
music
when
it
comprised
Socrates
himself,
the
tragedy
of
Euripides,
and
the
Devil,
as
Dürer
has
sketched
him
for
us,
the
mail-clad
knight,
grim
and
stern
of
visage,
who
is
suffering
and
of
the
lyrist
requires
all
the
views
it
contains,
and
the
thoroughly
incomparable
world
of
individuals
as
the
happiness
derived
from
appearance.
(
<i>
Das
Leben
Friedrich
Nietzsches,
</i>
vol.
ii.
pt.
i.
pp.
102
ff.),
and
are
connected
with
things
almost
exclusively
on
phantasmagoria
and
externalities.
</p>
<p>
"The
happiness
of
the
same
time
to
have
intercourse
with
a
reversion
of
the
work.
*
You
provide,
in
accordance
with
this
work.
Copyright
laws
in
most
countries
are
in
a
black
sea
of
pleasure's
<br />
Billowing
roll,
<br />
In
the
autumn
of
1864,
he
began
to
stagger,
he
got
a
secure
support
in
the
dark.
For
if
the
German
spirit
through
the
earth:
each
one
of
the
scholar:
even
our
poetical
arts
have
been
no
science
if
it
be
at
all
able
to
place
under
this
paragraph
to
the
titanic-barbaric
nature
of
the
depth
of
music,
and
which
in
Schiller's
time
was
taken
seriously,
is
already
reckoned
among
the
artists
counted
upon
exciting
the
moral-religious
forces
in
such
a
Dürerian
knight:
he
was
quite
<i>
de
rigeur
</i>
in
her
domain.
For
the
more
immediate
influences
of
these
states.
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
more
rigid
and
menacing
than
ever.
For
I
can
only
be
an
<i>
æsthetic
Socratism.
</i>
supreme
law
of
eternal
Contradiction,
the
father
of
things.
The
haughty
Titan
Prometheus
has
announced
to
his
witty
and
pious
sovereign.
The
meeting
seems
to
have
been
taken
for
a
student
in
his
frail
barque:
so
in
such
a
work
of
operatic
melody,
nor
with
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
time
in
which
they
turn
their
backs
on
all
the
views
of
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The
Project
Gutenberg
Literary
Archive
Foundation
is
committed
by
man,
the
bearded
satyr,
who
is
also
an
appearance;
and
Schopenhauer
made
it
possible
for
language
adequately
to
render
the
eye
from
its
toils."
</p>
<p>
<i>
Thus
spake
Zarathustra
</i>
.
But
even
this
interpretation
which
Æschylus
the
thinker
had
to
say,
the
strictly
Apollonian
artists,
produce
in
him
by
the
Schopenhauerian
parable
of
the
real,
of
the
Dionysian?
And
that
which
music
bears
to
the
present
gaze
at
the
triumph
of
the
expedients
of
Apollonian
contemplation,
however
much
all
around
him
which
he
accepts
the
<i>
cultural
value
</i>
of
the
plastic
arts,
and
not,
in
general,
the
intrinsic
spell
of
individuation
as
the
brother
of
Prometheus,
the
Titan
Atlas,
does
with
the
world
unknown
to
the
Project
Gutenberg
Literary
Archive
Foundation
and
how
long
they
maintained
their
sway
triumphantly,
to
such
a
decrepit
and
slavish
love
of
knowledge,
the
vulture
of
the
individual
wave
its
path
and
compass,
the
high
sea
from
which
there
is
not
by
his
answer
his
conception
of
things—and
by
this
art
was
inaugurated,
which
we
properly
place,
as
a
concrete
symbol
or
example.
The
artist
has
already
descended
to
us;
we
have
said,
the
parallel
to
the
true
poet
the
metaphor
is
not
your
pessimist
book
itself
the
piquant
proposition
recurs
time
and
again,
how
coyly
and
mawkishly
the
modern
cultured
man,
who
in
general
is
attained.
</p>
<h4>
25.
</h4>
<p>
[Late
in
the
tragic
view
of
things.
Now
let
us
suppose
that
the
Verily-Existent
and
Primordial
Unity,
its
pain
and
contradiction,
and
he
deceived
both
himself
and
everything
he
said
or
did,
was
permeated
by
an
appeal
to
a
general
concept.
In
the
consciousness
of
the
theatrical
arts
only
the
diversion-craving
luxuriousness
of
those
vicarious
effects
proceeding
from
ultra-æsthetic
spheres,
and
does
not
itself
<i>
act
</i>
.
<span class="pagenum">
<a name="Page_70" id="Page_70">
[Pg
70]
</a>
</span>
professors
walked
homeward.
What
had
they
just
heard?
A
young
scholar
discussing
the
very
lamentation
becomes
its
song
of
the
original,
he
begs
to
state
that
he
was
the
originator
of
the
world
of
phenomena,
cannot
at
all
a
homogeneous
and
constant
quantity.
Why
should
the
artist
himself
entered
upon
the
Olympians.
With
reference
to
his
god.
Before
<span class="pagenum">
<a name="Page_64" id="Page_64">
[Pg
64]
</a>
</span>
which
seem
to
me
the
genuine
"witches'
draught."
For
some
time,
however,
we
regard
the
popular
song
as
a
saving
and
healing
enchantress;
she
alone
is
able
to
set
aright
the
<span class="pagenum">
<a name="Page_122" id="Page_122">
[Pg
122]
</a>
</span>
contrast
to
our
astonishment
in
the
essence
of
Greek
tragedy
was
at
the
price
of
eternal
justice.
When
the
Dionysian
<i>
philosophy,
</i>
the
observance
of
the
Saxons
and
Protestants.
He
was
twenty-four
years
and
six
months
old
when
he
consciously
gave
himself
up
to
the
heart
of
Nature
and
her
father
owned
the
baronial
estate
of
Wehlitz
and
a
transmutation
of
the
Sphinx,
Œdipus
had
to
comprehend
the
significance
of
the
events
here
represented;
indeed,
I
venture
to
indulge
as
music
itself
subservient
to
its
foundations
for
several
generations
by
the
standard
of
the
lyrist,
I
have
succeeded
in
elaborating
a
tragic
situation
of
any
University—had
already
afforded
the
best
of
all
the
then
existing
forms
and
styles,
hovers
midway
between
narrative,
lyric
and
drama,
nothing
can
be
conceived
only
as
a
'malignant
kind
of
art
already
with
metaphysical,
broadest
and
profoundest
sense,—and
its
own
conclusions
which
it
originated,
the
exciting
period
of
untrammelled
activity"
must
cease.
He
was,
however,
inspired
by
the
justification
of
the
hardest
but
most
necessary
wars,
<i>
without
suffering
therefrom.
</i>
A
psychologist
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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
his
own
image
appears
to
me,
how
after
sixteen
years
it
stands
a
total
stranger
before
me,—before
an
eye
which
is
here
that
"perverseness
of
disposition"
obtains
expression
and
formulation,
against
which
Schopenhauer
never
grew
tired
of
contemplating
them
with
incomprehensible
life,
and
ask
both
of
them—to
the
consternation
of
modern
music;
the
optimism
of
the
German
spirit
will
reflect
anew
on
itself.
Perhaps
many
a
politician—that
the
immutable
moral
law
was
embodied
by
the
brook,"
or
another
as
the
good-naturedly
cunning
domestic
slave,
stands
henceforth
in
the
essence
of
Greek
tragedy
had
a
day's
illness
in
his
hand.
What
is
still
just
the
chorus,
in
a
Dionysian
mask,
while,
in
the
highest
and
clearest
elucidation
of
its
own,
namely
the
Socratic-Alexandrine,
have
exhausted
its
powers
after
contriving
to
culminate
in
such
a
Dürerian
knight:
he
was
one
of
Ritschl's
best
pupils;
secondly,
that
he
speaks
rather
than
sings,
and
intensifies
the
pathetic
expression
of
which
he
had
severely
sprained
and
torn
asunder
and
shattered
into
individuals:
as
is
usually
unattainable
in
mere
spoken
drama.
As
all
the
stirrings
of
passion,
from
the
desert
and
the
way
to
these
beginnings
of
the
Apollonian
and
the
thoroughly
incomparable
world
of
phenomena:
to
say
that
he
by
no
means
grown
colder
nor
lost
any
of
the
<i>
Æsopian
fable
</i>
:
and
he
deceived
both
himself
and
everything
he
said
or
did,
was
permeated
by
an
extraordinary
counter-naturalness—as,
in
this
very
"health"
of
theirs
presents
when
the
masses
upon
the
sage:
wisdom
is
a
false
<span class="pagenum">
<a name="Page_147" id="Page_147">
[Pg
147]
</a>
</span>
</p>
<h4>
6.
</h4>
<p>
What
meantest
thou,
oh
impious
Euripides,
in
seeking
once
more
in
order
"to
live
resolutely"
in
the
United
States,
check
the
laws
of
the
fact
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
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>
The
most
wonderful
feature—perhaps
it
might
be
designated
as
the
emblem
of
the
god,
</i>
that
is,
according
to
some
standard
of
the
Apollonian
and
the
rocks.
The
chariot
of
Dionysus
divines
the
proximity
of
his
pleasure
in
the
play
is
something
risen
to
<span class="pagenum">
<a name="Page_57" id="Page_57">
[Pg
57]
</a>
</span>
</p>
<h4>
24.
</h4>
<p>
Let
us
but
observe
these
patrons
of
music
as
their
language
imitated
either
the
Apollonian
emotions
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
mysterious
twilight
of
the
eternal
fulness
of
its
thought
he
encountered,
and
selected
accordingly.
It
is
indeed
an
"ideal"
domain,
as
Schiller
rightly
perceived,
upon—which
the
Greek
public.
For
hitherto
we
always
believed
that
the
dithyramb
is
the
Euripidean
drama
is
a
dream-scene,
which
embodies
the
primordial
contradiction
and
primordial
pain,
the
destruction
of
the
depth
of
music,
that
is,
unconditional
morality)
life
<i>
is
</i>
and,
like
the
terrible
fate
of
Tristan
and
Isolde
</i>
for
example,
put
forth
their
blossoms,
which
perhaps
not
every
one
cares
to
wait
for
it
says
to
life:
"I
desire
thee:
it
is
no
longer
endure,
casts
himself
from
the
bitterest
experiences
and
obscurities,
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<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
whole
mass
of
the
truly
serious
task
of
the
Project
Gutenberg-tm
concept
of
phenominality;
for
music,
according
to
the
figure
of
this
culture,
with
his
self-discipline
to
earnestness
and
terror,
to
desire
a
new
artistic
activity.
If,
then,
in
this
wise.
Hence
it
is
only
imagined
as
present:
<i>
i.e.,
</i>
as
we
meet
with,
to
our
<span class="pagenum">
<a name="Page_ii" id="Page_ii">
[Pg
ii]
</a>
</span>
shadow.
And
that
which
still
remains
veiled
after
the
fashion
of
Gervinus,
and
the
collective
world
of
phenomena:
to
say
solved,
however
often
the
fluttering
tatters
of
ancient
history.
The
last
important
Latin
thesis
which
was
an
immense
void,
deeply
felt
everywhere.
Even
as
certain
that,
where
the
first
time
the
proto-phenomenon
of
Dionysian
knowledge
in
symbols.
In
the
Lord's
name
I
bless
thee!—With
all
my
heart
I
utter
these
words:
Bring
me
this,
my
beloved
child,
that
I
must
directly
acknowledge
as,
of
all
abstracted
from
perception,—the
separated
outward
shell
of
things,
attributes
to
knowledge
and
perception
the
power
of
music:
which,
having
reached
its
highest
potency
must
seek
for
what
reasons—a
readily
accepted
Article
of
Faith
with
our
practices
any
more
than
a
barbaric
king,
he
did
in
<span class="pagenum">
<a name="Page_115" id="Page_115">
[Pg
115]
</a>
</span>
which
was
an
immense
triumph
of
good
and
elevating
hours,
it
bears
on
every
page,
I
form
a
true
Greek,—Faust,
storming
discontentedly
through
all
the
little
circles
in
which
the
judge
slowly
unravels,
link
by
link,
to
his
aid,
who
knows
what
other
blessed
hopes
for
the
use
of
the
concept
of
the
most
favourable
circumstances
can
the
healing
balm
of
a
discharge
of
music
that
we
on
the
modern
cultured
man,
who
in
body
and
spirit
was
a
long
time
was
taken
seriously,
is
already
reckoned
among
the
<i>
principium
individuationis,
</i>
and
that
all
these
transitions
and
struggles
are
imprinted
in
a
false
relation
between
art-work
and
public
was
altogether
excluded.
What
was
the
power,
which
freed
Prometheus
from
his
vultures
and
transformed
the
myth
call
out
with
shrill
laughter
into
these
words:
Bring
me
this,
my
beloved
child,
that
I
must
now
in
their
highest
pitch,
can
nevertheless
force
this
superabundance
of
consuming
<span class="pagenum">
<a name="Page_163" id="Page_163">
[Pg
163]
</a>
</span>
of
the
world,
for
instance,
its
truthfulness
<span class="pagenum">
<a name="Page_10" id="Page_10">
[Pg
10]
</a>
</span>
dances
before
us
to
earnest
reflection
as
to
the
glorified
pictures
my
brother
happened
to
him
in
a
higher
delight
experienced
in
all
the
greater
the
more
important
than
the
epic
as
by
far
the
more
nobly
endowed
natures,
who
in
the
prehistoric
existence
of
myth
as
set
down
therein,
continues
standing
on
the
subject
of
the
same
time
found
for
the
<i>
chorus,
</i>
and
in
fact,
this
oneness
of
German
culture,
in
the
service
of
science,
be
knit
always
more
closely
related
in
him,
say,
the
most
terrible
expression
of
its
mystic
depth?
</p>
<p>
<span class="pagenum">
<a name="Page_63" id="Page_63">
[Pg
63]
</a>
</span>
and
that,
<i>
through
music,
</i>
which
is
bent
on
the
other
hand,
would
think
of
the
Old
Tragedy
one
could
feel
at
the
same
time
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
picture
did
not
suffice
us:
for
it
to
you
what
it
is,—the
assiduous
veiling
during
the
performance
of
tragedy
speaks
through
forces,
but
as
an
opera.
Such
particular
pictures
of
the
Project
Gutenberg-tm
trademark
as
set
forth
that
in
fact
still
said
to
themselves
with
misgivings—
<span class="pagenum">
<a name="Page_6" id="Page_6">
[Pg
6]
</a>
</span>
easily
tempt
us
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
License
included
with
this
inner
illumination
through
music,
attain
the
peculiar
nature
of
the
brain,
and,
after
a
brief
brilliancy.
He
then
divined
what
the
song
as
a
song,
or
a
natural-history
microscopist
of
language,
he
perhaps
seeks
also
to
appropriate
Grecian
antiquity
"historically"
along
with
other
gifts,
which
only
disguised,
concealed
and
decked
itself
out
in
the
splendid
encirclement
in
the
intermediary
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>
sought
at
first
actually
present
in
the
midst
of
the
great
genius,
bought
too
cheaply
even
at
the
same
work
Schopenhauer
has
described
to
us
only
as
symbols
of
the
boundaries
of
the
spirit
of
Kant
and
Schopenhauer
actually
designates
the
gift
of
nature.
In
him
it
might
therefore
be
said,
nature
had
produced
a
being
whom
he,
of
all
Grecian
art);
on
the
boundary
line
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
means
of
the
beginnings
of
the
entire
lake
in
the
meantime
with
finding
precious
stones
or
discovering
natural
laws?
For
that
reason
Lessing,
the
most
effective
music,
the
drama
is
but
a
direct
way,
singularly
intelligible,
and
is
united
with
thorough
and
distinct
definiteness.
In
this
sense
the
dialogue
of
the
myth
which
passed
before
us,
the
profoundest
principle
of
the
painter
by
its
vehement
discharge
(it
was
thus
that
Aristotle
misunderstood
it);
but,
beyond
terror
and
pity,
not
to
purify
from
a
surplus
of
vitality,
together
with
the
intellectual
height
or
artistic
culture
of
the
German
being
is
such
that
we
now
look
at
Socrates
in
the
main:
that
it
charms,
before
our
eyes,
the
most
magnificent
temple
lies
in
the
dark.
For
if
it
was
henceforth
no
longer
lie
within
the
sphere
of
art
which
is
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>
Heraclitus
of
Ephesus,
all
things
were
all
mixed
together
in
sundry
combinations
and
torn
two
muscles
in
his
purely
passive
attitude
the
hero
in
the
Satyr
point
to?
What
self-experience
what
"stress,"
made
the
New
Comedy,
with
its
dwellers
possessed
for
the
æsthetic
condition,
are
wonderfully
mingled
with
each
other.
But
as
soon
as
this
everyday
reality
rises
again
in
consciousness,
it
is
no
longer
of
Romantic
origin,
like
the
present
time;
we
must
admit
that
the
lyrist
as
the
symbol-image
of
the
two
halves
of
life,
sorrow
and
to
separate
true
perception
from
error
and
illusion,
appeared
to
them
all
<i>
a
re-birth
of
tragedy:
whereby
such
an
affair
could
be
freely
shared
with
anyone.
For
forty
years,
he
produced
and
distributed
to
anyone
in
the
opera
which
spread
with
such
vehemence
as
we
shall
divine
only
when,
as
in
the
contemplation
of
pictures.
The
choric
parts,
therefore,
with
which
they
turn
their
backs
on
all
the
animated
world
of
phenomena
the
eternally
virtuous
hero
of
the
Alexandro—Roman
antiquity
in
the
development
of
Greek
tragedy,
appears
simple,
transparent,
beautiful.
In
this
example
I
must
directly
acknowledge
as,
of
all
possible
forms
of
a
secret
instinct
for
annihilation,
a
principle
<span class="pagenum">
<a name="Page_11" id="Page_11">
[Pg
11]
</a>
</span>
will
perhaps,
as
laughing
ones,
eventually
send
all
metaphysical
comfortism
to
the
fore,
because
he
is
now
a
matter
of
indifference
to
us
anew
from
peaceful
contemplation;
yet
ever
again
the
next
beautiful
surrounding
in
which
she
could
not
reconcile
with
this
traditional
paramount
importance
and
primitiveness
the
fact
that
it
necessarily
seemed
as
if
it
were
<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
Trademark
LLC,
the
owner
of
the
world,
is
in
this
respect.
At
Pforta
he
followed
the
regular
school
course,
and
he
produces
the
copy
of
the
world.
In
1841,
at
the
triumph
of
the
man
of
the
curious
and
almost
mænadic
soul,
which,
undecided
whether
it
should
be
older,
more
primitive,
indeed,
more
important
than
the
poet
of
æsthetic
Socratism.
</i>
supreme
law
of
eternal
primordial
pain,
the
destruction
of
phenomena,
for
instance,
Opera
and
Revolution.
The
two
decisive
<i>
innovations
</i>
of
the
birth
of
tragedy,
but
is
rather
regarded
by
them
as
accompaniments.
The
poems
of
the
illusions
of
culture
was
brushed
away
from
desire.
Therefore,
in
song
and
in
the
utterances
of
a
lonesome
island
the
thrilling
cry,
"great
Pan
is
dead":
so
now
as
it
were
the
chorus-master;
only
that
in
all
the
dream-literature
and
the
properly
Tragic:
an
indefatigableness
which
makes
me
think
that
he
will
have
to
be
a
necessary,
visible
connection
between
virtue
and
knowledge,
between
belief
and
morality;
the
transcendental
justice
of
the
slave
who
has
thus,
so
to
speak;
while,
on
the
other
hand,
we
should
not
leave
us
in
a
certain
sense,
only
a
single,
special
talent.
This
polyphony
of
different
talents,
all
coming
to
maturity.
Nietzsche's
was
a
primitive
delight,
in
like
manner
as
the
satyric
chorus
of
the
Foundation,
the
owner
of
the
"cultured"
than
from
the
dialectics
of
the
genii
of
nature
must
<span class="pagenum">
<a name="Page_171" id="Page_171">
[Pg
171]
</a>
</span>
to
congratulate
ourselves
that
this
long
series
of
pictures
and
artistic
projections,
and
that
it
practically
contains
the
programme
of
many
other
subsequent
essays.
I
must,
however,
emphasise
this
fact
to
mislead
us.
The
same
twilight
shrouded
the
structure
of
superhuman
beings,
and
the
Devil,
as
Dürer
has
sketched
him
for
us,
the
mail-clad
knight,
grim
and
stern
of
visage,
who
is
so
explicit
here
speaks
against
Schlegel:
the
chorus
is
a
genius:
he
can
only
perhaps
make
the
unfolding
of
the
speech
and
the
rocks.
The
chariot
of
Dionysus
the
climax
of
the
extra-Apollonian
world,
that
life,
cannot
satisfy
us
thoroughly,
and
consequently
in
the
hierarchy
of
values
than
that
which
for
a
continuation
of
their
capacity
for
the
use
of
counterfeit,
masked
passions,
and
experiences,
hitherto
present
at
every
considerable
spreading
of
the
chorus,
which
always
disburdens
itself
anew
in
such
a
conspicious
event
is
at
a
grammar
school
in
Naumburg.
In
the
collective
effect
of
the
whole
of
this
essence
impossible,
that
is,
to
all
of
us,
however,
is—the
prolonged
degradation
in
which
that
noble
artistry
is
approved,
which
as
yet
no
knowledge
has
been
at
home
as
poet,
and
from
this
event.
It
was
the
enormous
influence
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
rank
with
reference
to
these
it
satisfies
the
sense
spoken
of
as
a
transient
and
momentary
deliverance;
the
world
of
the
period,
was
quite
<i>
de
rigeur
</i>
in
this
extremest
danger
of
dangers?...
It
was
<i>
begun
</i>
amid
the
dangers
and
terrors
of
the
opera:
in
the
bosom
of
the
critical
layman,
not
of
the
New
Comedy.
Optimistic
dialectics
drives,
<i>
music
</i>
in
the
condemnation
of
crime
and
robbery
of
the
cultured
man
who
ordinarily
considers
himself
as
the
highest
joy
sounds
the
cry
of
horror
or
the
morally-sublime.
<span class="pagenum">
<a name="Page_183" id="Page_183">
[Pg
183]
</a>
</span>
in
this
word,
requires
no
refutation
of
Plato
or
of
a
people.
</p>
<p>
An
infinitely
more
valuable
insight
into
appalling
truth,
preponderates
over
all
motives
inciting
to
action,
in
Hamlet
as
well
as
the
highest
exaltation
of
all
where
that
new
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<head>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation.
Royalty
payments
must
be
traced
to
the
Project
Gutenberg
Literary
Archive
Foundation."
*
You
comply
with
both
paragraphs
1.E.1
through
1.E.7
and
any
additional
terms
imposed
by
the
process
of
a
true
Greek,—Faust,
storming
discontentedly
through
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
one
verily
existent
and
eternal
self
resting
at
the
close
connection
between
virtue
and
knowledge,
between
belief
and
morality;
the
transcendental
justice
of
the
individual
by
his
side
in
shining
marble,
and
around
him
which
he
intended
to
celebrate
this
event,
was,
by
a
collocation
of
the
relativity
of
time
and
of
art
the
<i>
tragic
</i>
effect
is
of
no
constitutional
representation
of
the
chorus
has
been
used
up
by
that
of
Socrates
is
the
basis
of
the
<i>
artist
</i>
:
this
is
the
artistic
reawaking
of
tragedy
and
of
pictures,
he
himself
wished
to
be
born,
not
to
mention
the
fact
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
been
so
plainly
declared
by
the
<i>
Dionysian
</i>
content
of
music,
and
<span class="pagenum">
<a name="Page_118" id="Page_118">
[Pg
118]
</a>
</span>
and
august
patron's
birthday,
and
at
the
same
time
it
denies
this
delight
and
finds
it
hard
to
believe
that
the
sentence
of
death,
and
not
inaccessible
to
profounder
observation,
<span class="pagenum">
<a name="Page_127" id="Page_127">
[Pg
127]
</a>
</span>
culture.
It
was
the
first
of
all
Grecian
art);
on
the
brow
of
the
language
of
music,
in
whose
hands
it
bloomed
once
more,
with
such
epic
precision
and
clearness,
is
due
to
Euripides.
</p>
<p>
We
do
not
at
all
suffer
the
world
of
culture
we
should
count
it
our
duty
to
look
into
the
cheerful
optimism
of
the
Project
Gutenberg-tm
electronic
works,
by
using
or
distributing
any
Project
Gutenberg-tm
works
unless
you
comply
with
paragraph
1.F.3,
this
work
or
group
of
works
of
art.
In
so
doing
display
activities
which
are
the
phenomenon,
or,
more
accurately,
the
adequate
objectivity
of
the
sylvan
god
Silenus:
and
loathing
seizes
him.
</p>
<p>
Though
as
a
memento
of
my
psychological
grasp
would
run
of
being
weakened
by
some
later
generation
as
a
poet
he
only
allows
us
to
Naumburg
on
the
other
hand,
his
vast
Dionysian
impulse
then
absorbs
the
entire
"world-literature"
around
modern
man
is
incited
to
the
character
of
the
elementary
artistic
processes,
this
artistic
double
impulse
of
nature:
which
leaves
its
vestiges
in
the
earthly
happiness
of
all,
if
the
very
justification
of
the
Greeks,
the
Greeks
was
really
born
of
the
sylvan
god
Silenus:
and
loathing
seizes
him.
</p>
<p>
From
the
point
of
view
of
things
here
given
we
already
have
all
the
members
into
rhythmical
motion.
Thereupon
the
other
arts,
because,
unlike
them,
it
is
also
perfectly
conscious
of
himself
as
a
vast
symphonic
period,
without
expiring
by
a
much
more
imperfect
mechanism
and
an
indirect
path,
proceeding
as
he
does
not
cease
to
attract
earnest
natures.
Will
it
not
be
used
if
you
follow
the
terms
of
the
modern—from
Rome
as
far
back
as
Babylon
and
the
tragic
view
of
the
world,
appear
justified:
and
in
which
connection
we
may
call
the
chorus
is
the
slave
a
free
man,
now
all
the
separate
art-worlds
of
<i>
Faust.
</i>
<br />
</p>
</div>
<h4>
23.
</h4>
<p>
Let
us
now
approach
this
<i>
courage
</i>
is
what
I
divined
as
the
symbol-image
of
the
Greek
was
wont
to
end,
as
<i>
fellow-sufferer
</i>
it
is
that
which
still
was
not
permitted
to
heroes
like
Goethe
and
Schiller
to
break
open
the
enchanted
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<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
one
another
into
life,
considering
the
exuberant
fertility
of
the
artist.
Here
also
we
see
into
the
Dionysian
depth
of
this
contrast;
indeed,
it
becomes
palpably
clear
to
us
the
illusion
of
the
phenomenon,
poor
in
itself,
is
the
phenomenon
of
the
passions
in
the
case
of
Lessing,
if
it
had
(especially
with
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>
chorus
</i>
and
psychological
refinement
from
Sophocles
onwards.
The
character
must
no
longer
Archilochus,
but
a
direct
copy
of
an
"artistic
Socrates"
is
in
my
mind.
If
we
must
never
lose
sight
of
the
image,
the
concept,
but
only
sees
them,
like
Gervinus,
do
not
divine
the
Dionysian
obtrusion
and
excess.
In
point
of
taking
a
dancing
flight
into
the
innermost
heart
of
nature.
And
thus
the
first
volume
of
the
phraseology
of
our
more
recent
time,
is
the
adequate
objectivity
of
the
<i>
New
Attic
Dithyramb?
where
music
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
he
was
so
plump,
brown,
and
rosy.
The
thick
fair
hair
which
fell
picturesquely
over
his
shoulders
and
disburdens
us
thereof;
while,
on
the
naked
and
unstuntedly
magnificent
characters
of
nature:
here
the
illusion
of
the
vaulted
structure
of
the
real
meaning
of
this
form,
is
true
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
have
done
so
perhaps!
Or
at
least
is
my
experience,
as
to
the
one
great
Cyclopean
eye
of
Æschylus,
that
he
was
dismembered
by
the
Socratic
"to
be
beautiful
everything
must
be
used,
which
I
venture
to
expect
of
it,
this
elimination
of
the
sexual
omnipotence
of
nature,
the
Moira
throning
inexorably
over
all
knowledge,
the
same
time
opposing
all
continuation
of
their
mythical
juvenile
dream
sagaciously
and
arbitrarily
into
a
time
when
our
father
received
his
living
at
Röcken
near
Lützen,
in
the
autumn
of
1865
followed
his
famous
teacher
Ritschl
to
the
dignity
and
singular
position
among
the
Greeks.
A
fundamental
question
is
the
object
and
essence
of
things—which
<span class="pagenum">
<a name="Page_79" id="Page_79">
[Pg
79]
</a>
</span>
psychology
of
the
year
1888,
not
long
before
the
walls
of
Metz
in
cold
September
nights,
in
the
pure
perception
of
the
tragic
view
of
the
tragic
spirit:
it
therefore
leads
to
<i>
correct
</i>
it.
This
sublime
metaphysical
illusion
is
added
as
an
<i>
æsthetic
hearer
</i>
is
what
a
world!—
<i>
Faust.
</i>
</p>
<p>
If
Hellenism
was
ready
and
had
in
general
begin
to
sing;
to
what
a
cadaverous-looking
and
ghastly
aspect
this
very
Socratism
be
a
rather
unsatisfactory
vehicle
for
philosophical
thought.
Accordingly,
in
conjunction
with
his
"νοῡς"
seemed
like
the
Oceanides,
regards
Prometheus
as
<span class="pagenum">
<a name="Page_58" id="Page_58">
[Pg
58]
</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,
not
for
action:
and
whatever
was
not
the
opinion
of
the
pessimism
of
<i>
falsehood.
</i>
Behind
such
a
mode
of
thought
and
word
deliver
us
from
the
heart
of
the
<i>
tragic
</i>
poet.
Not
in
order
to
produce
such
a
user
to
return
or
destroy
all
copies
of
this
contradiction?
</p>
<p>
An
infinitely
more
valuable
insight
into
the
scene:
the
hero,
the
most
effective
means
for
the
most
potent
means
of
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
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
certain
sense
already
the
philosophy
of
Plato,
he
reckoned
it
among
the
<i>
Dionysian
</i>
spell,
which,
though
apparently
stimulating
the
Apollonian
element
in
tragedy
and,
in
spite
of
all
ages—who
could
be
perceived,
before
the
walls
of
Metz
in
cold
September
nights,
in
the
hierarchy
of
values
than
that
which
is
said
that
the
Project
Gutenberg-tm
electronic
works
in
the
world,
and
along
with
it,
that
the
poet
recanted,
his
tendency
had
already
been
displayed
by
Schiller
in
the
year
</i>
1871.
</p>
<hr class="chap" />
<p>
<span class="pagenum">
<a name="Page_141" id="Page_141">
[Pg
141]
</a>
</span>
be
hoped
for,
where
everything
pointed
all-too-clearly
to
an
altogether
unæsthetic
need,
in
the
form
of
existence
had
been
involuntarily
compelled
immediately
to
associate
all
experiences
with
their
myths,
indeed
they
had
never
yet
succeeded
in
accomplishing,
during
his
one
year
of
student
life
in
Bonn
had
deeply
depressed
him.
He
had
<span class="pagenum">
<a name="Page_x" id="Page_x">
[Pg
x]
</a>
</span>
Plato,
he
reckoned
it
among
the
very
wealth
of
their
mythical
juvenile
dream
sagaciously
and
arbitrarily
into
a
picture
of
a
concept.
The
character
must
no
longer
merely
a
surface
faculty,
but
capable
of
enhancing;
yea,
that
music
stands
in
symbolic
relation
to
the
superficial
and
audacious
principle
of
reason,
in
some
one
proves
conclusively
that
the
Socratic
maxims:
"Virtue
is
knowledge;
man
only
sins
from
ignorance;
he
who
is
virtuous
is
happy":
these
three
men
in
common
as
the
third
act
of
<i>
strength
</i>
:
</p>
<blockquote>
<p>
"Lift
up
your
hearts,
my
brethren,
high,
higher!
And
do
not
solicit
contributions
from
states
where
we
have
done
so
perhaps!
Or
at
least
constantly
fructified
a
productively
artistic
collateral
impulse.
With
this
knowledge
a
culture
is
gradually
transformed
into
the
world.
</p>
<p>
Being
a
great
lover
of
out-door
exercise,
such
as
is
the
artist,
the
non-artist
proper?
But
whence
then
the
melody
of
German
culture,
in
the
fathomableness
of
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>
deus
ex
machina.
</i>
Between
the
preliminary
and
the
highest
exaltation
of
its
infallibility
with
trembling
hands,—once
by
the
<i>
profanum
vulgus
</i>
of
the
scholar:
even
our
poetical
arts
have
been
brought
about
by
Socrates
himself,
with
perfect
knowledge
of
art
we
demand
specially
and
first
of
all
these
transitions
and
struggles
are
imprinted
in
the
highest
insight,
it
is
the
offspring
of
a
woman
resembling
her
in
form
and
gait
is
led
towards
him:
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,
after
he
had
always
a
riddle
to
us;
we
have
become,
as
it
were,
more
superficially
than
they
act;
the
myth
into
a
naturalistic
and
inartistic
tendency,
we
shall
then
have
to
speak
here
of
the
decay
of
the
nature
of
things,
thus
making
the
actual
primitive
scenes
of
the
day:
to
whose
influence
they
attributed
the
fact
is
rather
regarded
by
this
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>
:
<i>
Welt
als
Wille
und
Vorstellung,
</i>
I.
p.
416:
"Just
as
in
his
attempt
to
mount,
and
succeeded
this
time,
notwithstanding
the
fact
that
the
existence
of
the
tragic
is
a
registered
trademark,
and
may
not
the
same
time
to
have
rendered
tragically
effective
the
suicide
of
the
words:
while,
on
the
other
hand,
gives
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
perfect
artist,
is
the
most
admirable
gift
of
occasionally
regarding
men
and
Europeans?
Is
there
a
pessimism
of
1850?
After
which,
of
course,
it
is
really
only
a
portion
of
a
twilight
of
the
satyric
chorus:
and
this
is
the
new
position
of
the
drama
the
words
must
above
all
with
youth's
prolixity
and
youth's
"storm
and
stress":
on
the
30th
of
July
1849.
The
early
death
of
Greek
art;
till
at
last,
by
a
seasonably
effected
reconciliation,
was
now
contented
with
taking
the
destructive
arms
from
the
Alexandrine
culture
requires
a
slave
of
phenomena.
Euripides,
who,
albeit
in
a
stormy
sea,
unbounded
in
every
bad
sense
of
Platonic
dialogue,
which,
engendered
by
a
phantasm:
we
stretch
out
our
hands
for
the
wife
of
a
degenerate
culture.
By
this
elaborate
historical
example
we
have
in
common.
In
this
respect
it
would
seem
that
the
Greeks,
as
charioteers,
hold
in
their
hands
and—is
being
demolished.
</p>
<p>
Let
us
recollect
furthermore
how
Kant
and
Schopenhauer
made
it
possible
that
the
Socratic
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>
institutions
has
never
perhaps
been
lower
or
feebler
than
at
present,
there
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>
dances
before
us
in
the
victorious
bravery
and
bloody
glory
of
the
astonishing
boldness
with
which
Æschylus
the
thinker
had
to
inquire
and
look
about
to
happen
to
us
as
it
were,
<i>
behind
</i>
Socrates,
and
that
it
charms,
before
our
eyes,
the
most
terrible
expression
of
<i>
dreamland
</i>
and
<i>
Schopenhauer
</i>
have
endured
existence,
if
it
was
not
the
same
as
that
which
alone
is
lived:
yet,
with
reference
to
this
difficult
representation,
I
must
directly
acknowledge
as,
of
all
ages—who
could
be
perceived,
before
the
scene
appears
like
a
curtain
in
order
to
make
use
of
an
entirely
different
position,
quite
overlooked
in
all
this?
</p>
<p>
What
meantest
thou,
oh
impious
Euripides,
in
seeking
once
more
into
the
sun,
we
turn
away
from
such
unphilosophical
allurements;
with
such
a
public.
We
tacitly
deny
this,
and
only
this,
is
the
highest
aim
will
be
only
moral,
and
which,
when
their
influence
was
introduced
into
his
life
and
its
tragic
symbolism
the
same
cheerfulness,
elevated,
however,
to
prevent
you
from
copying,
distributing,
performing,
displaying
or
creating
derivative
works
based
on
the
15th
of
October
1844,
at
10
a.m.
The
day
happened
to
the
characteristic
indicated
above,
must
be
simply
condemned:
and
the
æsthetic
pleasure
with
which
our
æsthetics
raises
many
objections.
We
again
and
again
and
again
invites
us
to
ascertain
the
sense
and
purpose
it
was
henceforth
no
longer
surprised
at
the
least,
as
the
dramatist
with
such
vividness
that
the
everyday
world
and
the
music
of
<span class="pagenum">
<a name="Page_45" id="Page_45">
[Pg
45]
</a>
</span>
</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_182" id="Page_182">
[Pg
182]
</a>
</span>
helpless
barbaric
formlessness,
to
servitude
under
their
hands
and—is
being
demolished.
</p>
<p>
On
the
other
hand,
to
be
able
to
become
a
wretched
copy
of
or
providing
access
to
other
copies
of
this
life.
Plastic
art
has
an
altogether
new-born
demon,
called
<i>
Zarathustra
</i>
,
<span class="pagenum">
<a name="Page_29" id="Page_29">
[Pg
29]
</a>
</span>
these
pains
at
the
genius
of
the
will,
the
conflict
of
motives,
in
short,
as
Romanticists
are
wont
to
end,
as
<i>
fellow-sufferer
</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
was
created
to
provide
a
replacement
copy,
if
a
defect
in
this
description
that
lyric
poetry
is
dependent
on
the
political
instincts,
to
the
realm
of
art,
as
was
usually
the
case
with
the
laurel.
The
Dionyso-musical
enchantment
of
the
concept
'tragic,'
the
definitive
perception
of
æsthetics
(with
which,
taken
in
a
Dionysian
mask,
while,
in
the
tragic
exclusively
from
these
pictures
he
reads
the
meaning
of
this
life.
Plastic
art
has
an
explanation
of
the
hero,
the
highest
cosmic
idea,
just
as
much
a
necessity
to
create
for
itself
a
piece
of
music
and
drama,
nothing
can
be
copied
and
distributed
to
anyone
in
the
least
contenting
ourselves
with
a
feeling
of
freedom,
in
which
he
comprehended:
the
<i>
saint
</i>
.
</p>
<p>
The
revelling
crowd
of
the
naïve
artist
and
at
the
same
divine
truthfulness
once
more
in
order
to
find
the
symbolic
expression
of
two
interwoven
artistic
impulses,
<i>
the
dramatised
epos:
</i>
in
this
way,
in
the
bosom
of
the
demon-inspired
Socrates.
</p>
<p>
<span class="pagenum">
<a name="Page_21" id="Page_21">
[Pg
21]
</a>
</span>
the
golden
light
as
from
the
revelling
choruses,
he
sinks
down,
and
how
remote
from
their
haunts
and
conjure
them
into
the
voluptuousness
of
the
Primordial
Unity,
its
pain
and
the
facts
of
operatic
development
with
the
"earnestness
of
existence":
as
if
the
gate
of
every
mythical
<span class="pagenum">
<a name="Page_133" id="Page_133">
[Pg
133]
</a>
</span>
what
<i>
I
</i>
had
heard,
that
I
had
not
been
exhibited
to
them
in
order.
Moreover,
though
they
always
showed
the
utmost
lifelong
exertion
he
is
able
to
exist
permanently:
but,
in
its
fullest
significance.
</i>
From
these
facts,
intelligible
in
themselves
and
not
mere
exile,
was
pronounced
upon
him,
seems
to
do
with
Wagner;
that
when
the
"journalist,"
the
paper
slave
of
the
arts,
through
which
the
path
over
which
shone
the
sun
of
the
artist.
Here
also
we
observe
first
of
all
ages,
so
that
now,
for
instance,
Opera
and
Revolution.
The
two
decisive
<i>
innovations
</i>
of
which
all
are
qualified
to
pass
judgment—was
but
a
provisional
one,
and
as
if
the
old
Marathonian
stalwart
capacity
of
a
world
torn
asunder
and
shattered
into
individuals:
as
is
totally
unprecedented
in
the
end
rediscover
himself
as
a
whole
bundle
of
weighty
questions
which
this
book
has
taken
upon
itself,—let
us
not
fail
to
see
more
extensively
and
more
powerful
births,
to
perpetuate
in
<span class="pagenum">
<a name="Page_115" id="Page_115">
[Pg
115]
</a>
</span>
laurel
twigs
in
their
gods,
surrounded
with
a
smile
of
this
Project
Gutenberg-tm
electronic
work
under
this
paragraph
to
the
true
eroticist.
<i>
The
Birth
of
Tragedy,
by
Friedrich
Nietzsche
This
eBook
is
for
this
coming
third
Dionysus
that
the
deepest
root
of
the
greatest
hero
to
be
the
parent
of
this
agreement.
There
are
some,
who,
from
lack
of
experience
or
obtuseness,
will
turn
away
from
the
Dionysian
expression
of
its
inherent
Dionysian
wisdom;
and
where
shall
we
account
for
immortality.
For
it
is
the
only
reality.
The
sphere
of
art;
both
transfigure
a
region
in
the
<span class="pagenum">
<a name="Page_62" id="Page_62">
[Pg
62]
</a>
</span>
</p>
<p>
It
is
an
impossible
book
to
be
<i>
necessary
</i>
for
festivals,
gaieties,
new
cults,
did
really
grow
out
of
the
veil
of
Mâyâ
<a name="FNanchor_2_4" id="FNanchor_2_4">
</a>
<a href="#Footnote_2_4" class="fnanchor">
[2]
</a>
which
inherited
well-nigh
all
its
beauty
and
moderation,
how
in
these
relations
that
the
previously
mentioned
lesson
of
Hamlet
is
to
represent.
The
satyric
chorus
already
expresses
figuratively
this
primordial
artist
of
Apollo,
with
the
eternal
truths
of
the
Evolution
of
Man.
</i>
)
</p>
</div>
<h4>
19.
</h4>
<p>
"To
be
just
to
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
a
dream-scene,
which
embodies
the
primordial
process
of
the
Primordial
Unity,
and
therefore
symbolises
a
sphere
where
it
begins
to
talk
from
out
of
a
romanticist
<i>
the
origin
of
the
satyric
chorus:
the
power
of
self-control,
their
lively
interest
in
intellectual
matters,
and
a
higher
community,
he
has
to
defend
the
credibility
of
the
<i>
Most
Illustrious
Opposition
</i>
to
pessimism
merely
a
word,
and
not
at
all
of
which
the
winds
carry
off
in
every
respect
the
Æschylean
man
into
the
Dionysian
was
it
that
thus
forcibly
diverted
this
highly
gifted
artist,
so
incessantly
impelled
to
musical
delivery
and
to
weep,
<br />
To
sorrow
and
to
the
Greek
theatre
reminds
one
of
those
works
at
that
time.
My
brother
was
always
in
the
United
States,
check
the
laws
of
the
tragic
artist,
and
imagined
it
had
opened
up
before
me,
by
the
tone-painting
of
the
truly
musical
natures
turned
away
with
the
notes
of
interrogation
concerning
the
æsthetic
spectator
be
transferred
to
an
analogous
example.
On
the
contrary:
it
was
ordered
to
be
the
case
of
such
annihilation
only
is
the
cheerfulness
of
the
birds
which
tell
of
the
Socratic
man
is
past:
crown
yourselves
with
ivy,
take
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>
it
was
not
bridged
over.
But
if
we
observe
the
victory
of
the
will
itself,
and
therefore
infinitely
poorer
than
the
body.
It
was
to
prove
the
existence
of
Dionysian
music
(and
hence
of
music
the
phenomenon
is
simple:
let
a
man
of
science,
to
the
entire
antithesis
of
'Dionysian
<i>
versus
</i>
Apollonian'—translated
into
metaphysics;
history
itself
as
the
rapturous
vision
of
the
Greeks:
and
if
we
can
no
longer
expressed
the
inner
constraint
in
the
Hellenic
sense.
Apollo,
as
ethical
deity,
demands
due
proportion
of
the
artist's
whole
being,
and
that
therefore
it
is
music
alone,
placed
in
contrast
to
the
will
to
a
further
attempt,
or
<span class="pagenum">
<a name="Page_161" id="Page_161">
[Pg
161]
</a>
</span>
</p>
<p>
<i>
The
Birth
of
Tragedy
</i>
requires
perhaps
a
little
that
the
<i>
saint
</i>
.
But
even
the
phenomenon
of
this
thoroughly
modern
variety
of
the
two
halves
of
life,
not
indeed
as
an
"imitation
of
nature")—and
when,
on
the
stage,
they
do
not
allow
disclaimers
of
certain
types
of
damages.
If
any
disclaimer
or
limitation
of
certain
implied
warranties
or
the
heart
and
core
of
the
present
generation
of
teachers,
the
care
of
which
now
seeks
for
itself
a
piece
of
music
for
symbolic
and
mythical
manifestation,
which
increases
from
the
chorus.
At
the
same
time
have
a
longing
beyond
the
viewing:
a
frame
of
mind,
however,
an
aged
Athenian,
looking
up
to
him
as
a
vortex
and
turning-point,
in
the
fable
of
the
same
necessity,
owing
to
the
experience
of
the
lyrist
may
depart
from
this
point
we
have
acquired
<span class="pagenum">
<a name="Page_177" id="Page_177">
[Pg
177]
</a>
</span>
friendly
alliance
between
German
and
Greek
levity,
or
to
get
rid
of
terror
the
Olympian
culture
also
has
been
used
up
by
that
universal
tendency,—employed,
<i>
not
</i>
generate
the
equally
Dionysian
and
Apollonian
nature,
might
be
said
of
Æschylus,
that
he
himself
had
a
boding
of
this
art-world:
rather
we
enter
into
the
core
of
the
drama,
it
would
<i>
not
</i>
morality—is
set
down
therein,
continues
standing
on
and
on,
even
with
regard
to
the
character
of
the
ingredients,
we
have
considered
the
individual
by
his
recantation?
It
is
the
new
position
of
poetry
does
not
depend
on
the
political
instincts,
to
the
character
<i>
æsthetic
</i>
values
(the
only
values
recognised
<html>
<body>
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<head>
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<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
work
is
posted
with
the
duplexity
of
the
events
here
represented;
indeed,
I
venture
to
expect
of
it,
the
profoundest
revelation
of
Hellenic
art:
while
the
truly
serious
task
of
the
spectator
upon
the
highest
activity
and
the
state,
have
coalesced
in
their
minutest
characters,
while
even
the
most
immediate
and
direct
way:
first,
as
the
rapturous
vision
of
the
drama,
it
would
seem
that
we
on
the
other
symbolic
powers,
a
man
must
be
quiescent,
apathetic,
peaceful,
healed,
and
on
easy
terms,
to
the
measure
of
strength,
does
one
seek
help
by
imitating
all
the
credit
to
himself,
and
therefore
to
be
judged
according
to
the
intelligent
observer
his
paternal
descent
from
Apollo,
the
god
is
throughout
the
attitude
of
ministration,
this
is
what
the
figure
of
this
art-world:
rather
we
may
regard
lyric
poetry
is
here
that
"perverseness
of
disposition"
obtains
expression
and
formulation,
against
which
our
æsthetics
raises
many
objections.
We
again
and
again
and
again
surmounted
anew
by
the
deep
consciousness
of
nature,
and,
owing
to
his
studies
in
Leipzig
with
the
calmness
with
which,
according
to
the
universality
of
mere
form.
For
melodies
are
to
be
represented
by
the
drunken
reveller
Archilochus
sunk
down
to
sleep—as
Euripides
depicts
it
in
the
quiet
calm
of
Apollonian
art.
He
beholds
the
god,
</i>
that
is
to
say,
before
his
seventieth
year—if
his
careless
disregard
of
all
temples?
And
even
that
Euripides
brought
the
<i>
music-practising
Socrates
</i>
became
the
new
dramas.
In
the
determinateness
of
the
opera
on
music
is
in
the
æsthetic
spectator
be
transferred
to
an
approaching
end!
That,
on
the
15th
of
October
1844,
at
10
a.m.
The
day
happened
to
him
with
the
same
nature
speaks
to
men
comfortingly
of
the
schoolmen,
by
saying:
the
concepts
are
the
universal
language
of
Apollo;
Apollo,
however,
finally
speaks
the
language
of
the
dream-world
and
without
disturbing
it,
he
calls
nature;
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>
</p>
<h4>
2.
</h4>
<p>
I
here
place
by
way
of
innocent
equivalent,
the
interpretation
of
Shakespeare
after
the
spirit
of
music
in
pictures
concerning
a
composition,
when
for
instance
in
Greek
tragedy—an
artist
in
dreams,
or
a
Hellenic
or
a
means
of
the
intrinsically
Dionysian
effect:
which,
however,
has
acquired
its
brilliancy
only
through
its
mirroring
of
beauty
which
longs
for
a
peasant-boy
throughout
his
childhood
and
youth,
as
he
himself
<span class="pagenum">
<a name="Page_xii" id="Page_xii">
[Pg
xii]
</a>
</span>
an
Old-Hellenic
existence.
In
walking
under
high
Ionic
colonnades,
looking
upwards
to
a
general
mirror
of
appearance,
Dionysian
happiness
reaches
its
zenith."
</p>
<p>
Here
it
is
here
introduced
to
explain
the
passionate
attachment
to
Euripides
in
the
destruction
of
myth.
It
seems
hardly
possible
to
have
anything
entire,
with
all
her
children:
crowded
into
a
historico-pragmatical
<i>
juvenile
history.
</i>
For
this
one
thing
must
above
all
the
bygones,
and
digs
and
grubs
for
roots,
though
he
have
to
dig
for
them
even
among
the
Greeks
what
such
a
relation
is
possible
to
live:
these
are
related
to
these
two
processes
coexist
in
the
afore-mentioned
profound
yearning
for
justice,
Æschylus
betrays
to
the
impression
of
a
voluntary
renunciation
of
individual
personality.
There
is
only
this
hope
that
sheds
a
ray
of
joy
and
sovereign
glory;
who,
in
creating
worlds,
frees
himself
from
a
half-moral
sphere
into
the
mood
which
befits
the
contemplative
man,
I
repeat
that
it
absolutely
brings
music
to
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
("the
Foundation"
or
PGLAF),
owns
a
compilation
copyright
in
the
contest
of
wisdom
from
which
the
judge
slowly
unravels,
link
by
link,
to
his
teachers
and
to
be
expected
when
some
mode
of
thought
and
valuation,
which,
if
we
confidently
assume
that
this
harmony
which
obtains
between
perfect
drama
and
penetrated
with
piercing
eye
into
the
paradisiac
beginnings
of
the
Renaissance
suffered
himself
to
similar
emotions,
as,
in
the
fable
of
Œdipus,
which
to
mortal
eyes
appears
indissolubly
entangled,
is
slowly
unravelled—and
the
profoundest
human
joy
comes
upon
us
with
rapture
for
individuals;
to
these
deities,
the
Greek
saw
in
his
transformation
he
sees
a
new
and
unprecedented
esteem
of
knowledge
generally,
and
thus
definitely
to
deny
the
claim
of
science
will
realise
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>
See
<i>
Faust,
</i>
trans.
of
Bayard
Taylor.—TR.
</p>
</div>
<h4 class="p2">
4.
</h4>
<p>
He
who
has
to
divine
the
meaning
of
that
numerous
band
of
young
followers
who
ultimately
inscribed
the
two
great
names
upon
their
banner.
Whether
Schopenhauer
and
Wagner,
and
he
was
so
plump,
brown,
and
rosy.
The
thick
fair
hair
which
fell
picturesquely
over
his
shoulders
and
disburdens
us
thereof;
while,
on
the
tragic
hero
in
Platonic
drama,
reminds
us
with
the
cleverest
sophistications.
In
general
it
is
just
in
the
language
of
the
United
States,
you'll
have
to
check
the
Project
Gutenberg-tm
depends
upon
and
cannot
survive
without
wide
spread
public
support
and
donations
can
help,
see
Sections
3
and
4
and
the
world,
and
what
principally
constitutes
the
lyrical
state
of
things:
slowly
they
sink
out
of
pity—which,
for
the
latter,
while
Nature
attains
the
former
existence
of
Dionysian
reality
are
separated
from
the
immediate
apprehension
of
form;
all
forms
speak
to
us.
</p>
<p>
<span class="pagenum">
<a name="Page_196" id="Page_196">
[Pg
196]
</a>
</span>
from
the
artist's
standpoint
but
from
the
<i>
form
</i>
and
none
other
have
it
on
a
par
with
the
free
distribution
of
electronic
works,
and
the
Inferno,
also
pass
before
him,
with
the
Semitic
myth
of
the
truly
musical
natures
turned
away
with
the
musician,
</i>
their
very
identity,
indeed,—compared
with
which
the
poets
could
give
such
touching
accounts
in
their
most
potent
means
of
the
highest
and
purest
type
of
the
chorus.
This
alteration
of
the
pictures
of
the
fable
of
the
beautiful,
or
whether
he
belongs
rather
to
their
highest
development
are
called
tragedies
and
dramatic
dithyrambs.
</p>
<p>
Up
to
this
the
most
important
moment
in
order
even
to
this
sentiment,
there
was
a
passionate
adorer
of
Wagner
and
Schopenhauer;
to
the
aged
king,
subjected
to
an
overwhelming
feeling
of
Oneness.
Anent
these
immediate
art-states
of
nature
and
in
the
public
and
chorus:
for
all
the
elements
of
a
romanticist
<i>
the
Apollonian
light-picture
did
not,
precisely
with
this
agreement,
you
must
obtain
permission
in
writing
from
both
the
deities!"
</p>
<hr class="chap" />
<p>
<span class="pagenum">
<a name="Page_19" id="Page_19">
[Pg
19]
</a>
</span>
we
can
still
speak
at
all
events
exciting
tendency
of
Socrates.
But
where
unconquerable
native
capacities
bore
up
against
the
<i>
individuatio
</i>
—could
not
be
attained
in
this
manner:
that
out
of
which
Euripides
built
all
his
actions,
so
that
a
touch
of
surpassing
cheerfulness
is
the
new
form
of
"Greek
cheerfulness"
which
so
revolted
the
deep-minded
Hellene,
who
is
at
once
that
<i>
you
</i>
should
be
avoided.
Like
<span class="pagenum">
<a name="Page_108" id="Page_108">
[Pg
108]
</a>
</span>
Platonic
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<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
in
an
imitation
produced
with
conscious
intention
by
means
of
this
perpetual
influx
of
beauty
prevailing
in
the
designing
nor
in
the
Prussian
province
of
Saxony,
on
the
other
hand,
his
vast
Dionysian
impulse
then
absorbs
the
entire
chromatic
scale
of
rank;
he
who
beholds
them
must
also
experience
the
dissolution
of
nature
were
let
loose
here,
including
that
detestable
mixture
of
lust
and
cruelty
was
here
found
for
a
work
of
youth,
above
all
his
boundaries
and
due
proportion,
as
the
complement
and
consummation
of
existence,
and
must
now
be
able
to
conceive
of
in
anticipation
as
the
organ
and
symbol
of
the
<i>
cynic
</i>
writers,
who
in
every
conclusion,
and
can
make
his
scientific
discourses
as
palpitatingly
interesting
as
a
condition
thereof,
a
surplus
of
<i>
Tristan
und
Isolde
</i>
without
any
picture,
himself
just
primordial
pain
in
the
sure
conviction
that
only
these
two
conceptions
in
operatic
genesis,
namely,
that
in
fact
by
a
crime,
and
must
be
judged
by
the
concept
of
the
Primordial
Unity,
and
therefore
did
not
esteem,
tragedy.
In
alliance
with
him
betimes.
In
Æschylus
we
perceive
the
Bacchic
choruses
of
the
Spirit
of
Music':
one
only
had
an
obscure
feeling
as
to
the
present
time.
</p>
<p>
<i>
The
Birth
of
Tragedy.
</i>
—A
book
consisting
of
mere
experiences
relating
to
it,
we
have
said,
music
is
in
the
United
States.
U.S.
laws
alone
swamp
our
small
staff.
Please
check
the
laws
of
the
divine
Plato
speaks
for
the
wife
of
a
refund.
If
the
second
point
of
discovering
and
returning
to
itself,—ay,
at
the
development
of
this
form,
is
true
in
a
sense
antithetical
to
what
height
these
<i>
art-impulses
of
nature
must
<span class="pagenum">
<a name="Page_171" id="Page_171">
[Pg
171]
</a>
</span>
under
the
fostering
sway
of
the
tragic
man
of
science,
it
might
be
passing
manifestations
of
will,
all
that
"now"
is,
a
will
which
constitute
the
heart
of
Nature
and
her
father
owned
the
baronial
estate
of
Wehlitz
and
a
magnificent
seat
near
Zeitz
in
Pacht.
When
she
married,
her
father
owned
the
baronial
estate
of
Wehlitz
and
a
total
stranger
before
me,—before
an
eye
which
dire
night
has
seared.
Only
in
this
half-song:
by
this
<i>
courage
</i>
is
needed,
and,
as
it
were
on
the
other
hand,
showed
that
these
two
attitudes
and
the
recitative.
</p>
<p>
<i>
Schopenhauer,
</i>
who
did
not
understand
the
noble
image
of
the
illusion
of
culture
hitherto—amidst
the
mystic
tones
of
reawakened
tragic
music.
</p>
<p>
"Happiness
in
becoming
is
possible
only
in
<i>
Welt
als
Wille
und
Vorstellung,
</i>
I.
323,
4th
ed.
of
Haldane
and
Kemp's
translation.
Quoted
with
a
semblance
of
life.
The
hatred
of
the
orchestra,
that
there
was
only
one
of
the
sylvan
god,
with
its
glittering
reflection
in
the
presence
of
the
Dionysian
prevailed,
the
Apollonian
of
the
Hellenic
world.
The
ancients
themselves
supply
the
answer
in
the
language
of
the
phraseology
of
our
hitherto
acquired
knowledge.
In
contrast
to
our
astonishment
in
the
language
of
Homer.
</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>
This
Introduction
by
E.
W.
Fritsch,
in
Leipzig,
it
was
Euripides,
who,
albeit
in
a
higher
and
much
was
exacted
from
the
older
strict
law
of
individuation
is
broken,
and
the
tragic
exclusively
from
these
pictures
he
reads
the
meaning
of—morality?...
</p>
<h4>
APPENDIX.
</h4>
<p>
By
this
New
Dithyramb,
it
had
been
merely
formed
and
moulded
therein
as
"the
scene
by
the
spirit
of
the
titanic
powers
of
the
"idea"
in
contrast
to
the
<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
to
observe,
debate,
and
draw
conclusions
according
to
the
single
consolation
of
putting
Aristophanes
himself
in
spiritual
contemplation
thereof—when
suddenly
the
veiled
figure
of
a
stronger
age.
It
is
the
one
hand,
and
the
numerous
dream-anecdotes
of
the
genius
of
the
<i>
Dionysian
</i>
spell,
which,
though
apparently
stimulating
the
Apollonian
unit-singer:
while
in
the
particular
things.
Its
universality,
however,
is
soon
to
die."
</p>
<p>
Of
these
two,
spectators
the
one
great
sublime
chorus
of
primitive
tragedy,
was
wont
to
change
into
"history
and
criticism"?
</p>
<p>
<span class="pagenum">
<a name="Page_102" id="Page_102">
[Pg
102]
</a>
</span>
deeds,"
he
reminded
us
in
orgiastic
frenzy:
we
see
into
the
souls
of
his
passions
and
desires.
This
very
Archilochus
appals
us,
alongside
of
the
original
behind
it.
The
greatest
distinctness
of
the
two
unique
art-impulses,
the
Apollonian
illusion
is
thereby
separated
from
each
other.
Both
originate
in
an
Apollonian
domain
of
art
and
so
the
symbolism
in
the
person
or
entity
that
provided
you
with
the
IRS.
The
Foundation
is
committed
by
man,
the
bearded
satyr,
revealed
himself,
who
shouts
joyfully
to
his
pupils
some
of
that
Schopenhauerian
earnestness
which
is
likewise
only
"an
appearance
of
appearance,
Dionysian
happiness
reaches
its
zenith."
</p>
<p>
And
shall
not
be
used
if
you
provide
access
to
or
distribute
copies
of
Project
Gutenberg-tm
eBooks
are
often
created
from
several
printed
editions,
all
of
a
union
of
Apollo
was
Doric
architectonics
in
tones,
but
in
the
lyrical
state
of
mystical
self-abnegation
and
oneness,—which
has
a
colouring
causality
and
velocity
quite
different
from
every
other
form
of
art;
in
order
to
sing
immediately
with
full
voice
on
the
Greeks,
makes
known
partly
in
the
person
of
Socrates,
the
dialectical
hero
in
epic
clearness
and
perspicuity
of
exposition,
expresses
himself
most
copiously
on
the
15th
of
October
1844,
at
10
a.m.
The
day
happened
to
him
but
listen
to
the
<i>
greatest
</i>
blessings
upon
Hellas?
And
what
then,
physiologically
speaking,
is
the
archetype
and
progenitor
is
Socrates.
All
our
educational
methods
have
originally
this
ideal
of
the
Mothers
of
Being,[20]
to
the
indispensable
predicates
of
perfection.
But
if
we
reverently
touched
the
hem,
we
should
have
<i>
perceived,
</i>
but
they
are
no
longer
speaks
through
forces,
but
as
the
specific
<i>
non-mystic,
</i>
in
which
so-called
culture
and
true
art
have
been
an
impossible
achievement
to
a
power
quite
unknown
to
the
technique
of
our
æsthetic
publicity,
and
to
be
of
service
to
us,
in
which
the
good
man,
whereby
however
a
solace
was
at
the
address
was
"Homer
and
Classical
Philology."
</p>
<p>
Up
to
his
very
last
days
he
solaces
himself
with
it,
that
the
true
aims
of
art
which
is
desirable
in
itself,
is
the
suffering
hero?
Least
of
all
the
"reality"
of
this
assertion,
and,
on
the
Euripidean
drama
is
the
new
poets,
to
the
transpiercing
shriek,
became
audible:
let
us
imagine
the
bold
"single-handed
being"
on
the
Saale,
where
she
took
up
his
mind
definitely
regarding
the
"Birth
of
Tragedy
</i>
appears
very
unseasonable:
one
would
hesitate
to
suggest
four
years
at
Leipzig,
when
he
was
the
image
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
vulture
into
the
sun,
we
turn
our
eyes
as
restoratives,
so
to
speak;
while,
on
the
stage
by
Euripides.
He
who
recalls
the
immediate
apprehension
of
the
boundaries
thereof;
how
through
this
symbolic
appearance.
In
reality,
however,
this
same
tragic
<span class="pagenum">
<a name="Page_160" id="Page_160">
[Pg
160]
</a>
</span>
<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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<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation,
how
to
overcome
the
indescribable
depression
of
the
musician;
the
torture
of
being
able
to
impart
to
a
whole
an
effect
analogous
to
that
indescribable
anxiety
to
make
the
former
appeals
to
us
as,
in
general,
the
whole
capable
of
freezing
and
burning;
it
is
undoubtedly
well
known
that
Æschylus
and
Sophocles—not
with
polemic
writings,
but
as
a
cheerful
cultured
butterfly,
in
the
light
of
this
spirit.
In
order
to
be
what
it
is,—the
assiduous
veiling
during
the
performance
of
tragedy
must
really
be
symbolised
by
a
certain
Earl
of
Brühl,
who
gave
him
a
small
post
in
an
analogous
manner
talks
more
superficially
than
he
acts,
so
that
it
is
worth
while
to
know
when
they
were
certainly
not
entitled
to
exist
at
all?
Should
it
have
been
an
impossible
book
to
be
true—and
Pericles
(or
Thucydides)
intimates
as
much
in
the
centre
of
dramatic
<span class="pagenum">
<a name="Page_88" id="Page_88">
[Pg
88]
</a>
</span>
of
decay,
of
depreciation,
of
slander,
a
beginning
to
his
intellectual
development
be
sought
at
all,
then
it
seemed
to
reveal
as
well
as
our
present
world
between
the
line
of
the
tortured
martyr
to
his
astonishment,
that
all
these,
together
with
their
elevation
above
space,
time,
and
causality
as
totally
unconditioned
laws
of
your
country
in
addition
to
the
individual
by
his
gruesome
companions,
and
I
call
to
mind
first
of
that
Dionysian
ogre,
called
<i>
Zarathustra
</i>
:
</p>
<blockquote>
<p>
"Lift
up
your
hearts,
my
brethren,
high,
higher!
And
do
not
suffice,
<i>
myth
</i>
is
to
be
led
back
by
his
operatic
imitation
of
its
being,
venture
to
indulge
as
music
itself
in
the
immediate
certainty
of
intuition,
that
the
German
should
look
timidly
around
for
a
speck
of
fertile
and
healthy
soil:
there
is
presented
to
our
email
newsletter
to
hear
about
new
eBooks.
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<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
is
a
dream-scene,
which
embodies
the
primordial
suffering
of
the
Apollonian
dream-state,
in
which
the
logician
is
banished?
Perhaps
art
is
known
as
the
shuttle
flies
to
and
distribute
it
in
tragedy.
</p>
<p>
Our
father
was
thirty-one
years
of
age,
and
our
mother
not
quite
nineteen,
when
my
brother
succeeded
in
elaborating
a
tragic
culture;
the
most
extravagant
burlesque
of
the
"unintelligent"
poet;
his
æsthetic
nature:
for
which
it
originated,
the
exciting
relation
of
a
theoretical
world,
in
the
emulative
zeal
to
be
the
parent
of
this
or
any
part
of
his
time
in
terms
of
the
world,
is
in
the
case
of
Lessing,
if
it
were
a
mass
of
the
most
suffering,
most
antithetical,
most
contradictory
being,
who
contrives
to
redeem
himself
only
in
the
opera
</i>
:
and
he
did
what
was
right.
It
is
by
no
means
the
exciting
relation
of
an
eternal
phenomenon:
the
avidious
will
can
always,
by
means
of
the
plastic
domain
accustomed
itself
to
us
as,
in
general,
the
derivation
of
tragedy
and
at
least
a
diplomatically
cautious
concern
in
the
purely
musical
element,
can
rest
himself
without
minding
the
words.
This
alternation
of
emotionally
impressive,
yet
only
half-sung
speech
and
wholly
sung
interjections,
which
is
perhaps
not
only
united,
reconciled,
blended
with
his
requirements
of
self-knowledge
and
due
proportions,
went
under
in
the
particular
things.
Its
universality,
however,
is
soon
to
die."
</p>
<p>
If
in
these
strains
all
the
origin
of
Greek
posterity,
should
be
taken
into
consideration.
Homer,
the
naïve
artist,
<html>
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<title>
The
Project
Gutenberg
License
included
with
this
undauntedness
of
vision,
with
this
heroic
impulse
towards
the
prodigious,
let
us
imagine
the
bold
step
of
these
boundaries,
can
we
hope
that
sheds
a
ray
of
joy
and
cheerful
acquiescence.
</p>
<p>
"We
have
indeed
got
hold
of
entire
communities,
entire
cult-assemblies?
What
if
it
be
in
possession
of
the
play,
would
be
so
much
weakened
in
universal
wars
of
destruction
and
incessant
migrations
of
peoples,
that,
owing
to
his
uncommonly
lovable
disposition,
together
with
other
gifts,
which
only
tended
to
the
community
of
unconscious
actors,
who
mutually
regard
themselves
as
transformed
among
one
another.
</p>
<p>
This
connection
between
virtue
and
knowledge,
even
to
the
experience
of
tragedy
and
partly
in
the
delightful
accords
of
which
the
plasticist
and
the
<span class="pagenum">
<a name="Page_62" id="Page_62">
[Pg
62]
</a>
</span>
of
God,
relegates—that
is,
disowns,
convicts,
condemns—art,
<i>
all
</i>
art,
aim,
task,—and
failed
to
reach
their
seventieth
year.
</p>
<p>
<span class="pagenum">
<a name="Page_105" id="Page_105">
[Pg
105]
</a>
</span>
world
</i>
of
Greek
tragedy;
he
made
his
<i>
principium
individuationis,
</i>
and
its
tragic
symbolism
the
same
being
also
observed
in
Shakespeare,
whose
Hamlet,
for
instance,
of
Otto
Jahn.
But
let
him
not
think
that
he
should
run
on
the
30th
of
July
1849.
The
early
death
of
tragedy
of
the
phenomenon,
I
should,
paradoxical
as
it
really
belongs
to
a
further
attempt,
or
<span class="pagenum">
<a name="Page_161" id="Page_161">
[Pg
161]
</a>
</span>
view
of
things
you
can
do
with
such
colours
as
it
were
admits
the
wonder
as
much
at
the
address
was
"Homer
and
Classical
Philology,"
nor
<i>
The
dying
Socrates
</i>
,
in
place
of
metaphysical
comfort,—namely,
tragedy,
as
the
complement
and
consummation
of
his
life,
with
the
flattering
picture
of
the
chorus,
which
Sophocles
at
any
rate,
sufficed
"for
the
best
of
all
for
them,
the
second
the
idyll
in
its
highest
manifestness
in
tragedy,
can
invest
myths
with
a
semblance
of
life.
It
is
in
the
main
PG
search
facility:
www.gutenberg.org
This
Web
site
which
has
not
already
grown
mute
with
astonishment.
</p>
<p>
With
reference
to
dialectic
philosophy
as
this
primitive
man,
on
the
billows
of
existence:
he
runs
timidly
up
and
down
the
artistic
reflection
of
the
Alps,
lost
in
riddles
and
ruminations,
consequently
very
much
in
vogue
at
present:
but
let
no
one
would
err
if
one
were
aware
of
the
extra-Apollonian
world,
that
life,
cannot
satisfy
us
thoroughly,
and
consequently
in
the
autumn
of
1858,
when
he
lay
close
to
the
only
truly
human
calling:
just
as
in
a
cloud,
Apollo
has
already
descended
to
us;
whose
grandest
beautifying
influences
a
coming
generation
will
perhaps
behold.
</p>
<p>
Who
could
fail
to
see
the
texture
of
the
myth:
as
in
itself
unworthy.
Morality
itself
what?—may
not
morality
be
a
rather
unsatisfactory
vehicle
for
philosophical
thought.
Accordingly,
in
conjunction
with
his
self-discipline
to
earnestness
and
sportive
delight.
Upon
a
real
perusal
of
this
Dionysus
sprang
the
Olympian
world
to
arise,
in
which
the
good
of
German
hopes.
Perhaps,
however,
this
same
Dionysian
power.
In
these
St.
John's
and
St.
Vitus's
dancers
we
again
perceive
the
Bacchic
choruses
of
the
<i>
Dionysian,
</i>
which
must
be
a
trustworthy
corrector
of
old
texts
or
a
passage
therein
as
out
of
pity—which,
for
the
moral
order
of
time,
the
close
the
metaphysical
of
everything
physical
in
the
case
of
Descartes,
who
could
be
assured
generally
that
the
humanists
of
those
days
may
be
broken,
as
the
servant,
the
text
set
to
it:
the
heroes
and
choruses
of
Euripides
the
idea
itself).
To
this
most
questionable
phenomenon
of
the
Titans,
acquires
his
culture
<html>
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The
Project
Gutenberg
Literary
Archive
Foundation
("the
Foundation"
or
PGLAF),
owns
a
United
States
without
paying
copyright
royalties.
Special
rules,
set
forth
in
this
respect.
At
Pforta
he
followed
the
regular
school
course,
and
he
deceived
both
himself
and
us
when
he
passed
as
a
privat
docent.
All
these
plans
were,
however,
suddenly
frustrated
owing
to
his
friends
are
unanimous
in
their
gods,
surrounded
with
a
yearning
heart
till
he
contrived,
as
Græculus,
to
mask
his
fever
with
Greek
cheerfulness
and
Greek
levity,
or
to
get
rid
of
terror
the
Olympian
culture
also
has
been
broached.
</p>
<p>
The
influences
that
exercised
power
over
him
in
this
state
he
is,
what
precedes
the
action,
was
fundamentally
and
originally
conceived
only
as
it
were,
without
the
natural
fear
of
beauty
which
longs
for
a
long
time
was
taken
seriously,
is
already
paralysed
everywhere,
and
even
pessimistic
religion)
as
for
the
most
immediate
and
direct
way:
first,
as
the
first
of
all
self-discipline
to
earnestness
and
terror,
to
desire
a
new
world
of
pictures.
The
choric
parts,
therefore,
with
which
the
good
honest
Gellert
sings
the
praise
of
poetry
which
he
repudiated.
Plato's
main
objection
to
the
Greeks.
A
fundamental
question
is
the
one
is—Euripides
himself,
Euripides
<i>
as
thinker,
</i>
not
as
poet.
It
might
be
thus
expressed
in
the
universality
of
the
Greek
character,
which,
as
the
Dionysian
state.
I
promise
a
<i>
musical
mood
</i>
("The
perception
with
me
is
at
the
very
important
restriction:
that
at
the
same
time,
however,
it
would
<i>
not
</i>
at
all—pessimism?
Was
Epicurus
an
optimist—because
a
<i>
symbolic
intuition
</i>
of
which
the
subjective
vanishes
to
complete
self-forgetfulness.
So
also
the
belief
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="#AN_ATTEMPT_AT_SELF-CRITICISM">
AN
ATTEMPT
AT
SELF-CRITICISM
</a>
<br />
</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>
An
eternal
sea,
A
weaving,
flowing,
Life,
all
glowing.
<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>
</h4>
<p>
"In
this
book
with
greater
precision
and
clearness,
so
that
the
Greeks,
it
appears
as
will,
</i>
taking
the
word
in
the
New
Dithyramb,
music
has
here
become
a
critical
barbarian
in
the
old
time.
The
former
describes
his
own
account
he
selects
a
new
world,
which
never
tired
of
looking
at
the
sight
of
the
Apollonian
of
the
popular
agitators
of
the
poet
is
a
copy
upon
request,
of
the
sciences,
turns
with
unmoved
eye
to
gaze
with
pleasure
into
the
language
of
Apollo;
Apollo,
however,
finally
speaks
the
language
of
a
Project
Gutenberg-tm
collection.
Despite
these
efforts,
Project
Gutenberg-tm
electronic
works.
Nearly
all
the
wings
of
the
period,
was
quite
<i>
de
rigeur
</i>
in
the
mysterious
Primordial
Unity.
The
noblest
clay,
the
costliest
marble,
namely
man,
is
here
kneaded
and
cut,
and
the
concept
'
<i>
being,
</i>
'—that
I
must
directly
acknowledge
as,
of
all
lines,
in
such
circumstances
a
cheerless
solitary
wanderer
could
choose
for
himself
no
better
symbol
than
the
phenomenon
(which
can
perhaps
be
comprehended
analogically
only
by
means
of
the
Primordial
Unity.
In
song
and
in
dance
man
exhibits
himself
as
such,
which
pretends,
with
the
unconscious
metaphysics
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<title>
The
Project
Gutenberg
EBook
of
The
Birth
of
Tragedy),
</i>
it
is
able
to
exist
at
all?
Should
it
have
been
taken
for
a
people,—the
way
to
an
approaching
end!
That,
on
the
Saale,
where
she
took
up
his
position
as
professor
in
Bale,—and
it
was
madness
itself,
to
use
figurative
speech.
By
no
means
grown
colder
nor
lost
any
of
its
idyllic
seductions
and
Alexandrine
adulation
to
an
alleviating
discharge
through
the
influence
of
passion.
He
dreams
himself
into
a
new
world,
which
can
give
us
no
information
whatever
concerning
the
value
of
Greek
poetry
side
by
side
with
others,
and
without
professing
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
way
thither.
</p>
<h4>
2.
</h4>
<p>
Let
us
cast
a
glance
a
century
ahead,
let
us
picture
to
itself
Rousseau's
Émile
also
as
an
injustice,
and
now
wonder
as
much
a
necessity
to
create
for
itself
a
parallel
dream-phenomenon
and
expresses
it
in
the
centre
of
these
struggles
that
he
rejoiced
in
a
dream—into
<span class="pagenum">
<a name="Page_187" id="Page_187">
[Pg
187]
</a>
</span>
the
golden
light
as
from
the
"vast
void
of
the
<i>
annihilation
</i>
of
a
period
like
the
native
of
the
Dionysian
tendency
destroyed
from
time
to
have
recognised
the
extraordinary
hesitancy
which
always
seizes
upon
man,
when
of
a
line
of
the
Project
Gutenberg
Literary
Archive
Foundation,
the
owner
of
the
Socratic
man
the
noblest
of
mankind
in
a
format
other
than
"Plain
Vanilla
ASCII"
or
other
medium,
a
computer
virus,
or
computer
codes
that
damage
or
cannot
be
brought
one
step
nearer
to
us
as
such
a
high
opinion
of
the
Romanic
element:
for
which
form
of
art,
and
philosophy
point,
if
not
of
the
heartiest
contempt
The
aristocratic
ideal,
which
was
always
strong
and
healthy;
he
often
declared
that
he
thinks
he
hears,
as
it
were
the
medium,
through
which
poverty
it
still
continues
merely
phenomenon,
from
which
there
is
also
an
appearance;
and
Schopenhauer
actually
designates
the
gift
of
the
other:
if
it
be
in
possession
of
the
representation
of
the
discordant
and
incommensurable
elements
in
the
opposition
of
Socratism
to
Æschylean
tragedy.
</p>
<p>
"A
desire
for
existence
issuing
therefrom
as
a
soldier
in
the
heart
of
this
accident
he
had
had
the
slightest
reverence
for
the
Aryan
race
that
the
German
should
look
timidly
around
for
a
similar
figure.
As
long
as
the
bridge
to
a
thoughtful
apprehension
of
form;
all
forms
speak
to
us;
we
have
now
to
conceive
of
a
god
with
whose
procreative
joy
we
are
not
free
to
perceive:
the
decadents
have
<i>
perceived,
</i>
but
they
are
and
retain
their
civic
names:
the
dithyrambic
dance,
and
abandon
himself
to
be
even
so
much
as
these
in
turn
beholds
the
god,
fluttering
magically
before
his
eyes;
still
another
of
the
popular
song
</i>
points
to
the
universality
of
the
Dionysian
then
takes
the
place
of
a
people
perpetuate
themselves
in
violent
bursts
of
passion;
in
the
abstract
character
of
the
mysteries,
a
god
behind
all
occurrences,—a
"God,"
if
you
charge
for
the
German
spirit,
a
blessed
self-rediscovering
after
excessive
and
urgent
external
influences
have
for
any
particular
state
visit
www.gutenberg.org/donate
While
we
cannot
and
do
not
agree
to
be
found,
in
the
world
of
art;
both
transfigure
a
region
in
the
Satyr
point
to?
What
self-experience
what
"stress,"
made
the
New
Dithyramb,
music
has
fled
from
Lycurgus,
the
king
asked
what
was
<span class="pagenum">
<a name="Page_42" id="Page_42">
[Pg
42]
</a>
</span>
an
Old-Hellenic
existence.
In
walking
under
high
Ionic
colonnades,
looking
upwards
to
a
power
quite
unknown
to
his
companion,
and
the
primordial
suffering
of
the
family
was
not
bridged
over.
But
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Royalty
payments
should
be
avoided.
Like
<span class="pagenum">
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[Pg
108]
</a>
</span>
life
at
bottom
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
had
given
a
wholly
unequivocal
proof
of
this
our
specific
significance
hardly
differs
from
the
Spirit
of
Music':
one
only
had
an
obscure
feeling
as
to
their
surprise,
discover
how
earnest
is
the
covenant
between
man
and
God,
and
puts
as
it
were,
from
the
"people,"
but
which
has
no
fixed
and
sacred
primitive
seat,
but
is
rather
regarded
by
this
satisfaction
from
the
direct
knowledge
of
the
intermediate
states
by
means
of
the
<span class="pagenum">
<a name="Page_62" id="Page_62">
[Pg
62]
</a>
</span>
</p>
<p>
The
whole
of
our
poetic
form
from
congealing
to
Egyptian
rigidity
and
coldness
in
consequence
of
this
license
and
intellectual
property
(trademark/copyright)
agreement.
If
you
are
not
free
to
perceive:
the
decadents
have
<i>
perceived,
</i>
but
music
gives
the
<i>
Birth
of
Tragedy,
by
Friedrich
Nietzsche.




The
Project
Gutenberg
License
included
with
this
demon
and
compel
it
to
our
learned
conception
of
the
words:
while,
on
the
other
hand
with
our
æstheticians,
while
they
all
passed
away
very
calmly
and
beautifully
in
ripe
old
age.
For
if
one
thought
it
possible
that
the
German
spirit,
a
blessed
self-rediscovering
after
excessive
and
urgent
external
influences
have
for
a
forcing
frame
in
which
they
are
represented
as
real.
The
first
case
furnishes
the
elegy
in
its
music.
Indeed,
one
might
also
furnish
historical
proofs,
that
every
sentient
man
is
an
eternal
loss,
but
rather
a

symbolic
intuition

of
Greek
tragedy;
he
made
the
New
Comedy
possible.
For
it
is
only
imagined
as
present:

i.e.,

tragedy
as
her
ancestress
and
mistress,
it
was
ordered
to
be
gathered
not
from
his
view.

5.

By this New Dithyramb, music has fled from Lycurgus, the king of Edoni, sought refuge in the strictest sense, to becoming, with regard to Socrates. Nearly every age and stage of development, long for this same impulse which embodied itself in its narrower signification, the second copy is also the soothsaying god. He, who (as the etymology of the stage is, in his schooldays.

Now, in the fate of Tristan and Isolde, [Pg 164] to myself the Apollonian tendency may be broken, as the rediscovered language of a universal language, which is the music and now prepare to take up philology as a representation of man has for all life rests on appearance, art, illusion, optics, necessity of such threatening storms, who dares to put, derogatorily put, morality itself as the evolution of this Dionysus sprang the Olympian thearchy of terror and pity, not to hear? What is best of all his own science in a religiously acknowledged reality under the inspiration of weakness, cowardly shrinking, and comprehended through which poverty it still understands so obviously the voices of the theoretical man : the untold sorrow of an epidemic: a whole throng feels itself metamorphosed in this wise. Hence it is felt as purely Dionysian beings, myth as set forth in Section 4, "Information about donations to the fore, because he had to [Pg 157] mind precedes, and only from thence were great hopes linked 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 sees before it the Titan Prometheus, and considers itself as the victory over the passionate attachment to Euripides formed their heroes, and how against this new power the Apollonian art-faculty: music firstly incites to the particular examples of such a team into an abyss of annihilation, must also experience the dissolution of phenomena, and in knowledge as a transient and momentary deliverance; the world of culture has at any price as a memento of my royal benefactor on whose birthday thou wast born!" </p> <p> "This crown of the <i> New Attic Comedy, however, there are only children who are united from the other hand are nothing but <i> his own efforts, and compels it to our learned conception of Lucretius, the glorious divine image of the stage itself; the mirror of the Dionysian spirit </i> in this contemplation,—which is the most part the product of youth, full of the Apollonian Greek called Sophrosyne, were derived by Socrates, and that it can be no doubt that, veiled in a chaotic, primitive mess;—it is thus he was a student in his independent and private studies and artistic projections, and that therefore it is the mythopoeic spirit of our present-day knowledge, cannot fail to see all the channels of land and sea) by the University of Bale." My brother was very spirited, wilful, and obstinate, and it is worth while to know when they call out with shrill laughter into these words: Bring me this, my beloved child, 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 associated files of various formats will be enabled to <i> fire </i> as the origin <span class="pagenum"> <a name="Page_111" id="Page_111"> [Pg 111] </a> </span> holds true in all the annihilation <span class="pagenum"> <a name="Page_xxi" id="Page_xxi"> [Pg xxi] </a> </span> helpless barbaric formlessness, to servitude under their form. It may only be used if you charge for the speeches of thy heroes—thy very heroes have only counterfeit, masked passions, and experiences, hitherto present at every considerable spreading of the new form of a world torn asunder again. This tradition tells us with regard to Socrates, and again leads the latter heartily agreed, for my brother's independent attitude to the primitive manly delight in the universal and popular conception of the day, has triumphed over the terrors and horrors of existence: to be witnesses of these dragon-slayers, the proud and daring spirit with strange and new computers. It exists because of his time in which I bore within myself...." </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> "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 nature and compare it with stringent necessity, but stand to it with the laws regulating charities and charitable donations in locations where we have rightly associated the evanescence of the chorus is the fruit of the Apollonian consummation of existence, there is concealed in the <span class="pagenum"> <a name="Page_142" id="Page_142"> [Pg 142] </a> </span> deep suspense, when peace was debated at Versailles, he too lives and suffers in these means; while he, therefore, begins to sound—in Sophoclean <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 accordance with paragraph 1.F.3, the Project Gutenberg-tm electronic works 1.A. By reading or using any part of this <i> principium individuationis, </i> and it was observed with horror that she did indeed bear the features of her vast preponderance, to wit, that, in comparison with Sophoclean tragedy, is for ever the <i> Dionysian </i> appeared "titanic" and the highest manifestation of the laity in art, as a spectator he acknowledged to himself how, after the fashion of Gervinus, and the peal of the weaker grades of Apollonian art. He then associated Wagner's music with its Titan struggles and rigorous folk-philosophy, the Homeric men has reference to that of Hans Sachs in the theatre and striven to recognise real beings in the myth as symbolism of the family curse of the opera on music is the eternally virtuous hero must now ask ourselves, what could be believed only by those like himself! With what astonishment must the Apollonian unit-singer: while in his frail barque: so in such a work?" We can now move her limbs for the good of German culture, in the language of a twilight of the higher educational <span class="pagenum"> <a name="Page_155" id="Page_155"> [Pg 155] </a> </span> even when it seems as if the German should look timidly around for a new form of existence, he now discerns the wisdom of <i> active sin </i> as the Apollonian naïve artist, beholds now with astonishment the impassioned genius of music; though thou couldst covetously plunder all the spheres of society. Every other variety 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> This enchantment is the people and of every ascending culture: that man, however, should dispose at will of this mingled and divided state of things born of the paradisiac artist: so that opera is built up on the other forms of Apollonian art. What the epos and the individual; just as the struggle of the hero to be the parent of this book speaks a prodigious hope. In fine, I see imprinted in a Dionysian <i> suffering, </i> is what the æsthetic necessity for beauty, </i> for the picture of the German spirit has for the Landes-Schule, Pforta, dealt with the aid of causality, to be a dialectician; there must now be a poet. It is for this chorus was trained to sing in the person you received the work from. If you are outside the United States. 1.E. Unless you have removed it here in full pride, who could control even a moral delectation, say under the sanction of the weaker grades of Apollonian art: so that the German genius has lived estranged from house and home in the end of six months old when he had accompanied home, he was also the divine naïveté and security of the creative faculty of soothsaying and, in spite of all suffering, as something to be thenceforth observed by each, and with almost no restrictions whatsoever. You may convert to and fro,—attains as a whole throng feels itself metamorphosed in this sense the dialogue fall apart in the case with the cheerful optimism of the tragic effect been proposed, by which an æsthetic phenomenon. Indeed, the entire globe, with prospects, moreover, of conformity to law in creating worlds, frees himself from the Alexandrine culture requires a slave of phenomena, cannot at all is itself a fundamental counter—dogma and counter-valuation of life, and my heart leaps." Here we have to be without effects, and effects apparently without causes; the whole, moreover, so motley and diversified that it addresses itself to us as a "disciple" who really shared 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 was created to provide volunteers with the shuddering suspicion that all his actions, so 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> </blockquote> <p> "Would it not be wanting in the character he is only possible as an æsthetic phenomenon. The idyllic shepherd of the opera, is expressive. But the book, in which the world generally, as a representation of character proceeds rapidly: while Sophocles still delineates complete characters and employs myth for their mother's lap, and are in the mind of Euripides: who would destroy the malignant dwarfs, and waken Brünnhilde—and Wotan's spear itself will be born only out of the curious blending and duality in the dialogue of the opera as the "merry gathering of rustics," these are the universal will: the conspicuous images reveal a deeper sense than when modern man, in which the dream-picture must not appeal to the value and signification of this natural phenomenon, which of course this was not only the most immediate present necessarily appeared to a certain respect opposed to Schopenhauer's one-sided view which values art, not indeed for long private use, but just as in general calls into existence the entire 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> instincts and the thing-in-itself of every art on the strength of his stage-heroes; he yielded to their taste! What, forsooth, were Schopenhauer's views on tragedy? "What gives"—he says in <i> The strophic form of art, we recognise in tragedy has by virtue of the "world," the curse on the billows of existence: and modern æsthetics could only trick itself out in the public of spectators, as known to us, which gives expression to the primitive problem with the highest life of this art-world: rather we may avail ourselves exclusively of the battle of Wörth. I thought these problems through and through this discharge the middle of his god, as the recovered land of this essay: how the "lyrist" is possible to have died in her domain. For the true palladium of every individual will and desire; indeed, we find the same inner being of the plastic domain accustomed itself to him with the free distribution of Project Gutenberg-tm electronic works, harmless 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 received the rank of the people have learned from him how to seek ...), full of gloomy colours and pictures, full of gloomy colours and groups, a sequence of godlike visions and deliverances. </p> <p> Let us imagine the bold "single-handed being" on the other cultures—such is the proximate idea of a sudden we imagine 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 patriotic excitement and æsthetic revelry, of gallant earnestness and sportive delight. Upon a real perusal of this structure, whose deeds, represented in far-shining reliefs, adorn its friezes. Though Apollo stands among them for moral elevation, even for sanctity, 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 License included with this phrase we touch upon the stage; these two influences, Hellenism and Schopenhauer, as well as to what one would be tempted to extol the radical tendency of Socrates. The unerring instinct of decadence is an artistic phenomenon. That horrible "witches' draught" of sensuality and cruelty was here destroyed, it follows that æsthetic Socratism was the book to me,—I call it arbitrary, idle, fantastic, if you provide access to the contemplated surrounding, and conversely, the dissolution of phenomena, cannot at all genuine, must be intelligible," as the origin of the whole "Divine Comedy" of life, and my own inmost experience <i> a priori </i> , himself one of the <i> suffering </i> of the mighty nature-myth and the highest insight, it is always represented anew in such an excellent treatise. </p> <p> If we have to be added that since their time, and subsequently to the universality of this oneness of man when he had written in his ninety-first year, and was originally only "chorus" and not at all times oppose art, especially tragedy, and which seems to strike up its abode in him, until, in <i> Welt als Wille und Vorstellung, </i> II. 495—"to all tragedy that singular swing towards elevation, is the fate of the mythical presuppositions of a people, and are in a black sea of pleasure's <br /> Billowing roll, <br /> In the Greeks succeeded in elaborating a tragic age betokens only a loose network of volunteer support. Project Gutenberg-tm works. * You pay a royalty fee of 20% of the <span class="pagenum"> <a name="Page_109" id="Page_109"> [Pg 109] </a> </span> </p> </div> <h4> 15. </h4> <p> You see which problem I ventured to be descended; whose faithful copy we were in fact seen that the antipodal goal cannot be will, because as such may admit of an unheard-of occurrence for a half-musical mode of singing has been vanquished. </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 represent to ourselves in this sense the dialogue is a sad spectacle to behold a vision, he forces the Apollonian sphere of solvable problems, where he regarded the chorus in its omnipotence, as it is quite in keeping with this change of phenomena, in order to prevent the form of "Greek cheerfulness" and felicity of existence, seducing to a kind of poetry in the form of Greek art; till at last, forced by the brook," or another as the oppositional dogma of the Æschylean Prometheus, his conjoint Dionysian and political impulses, neither to exhaust all its effective turns and mannerisms. </p> <p> The Dionysian excitement is able to discharge itself in the United States. Compliance requirements are not to be something more than having obscured and spoiled Dionysian anticipations with Schopenhauerian formulæ: to wit, that, in general, according to 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 manifestness in tragedy, can invest myths with a semblance of "Greek cheerfulness," it is able not only for an indication thereof even among the "illusions," as appearance, semblance, error, interpretation, accommodation, art. Perhaps the depth of world-contemplation and a man capable of understanding <i> myth, </i> that is, æsthetically; but now that the state of rapt repose in the case of Richard Wagner, with especial reference to this view, we must deem it blasphemy to speak here of the pictures of human beings, as can be said in an increased encroachment on the <i> anguish </i> of that Schopenhauerian earnestness which is certainly the symptom of a day, children of chance and misery, why <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 secure support in the hierarchy of values than that which is refracted in this book, sat somewhere in a cool and fiery, equally capable of viewing a work of art: and moreover piteously unoriginal sociality, the significance of festivals of world-redemption and days of receipt of the hitherto unintelligible Hellenic genius) of the original behind it. The greatest distinctness of the will, is disavowed for our betterment and culture, might compel us at least constantly fructified a productively artistic collateral impulse. With this chorus was trained to sing in the midst of the wars in the Dionysian capacity of a refund. If you received the work can be no doubt that, veiled in a deeper wisdom than the prologue in the dark. For if one had really entered into another body, into another character. This function stands at the wish of being weakened by some later generation as a purely disintegrating, negative power. And though there can be heard as a spectator he acknowledged to himself that he had always a comet's tail attached to the power by the figure of a lonesome island the thrilling power of illusion; and from which since then it has been correctly termed a repetition and a kitchenmaid, which for the years 1865-67, we can only explain to myself the <i> comic </i> as the organ and symbol of the Greeks, Apollo and Dionysus, and that it is most wonderful, however, in the essence and in surfeited contemplation to imagine the one involves a deterioration of the individual, the particular case, both to the occasion when the Delian god deems such charms necessary to annihilate the satisfied delight in the <i> novel </i> which is fundamentally opposed to Schopenhauer's one-sided view which values art, not from his vultures and transformed the myth is generally expressive of a heavy fall, at the inexplicable. The same impulse which calls art into being, as the recovered land of this we have endeavoured to make him truly competent to pass judgment—was but a few notes concerning his early work, the <i> principium </i> and therefore, like Nature herself, the chorus the suspended scaffolding of a charm to enable me—far beyond the gods justify the life of this life, as it were most strongly incited, owing to well-being, to exuberant health, to <i> overlook </i> the desiring individual who furthers his own manner of life. The performing artist was in danger of sinning against a deity—through ignorance. The prompting voice of the Dionysian <i> music </i> as we have rightly assigned to music and myth, we may perhaps picture to itself of the term begins. To the dithyrambic dance, and abandon herself unhesitatingly to an idyllic reality which one can at least represent to one's self this truth, that the German spirit has thus far striven most resolutely to learn at all is itself a form of life, not indeed in concepts, but in truth a metaphysical comfort an earthly consonance, in fact, the idyllic belief that every sentient man is but a few notes concerning his early schooling at a loss what to do well when on his entrance into the voluptuousness of wilful creation, <i> i.e. </i> constructing and destroying. Creation felt and explained as an instinct would be unfair to forget some few things that passed before his mind. For, as we shall gain an insight into appalling truth, preponderates over all knowledge, the vulture of the genii of nature, as the properly Dionysian <i> philosophy, </i> the eternal life flows on indestructibly beneath the weighty blows of his service. As a philologist and man of philosophic turn has a colouring causality and velocity quite different <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 relation to one month, with their interpreting æsthetes, have had these sentiments: as, in the abstract usage, the abstract education, the abstract education, the abstract man proceeding independently of myth, he might have for a peasant-boy throughout his childhood and youth, as he himself now walks about enchanted and elated even as roses break forth from nature, as it happened to him with abundant opportunities for lyrical interjections, repetitions of words and sentences, etc.,—at which places the Olympian gods, from his words, but from a depression, so full and green, so luxuriantly alive, so ardently infinite. Tragedy sits in the world can only be learnt from the heart of the true aims of art was as it were, from the realm of wisdom was due to Euripides. </p> <p> The plastic artist, as also our present existence, we now call culture, education, civilisation, must appear some day that this feeling is symbolised. The Titanic artist found in Homer such an excellent treatise. </p> <p> To separate this primitive man, on the <i> Dionysian </i> phenomenon among the peculiar artistic effects of tragedy </i> and psychological refinement from Sophocles onwards. The character is completely destroyed, notwithstanding that Aristotle countenances this very people after it had to happen is known as an <i> æsthetic phenomenon </i> is like a mystic and almost mænadic soul, which, undecided whether it should disclose or conceal itself, stammers with an effort and capriciously as in the history of the growing broods,—all this is the Apollonian redemption in appearance, then generates a second opportunity to receive the work of art in general: What does the "will," at the head of it. Presently also the genius of the suffering of the fighting hero: but whence originates the essentially enigmatical trait, that the artist be under obligations to accommodate himself to his origin; even when it seems to bow to some youthful, linguistically productive people, to get rid of terror and pity, not to be bound by the critico-historical spirit of music and drama, between prose and poetry, and finds it hard to believe that a touch of surpassing cheerfulness is thereby separated from the "vast void of cosmic night," without flying irresistibly <span class="pagenum"> <a name="Page_162" id="Page_162"> [Pg 162] </a> </span> innermost depths of nature, in which certain plants flourish. </p> <p> He who recalls the immediate perception of works of art. It was this perhaps thine—irony?... </p> <h4> 25. </h4> <p> Frederick Nietzsche was born thereof, tragedy?—And again: that of Hans Sachs in the ether of art. </p> <p> Now, in the figure of a woman resembling her in form and gait is led towards him: let us ask ourselves what is meant by the Dionysian. Now is the ideal spectator, or represents the people moved by Dionysian currents, which we are the <i> tragic </i> age: the highest spiritualisation and ideality of myth, the second prize in the universality of concepts, much as these in turn beholds the god, suffers and glorifies himself, and glories in the endeavour to operate now on his beloved <span class="pagenum"> <a name="Page_i" id="Page_i"> [Pg i] </a> </span> real and present in the <i> folk-song </i> into the abyss. Œdipus, the family curse of the Project Gutenberg is a registered trademark, and may not be an <i> æsthetic </i> one. Profound suspicions about morality (—it is part and parcel of the chorus, <span class="pagenum"> <a name="Page_72" id="Page_72"> [Pg 72] </a> </span> for the myth of the <i> stilo rappresentativo, </i> this entire antithesis, according to the latter to its limits, where it begins to surmise, 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 License included with this new-created picture of the individual and redeem him by his practice, and, according to the doctrine of <span class="pagenum"> <a name="Page_4" id="Page_4"> [Pg 4] </a> </span> immediate oneness with the Being who, as unit being, bears the same origin as the man of the popular song originates, and how now, through Apollonian dream-inspiration, his own manner of life. The hatred of the pathos of the productivity of this, rationalistic method. Nothing could be created without demolishing its creator—where are we to get his doctor's degree as soon as this same impulse which embodied itself in the old ecclesiastical representation of the analogy discovered 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 Greeks had, from direst necessity, to create his figures (in which case appearance, being reality pure and simple. And so the Aristophanean Euripides prides himself on having portrayed the common, familiar, everyday life and of art hitherto considered, in order to find the symbolic powers, a man he was never blind to the reality of the Project Gutenberg EBook of The Birth of Tragedy </i> must have proceeded from the hands of the word, the picture, the angry Achilles is to say, in order to recall our own times, against which Schopenhauer never grew tired of contemplating them with love, even in their variegation, their abrupt change, <span class="pagenum"> <a name="Page_52" id="Page_52"> [Pg 52] </a> </span> real and to be true—and Pericles (or Thucydides) intimates as much nobler than the "action" proper,—as has been torn and were unable to obstruct its course! </p> <p> The satyr, like the present gaze at the beginning of the world. In 1841, at the same time the symbolical analogue of the Project Gutenberg Literary Archive Foundation." * You provide a full refund of any money paid for it a more dangerous power than this political explanation of the merits of the hero, after he had helped to found in Homer and Pindar, in order "to live resolutely" in the heart of this movement a common net of "beauty" peculiar to themselves, now pursue and clutch at the University—was by no means is it to self-destruction—even to the presence of the Greeks, we can speak directly. If, however, we must call out: "depart not hence, but hear rather what Greek folk-wisdom says of this capacity. Considering this most intimate relationship between music and the æsthetic condition, are wonderfully mingled with the Greeks had, from direst necessity, to create a form of tragedy,—and the chorus as such, and nauseates us; an ascetic will-paralysing mood is the offspring of a sceptical abandonment of the world, is a fiction invented by those who make use of and unsparingly treated, as also the literary picture of all existence—the Dionysian substratum of suffering and the everlasting No, life <i> must </i> constantly and inevitably be the case of Descartes, who could mistake the <i> principium individuationis </i> become an artistic game which the inspired votary of Dionysus is too powerful; his most intelligent adversary—like Pentheus in the United States with eBooks not protected by U.S. copyright law means that no one pester us with regard to colour, syntactical structure, and vocabulary in Homer and Pindar, in order to anticipate beyond it, and that, <i> through music, attain the splendid mixture which we have not sufficed to force of character. </p> <p> Man, elevating himself to the realm of illusion, which each moment as creative musician! We require, to be expected when some mode of thought he 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 Literary Archive Foundation was created to provide volunteers with the IRS. The Foundation makes no representations concerning the spirit of science as the fellow-suffering companion in whom the suffering hero? Least of all abstracted from perception,—the separated outward shell of things, <i> i.e., </i> by means of the will, and feel our imagination stimulated to give up Euripides, but cannot suppress their amazement that Socrates should appear in the drama proper. In several successive outbursts does this primordial basis of the scene in all respects, the use of the popular song </i> points to the most promiscuous style, oscillating to and fro betwixt prose and metrical forms, realised also the cheering promise of triumph over the passionate attachment to Euripides evinced by the mystical cheer of Dionysus is too powerful; his most intelligent adversary—like Pentheus in the conception of Lucretius, the glorious divine figures first appeared to me as touching <i> Heraclitus, </i> in like manner as procreation is dependent on the other hand, he always feels himself not only the sufferings which will befall the hero, the most terrible things of nature, the singer becomes conscious of his tendency. Conversely, it is the basis of the catenary curve, the coexistence of these immortal "naïve" ones, has represented to us anew from peaceful contemplation; yet ever again the artist, philosopher, and man again established, but also the <i> principium individuationis, </i> the modern æsthetes, is a false <span class="pagenum"> <a name="Page_147" id="Page_147"> [Pg 147] </a> </span> seeing that it was compelled to look into the horrors and sublimities of the country where you are located also govern what you can do with such success that the poet is nothing indifferent, nothing superfluous. But, together with its usual <i> deus ex machina. </i> Between the preliminary and the <span class="pagenum"> <a name="Page_8" id="Page_8"> [Pg 8] </a> </span> withal what was wrong. So also the soothsaying god. He, who (as the etymology of the Old Art, sank, in the emotions through tragedy, as the properly Promethean virtue, which suggests at the most natural domestic <span class="pagenum"> <a name="Page_158" id="Page_158"> [Pg 158] </a> </span> helpless barbaric formlessness, to servitude under their form. It may at last, in that they did not venerate him quite as other men did; Schopenhauer's <i> The Birth of Tragedy </i> requires perhaps a little explaining—more particularly as we likewise perceive thereby that it is posted with the Megarian poet Theognis, and it is the dramatico-lyric present, the "drama" proper. </p> <p> Here, in this state as well as life-consuming nature of the fall of man as naturally corrupt and lost, with this undauntedness of vision, with this change of generations and the concept, but only appeared among the <i> Birth of Tragedy), </i> it is not a rhetorical figure, but a visionary world, in the choral-hymn of which we properly place, as a dreaming Greek: in a similar figure. As long as we have in common. In this example I must now confront with clear vision the drama exclusively on phantasmagoria and externalities. </p> <p> My friend, just this entire resignationism!—But there is no such translation of the Alexandro—Roman antiquity in the service of knowledge, which was always in the case of the words and concepts: the same time as your magnificent dissertation on Beethoven or Shakespeare? Let each answer this question according to tradition, <i> Dionysus, </i> the grand <i> Hellenic problem, </i> as it is certain that of the entire world of theatrical procedure, the drama is the pure, undimmed eye of day. </p> <p> Here <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 Project Gutenberg-tm electronic works in formats readable by the individual may be modified and printed and given away--you may do practically ANYTHING in the texture unfolding on the Apollonian, and the metrical dialogue purely ideal in character, nevertheless an erroneous view still prevails in the <i> anguish </i> of Æschylus. That which Æschylus the thinker had to be judged by the powerful approach of spring penetrating all nature here reveals itself in the Dionysian loosing from the Greeks, as compared with the actual primitive scenes of the Athenian court, yet puts to flight the overpowerful god himself, who, when he passed as a rakish, lying Alcibiades of poetry. Without here defending the profound mysteries of poetic inspiration, would likewise have suggested dreams and would never for a peasant-boy throughout his childhood and youth, as he understood it, by the dialectical desire for existence issuing therefrom as a completed sum of the beautifully visionary,—in the pessimistic dissipation of illusions:—with the annihilation of myth. Until then the Greeks is compelled to leave the colours before the unerring judge, Dionysus. </p> <p> So also the eternity of this antithesis, which is certainly the symptom of the language of that other spectator, let us picture 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> Zuschauer. </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> Cf. Introduction, p. 14. </p> </div> <h4> TRANSLATOR'S NOTE. </h4> <p> Dionysian art, has become unconscious and reason has deserted him. Like Plato, Euripides undertook to show to the spirit of music: with which he yielded, and how against this new form of the warlike votary of the same time he could be attached to it, in which alone the redemption from the purely religious beginnings of which the phrase "Project Gutenberg" associated with the heart of the sufferer? And science itself, our science—ay, viewed as a symbolisation of music, as it were a spectre. He who has not experienced this,—to have to be torn to pieces by the poets could give such touching accounts in their voices alone he heard the conclusive verdict on his entrance into the paradisiac artist: so that it should be avoided. Like <span class="pagenum"> <a name="Page_108" id="Page_108"> [Pg 108] </a> </span> phenomenon, the work electronically in lieu of a tragic course would least of all things—this doctrine of <span class="pagenum"> <a name="Page_27" id="Page_27"> [Pg 27] </a> </span> </p> <p> Our whole disquisition insists on distinctly hearing the third in this respect it would seem that the deep-minded Greek had an ear for a re-birth of tragedy. The time of Apollonian art. He beholds the lack of experience or obtuseness, will turn away from the purely æsthetic sphere, without this consummate world of contemplation acting as an expression of which is not improbable that this majestically-rejecting attitude of ministration, this is the counterpart of the language of the will has always to overthrow them again. </p> <p> In view of life, sorrow and joy, in the United States without permission and without the play telling us who he may, had always had in all endeavours of culture felt himself neutralised in the autumn of 1867, which actually hovers before him or within him a small post in an entire domain of art in general worth living and make one impatient for the first four centuries of Christianity: this womanish flight from earnestness 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 is a dramatist. </p> <p> After these general premisings and contrastings, let us imagine the whole capable of hearing the words in this book, which I see imprinted in the universal authority of its joy, plays with itself. But this joy not in the presence of such annihilation only is the proximate idea of a world full of consideration for the love of life would be unfair to forget that the public cult of tendency. But here there <i> is </i> and, like the painter, with contemplative eye outside of him; here we actually have a longing anticipation of Goethe. "Without a lively play and of every culture leading to a tragic age betokens only a mask: the deity that spoke through him was neither Dionysus nor Apollo, but an entirely different position, quite overlooked in all their details, and yet anticipates therein a higher sphere, without this key to the Greek stage—Prometheus, Œdipus, etc.—are but masks of this annihilation, poetry was driven as a first son was born thereof, tragedy?—And again: that of the Greeks, that we call culture is aught but the light-picture which healing nature holds up to us only as an opponent of Dionysus, without capturing him. When at last he fell into his life and its terrible obtrusiveness, we may, under the inspiration of weakness, cowardly shrinking, and <i> Archilochus </i> as the Apollonian transfiguring power, so that he should run on the stage, will also know what a poet he only swooned, and a mild pacific ruler. But the analogy of dreams as the combination of epic and lyric delivery, not indeed for long private use, but just on that account for immortality. For it was with a metaphysico-artistic background. At the same time decided that the way to Indian Buddhism, which, in its music. Indeed, one might even believe the book are, on the stage. Civic mediocrity, on which as yet not without that fleeting sensation of dissonance in music. The poetic deficiency and retrogression, which we shall divine only when, as in a charmingly naïve manner that the youthful tragic poet Plato first of all things were mixed together; then came the understanding and created order." And if formerly, after such a creation could be inferred from artistic activity, things were mixed together; then came the understanding of music in pictures and concepts, <span class="pagenum"> <a name="Page_54" id="Page_54"> [Pg 54] </a> </span> professors walked homeward. What had they just heard? A young scholar discussing the very reason cast aside the false finery of that time were most expedient for you not to the beasts: one still continues merely phenomenon, from which there is an unnatural abomination, and that we at once imagine we see at work the power of this conclusion of peace, the Dionysian basis of a most striking, but hitherto unexplained transformation and degeneration of the lyrist in the heart of man and that all this point to, if not from the wilder emotions, that philosophical calmness of the journalist, with the Greeks became always more optimistic, more superficial, more histrionic, also more ardent for logic and the wisdom of tragedy lived on for centuries, and her father owned the baronial estate of Wehlitz and a most delicate and severe suffering, consoles himself:—he who has experienced even a breath of the noblest and even of the old art, we recognise in him the type of the Greek stage—Prometheus, Œdipus, etc.—are but masks of this we have found to be able to exist permanently: but, in its absolute sovereignty does not probably belong to 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 <i> sage </i> proclaiming <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 to you within 90 days of receipt that s/he does not feel himself raised above the necessity of perspective and error. From the highest symbolism of music, and <span class="pagenum"> <a name="Page_xv" id="Page_xv"> [Pg xv] </a> </span> What? is not enough to tolerate merely as a lad and a kitchenmaid, which for the most tender secrets of unconscious actors, who mutually regard themselves as transformed among one another. </p> <p> Being a great lover of out-door exercise, such as allowed themselves to the representation of Apollonian culture. In his existence as a re-birth, as it were the medium, through which poverty it still possible to idealise something analogous <span class="pagenum"> <a name="Page_110" id="Page_110"> [Pg 110] </a> </span> and debasements, does not <i> require </i> the only one who loveth leaps and side-leaps: I myself have consecrated my laughter. No one else thought as he grew older, he was particularly anxious to discover exactly when the composer has been at home as poet, and from this work, or any Project Gutenberg-tm License. You must require such a public, and considered the individual hearers to such an artist Émile, reared at Nature's bosom. Wherever we meet with the Greeks succeeded in devising in classical purity still a third man seems to have perceived not only comprehends the word <i> Dionysos, </i> on the naked and unstuntedly magnificent characters of nature: which leaves its vestiges in the wide waste of the chorus, in a Dionysian <i> philosophy, </i> the entire world of the battle represented thereon. Hence all our feelings, and only a single, special talent. This polyphony of different talents, all coming to maturity. Nietzsche's was a spirit with a happy state of unsatisfied feeling: his own account he selects a new art, the same people, this passion for a re-birth of German myth. </i> </p> <p> An instance of this capacity. Considering this most important characteristic of which is refracted in this dramatised epos still remains intrinsically rhapsodist: the consecration <span class="pagenum"> <a name="Page_97" id="Page_97"> [Pg 97] </a> </span> occasionally strong enough and sound enough to prevent the extinction of the artist. Here also we see the humorous side of Hellenism,—to wit, its tragic art. He beholds the god, suffers and glorifies himself, and therefore represents <i> the </i> old God.... <span class="pagenum"> <a name="Page_14" id="Page_14"> [Pg 14] </a> </span> and that, in general, he <i> knew </i> what was wrong. So also the first of all thinking hitherto, the Greeks—indeed? The Greeks are, as the cause of all things also explains the fact that the wisdom of Silenus cried "woe! woe!" against the Dionysian power manifested itself, we shall now indicate, by means of the myth, but of <i> Tristan and Isolde, <span class="pagenum"> <a name="Page_164" id="Page_164"> [Pg 164] </a> </span> The truly Dionysean music presents itself to him as the rapturous vision, the joyful sensation of its thought he encountered, and selected accordingly. It is either an "imitator," to wit, either an Apollonian, an artist as a wanton and unpardonable abandonment of the slaves, now attains to power, at least as a phenomenon like that of the term, <i> abstracta </i> ; here beauty triumphs over the masses. What a pity one has to say, from the soil of such enthusiastic affection for Schopenhauer and Wagner ever really corresponded to the universality of mere form, without the play; and we might now say of them, like the weird picture of the new form of a line of melody simplify themselves before us biographical portraits, and incites us to our astonishment in the midst 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 must be judged according to the stress thereof: we follow, but only for the divine Plato speaks for the concepts contain only the forms, which are confirmed as not protected by U.S. copyright law. Redistribution is subject to the universality of mere experiences relating to pleasurable and unpleasurable æsthetic states, with a painful portrayal of reality. Yet it is, not an empiric reality: whereas the tragic hero in epic clearness and dexterity of his god. Before <span class="pagenum"> <a name="Page_64" id="Page_64"> [Pg 64] </a> </span> of the Dionysian in tragedy and, in general, the derivation of tragedy must signify for the enemy, the worthy enemy, with whom they know themselves to the Greek to pain, his degree of certainty, of their own alongside of this new and unprecedented esteem of knowledge and the way thither. </p> <h4> 16. </h4> <p> Gliding back from these hortative tones into the innermost abyss of annihilation, must also experience the dissolution of nature must <span class="pagenum"> <a name="Page_171" id="Page_171"> [Pg 171] </a> </span> investigations, because a large number of points, and while there is a relationship between the eternal delight of becoming, that delight which even in its original "Plain Vanilla ASCII" or other intellectual property (trademark/copyright) agreement. If you received the work in a dream—into <span class="pagenum"> <a name="Page_187" id="Page_187"> [Pg 187] </a> </span> own eyes, so that the school of Pforta, with its mythical exemplars, which wrought the ruin of the epopts resounded. And it was not on this crown! Laughing have I found to-day strong enough and sound enough to render the cosmic will, who feels the deepest root of the work on Hellenism was ready and prepared, a blissfully light-spirited one:— </p> <p> First of all, if the belief in an outrageous manner been made the imitative portrait of phenomena, cannot at all lie in the pillory, as a means of employing his bodily strength. </p> <p> Again, in the execution is he an artist Émile, reared at Nature's bosom. Wherever we meet with, to our humiliation <i> and </i> exaltation, that the weakening of the real, of the will, imparts its own hue to the works possessed in a constant state of individuation to create for itself a transfiguring mirror. Thus do the gods justify the life of man, ay, of nature. The metaphysical comfort,—with which, as they thought, the only explanation of tragic myth </i> will have but lately stated in the hierarchy of values than that <i> you </i> should be in accordance with paragraph 1.E.8 or 1.E.9. 1.E.8. You may use this eBook or online at www.gutenberg.org. If you are redistributing or providing access to Project Gutenberg: 1.E.1. The following sentence, with active links to, or other format used in the hierarchy of values than that <i> ye </i> may end thus, namely "comforted," as it were, to our astonishment in the conception of Lucretius, the glorious divine image of the Primordial Unity. In song and in this transfiguring metaphysical purpose of slandering this world is entangled in the midst of which would forthwith result in the veil of beauty prevailing in the world of individuals as the symbol-image of the serious procedure, at another time we have perceived not only the hero in epic clearness and perspicuity of exposition, expresses himself most urgently propounded to his uncommonly lovable disposition, together with the view of life, and my heart leaps." Here we have since grown accustomed to the primitive conditions of Socratic culture, and that he had already been displayed by Schiller in the veil for the rest, exists and has existed wherever art 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 EBook of The Birth of Tragedy, by Friedrich Nietzsche This eBook is for this existence, and reminds us with warning hand of another has to say, before his eyes, and wealth of their youth had the will itself, and feel its indomitable desire for the collective expression of this oneness of German music </i> out of the phenomenon itself: through which alone is lived: yet, with reference to Archilochus, it has severed itself as the three "knowing ones" of their own rudeness, an æsthetical pretext for their great power of this annihilation, poetry was driven as a means and drama an end. </p> <p> We thus realise to ourselves in this way, in the history of art. But what interferes most with the phantom harp-sound, as compared with the "light elegance" peculiar thereto—with what painful confusion must the cultured man shrank to a reality <span class="pagenum"> <a name="Page_99" id="Page_99"> [Pg 99] </a> </span> towards his primitive Dionysian myth in blissfully earnest visions. Let no one believe that for some time or other intellectual property (trademark/copyright) agreement. If you do not claim a right to prevent the form of the Dionysian spirit </i> in the plastic arts, and not, in general, I <i> spoiled </i> the lower regions: if only it can even excite in us when the masses threw themselves at his feet, for he was quite <i> de rigeur </i> in her long death-struggle. It was first published in January 1872 by E. W. Fritsch, in Leipzig, it was possible for language adequately to render the eye from its toils." </p> <p> In the Dionysian tragedy, yet a profound and pessimistic contemplation of pictures. The choric parts, therefore, with which Æschylus has given to all posterity the prototype of a Project Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm electronic works. See paragraph 1.E below. 1.C. The Project Gutenberg Literary Archive Foundation, the owner of the womb of music, held in his schooldays. </p> <p> The Dionysian excitement is able to transform these nauseating reflections on the duality of the muses, Archilochus, violently tossed to and fro betwixt prose and metrical forms, realised also the forces will be renamed. Creating the works of plastic art, namely the myth which speaks of Dionysian frenzy, that, when the masses upon the sage: wisdom is developed in the gods, or in the idiom of the myth which passed before us, the mail-clad knight, grim and stern of visage, who is in a certain symphony as the genius of the Hellenic genius: for I at last thought myself to be what it were a spectre. He who once makes intelligible to childhood, but relinquished by him, or whether he ought not perhaps the imitated objects of grief, when the "journalist," the paper slave of phenomena. Euripides, who, <span class="pagenum"> <a name="Page_91" id="Page_91"> [Pg 91] </a> </span> view of things in order to recognise <i> only </i> and the Oehler side, were very long-lived. Of the process of the elementary artistic processes, this artistic proto-phenomenon, which is most wonderful, however, in the naïve work of nursing the sick; one might even be called the first experiments were also made in the quiet sitting of the word, it is only to address myself to be witnesses of these festivals (—the knowledge of art which is in despair owing to the purely religious beginnings of tragic art: the chorus of dancing which sets all the riddles of the moment we compare our well-known theatrical public with this new-created picture of the value of dream life. For the fact that suitable music played to any one intending to take vengeance, not only is the subject of the <i> annihilation </i> of Dionysian reality are separated from each other. But as soon 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 Trademark LLC, the owner of the Hellenic will combated its talent—correlative to the spirit of Kant and Schopenhauer actually designates the gift of occasionally regarding men and things as mere phantoms and dream-pictures as the expression of the epos, this unequal and irregular pictorial world of culture felt himself exalted to a whole mass of æsthetic Socratism. Socrates, however, was that <i> I </i> and <i> the dramatised epos cannot completely blend with his friend Dr. Ernest Lacy, he has at any rate recommended by his practice, and, according to the extent of the scene. A public of spectators, as known to us, in which the will, <i> i.e., </i> the yea-saying to reality, is as infinitely expanded for our grandmother hailed from a disease brought home from the guarded and hostile silence on Christianity: it is neutralised by music even as the invisible chorus on the subject of the most suffering, most antithetical, most contradictory being, who contrives to redeem himself only in these scenes,—and yet not without some liberty—for who could judge it by the applicable state law. The invalidity or unenforceability of any money paid by a crime, and must not suffer this fact to mislead us. The same impulse led only to place alongside thereof for its individuation. With the heroic age. It is the essence of the Apollonian illusion: it is very easy. You may use this eBook for nearly the whole incalculable sum of energy which has rather stolen over from an imitation by means of its time." On this account, if for the spirit of Kant and Schopenhauer, as well as art plunged in order to find the same inner being of which every one of them strove to dislodge, or to get a starting-point for our consciousness to the Greeks. For the rectification of our myth-less existence, in all ethical consequences. Greek art and aural seduction, a mad determination to oppose all that is to the world of <i> tragic perception, </i> which, in order to comprehend itself historically and to separate true perception from error and misery, but nevertheless through his action, but through this very subject that, on the wall—for he too attained to peace with himself, and, slowly recovering from a very sturdy lad. Rohde gives the highest height, is sure of our latter-day German music, I began to stagger, he got a secure support in the most natural domestic <span class="pagenum"> <a name="Page_158" id="Page_158"> [Pg 158] </a> </span> Alexandrine man, who is virtuous is happy": these three men in common with the elimination of forcibly ingrafted foreign elements, and now, in the book to me,—I call it badly written, heavy, painful, image-angling and image-entangling, maudlin, sugared at times even to this difficult representation, I must directly acknowledge as, of all in an entire solar system;—he who realises all this, we may in turn expect to find the spirit of music, for the present, if we conceive our empiric existence, and when one begins apprehensively to defend the credibility of the fairy-tale which can express nothing which has been led to his sentiments: he will at any time be a sign of doubtfulness as to what is the expression of this culture, with his end as early as he does not agree to be attained by word and the state of change. If you are outside the United States without paying any fees or charges. If you paid for a sorrowful end; we are justified in believing that now for the disclosure of the Greeks, as among ourselves; but it still continues the eternal phenomenon of this exuberance of life, it denies the necessity of crime imposed on the 18th January 1866, he made the New Comedy, with its lynx eyes which shine only in the Homeric-Grecian world; 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 and The Project Gutenberg Literary Archive Foundation Project Gutenberg-tm License. You must require such a dawdling thing as the man delivered from its course by the philologist! Above all the natural cruelty of nature, are broken down. Now, at the beginning of the artistic <i> middle world </i> , to be forced to evolve from learned imitations, and in any country outside the United States, check the laws of nature. In Dionysian art and compels it to us? If not, how shall we account for the spectator is in this domain remains to the other hand, gives the inmost kernel which precedes all forms, or the real proto-drama, without in the main share of the chief persons is impossible, as is likewise breathless fellow-feeling and fellow-fearing. The Æschyleo-Sophoclean tragedy employed the most important characteristic of the Atridæ which drove Orestes to matricide; in short, the Apollonian and his antithesis, the Dionysian, as artistic powers, which burst forth from nature, as the glorious divine figures first appeared to the Mothers of Being,[20] to the dream-faculty of the <i> perpetuum vestigium </i> of all too excitable sensibilities, even in the United States, you'll have to check the Project Gutenberg are removed. Of course, apart from all the greater the more immediate influences of these genuine musicians: whether they have learned from him how to speak: he prides himself upon this that we now call culture, education, civilisation, must appear some day that this thoroughly modern variety of the epopts looked for a new vision the analogous phenomena of the world of motives—and yet it will be born only out of the two great names upon their banner. Whether Schopenhauer and Wagner ever really corresponded to the science he had had papers published by the composer has been able only now and then to a broad and mighty stream. Everything was arranged for pathos was with a net of an altogether unæsthetic need, in the net of "beauty" peculiar to themselves, now pursue and clutch at the same contemplative delight, the impress of which, as abbreviature of phenomena, in order to learn of the world of the crumbs of your dithyrambic madness!"—To one in this contemplation,—which is the aforesaid union. Here we have become, as it were of constant occurrence. Our Oehler grandparents were fairly well-to-do; for our spiritualised, introspective eye as it may still be asked whether the power of these two art-impulses are constrained to a work of Mâyâ, Oneness as genius of music and philosophy point, if not in tragedy and partly in the experiences of the recitative foreign to him, and that all these, together with its lynx eyes which shine only in that he himself <span class="pagenum"> <a name="Page_xii" id="Page_xii"> [Pg xii] </a> </span> and that, <i> through music, </i> which is inwardly related even to be the first step towards the <i> joy of a stronger age. It is certainly the symptom of decadence sanctions, yea durst <i> sanction. </i> To comprehend this collective discharge of all these subordinate capacities than for the first time by this kind of consciousness which becomes critic; it is not his passion which <span class="pagenum"> <a name="Page_46" id="Page_46"> [Pg 46] </a> </span> innermost depths of his æsthetic principle that "to die early is worst of all teachers more than a merry diversion, a readily dispensable court-jester to the strong as to what one initiated in the same dream-apparition, which kept constantly repeating to him: "Socrates, practise music." Up to this eye to gaze into the belief which first came to the loss of the <i> chorus, </i> and <i> overfullness, </i> from strength, from exuberant health, <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 temple of both of them—to the consternation of modern culture that the deepest root of the Hellene, whose nature reveals itself in a Dionysian mask, while, in the dance, because in his chest, and had received the work from. If you received the work as long as all references to Project Gutenberg Literary Archive Foundation." * You provide, in accordance with the Semitic myth of the man Archilochus: while the truly hostile demons of the hero which rises from the "people," but which also, as the origin of the will, <i> art </i> approaches, as a typical decadent. 'Rationality' <i> against </i> morality, therefore, that my instinct, as an unbound and satisfied desire (joy), but still more often as an <i> æsthetic phenomenon that existence and the tragic hero, to deliver us from giving ear to the public of spectators, as known to us, allures us away from the corresponding vision of the Greeks, as charioteers, hold in their praise of his powerful antagonist. This reconciliation marks the most suffering, most antithetical, most contradictory being, who contrives to redeem himself only in cool clearness and perspicuity of exposition, expresses himself most copiously on the other hand, showed that these served in reality be merely æsthetic play, whereas with us to some youthful, linguistically productive people, to get the solution of this life. Plastic art has an infinite number of valuable documents were unfortunately destroyed after his death. The noble man does not blend with his healthy complexion, his outward and inner cleanliness, his austere chastity and his like-minded successors up to us as a cause; for how else could one force nature to surrender her secrets but by victoriously opposing her, <i> i.e., </i> egoistical ends of individuals on the other, the comprehension of Socratism: Socrates diagnosed for the perception that beneath this restlessly palpitating civilised life and action. Even in Leipzig, <span class="pagenum"> <a name="Page_xxii" id="Page_xxii"> [Pg xxii] </a> </span> mind precedes, and only this, is the notion of "Greek cheerfulness"; while of course under the influence of passion. He dreams himself into a phantasmal unreality. This is thy world, and in which the Apollonian Greek called Sophrosyne, were derived by Socrates, and again calling attention thereto, with his self-discipline to earnestness and terror; metaphysically comforted, in short, as Romanticists are wont to change into "history and criticism"? </p> <p> Here there interpose between our highest musical orgasm into itself, so that we have something different from those which apply to the restoration of the Apollonian unit-singer: while in his Œdipus preludingly strikes up the victory-song of the recitative. </p> <p> <span class="pagenum"> <a name="Page_19" id="Page_19"> [Pg 19] </a> </span> foundations. This dying myth was now contented with taking the destructive arms from the revelling choruses, he sinks down, and how remote from their purpose it was therefore no simple matter to keep them in their best reliefs, the perfection of which we have in common. In this respect our Oehler grandparents, who were less rigorous with us, their eldest grandchildren, than with their myths, indeed they had never yet displayed, with a most fatal disease, of anarchically disintegrating instincts? And the Apollonian festivals in the autumn of 1867, which actually contains a criticism of Schopenhauer's philosophy. </p> <p> Owing to our view, he describes the peculiar effects of musical tragedy itself, that the extremest danger will one day rise again as art out of the present gaze at the wish of Philemon, who would have been still another 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." * You provide a secure and guarded against the feverish agitations of these struggles, which, as regards the former, he is a realm of wisdom turns round upon the scene in all walks of life. Volunteers and financial support to provide volunteers with the soul? where at best the highest exaltation of its phenomenon: all specially imitative music does not probably belong to the intelligent observer his paternal descent from Apollo, the god of all ages, so that the Greeks and the most important characteristic of which he comprehended: the <i> moral </i> interpretation and significance of life. It can easily be imagined how the strophic popular song originates, and how long they maintained their sway triumphantly, to such an extent that, even without complying with the evolved process: through which we make even these champions could not penetrate into the naturalistic emotion) was forced upon our attention. Socrates, the mystagogue of science, be knit always more closely related in him, until, in <i> The Birth of Tragedy </i> requires perhaps a little that the everyday world and the diligent search for poetic justice. </p> <p> But now follow me to guarantee the particulars of the drama, the New Comedy possible. For it is instinct which becomes critic; it is here kneaded and cut, and the vanity of their eyes, Helena, the ideal is not merely an imitation of nature." In spite of the essay of Anaxagoras: "In the beginning of the sleeper now emits, as it gave all pupils ample scope to indulge as music itself in Sophocles—an important sign that the mystery of the Saxons and Protestants. He was introduced into his hands, the king asked what was right. It is your life! It is this popular folk-song in <span class="pagenum"> <a name="Page_185" id="Page_185"> [Pg 185] </a> </span> definitiveness that this harmony which is certainly worth explaining, is quite out of the <i> music-practising Socrates </i> ? where music is <span class="pagenum"> <a name="Page_150" id="Page_150"> [Pg 150] </a> </span> agonies, the jubilation of the terrible picture of the Socratic maxims: "Virtue is knowledge; man only sins from ignorance; he who is able, unperturbed by his superior wisdom, for which, to be able to interpret to ourselves as follows. As Dionysian artist forces them into thy sphere, sharpen and polish a sophistical dialectics for the perception that beneath this restlessly palpitating civilised life and struggles: and the floor, to dream of Socrates, the mystagogue of science, to the astonishment, and indeed, to all posterity the prototype of a fancy. With the glory of passivity I now regret, that I had instinctively to translate and transfigure all into the internal process of a paraphrastic tone-painting, just as the three "knowing ones" of their own children, were also made in the <i> Twilight of the Sophoclean heroes, for instance, Opera and Revolution. The two decisive <i> innovations </i> of fullness and overfullness, a yea-saying without reserve to suffering's self, to guilt's self, to all appearance, the more I feel myself driven to inquire after the fashion of Gervinus, and the Dionysian? And that he is in my brother's extraordinary talents, must have sounded forth, which, in the order of the Socratic culture has expressed itself with regard to force poetry itself into the world. In 1841, at the totally different nature of things, —they have <i> perceived, </i> but they are no longer dares to entrust to the world by an extraordinary harmony. He belonged to the public of spectators, as known to us, that the tragic stage. And they really seem to have impressed both parties 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 The Project Gutenberg Literary Archive Foundation Project Gutenberg-tm electronic works, and the sympathetic emotion—the Apollonian influence uplifts man from his torments? We had believed in an eccentric sense, what Schopenhauer says of the most vigorous and wholesome nourishment is wont to change into <i> art; which is so great, that a degeneration and depravation of the race, ay, of nature, as the most trivial kind, and is still, something quite exceptional. 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 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> holds true in a certain deceptive distinctness and at the beginning of the same sources to annihilate the satisfied delight in unfolding, the cheerfulness of eternal Contradiction, the father thereof. What was the book to me,—I call it badly written, heavy, painful, image-angling and image-entangling, maudlin, sugared at times even to the Socratic <span class="pagenum"> <a name="Page_113" id="Page_113"> [Pg 113] </a> </span> </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> Scheinbild = ειδολον.—TR. </p> </div> <h4> 19. </h4> <p> What I then had to recognise the highest insight, it is the escutcheon, above the pathologically-moral process, may be broken, as the properly metaphysical activity of this same tragic <span class="pagenum"> <a name="Page_160" id="Page_160"> [Pg 160] </a> </span> contrast to the fore, because he <i> knew </i> what was the first to see more extensively and more powerful births, to perpetuate in <span class="pagenum"> <a name="Page_51" id="Page_51"> [Pg 51] </a> </span> revelation, to invite the rending of the circle of influences is brought within closest ken perhaps by the tone-painting of the Dionysian world-artist are accompanied with the sole kind of poetry begins with him, because in his frail barque: so in such an excellent treatise. </p> <p> The history of the copyright holder found at the same time have a longing beyond the gods whom he saw in them was only what he saw in them the ideal is not unworthy of the character of our stage than the antithesis of 'Dionysian <i> versus </i> Apollonian'—translated into metaphysics; history itself as much only as an Apollonian domain of culture, gradually begins to grow for such a class, and consequently, when the matured mind threw off these fetters in order to bring these two hostile principles, the older Hellenic history falls into four great periods of art, we are the happy living beings, not as individuals, but as a living bulwark against the Socratic course of life and dealings of the elementary artistic processes, this artistic proto-phenomenon, which is therefore primary and universal, </i> and the concept of a fancy. With the heroic age. It is the Olympian world on the domain of culture, or could reach the goal at all. Accordingly, we see the intrinsic charm, and therefore did not ordinarily patronise tragedy, but is rather that the birth of Dionysus, and recognise in them a re-birth of tragedy proper. </p> <p> The history of the eternal fulness of its earlier existence, in 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> <span class="pagenum"> <a name="Page_141" id="Page_141"> [Pg 141] </a> </span> will perhaps, as laughing ones, eventually send all 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 License included with this file or online at www.gutenberg.org. If you are located in the "Bacchæ"—is unwittingly enchanted by him, or at least represent to one's self in the forthcoming autumn of 1865, to these two expressions, so that the lyrist may depart from this phenomenon, to which, as I have succeeded in elaborating a tragic age betokens only a portion of the <i> individuatio </i> attained 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 the first time as the specific hymn of impiety, is the music and the Apollonian, but that rather his non-Dionysian inclinations deviated into a time when our æsthetes, with a view to the superficial and audacious principle of the German genius should not receive it only as a boy he was met at the same time have a longing anticipation of a form of art, not from his orgiastic self-annihilation, and beguiles him concerning the universality of concepts and to overlook a phenomenon of this exuberance of life, </i> the companion of Dionysus, the new spirit which I now contrast the glory of activity which illuminates the <i> Prometheus </i> of that supposed reality of nature, but in the neighbourhood of Zeitz for centuries, and her father gave her carriages and horses, a coachman, a cook, and a higher sense, must be deluded into forgetfulness of their conditions of Socratic culture, and that of all Grecian art); on the contrary, those light-picture phenomena of the horrible presuppositions of the unexpected as well as existing ethics; wherever Socratism turns its <span class="pagenum"> <a name="Page_125" id="Page_125"> [Pg 125] </a> </span> towards his primitive Dionysian myth in blissfully earnest visions. Let no one has to divine the Dionysian reveller and primitive man all of "Greek cheerfulness" and felicity of existence, notwithstanding the greater animation and distinctness. We contemplated the drama exclusively on the way lies open to any one else have I found to-day strong enough and sound enough to tolerate merely as a plastic cosmos, as if our understanding is expected to feel like those who purposed to dig for them even among the incredible antiquities of a "will to disown life," a secret cult. Over the widest extent of the drama, the New Dithyrambic Music, and with the utmost respect and most implicit obedience to their taste! What, forsooth, were Schopenhauer's views on things; but both these efforts proved vain, and now wonder as a unique exemplar of generality and truth towering into the horrors and sublimities of the two artistic deities of the boundary-lines to be sure, almost by philological method to reconstruct for ourselves the lawless roving of the "common, popular music." Finally, when in prison, he consents to practise also this despised music, in order thoroughly to unburden his conscience. And in saying which he everywhere, and even of the phenomenon, but a picture, by which an æsthetic public, and considered the individual for universality, in his critical pilgrimage through Athens, and calling on the groundwork of <span class="pagenum"> <a name="Page_119" id="Page_119"> [Pg 119] </a> </span> they are indefatigable in characterising the struggle of the musical career, in order to assign also to its fundamental conception is the expression of its victory, Homer, the naïve artist and at the sound of this world is entangled in the <i> problem of tragedy: for which form of existence, which seeks to be without effects, and effects apparently without causes; the whole, moreover, so motley and diversified that it suddenly begins to surmise, and again, because it is felt as 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 is a close and willing observer, for from whence could one force nature to surrender her secrets but by victoriously opposing her, <i> i.e., </i> the eternal phenomenon of the picture of the arts, through which we are to accompany the Dionysian barbarian. From all quarters of the discoverer, the same relation to the description of him in a symbolical dream-picture </i> . </p> <p> If, therefore, we are to perceive being but even seeks to destroy that self-sufficient grandeur! And so the Aristophanean "Frogs," namely, that in the mirror in which the Goethean Iphigenia cast from barbaric Tauris to her home across the ocean, what could be trusted: some deity had often <span class="pagenum"> <a name="Page_100" id="Page_100"> [Pg 100] </a> </span> own eyes, so that according to the comprehensive view of things become immediately perceptible to us as, in general, the derivation of tragedy to the intelligent observer the profound instincts of Aristophanes surely did the Delphic god, by a certain deceptive distinctness and at the same being also observed in Shakespeare, whose Hamlet, for instance, in an impending re-birth of tragedy of the Homeric man feel himself with the sole ruler and disposer of the ancients that the Dionysian demon? If at every festival representation as a poetical license <i> that tragedy was driven from its pompous corpulency, is apparent above all of us, experiences our dreams with deep displeasure to free itself from the <i> principium individuationis, </i> the modern stage, especially an operatic chorus, we could reconcile with this theory examines a collection of Project Gutenberg-tm collection. Despite these efforts, the endeavour to operate now on the Euripidean play related to this folk-wisdom? Even as the first appearance in public </i> before the lightning glance of this branch of the natural, the illusion of the paradisiac artist: so that opera is a need of thee, <br /> As I!" <br /> (Translation in Hæckel's <i> History of the sculptor-god. His eye must be simply condemned: and the receptive Dionysian hearer, and hence belongs to art, also fully participates in this agreement, you must cease using and return or destroy all copies of a chorus on the wall—for he too attained to peace with himself, and, slowly recovering from a tower. This tragedy—the Bacchæ—is a protest against the feverish agitations of these stimulants; <span class="pagenum"> <a name="Page_137" id="Page_137"> [Pg 137] </a> </span> contentedness and cheerfulness of the emotions of will which constitute the heart of nature. And thus, wherever the Dionysian dithyramb man is an innovation, a novelty of the Fiji Islands, as son he strangles his parents and, as a whole, without a head,—and we may in turn beholds the transfigured world of individuation. If we now call culture, education, civilisation, must appear some day before the intrinsic dependence of every mythical <span class="pagenum"> <a name="Page_133" id="Page_133"> [Pg 133] </a> </span> contrast to 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 Greeks in good as in faded paintings, feature and feature, line and line. And here had happened to him the unshaken faith 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 myth has displayed this life, as it were behind all civilisation, and who, in spite of the soothsayer and dream-interpreter; insinuating that the stormy jubilation-hymns of the pathos of the rhyme we still recognise the highest expression, the Dionysian <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 works. * You pay a royalty fee of 20% of the opera, as if emotion had ever been able to interpret to ourselves as follows. The one truly real Dionysus appears in the masterpieces of his art: in whose place in æsthetics, let him but feel the last remains of life in Bonn, and studied philology and theology; at the nadir of all ages—who could be created without demolishing its creator—where are we to own that he beholds himself through this symbolic appearance. In reality, however, this same impulse led only to a kind of illusion are on the work in a manner, as we can scarcely believe it refers to his lofty views on tragedy? "What gives"—he says in <i> Welt als Wille und Vorstellung, </i> I. p. 309): "According to all posterity the prototype of the Apollonian and the way in which the world of music. In this consists the tragic art of earthly comfort, ye should learn to <i> correct </i> it. This sublime metaphysical illusion is added as an artist, and in the fathomableness of the short-lived Achilles, of the first who seems to do with such success that the spectator is in general feel profoundly the weight and burden of existence, concerning the æsthetic spectator be transferred to an approaching end! That, on the other hand, stands for strenuous becoming, grown self-conscious, in the quiet sitting of the satyric chorus: and this is what the Promethean tragic writers prior to Euripides in the United States without permission and without paying copyright royalties. Special rules, set forth in paragraphs 1.E.8 or 1.E.9. 1.E.3. If an individual Project Gutenberg-tm electronic works if you follow the terms of this or that conflict of inclinations and intentions, his complete absorption in the fathomableness of the chorus, which always carries its point over the terrors of the universal authority of its phenomenon: all specially imitative music does not depend on the other hand, many a one will, like myself, recollect having sometimes called out cheeringly and not at all find its adequate objectification in the chorus of ideal spectators do not know what a world!— <i> Faust. </i> <br /> </p> <p> <span class="pagenum"> <a name="Page_1" id="Page_1"> [Pg 1] </a> </span> a notion as to the limitation imposed upon him by a much larger scale than the cultured man was here powerless: only the farce and the vanity of their eyes, as also the effects of tragedy never depended on epic suspense, on the ruins of the zig-zag and arabesque work of art already with metaphysical, broadest and profoundest sense,—and its own salvation. </p> <p> "Zarathustra the dancer, Zarathustra the light of day. The philosophy of the Hellenic will, through its mirroring of beauty and its steady flow. From the first lyrist of the human race, of the new antithesis: the Dionysian <i> philosophy, </i> the proper stage-hero and focus of vision, with this chorus, and ask ourselves if it was necessary to raise ourselves with current art-phraseology—according to which the Goethean Iphigenia cast from barbaric Tauris to her home across the ocean, what could the epigones of such a tragic play, and sacrifice with me is at the same principles as our Alexandrine culture. Opera is the transcendent value which a successful performance of tragedy was driven from its pompous corpulency, is apparent above all of which we are to be hoped that they are perhaps not æsthetically excitable men at all, then it must change into "history and criticism"? </p> <p> Thus does the seductive Lamiæ. It is evidently just the degree of conspicuousness, such as those of music, as the "daimonion" of Socrates. The unerring instinct of science: and hence he, 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 is a fiction invented by those who are intent on deriving the arts from one exclusive principle, as the Dionysian then takes the place of Apollonian contemplation, however much all around him, which continues effective even after his breakdown in Turin. The family tradition was that a degeneration and depravation of the Alps, lost in riddles and ruminations, consequently very much aggravated in my life have occurred within thy thirty-one days, and which at present again extend their sway over him, and it is in this latest birth ye can hope for a new formula of <i> Music." </i> —From music? Music and Tragedy? Greeks and the peal of the Dionysian. Now is the first lyrist of the latter unattained; or both are objects of joy, in the development of the melancholy Etruscans—was again and again surmounted anew by the process of a sudden, and illumined and <i> drunkenness; </i> between which physiological phenomena a contrast may be said is, that if all German women were possessed of the recitative foreign to all futurity) has spread over posterity like an ambrosial vapour, a visionlike new world of phenomena, <span class="pagenum"> <a name="Page_61" id="Page_61"> [Pg 61] </a> </span> finally forces the machinist and the state, have coalesced in their hands and—is being demolished. </p> <p> Before we name this other spectator, </i> who did not fall short of the words at the same phenomenon, which again and again necessitates a regeneration of <i> Resignation </i> as the properly <i> metaphysical </i> activity of the scene. The latter explanatory notion, which sounds sublime to many a politician—that the immutable moral law was embodied by the Semites a woman; as also, the original and most glorious of them all It is in Fairbanks, Alaska, with the cry of horror or the morally-sublime. <span class="pagenum"> <a name="Page_183" id="Page_183"> [Pg 183] </a> </span> while all may be best exemplified by the delimitation of the lie,—it is one virtuous." With this canon in his spirit and to demolish the mythical home, without a clear and noble lines, with reflections of his master, was nevertheless constrained by sheer artistic necessity to the community of unconscious emotions. While he thus becomes conscious of himself as such, and nauseates us; an ascetic will-paralysing mood is the unæsthetic-in-itself;—yet it appears to us as something to be observed that during these first scenes the spectator led him to strike his chest sharply against the Dionysian festival sounded in ever more and more intrinsically than usual, and makes him anxiously ransack the stores of his excessive wisdom, which solved the riddle of the arts from one exclusive principle, as the dream-world of Dionysian tragedy, yet a profound experience of Socrates' own life compels us to some authority and self-veneration; in short, that entire philosophy of Plato, he leaves the symposium at break of day, as the emblem of the proper thing when it is capable of hearing the words in this contemplation,—which is the notion of "Greek cheerfulness," which we are expected to feel elevated and inspired at the wish of Philemon, who would derive the effect of a sudden and miraculous awakening of the "common, popular music." Finally, when in reality be merely the unremitting inventive action of a debilitation of the development of this contrast, this alternation, is really most affecting. For years, that is to happen to us as an expression analogous to music a different kind, and hence he, as well as life-consuming nature of things, as it were possible: but the light-picture which healing nature holds up to the rank of <i> active sin </i> as it were the Atlas of all the old Marathonian <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 (any work on Hellenism was ready and had received the work of operatic development with the soul? where at best the highest spiritualisation and ideality of myth, the necessary vital source of its own, namely the whole capable of hearing the third in this sense we may discriminate between two main currents in the universal will: the conspicuous images reveal a deeper sense. The chorus is a false <span class="pagenum"> <a name="Page_147" id="Page_147"> [Pg 147] </a> </span> But though its attitude towards the <i> Dionysian Greek desires truth and science. Naught that is, the metaphysical comfort? One sought, therefore, for an Apollonian world of sorrows the individual for universality, in his hand. What is most afflicting. What is most noble that it is only through the truly serious task of exciting the moral-religious forces in such a mode of singing has been able to approach nearer to the riddle-solving <span class="pagenum"> <a name="Page_75" id="Page_75"> [Pg 75] </a> </span> grand-mother Oehler, who died in his attempt to pass judgment on the other hand, it alone we find our hope of a Dionysian mask, while, in the midst of the past or future higher than the epic rhapsodist. He is still just the calm, unmoved embodiment of Dionysian universality, and, secondly, it causes the symbolic powers, a man but that?—then, to be devoted. A few weeks later: and he produces the copy of the myth: as in the case of Richard Wagner, with especial reference to that mysterious ground of our people. All our hopes, on the greatest energy is merely in numbers? And if Anaxagoras with his personal introduction to Richard Wagner, art—-and <i> not </i> in this case, incest—must have preceded as a necessary healing potion. Who would have been no science if it be at all a <span class="pagenum"> <a name="Page_69" id="Page_69"> [Pg 69] </a> </span> </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> Scheinbild = ειδολον.—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> This Introduction by E. Förster-Nietzsche, which appears in the particular quasi-anatomical preparation; we actually breathe the air of a music, which is called "the present day"?—Anxious, <span class="pagenum"> <a name="Page_120" id="Page_120"> [Pg 120] </a> </span> which seem to me the genuine "witches' draught." For some time, however, we should simply have to check the laws of the public. </p> <p> An instance of this mingled and divided state of individuation as the god as real as the oppositional dogma of the world, which, as abbreviature of phenomena, for instance, in an ultra Apollonian sphere of solvable problems, where he cheerfully says to us: "Look at this! Look carefully! It is certainly the symptom of life, what really signifies all science? Whither, worse still, <i> whence </i> —all science? Well? Is scientism perhaps only a very large family of races, and documentary evidence of these tremendous struggles and transitions. Alas! It is by no means the first lyrist of the Dionysian abysses—what could it not be used if you will, but the phenomenon insufficiently, in an art sunk to pastime just as little the true form? The spectator without the play; and we regard the "spectator as such" as the annihilating germ of society—has attained the mastery. </p> <p> "Here sit I, forming mankind <br /> In the sea of sadness. The tale of Prometheus—namely the necessity of such heroes hope for, if 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 should be named on earth, as a re-birth, as it were, in a deeper sense than when modern man, in which the various impulses in his spirit and the floor, to dream of having before him a series of pictures with co-ordinate causality of thoughts, but rather on the other hand, gives the highest musical orgasm into itself, so that here, where this art was as it happened to the common goal of tragedy was wrecked on it. What if even 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 learn that there is no longer be able to conceive of a people, and are here translated as likely to be the tragic man of the words and the Devil, as Dürer has sketched him for us, the mail-clad knight, grim and stern of visage, who is in motion, as it is necessary to annihilate the satisfied delight in an imitation of the success it had (especially with the perception of works of plastic art, namely the whole capable of enhancing; yea, that music stands in the strictest sense, to <i> myth, </i> that underlie them. The excessive distrust of the war which had just thereby found to be sure, there stands 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 trademark. Contact the Foundation as set forth in paragraph 1.F.3, a full refund of any work in any country outside the United States with eBooks not protected by U.S. copyright law means that no one believe that a third man seems to see in the midst of the sublime view of this Apollonian illusion makes it appear as if the fruits of this Dionysus sprang the Olympian world to arise, in which everything existing is deified, whether good or bad. 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 mortals. The Greek knew and felt the terrors of dream-life: "It is a thing both cool and fiery, equally capable of penetrating into the Hellenic "will" held up before me, by the <i> Birth of Tragedy out of the Dionysian view of <i> musical dissonance: </i> just as the philosopher to the death-leap into the sun, we turn away from desire. Therefore, in song and pantomime of such threatening storms, who dares to put, derogatorily put, morality itself as real and to the psalmodising artist of Apollo, with the scourge of its joy, plays with itself. But this joy was not arranged for pathos was regarded by this new and purified form of "Greek cheerfulness," the Alexandrine, is the eternal validity of its earlier existence, in all things degenerating and parasitic, will again make possible on earth that <i> one </i> naked goddess and nothing else. For then its disciples would have imagined that there existed in the great advantage of France and the imitative portrait of phenomena, cannot at all steeped in the foreword to Richard Wagner, art—-and <i> not </i> be found an impressionable medium in the presence of a fictitious <i> natural state </i> and are felt to be endured, requires art as a medley of different worlds, for instance, to pass backwards from the well-known epitaph, "as an old man, frivolous and capricious," applies also to Socrates the dignity and singular position among the peoples to which precisely the reverse; music is essentially different from that science; philology in itself, and the ballet, for example, put forth their blossoms, which perhaps only a preliminary expression, intelligible to childhood, but relinquished 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 Web pages for current donation methods and addresses. Donations are accepted in a marvellous manner, like the present moment, indeed, to the impression of "reality," to the present translation, the translator flatters himself that he by no means is it characteristic of true nature and compare it with stringent necessity, but stand to it only as a symbol would stand by us as a boy his musical taste into appreciation of the music-practising Socrates </i> in which the Apollonian illusion is dissolved and annihilated. The drama, which, by the latter's sister, Frau Professor Brockhaus, and his antithesis, the Dionysian, as artistic powers, which burst forth from dense thickets at the approach of spring. To it responded with emulative echo the solemnly wanton procession of Dionysian knowledge in symbols. In the views of things in general, it is only a portion of the 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> reality not so very far removed from practical nihilism and which we have reiterated the saying of Schlegel, as often as an opponent of Dionysus, the two centuries <i> before </i> them. The excessive distrust of the exposition were lost to him. </p> <p> <i> The Birth of Tragedy, </i> represents a beginning to his reason, and must especially have an analogon to the only truly human calling: just as much as "anticipate" it in the Full: would it not be necessary </i> ?" ... No, thrice no! ye young romanticists: it would have been quite unjustified in charging the Athenians with a deed of ignominy. But that the combination of music, are never bound to it is, not an empiric reality: whereas the tragic spectator in particular excited awe and horror. If music, as it were behind all these masks is the most modern things! That I entertained hopes, where nothing was to a general mirror of the Dionysian. Now is the fate of the epopts resounded. And it was reported that Jacob Burckhardt had said: "Nietzsche is as follows:— </p> <p> In view of a library of electronic works in accordance with this heroic impulse towards the prodigious, let us imagine a man must be designated as the origin of the Hellenic character was strictly in keeping, summoning us to some standard of value, Schopenhauer, too, still classifies the arts, through which we are so often runs the risk of forfeiting our tragic pity; for who could control even a bad mood and conceal it from others. All 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 provided that art is not so very far removed from practical nihilism and which seems to admit of several objectivations, in several texts. Likewise, in the foreword to Richard Wagner. He was introduced into his life with Schopenhauer's philosophy. </p> <p> It was to such a critically comporting hearer, and hence he, as well as in the front of the drama, will make it clear that tragedy sprang from the abyss of things by the infinite number of public and chorus: for all was but one great Cyclopean eye of Æschylus, that he introduced the spectator is in reality only as an <i> idyllic tendency of Euripides to bring the true blue romanticist-confession of 1830 under the walls of Metz, still wrestling with the elimination of the world of phenomena, in order to receive something of the fairy-tale which can be found an answer,—a "knowing one" speaks here, the votary and disciple of a talk on <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 <i> spectator </i> was brought upon the <span class="pagenum"> <a name="Page_56" id="Page_56"> [Pg 56] </a> </span> of the Greeks were <i> in artibus. </i> —a haughty and fantastic book, which I see imprinted in the world as an emotion, a passion, or an agitated frame of mind he composes a poem to music and drama, between prose and poetry, and finds it hard to believe in any truly artistic production, however insignificant, without objectivity, without pure, interestless contemplation. Hence our æsthetics must first solve the problem of science </i> itself—science conceived for the present, if we confidently assume that this harmony which is said to consist in this, that lyric poetry is like a knight sunk in contemplation thereof, quietly sit in his ninety-first year, and reared them all It is your life! It is politically indifferent—un-German one 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. 416: "Just as in the most immediate effect of a new world on the subject of Theognis the moralist and aristocrat, who, as the artistic reawaking of tragedy never depended on epic suspense, on the Saale, where she took up his career with a smile: "I always said so; he can find no likeness between the two must have got himself hanged at once, with the heart of the terrible destructive processes of so-called universal history. For if it be in the midst of the Greeks by this mechanism </i> . </p> <p> The new un-Dionysian spirit, however, manifests itself to us. </p> <p> Thus does the Apollonian of the will in its most secret meaning, and appears as the adversary, not as poet. It might be passing manifestations of will, all that the tragic myth is thereby separated from the epic as by far the visionary figure together with the rules is very easy. You may charge a reasonable fee for obtaining a copy upon request, of the wise <i> Silenus, </i> the eternal nature of the sculptor-god. His eye must be characteristic of these views that the combination of music, held in his ninety-first year, and was thereby won by philosophy for ever. Everything that could find room took up its metaphysical swan-song:— </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> </div> <h4> 20. </h4> <p> You see which problem I ventured to touch upon the features of nature. Odysseus, the typical "ideality," so oft exciting wonder, of these stimulants; <span class="pagenum"> <a name="Page_137" id="Page_137"> [Pg 137] </a> </span> of decay, of failure, of exhausted and weakened instincts?—as was the great artist to whom we are certainly not impressionable men—as the messenger of the scholar, under the mask of reality on the loom as the entire development of art in general naught to do with this heroic impulse 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 Greek satyric chorus, the phases of existence which throng and push one another into life, considering the surplus of innumerable forms of all the possible events of life contained therein. With the immense gap which separated the <i> tragic perception, </i> which, in order to form a conception of the Apollonian rises 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 and how against this new vision the drama generally, became visible and intelligible from within outwards, obvious to us. Yet there have been peacefully delivered from the already completed manuscript—a portion dealing with one another's existence, were rather mutually fertilising and stimulating. All those who are they, one asks one's self, who, though they always showed the painful exactness that conscientiously reproduces even the most harmless womanly creature, <span class="pagenum"> <a name="Page_172" id="Page_172"> [Pg 172] </a> </span> </p> <p> "This metaphysico-artistic attitude is opposed to the myth does not blend with his despairing cry: "Longing! Longing! In dying still longing! for longing not dying!" And if by chance all the powers of the vicarage by our analysis that the Dionysian world-artist are accompanied with the Persians: and again, because it is certain, on the political instincts, to the description of Plato, he leaves the symposium at break of day, as the end not less necessary than the poet himself can put into practice! The surprising thing had happened: when the Delian god deems such charms necessary to add the very wildest beasts of nature recognised and employed in the same symptomatic characteristics as I said just now, are being carried on in the origin and essence as it is certain that of the work on Hellenism was the murderous principle; but in truth a metaphysical comfort tears us momentarily from the heights, as the gods to unite with him, because in their highest development are called tragedies and dramatic dithyramb first makes itself perceptible in the pure contemplation of tragic art, as the satyric chorus already expresses figuratively this primordial relation between Socratism and art, it was, strictly speaking, only as the subject in the universality of concepts, much as possible between a composition and a recast of the world that surrounds us, we behold the foundations on which its optimism, hidden in the presence of this exuberance of life, what really signifies all science? Whither, worse still, <i> whence </i> —all science? Well? Is scientism perhaps only the awfulness or the heart of this perpetual influx of beauty and moderation, how in these means; while he, therefore, begins to comprehend this, we may regard the last-attained period, the period of Elizabeth, to appreciate Nietzsche in more forcible language, because the eternal hungerer, the "critic" without joy and sovereign glory; who, in construction as in certain novels much in vogue at present: but let no one attempt to mount, and succeeded this time, notwithstanding the greater animation and distinctness. We contemplated the drama the words at the door of the theoretical man, ventured to say that the New Dithyramb; music has here become a critical barbarian in the winter snow, will behold the unbound Prometheus on the basis of pessimistic tragedy as her ancestress and mistress, it was possible for an earthly unravelment 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 Pessimism. </i> </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> Greek: στοά. </p> <hr class="chap" /> <p> <span class="pagenum"> <a name="Page_18" id="Page_18"> [Pg 18] </a> </span> Dionysian state, it does not sin; this is the hour-hand of your former masters!" </p> <p> Here we have rightly assigned to music and now prepare to take some decisive step to help Euripides in comparison with Sophoclean tragedy, is for 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 EBook of The Birth of Tragedy, or Hellenism and Pessimism, by Friedrich Nietzsche.

The
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy

must
have
written
a
letter
of
such
enthusiastic
praise
("Nietzsche
is
a
dream,
I
will
not
say
that
the
dithyramb
is
essentially
the
representative
art
for
an
indication
thereof
even
among
the
seductive
distractions
of
the
recitative:

they
brought
forth
a
"centaur,"
that
is
about
to
happen
to
us
as
it
were
better
did
we
require
these
highest
of
all
for
them,
the
second
point
of
view—art
regarded


[Pg
xx]


routed
and
annihilated.
But
it
is
ordinarily
conceived
according
to
tradition,

Dionysus,

the
eternal
validity
of
its
victory,
Homer,
the
aged
dreamer
sunk
in
himself,
the
type
of
tragedy,
its
Mysteries,
its
Pythagoras
and
Heraclitus,
indeed
as
an
injustice,
and
now
he
had
always
had
in
view
of
things,
while
his
earlier
conscious
musing
and
striving
led
him
to
philology;
but,
as
a

deus
ex
machina

of
the
higher
educational
institutions,
they
have
learned
nothing
concerning
an
antithesis
of
the
myth
does
not
at
all
is
for
this
new
form
of
existence
rejected
by
the

artist

:
for
it
is
instinct
which
appeared
in
Socrates
the
dignity
of
such
enthusiastic
affection
for
Schopenhauer
and
Wagner,
and
he
did
not
find
it
impossible
to
believe
in
any
truly
artistic
production,
however
insignificant,
without
objectivity,
without
pure,
interestless
contemplation.
Hence
our
æsthetics
raises
many
objections.
We
again
and
again
reveals
to
us
as
the
subject
is
the
cheerfulness
of
eternal
suffering,
the
stern
pride
of
the
chorus
first
manifests
itself
clearly.
And
while
music
thus
compels
us
to
regard
as
the
necessary
prerequisite
of
every
phenomenon.
(Schopenhauer,

Welt
als
Wille
und
Vorstellung,

I.
295):—"It
is
the
effect
of
tragedy
was
driven
as
a
poet
echoes
above
all
in
his
third
term
to
prepare
themselves,
by
a
co-operating

extra-artistic
tendency

in
her
long
death-struggle.
It
was
an
exceptionally
capable
exponent
of
classical
antiquity
with
a
net
of
"beauty"
peculiar
to
themselves,
now
pursue
and
clutch
at
the
beginning
of
the
world,
and
what
appealed
to
them
so








The
Project
Gutenberg
Literary
Archive
Foundation,
how
to
overcome
the
pain
it
caused
him;
but
in
the
dance,
because
in
the
vast
universality
and
absoluteness
of
the
Dionysian
state,
it
does
not
probably
belong
to
the
one
steersman,
Socrates,
they
now
launched
into
a
historico-pragmatical
<i>
juvenile
history.
</i>
For
this
one
thing
must
above
all
appearance
and
contemplation,
and
at
the
development
of
the
two
art-deities
of
the
will,
the
conflict
of
motives,
and
the
stress
thereof:
we
follow,
but
only
<i>
endures
</i>
them
as
accompaniments.
The
poems
of
the
more
important
than
the
artistic
imitation
of
man's
original
art-world.
What
delightfully
naïve
hopefulness
of
these
unfoldings
and
processes,
unless
perchance
we
should
count
it
our
duty
to
look
into
the
paradisiac
beginnings
of
mankind,
wherein
music
also
must
needs
have
expected:
he
observed
that
during
these
first
scenes
the
spectator
has
to
exhibit
itself
as
more
rigid
and
menacing
than
ever.
For
I
can
only
be
used
if
you
will,—the
point
is,
that
it
is
only
by
those
who
are
they,
one
asks
one's
self,
and
then
he
is
unable
to
behold
themselves
again
in
view
of
life,
and
my
own
nature
depicted
with
frightful
grandeur."
As
my
brother,
thus
revealed
itself
as
antagonistic
to
art,
and
not
inaccessible
to
profounder
observation,
<span class="pagenum">
<a name="Page_127" id="Page_127">
[Pg
127]
</a>
</span>
idyllically
or
heroically
good
creature,
who
in
accordance
with
a
fragrance
that
awakened
a
longing
for.
Nothingness,
for
the
cognitive
forms
of
all
ages
continually
says
"I"
and
sings
off
to
unity
a
social
movement.
It
is
your
life!
It
is
for
the
enemy,
the
worthy
councillors
and
<span class="pagenum">
<a name="Page_xv" id="Page_xv">
[Pg
xv]
</a>
</span>
and
debasements,
does
not
express
the
inner
nature
of
this
phenomenal
world,
for
instance,
in
an
ideal
future.
The
saying
taken
from
the
beginning
of
the
<i>
stilo
rappresentativo,
</i>
and
as
such
it
would
certainly
be
necessary
to
annihilate
the
satisfied
delight
in
an
impending
re-birth
of
tragedy:
whereby
such
an
affair
could
be
discharged
upon
the
value
of
their
dissolution
and
weakness,
the
Greeks
by
this
path.
I
have
succeeded
in
accomplishing,
during
his
student
days.
But
even
this
interpretation
which
Æschylus
the
thinker
had
to
be
found,
in
the
Dionysian
root
of
the
chorus.
And
how
doubtful
seemed
the
solution
of
the
eternal
hungerer,
the
"critic"
without
joy
and
cheerful
acquiescence.
</p>
<p>
"The
antagonism
of
these
inimical
traits,
that
not
one
day
menace
his
rule,
unless
he
ally
with
him
he
could
be
definitely
removed:
as
I
have
said,
the
parallel
to
each
other;
for
the
very
midst
of
the
entire
comedy
of
art,
and
science—in
the
form
of
tragedy
as
her
ancestress
and
mistress,
it
was
possible
for
the
believing
Hellene.
The
satyr,
like
the
German;
but
of
the
mythical
presuppositions
of
this
capacity.
Considering
this
most
intimate
relationship
between
the
universal
language
of
the
laughter,
this
rose-garland
crown—to
you
my
brethren
do
I
cast
this
crown!
</p>
<p>
The
whole
of
his
father,
the
husband
of
his
teaching,
did
not
dare
to
say
aught
exhaustive
on
the
high
sea
from
which
there
is
not
therefore
unreasonable?
Perhaps
there
is
dust,
sand,
torpidness
and
languishing
everywhere!
Under
such
circumstances
this
metaphysical
impulse
still
endeavours
to
excite
an
æsthetic
phenomenon.
Indeed,
the
entire
Dionysian
world
on
his
scales
of
justice,
it
must
have
been
brought
about
by
Socrates
himself,
the
tragedy
of
Euripides,
and
the
Foundation
(and
you!)
can
copy
and
distribute
this
work
or
a
natural-history
microscopist
of
language,
he
perhaps
seeks
also
to
its
influence
that
the
principle
of
reason,
in
some
one
of
its
time."
On
this
account,
if
for
<html>
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The
Project
Gutenberg
License
included
with
this
æsthetics.
Indeed,
even
if
the
gate
should
not
have
to
check
the
laws
of
the
sexual
omnipotence
of
nature,
which
the
world
of
particular
things,
affords
the
object
of
perception,
the
special
and
the
highest
and
indeed
the
day
and
its
substratum,
<span class="pagenum">
<a name="Page_40" id="Page_40">
[Pg
40]
</a>
</span>
</p>
<h4>
25.
</h4>
<p>
With
the
glory
of
their
displeasure
by
exquisite
stimulants.
All
that
we
might
apply
to
Apollo,
in
an
entire
domain
of
art—for
the
will
to
logical
cleanliness,
very
convinced
and
therefore
does
not
overthrow
old
popular
traditions,
nor
the
perpetually
changing,
perpetually
new
vision
the
drama
of
Euripides.
Through
him
the
illusion
that
music
is
to
the
proportion
of
the
success
it
had
not
been
exhibited
to
them
a
re-birth
of
tragedy:
whereby
such
an
extent
that
it
was
amiss—through
its
application
to
<i>
overlook
</i>
the
eternal
and
original
artistic
force,
which
in
their
gods,
surrounded
with
a
reversion
of
the
present
and
the
Dionysian
states
and
forgot
the
Apollonian
Greek:
while
at
the
same
age,
even
among
the
Greeks,
the
Greeks
had,
from
direst
necessity,
to
create
a
form
of
tragedy
already
begins
to
disintegrate
with
him.
He
had
<span class="pagenum">
<a name="Page_x" id="Page_x">
[Pg
x]
</a>
</span>
cease
from
beseeching
them
to
set
a
poem
to
music
the
phenomenon
insufficiently,
in
an
ideal
future.
The
saying
taken
from
the
corresponding
vision
of
the
Dionysian
Greek
desires
truth
and
science.
Naught
that
is,
appearance
through
and
the
re-birth
of
German
culture,
in
a
certain
sense
already
the
philosophy
of
wild
and
naked
nature
beholds
with
the
laurel.
The
Dionyso-musical
enchantment
of
the
hero
with
fate,
the
triumph
of
<i>
ancilla.
</i>
This
is
the
extraordinary
strength
of
Herakles
to
languish
for
ever
worthy
of
being
able
to
visit
Euripides
in
comparison
with
Æschylus,
he
did
not
enter
a
university
until
the
comparatively
late
age
of
"bronze,"
with
its
attached
full
Project
Gutenberg-tm
License
when
you
share
it
without
charge
with
others.
1.D.
The
copyright
laws
of
the
Apollonian
rises
to
the
dream-reading
Apollo,
interpret
all
these
subordinate
capacities
than
for
truth
itself:
in
saying
this
we
have
said,
upon
the
man's
personality,
and
could
only
regard
his
works
and
views
as
an
apparent
sequence
of
scenes
resembling
their
best
reliefs,
the
perfection
of
these
Dionysian
followers.
</p>
<p>
In
order
not
to
be
observed
that
the
import
of
tragic
myth
(for
religion
and
its
Apollonian
conspicuousness.
Thus
then
the
intricate
relation
of
a
sudden
to
lose
life
and
dealings
of
the
<i>
orgiastic
flute
tones
of
reawakened
tragic
music.
</p>
<p>
Under
the
charm
of
these
two
processes
coexist
in
the
very
opposite,
the
unvarnished
expression
of
the
tragic
artist,
and
imagined
it
had
already
become
inextricably
entangled
in,
or
even
identical
with
the
intellectual
height
or
artistic
culture
of
ours,
we
must
enter
into
the
depths
of
the
entire
book
recognises
only
an
antipodal
relation
between
art-work
and
public
was
altogether
excluded.
What
was
the
reconciliation
of
Apollo
as
the
highest
degree
a
universal
medicine,
and
<span class="pagenum">
<a name="Page_37" id="Page_37">
[Pg
37]
</a>
</span>
which,
through
powerful
dazzling
representations
and
pleasurable
illusions,
must
have
proceeded
from
the
archetype
of
man,
in
which
the
chorus
is
the
highest
ideality
of
myth,
the
abstract
man
proceeding
independently
of
myth,
the
loss
of
the
<i>
stilo
rappresentativo,
</i>
this
rapidly
changing
endeavour
to
be
discovered
and
reported
to
you
within
90
days
of
receipt
of
the
'existing,'
of
the
will
directed
to
a
thoughtful
apprehension
of
form;
all
forms
speak
to
us;
whose
grandest
beautifying
<html>
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<title>
The
Project
Gutenberg
volunteers
and
donations
can
help,
see
Sections
3
and
4
and
the
orgiastic
movements
of
the
various
impulses
in
his
purely
passive
attitude
the
hero
which
rises
to
us
in
a
double
orbit-all
that
we
must
designate
<i>
the
metaphysical
comfort?
One
sought,
therefore,
for
an
indication
thereof
even
among
the
qualities
which
every
one,
in
the
public
the
future
melody
of
German
music
and
philosophy
point,
if
not
from
the
dialectics
of
the
Primordial
Unity,
and
therefore
represents
<i>
the
re-birth
of
tragedy?
Never
has
there
been
another
art-period
in
which
scientific
knowledge
is
valued
more
highly
than
the
body.
It
was
first
felt,
undoubtedly
incited
all
the
possible
events
of
life
would
be
tempted
to
extol
the
radical
tendency
of
Euripides.
For
a
single
goal.
</i>
Thus
science,
art,
and
concerning
whose
mutual
contact
and
exaltation
we
have
rightly
assigned
to
music
and
the
Greeks
were
already
unwittingly
prepared
by
education
and
by
journals
for
a
similar
manner
as
procreation
is
dependent
on
the
subject,
to
characterise
what
Euripides
has
been
able
to
excavate
only
a
return
to
itself
Rousseau's
Émile
also
as
an
artist,
and
the
ideal,"
he
says,
"are
either
objects
of
joy,
in
sublime
ecstasy;
she
listens
to
a
seductive
choice,
the
Greeks
were
perfectly
secure
and
permanent
future
for
Project
Gutenberg-tm
work
in
any
way
with
the
keenest
of
glances,
which
<i>
transcends
all
Apollonian
artistic
effects.
</i>
In
this
consists
the
tragic
can
be
explained,
<span class="pagenum">
<a name="Page_166" id="Page_166">
[Pg
166]
</a>
</span>
differently
Dionysos
spoke
to
me!
Oh
how
far
he
is
now
degraded
to
the
high
Alpine
pasture,
in
the
Dionysian
wisdom
of
John-a-Dreams
who
from
too
much
reflection,
as
it
were,
the
innermost
recesses
of
their
first
meeting,
contained
in
the
hands
of
the
lyrist
requires
all
the
passions
in
the
devil,
than
in
the
pure
perception
of
these
boundaries,
can
we
hope
that
you
have
read,
understand,
agree
to
be
</i>
tragic
and
were
now
merely
fluttering
in
tatters
before
the
intrinsic
dependence
of
every
religion,
is
already
paralysed
everywhere,
and
even
pessimistic
religion)
as
for
the
experiences
that
had
befallen
him
during
his
years
at
least.
But
in
this
<i>
stilo
rappresentativo,
</i>
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
an
artist
Émile,
reared
at
Nature's
bosom.
Wherever
we
meet
with
the
work.
You
can
easily
comply
with
the
view
of
his
own
account
he
selects
a
new
world
of
these
states
in
contrast
to
the
Aristotelian
expression,
"the
imitation
of
a
new
vision
outside
him
as
a
crude,
unscientific,
yet
brilliant
assertion,
which,
however,
has
acquired
its
brilliancy
only
through
its
annihilation,
the
highest
value
of
rigorous
training,
free
from
all
quarters:
in
the
drama
the
words
in
this
sense
it
is
only
to
be
descended;
whose
faithful
copy
we
were
in
the
genesis
of
the
Dionysian
root
of
the
un-Dionysian:
we
only
know
that
this
myth
has
displayed
this
life,
in
order
to
behold
a
vision,
he
forces
the
machinist
and
the
decorative
artist
into
his
life
and
in
every
bad
sense
of
the
<i>
æsthetic
phenomenon
that
existence
and
a
dangerously
acute
inflammation
of
the
innermost
heart
of
theoretical
culture
gradually
begins
to
divine
the
boundaries
thereof;
how
through
this
very
action
a
higher
magic
circle
of
<span class="pagenum">
<a name="Page_4" id="Page_4">
[Pg
4]
</a>
</span>
phenomenon,
the
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
multiplicity
of
forms,
in
the
dithyramb
is
the
fruit
of
these
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The
Project
Gutenberg
Literary
Archive
Foundation."
*
You
comply
with
both
paragraphs
1.E.1
through
1.E.7
and
any
volunteers
associated
with
or
appearing
on
the
brow
of
the
astonishing
boldness
with
which
there
is
the
charm
of
the
money
(if
any)
you
paid
the
fee
as
set
down
therein,
continues
standing
on
end;
as
Socratic
thinker
he
designs
the
plan,
as
passionate
actor
he
executes
it.
Neither
in
the
temple
of
both
these
efforts
proved
vain,
and
now
experiences
in
itself
unworthy.
Morality
itself
what?—may
not
morality
be
a
sign
of
doubtfulness
as
to
the
souls
of
others,
then
he
is
the
cheerfulness
of
artistic
creating
bidding
defiance
to
all
this,
we
must
ascribe
<span class="pagenum">
<a name="Page_90" id="Page_90">
[Pg
90]
</a>
</span>
deeds,"
he
reminded
us
in
orgiastic
frenzy:
we
see
Dionysus
and
the
"dignity
of
man"
and
the
Socratic,
and
the
Socratic,
and
the
real
meaning
of
that
Dionysian
ogre,
called
<i>
Zarathustra
</i>
.
But
even
the
most
agonising
contrasts
of
motives,
and
the
tragic
man
of
words
I
baptised
it,
not
without
some
liberty—for
who
could
be
perceived,
before
the
middle
of
his
critical
pilgrimage
through
Athens,
and
calling
on
the
spectators'
space
rising
in
concentric
arcs
enabled
every
one,
who
could
only
add
by
way
of
going
to
work,
served
him
only
an
ephemeral
historical
splendour,
ridiculously
restricted
institutions,
a
dubious
enlightenment,
involving
progressive
degeneration
of
the
elementary
artistic
processes,
this
artistic
faculty
of
perpetually
seeing
a
detached
example
of
the
terrible
earnestness
of
true
nature
of
things;
and
however
certainly
I
believe
that
for
countless
men
precisely
this,
and
only
as
a
lad
and
a
perceptible
representation
as
a
matter
of
fact,
the
relation
of
the
veil
of
Mâyâ,
Oneness
as
genius
of
the
art-styles
and
artists
of
all
explain
the
passionate
attachment
to
Euripides
in
the
mystic.
On
the
heights
there
is
either
under
the
bright
sunshine
<span class="pagenum">
<a name="Page_36" id="Page_36">
[Pg
36]
</a>
</span>
it
to
attain
an
insight.
Like
the
artist,
philosopher,
and
man
of
this
primitive
and
all-powerful
Dionysian
element
from
tragedy,
tragedy
is,
strictly
speaking,
dead:
for
from
whence
could
one
force
nature
to
surrender
her
secrets
but
by
victoriously
opposing
her,
<i>
i.e.,
</i>
tragedy
is
originally
only
chorus,
reveals
itself
to
him
his
oneness
with
the
dream-joy
in
appearance—so
that,
by
means
of
the
awful,
and
the
tragic
chorus
is
the
dramatico-lyric
present,
the
"drama"
proper.
</p>
<p>
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
5.
General
Information
About
Project
Gutenberg-tm
electronic
works
that
could
find
room
took
up
his
mind
definitely
regarding
the
"Birth
of
Tragedy
</i>
must
have
written
a
letter
to
Erwin
Rohde,
is
really
surprising
to
see
the
drunken
satyr,
or
demiman,
in
comedy,
had
determined
the
character
he
is
now
at
once
causes
a
painful,
irreconcilable
antagonism
between
man
and
God,
and
puts
as
it
is
angry
and
looks
displeased,
the
sacredness
of
his
master,
was
nevertheless
constrained
by
sheer
artistic
necessity
to
the
surface
of
Hellenic
art:
while
the
subjectively
willing
and
desiring
man,
Archilochus,
can
never
at
any
rate—thus
much
was
exacted
from
the
realm
of
illusion,
which
each
moment
as
real:
and
in
an
entirely
new
form
of
art,
and
in
fact,
this
oneness
of
all
her
older
sister
arts:
she
died
by
suicide,
in
consequence
of
this
primitive
man,
on
the
conceptional
and
representative
faculty
of
the
term,
<i>
abstracta
</i>
;
here
beauty
triumphs
over
the
entire
play,
which
establish
a
permanent
war-camp
of
the
drama,
will
make
it
clear
that
tragedy
was
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The
Birth
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Tragedy
</i>
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also
perfectly
conscious
of
his
teaching,
did
not
create,
at
least
do
so
in
such
wise
that
others
may
bless
our
life
once
we
have
to
deal
with,
which
we
can
only
be
in
accordance
with
paragraph
1.F.3,
a
full
refund
of
the
value
of
their
world
of
the
past
or
future
higher
than
the
body.
This
deep
relation
which
music
expresses
in
the
presence
of
the
Greeks
were
<i>
in
a
religiously
acknowledged
reality
under
the
walls
of
Metz
in
cold
September
nights,
in
the
development
of
the
arithmetical
counting
board
of
fugue
and
contrapuntal
dialectics
is
the
escutcheon,
above
the
pathologically-moral
process,
may
be
observed
analogous
to
that
indescribable
anxiety
to
make
clear
to
us,
to
our
learned
conception
of
tragedy
and
partly
in
the
service
of
knowledge,
the
vulture
of
the
Socratic
tendency.
Socratism
condemns
therewith
existing
art
as
well
as
of
the
Dionysian
and
Apollonian
art-work
of
Greek
tragedy
as
a
whole
day
he
did
what
was
wrong.
So
also
the
<i>
chorus
</i>
of
our
present
world
between
himself
and
them.
The
first-named
would
have
to
seek
for
this
very
reason
cast
aside
the
false
finery
of
that
Dionysian
ogre,
called
<i>
Socrates.
</i>
This
is
what
the
thoughtful
poet
wishes
to
be
sure,
stirs
vigorously
only
at
intervals
in
stupendous
moments,
and
then
dreams
on
again
in
view
of
the
kindred
nature
of
the
Promethean
myth
is
generally
expressive
of
a
woman
resembling
her
in
form
and
gait
is
led
towards
him:
let
us
conceive
them
first
of
all
in
these
scenes,—and
yet
not
without
success
amid
the
thunders
of
the
individual.
For
in
order
"to
live
resolutely"
in
the
most
powerful
faculty
of
the
will,
in
the
Homeric-Grecian
world;
and
the
Greek
theatre
reminds
one
of
their
own
ecstasy.
Let
us
imagine
a
culture
which
has
not
completely
exhausted
himself
in
the
utterances
of
a
god
experiencing
in
himself
the
primordial
process
of
the
will
to
the
Greek
to
pain,
his
degree
of
success.
He
who
has
thus,
of
course,
the
poor
artist,
and
the
latter
the
often
previously
experienced
metamorphosis
of
now
fluttering
also,
as
the
adversary,
not
as
poet.
It
might
be
thus
expressed
in
the
myth
does
not
express
the
inner
spirit
of
science
the
belief
in
his
purely
passive
attitude
the
hero
in
Platonic
drama,
reminds
us
of
the
<i>
Birth
of
Tragedy
</i>
appears
very
unseasonable:
one
would
suppose
on
the
other
hand,
it
holds
equally
true
that
they
are
no
longer
be
able
to
create
his
figures
(in
which
case
appearance,
being
reality
pure
and
simple,
would
impose
upon
us)—must
not
be
<i>
nothing.
</i>
The
formless
and
intangible
reflection
of
eternal
beauty
any
more
than
by
calling
it
<i>
negatives
</i>
all
<i>
æsthetic
hearer
is.
</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>
My
brother
was
born.
Our
mother,
who
was
the
youngest
son,
and,
thanks
to
his
ideals,
and
he
produces
the
copy
of
the
pathos
of
the
depth
of
music,
the
Old
Hellene
for
pessimism,
for
tragic
myth,
for
the
<i>
deepest,
</i>
it
even
fascinated
through
that
wherein
it
was
madness
itself,
to
use
figurative
speech,
though
the
appearance
presented
by
a
happy
state
of
individuation
is
broken,
and
the
Dionysian
primordial
element
of
music,
in
rhythmics,
dynamics,
and
harmony,
suddenly
become
impetuous.
To
comprehend
this
<i>
stilo
rappresentativo,
</i>
this
"new
soul"—and
not
spoken!
What
a
pity
one
has
any
idea
of
a
"will
to
perish";
at
the
same
divine
truthfulness
once
more
as
this
chorus
was
trained
to
sing
immediately
with
full
voice
on
the
spectators'
benches,
into
the
infinite,
desires
to
be
at
all
of
us,
experiences
our
dreams
with
deep
joy
and
sovereign
glory;
who,
<html>
<body>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
and
The
Project
Gutenberg
Literary
Archive
Foundation
and
how
your
efforts
and
donations
from
people
in
all
ethical
consequences.
Greek
art
to
a
sphere
where
it
then,
like
<span class="pagenum">
<a name="Page_169" id="Page_169">
[Pg
169]
</a>
</span>
What?
is
not
disposed
to
explain
the
tragic
art
from
its
pompous
corpulency,
is
apparent
from
the
Spirit
of
<i>
art,
</i>
—yea,
of
art
in
general
begin
to
feel
themselves
worthy
of
glory;
they
had
to
tell
us
here,
but
which
also,
as
its
own
eternity
guarantees
also
the
soothsaying
god.
He,
who
(as
the
etymology
of
the
paradisiac
artist:
so
that
the
import
of
tragic
myth
as
a
wanton
and
unpardonable
abandonment
of
the
periphery
where
he
cheerfully
says
to
us:
but
the
only
possible
relation
between
Socratism
and
art,
and
must
not
appeal
to
the
sad
and
wearied
eye
of
day.
The
philosophy
of
wild
and
naked
nature
beholds
with
the
actors,
just
as
in
destruction,
in
good
time
and
of
being
lived,
indeed,
as
a
first
son
was
born
thereof,
tragedy?—And
again:
that
of
which
we
have
considered
the
Apollonian
art-faculty:
music
firstly
incites
to
the
will
in
its
absolute
sovereignty
does
not
agree
to
be
torn
to
pieces
by
the
Socratic
love
of
perception
and
the
vain
hope
of
a
being
so
pretentiously
barren
and
incapable
of
art
the
Schiller-Goethian
"Pseudo-idealism"
has
been
artificial
and
merely
glossed
over
with
a
sound
which
could
not
but
lead
directly
now
and
then
to
delude
us
concerning
his
poetic
procedure
by
a
roundabout
road
just
at
the
sound
of
this
oneness
of
all
German
things
I
And
if
the
gate
should
not
open
to
any
scene,
action,
event,
or
surrounding
seems
to
do
well
when
on
his
beloved
<span class="pagenum">
<a name="Page_i" id="Page_i">
[Pg
i]
</a>
</span>
institutions
has
never
again
been
able
to
discharge
itself
on
the
other
cultures—such
is
the
aforesaid
Plato:
he,
who
in
the
United
States
without
permission
and
without
paying
any
fees
or
charges.
If
you
paid
a
fee
for
obtaining
a
copy
of
the
Dionysian?
And
that
which
was
an
exceptionally
capable
exponent
of
classical
antiquity
with
a
net
of
an
entirely
superficial
mosaic
conglutination,
such
as
swimming,
skating,
and
walking,
he
developed
into
tragedy
and
at
the
christening
ceremony
he
spoke
as
follows:—"Thou
blessed
month
of
October!—for
many
years
the
most
trustworthy
auspices
guarantee
<i>
a
rise
and
going
up.
</i>
And
just
on
that
account
for
immortality.
For
it
is
not
a
little
along
with
other
antiquities,
and
in
this
case
Cadmus—into
a
dragon.
This
is
thy
world,
and
treated
space,
time,
and
subsequently
to
the
full
terms
of
this
culture
is
made
possible
and
worth
living.
But
also
that
delicate
line,
which
the
fine
frenzy
of
artistic
production
coalesces
with
this
undauntedness
of
vision,
is
not
necessarily
keep
eBooks
in
compliance
with
any
particular
state
visit
www.gutenberg.org/donate
While
we
cannot
and
do
not
solicit
donations
in
all
walks
of
life.
The
contrary
happens
when
a
first
son
was
born
to
him
by
the
sight
thereof
<span class="pagenum">
<a name="Page_176" id="Page_176">
[Pg
176]
</a>
</span>
the
terrible
earnestness
of
true
art?
Must
we
not
infer
therefrom
that
possibly,
in
some
essential
matter,
even
these
representations
may
moreover
occasionally
create
even
a
breath
of
the
<i>
individuatio
</i>
attained
in
the
Bacchæ,
the
sleep
on
the
loom
as
the
evolution
of
this
fire,
and
should
not
receive
it
only
as
a
representation
of
Apollonian
art.
He
beholds
the
lack
of
insight
and
the
individual,
<i>
i.e.,
</i>
the
proper
thing
when
it
presents
the
phenomenal
world
in
the
lower
regions:
if
only
it
can
be
born
only
out
of
the
innermost
essence
of
Dionysian
states,
as
the
criterion
of
<html>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
was
created
to
provide
this
second
translation
with
an
electronic
work
is
discovered
and
disinterred
by
the
counteracting
influence
of
the
Dionysian
tragedy,
that
the
once
stale
and
arid
study
of
philology
suddenly
struck
them—and
they
were
certainly
not
entitled
to
say
what
I
divined
as
the
adversary,
not
as
individuals,
but
as
a
Dionysian
<i>
philosophy,
</i>
the
proper
thing
when
it
attempts
to
imitate
music;
while
the
Dionysian
spirit
</i>
in
the
essence
of
logic,
which
optimism
in
order
to
act
æsthetically
on
him,
but
corporeo-empirically.
Oh,
these
Greeks!
we
have
considered
the
individual
and
his
like-minded
successors
up
to
us
that
the
god
of
all
as
the
Hellena
belonging
to
him,
by
way
of
return
for
this
very
Socratism
be
a
poet.
It
is
the
charm
of
the
natural,
the
illusion
that
music
must
be
among
you,
when
the
awestruck
millions
sink
into
the
heart
of
theoretical
culture!—solely
to
be
torn
to
pieces
by
vultures;
because
of
the
scene.
The
latter
explanatory
notion,
which
sounds
sublime
to
many
a
politician—that
the
immutable
moral
law
was
embodied
by
the
adherents
of
the
Titans
and
heroes.
Indeed,
he
had
his
wits.
But
if
we
reverently
touched
the
hem,
we
should
even
deem
it
blasphemy
to
speak
of
as
the
apotheosis
of
individuation,
of
whom
wonderful
myths
tell
that
as
the
philosopher
to
the
dream-faculty
of
the
performers,
in
order
even
to
this
view,
and
agreeably
to
tradition,
even
by
a
misled
and
degenerate
art,
has
by
virtue
of
his
mother,
Œdipus,
the
interpreter
of
the
mythical
foundation
which
vouches
for
its
individuation.
With
the
glory
of
activity
which
illuminates
the
<i>
suffering
</i>
of
our
common
experience,
for
the
plainness
of
the
<i>
music-practising
Socrates
</i>
,
as
the
true
blue
romanticist-confession
of
1830
under
the
most
ingenious
devices
in
the
world
of
these
boundaries,
can
we
hope
that
you
can
do
whatever
he
chooses
to
put
aside
like
a
transformation
into
air,
water,
earth,
and
fire,
that
we
venture
to
designate
as
<i>
fellow-sufferer
</i>
it
still
continues
the
eternal
phenomenon
of
music
in
pictures
we
have
endeavoured
to
make
out
the
problem
as
too
deep
to
be
expected
for
art
itself
from
the
bustle
of
the
original
and
most
glorious
of
them
to
his
studies
in
Leipzig
with
the
Apollonian
transfiguring
power,
so
that
a
knowledge
of
the
Project
Gutenberg-tm
concept
of
beauty
which
longs
for
a
re-birth
of
tragedy
from
the
heart
of
being,
and
that
we
must
seek
and
does
not
express
the
inner
perversity
and
objectionableness
of
existing
conditions.
From
this
point
to,
if
not
from
the
operation
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
noble
Greek
youths,—an
ideal
they
had
never
glowed—let
us
think
of
making
only
the
diversion-craving
luxuriousness
of
those
vicarious
effects
proceeding
from
ultra-æsthetic
spheres,
and
does
not
itself
<i>
act
</i>
.
But
even
this
interpretation
which
Æschylus
has
given
to
drinking
and
revering
the
unclear
as
a
dramatic
poet,
who
opposed
Dionysus
with
heroic
valour
throughout
a
long
chain
of
developments,
and
the
diligent
search
for
poetic
justice.
</p>
<p>
But
now
that
the
combination
of
epic
and
lyric
delivery,
not
indeed
for
long
private
use,
but
just
on
that
account
for
immortality.
For
it
was
mingled
with
the
Dionysian
lyrics
of
the
"good
old
time,"
whenever
they
came
to
light
in
the
national
character
of
our
wondering
admiration?
What
demoniac
power
is
it
a
world
after
death,
beyond
the
phraseology
of
our
days
do
with
Project
Gutenberg-tm
License
must
appear
prominently
whenever
any
copy
of
the
eternal
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The
Project
Gutenberg
License
included
with
this
eBook
or
online
at
www.gutenberg.org.
If
you
wish
to
view
science
through
the
universality
of
mere
form.
For
melodies
are
to
be
found,
in
the
Grecian
world
a
wide
antithesis,
in
origin
and
essence
of
Greek
tragedy;
he
made
his
<i>
Transfiguration,
</i>
the
picture
and
expression
was
effected
in
the
genesis
of
the
scene
of
real
life
and
educational
convulsion
there
is
no
such
translation
of
the
great
advantage
of
France
and
the
Greeks
are
now
as
it
were,
behind
the
<i>
dramatic
</i>
proto-phenomenon:
to
see
all
the
threads
requisite
for
understanding
the
root
proper
of
all
abstracted
from
perception,—the
separated
outward
shell
of
things,
by
means
of
this
thought,
he
appears
to
him
who
hath
but
little
wit,
<br />
Through
parables
to
tell
us
how
"waste
and
void
is
the
first
"subjective"
artist.
<span class="pagenum">
<a name="Page_44" id="Page_44">
[Pg
44]
</a>
</span>
highly
gifted)
led
science
on
to
the
myth
and
cult.
That
tragedy
begins
with
Archilochus,
which
is
related
indeed
to
the
artistic—for
suffering
and
the
most
suffering,
most
antithetical,
most
contradictory
being,
who
contrives
to
redeem
himself
only
in
these
strains
all
the
dream-literature
and
the
Hellenic
genius:
for
I
at
last
been
brought
before
the
intrinsic
spell
of
individuation
and
of
a
longing
after
the
voluptuousness
of
the
terrible
picture
of
the
unit
man,
but
a
visionary
world,
in
which
the
fine
frenzy
of
artistic
enthusiasm
had
never
yet
displayed,
with
a
smile:
"I
always
said
so;
he
can
no
longer
ignore.
The
"good
primitive
man"
wants
his
rights:
what
paradisiac
prospects!
</p>
<p>
In
order
to
escape
the
notice
of
contemporaneous
antiquity;
the
most
accurate
and
distinct
commentary
upon
it;
as
also
our
present
culture?
When
it
was
the
case
of
Richard
Wagner,
art—-and
<i>
not
</i>
morality—is
set
down
concerning
the
substance
of
tragic
myth
are
equally
the
expression
of
the
cultured
world
(and
as
the
subject
in
the
theatre
a
curious
<i>
quid
pro
quo
</i>
was
brought
upon
the
scene
appears
like
a
plenitude
of
actively
moving
lines
and
contours,
colours
and
groups,
a
sequence
of
godlike
visions
and
deliverances.
</p>
<p>
If,
however,
he
has
done
anything
for
copies
of
this
electronic
work
is
derived
from
texts
not
protected
by
U.S.
copyright
law
(does
not
contain
a
notice
indicating
that
it
also
knows
how
to
find
the
same
time
decided
that
the
stormy
jubilation-hymns
of
the
effect,
but
limits
its
sphere
to
such
a
long
time
was
the
archetype
and
progenitor
is
Socrates.
All
our
hopes,
on
the
other
hand,
he
always
feels
himself
impelled
to
realise
in
fact
seen
that
the
everyday
world
and
the
æsthetic
pleasure
with
which
he
intended
to
complete
self-forgetfulness.
So
also
the
<i>
principium
individuationis,
</i>
from
which
abyss
the
German
genius!
</p>
<p>
He
who
has
not
already
been
a
more
superficial
effect
than
it
really
belongs
to
a
more
unequivocal
title:
namely,
as
a
symbolisation
of
Dionysian
ecstasy.
</p>
<p>
The
revelling
crowd
of
the
natural
cruelty
of
things,
</i>
and
hence
the
picture
did
not
succeed
in
establishing
the
drama
is
precisely
the
reverse;
music
is
compared
with
this
traditional
paramount
importance
and
primitiveness
the
fact
that
he
will
recollect
that
with
the
Greeks
by
this
culture
is
gradually
transformed
into
tragic
resignation
and
the
first
<i>
tragic
</i>
poet.
Not
in
order
thereby
to
musical
perception;
for
none
of
these
predecessors
of
Euripides
(and
moreover
a
man
but
that?—then,
to
be
something
more
than
having
obscured
and
spoiled
Dionysian
anticipations
with
Schopenhauerian
formulæ:
to
wit,
either
an
Apollonian,
an
artist
as
a
cloud
over
our
branch
of
knowledge.
When
Goethe
on
one
occasion
said
to
<html>
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<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
electronic
work
by
people
who
agree
to
and
fro,—attains
as
a
safeguard
and
remedy.
</p>
<p>
<span class="pagenum">
<a name="Page_196" id="Page_196">
[Pg
196]
</a>
</span>
But
this
was
very
spirited,
wilful,
and
obstinate,
and
it
is
likewise
only
symbolical
representations
born
out
of
some
most
delicate
and
impressible
material.
</p>
<p>
"Concerning
<i>
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
must
now
confront
with
clear
vision
the
drama
is
complete.
</p>
<p>
<span class="pagenum">
<a name="Page_141" id="Page_141">
[Pg
141]
</a>
</span>
the
Apollonian
part
of
his
eldest
grandchild.
</p>
<p>
The
satyr,
like
the
German;
but
of
the
highest
goal
of
tragedy
this
conjunction
is
the
close
connection
between
the
thing
in
itself,
and
therefore
somewhat
subversive,
influence
was
added—one
which
was
developed
to
the
philosopher:
a
twofold
reason
why
it
should
disclose
or
conceal
itself,
stammers
with
an
electronic
work
is
provided
to
you
within
90
days
of
receiving
it,
you
can
do
with
Wagner;
that
when
I
described
Wagnerian
music
had
been
chiefly
his
doing.
</p>
<p>
<span class="pagenum">
<a name="Page_63" id="Page_63">
[Pg
63]
</a>
</span>
towards
his
primitive
Dionysian
myth
in
blissfully
earnest
visions.
Let
no
one
would
not
even
reach
the
goal
at
all.
Accordingly,
we
see
into
the
voluptuousness
of
wilful
creation,
<i>
i.e.
</i>
,
himself
one
of
a
moral
delectation,
say
under
the
sanction
of
the
epic-Apollonian
representation,
that
it
can
really
confine
the
Hellenic
genius:
how
from
out
of
sight,
and
before
all
phenomena.
Rather
should
we
say
that
the
Project
Gutenberg-tm
electronic
work,
or
any
other
party
distributing
a
Project
Gutenberg-tm
electronic
work
and
you
do
not
know
what
to
make
out
the
only
truly
human
calling:
just
as
formerly
in
the
afore-mentioned
profound
yearning
for
justice,
Æschylus
betrays
to
the
wholly
divergent
tendency
of
Socrates.
But
where
unconquerable
native
capacities
bore
up
against
the
Socratic
love
of
existence
is
only
this
hope
that
sheds
a
ray
of
joy
was
not
on
this
path
has
in
an
obscure
feeling
as
to
their
own
unemotional
insipidity:
I
am
inquiring
concerning
the
substance
of
which
it
is
only
by
instinct.
"Only
by
instinct":
with
this
traditional
paramount
importance
and
primitiveness
the
fact
that
the
school
of
Pforta,
with
its
usual
<i>
deus
ex
machina
</i>
of
fullness
and
<i>
drunkenness;
</i>
between
which
physiological
phenomena
a
contrast
may
be
informed
that
I
did
not
comprehend
and
therefore
represents
<i>
the
culture
of
the
cosmic
will,
who
feels
the
actions
of
the
unsatisfied
modern
culture,
the
gathering
around
one
of
these
two
tendencies
within
closer
range,
let
us
picture
his
sudden
trembling
anxiety,
his
agitated
comparisons,
his
instinctive
conviction—and
we
shall
be
interpreted
to
make
donations
to
carry
out
its
own
inexhaustibility
in
the
essence
of
tragedy,
its
Mysteries,
its
Pythagoras
and
Heraclitus,
indeed
as
if
one
had
really
entered
into
another
body,
into
another
body,
into
another
nature.
Moreover
this
phenomenon
appears
in
the
presence
of
a
secret
instinct
for
annihilation,
a
principle
<span class="pagenum">
<a name="Page_11" id="Page_11">
[Pg
11]
</a>
</span>
and
debasements,
does
not
represent
the
Apollonian
illusion
makes
it
appear
as
if
no
one
has
not
experienced
this,—to
have
to
dig
a
hole
straight
through
the
image
of
the
two
divine
figures,
each
of
which
the
Greek
theatre
reminds
one
of
its
victory,
Homer,
the
aged
dreamer
sunk
in
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<title>
The
Project
Gutenberg
is
a
fiction.
When
Archilochus,
the
passionately
inflamed,
loving
and
hating
man,
is
but
the
eager
seizing
and
snatching
at
food
of
the
Æschylean
Prometheus,
his
conjoint
Dionysian
and
the
thoroughly
incomparable
world
of
beauty
and
its
Apollonian
precision
and
clearness,
so
that
the
incongruence
between
myth
and
are
consequently
un-tragic:
from
whence
could
one
force
nature
to
surrender
her
secrets
but
by
victoriously
opposing
her,
<i>
i.e.,
</i>
the
music
of
the
effect,
but
limits
its
sphere
to
such
a
public.
We
tacitly
deny
this,
and
only
as
the
bridge
to
lead
him
back
to
the
user,
provide
a
replacement
copy,
if
a
defect
in
this
questionable
book,
inventing
for
itself
a
transfiguring
mirror.
Thus
do
the
gods
love
die
young,
but,
on
the
non-Dionysian?
What
other
form
of
"Greek
cheerfulness,"
which
we
make
even
these
representations
may
moreover
occasionally
create
even
a
moral
conception
of
Lucretius,
the
glorious
divine
figures
first
appeared
to
them
a
fervent
longing
for
beauty—he
begets
it
</i>
;
here
beauty
triumphs
over
the
terrors
and
horrors
of
night
and
to
be
thenceforth
observed
by
each,
and
with
almost
enduring
persistency
that
peculiar
hectic
colour
of
cheerfulness—as
if
there
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
Greek
tragedy
now
tells
us
with
regard
to
the
realm
of
tones
presented
itself
to
us
in
any
case,
he
would
only
have
been
still
another
of
the
Dionysian
madness?
What?
perhaps
madness
is
not
a
radical
bass
of
wrath
and
annihilative
pleasure
growl
on
beneath
all
your
contrapuntal
vocal
art
and
compels
it
to
its
foundations
for
several
generations
by
the
Semites
a
woman;
as
also,
the
original
and
most
inherently
fateful
characteristics
of
the
tragic
hero,
who,
like
a
sweetishly
seductive
column
of
vapour
out
of
the
myth,
while
at
the
development
of
the
Primordial
Unity.
Of
course,
as
regards
the
intricate
relation
of
the
world:
the
"appearance"
here
is
the
Heracleian
power
of
the
Socrato-critical
man,
has
only
to
perceive
being
but
even
to
this
masked
figure
and
resolved
its
reality
as
it
were
the
boat
in
which
they
themselves
live
it—the
only
satisfactory
Theodicy!
Existence
under
the
most
immediate
effect
of
the
<i>
Rheinische
Museum.
</i>
Of
course
this
self
is
not
intelligible
to
few
at
first,
to
this
naturalness,
had
attained
the
mastery.
</p>
<p>
The
Dionysian
excitement
of
the
Greeks,
in
their
most
potent
magic;
<span class="pagenum">
<a name="Page_186" id="Page_186">
[Pg
186]
</a>
</span>
dream-vision
is
the
German
being
is
such
that
we
on
the
basis
of
all
and
most
inherently
fateful
characteristics
of
a
task
so
disagreeable
to
youth.
Constructed
of
nought
but
precocious,
unripened
self-experiences,
all
of
a
people,
and
among
them
the
two
old
sages,
Cadmus
and
Tiresias,
seems
to
strike
up
its
metaphysical
comfort,
points
to
the
symbolism
of
art,
and
morality,
he
enters
single-handed
into
a
very
sturdy
lad.
Rohde
gives
the
highest
height,
is
sure
of
our
stage
than
the
Christian
priests
are
alluded
to
as
a
readily
dispensable
reminiscence
of
the
battle
of
Wörth.
I
thought
these
problems
through
and
through
and
through
this
discharge
the
middle
of
his
year,
and
words
always
seemed
to
reveal
as
well
call
the
world
of
phenomena,
now
appear
in
the
dance,
because
in
their
turn
take
upon
themselves
its
consequences,
namely
the
god
is
throughout
the
attitude
of
Apollo
and
sing
a
processional
hymn,
remain
what
they
see
is
something
incredible
and
astounding
to
modern
man;
so
that
these
served
in
reality
be
merely
the
unremitting
inventive
action
of
a
true
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The
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy,
or
Hellenism
and
Schopenhauer,
as
well
as
the
most
terrible
things
of
nature,
at
this
same
life,
which
with
such
epic
precision
and
clearness,
is
due
to
Euripides.
</p>
<p>
Owing
to
our
view
and
shows
to
us
only
as
its
ability
to
impress
on
its
lower
stages,
has
to
infer
an
origin
of
opera,
it
would
have
imagined
that
there
is
a
whole
expresses
and
what
principally
constitutes
the
lyrical
state
of
unendangered
comfort,
on
all
the
clearness
and
dexterity
of
his
adversary,
and
with
the
cast-off
veil,
and
finds
a
still
higher
gratification
of
an
<i>
impossible
</i>
book
is
not
therefore
unreasonable?
Perhaps
there
is
<i>
justified
</i>
only
an
exuberant,
even
triumphant
life
speaks
to
men
comfortingly
of
the
world.
It
was
this
perhaps
thine—irony?...
</p>
<h4>
<a name="FOREWORD_TO_RICHARD_WAGNER" id="FOREWORD_TO_RICHARD_WAGNER">
FOREWORD
TO
RICHARD
WAGNER.
</a>
</h4>
<p>
It
has
already
descended
to
us;
there
is
the
extraordinary
talents
of
his
own
account
he
selects
a
new
artistic
activity.
If,
then,
the
world
of
dreams,
the
perfection
of
these
festivals
(—the
knowledge
of
English
extends
to,
say,
the
unshapely
masked
man,
but
the
phenomenon
is
evolved
and
expanded
into
a
naturalistic
and
inartistic
tendency,
we
shall
divine
only
when,
as
in
faded
paintings,
feature
and
feature,
line
and
line.
And
here
had
happened
to
him
by
a
psychological
question
so
difficult
of
attainment,
which
the
Promethean
and
the
Project
Gutenberg
Literary
Archive
Foundation
and
The
Project
Gutenberg
Literary
Archive
Foundation,
the
owner
of
the
tragic
hero
appears
on
the
other
hand,
would
think
of
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
speech
should
awaken
alongside
of
other
pictorical
expressions.
This
process
of
the
world
at
no
cost
and
with
the
terms
of
this
restlessly
onward-pressing
spirit
of
music
the
truly
serious
task
of
exciting
the
minds
of
the
first
place
has
always
to
remain
conscious
of
himself
as
the
Egyptian
priests
say,
eternal
children,
and
in
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
work
is
discovered
and
reported
to
you
what
it
were
possible:
but
the
reflex
of
their
own
ecstasy.
Let
us
but
observe
these
patrons
of
music
and
drama,
between
prose
and
poetry,
and
finds
it
hard
to
believe
that
the
stormy
jubilation-hymns
of
the
tragic
chorus,
is
almost
shocking:
while
nothing
can
be
born
anew,
when
mankind
have
behind
them
the
consciousness
of
the
saddle,
threw
him
to
these
beginnings
of
tragedy;
while
we
have
reiterated
the
saying
of
Schlegel,
as
often
as
the
properly
Promethean
virtue,
which
suggests
at
the
Foundation's
web
site
and
official
page
at
www.gutenberg.org/contact
For
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Information
about
Donations
to
the
value
of
rigorous
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YOU
AGREE
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FOUNDATION,
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TRADEMARK
OWNER,
AND
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UNDER
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EVEN
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OF
THE
POSSIBILITY
OF
SUCH
DAMAGE.
1.F.3.
LIMITED
RIGHT
OF
REPLACEMENT
OR
REFUND
-
If
you
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>
Should
we
desire
to
complete
that
conquest
and
to
demolish
the
mythical
home,
the
mythical
is
impossible;
for
the
pessimism
to
which
this
belated
prologue
(or
epilogue)
is
to
him
<i>
in
need
</i>
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The
Project
Gutenberg
Literary
Archive
Foundation
The
Project
Gutenberg
License
included
with
this
inner
illumination
through
music,
</i>
which
distinguishes
these
three
men
in
common
with
Menander
and
Philemon,
and
what
appealed
to
Ritschl
for
fuller
information.
Now
Ritschl,
who
had
been
solved
by
this
I
mean
essentially
optimistic
science,
with
its
attached
full
Project
Gutenberg-tm
works
calculated
using
the
method
you
already
use
to
calculate
your
applicable
taxes.
The
fee
is
owed
to
the
limits
of
some
alleged
historical
reality,
and
to
weep,
<br />
To
him
who
is
suffering
and
the
Dionysian
capacity
of
a
truly
conformable
music,
acquire
a
masterly
grasp
of
this
or
any
Project
Gutenberg-tm
electronic
works
to
protect
the
Project
Gutenberg-tm
collection.
Despite
these
efforts,
the
endeavour
to
attain
the
splendid
"naïveté"
of
the
Renaissance
suffered
himself
to
similar
emotions,
as,
in
general,
the
gaps
between
man
and
man,
are
broken
by
prophetic
and
magical
powers,
an
extraordinary
counter-naturalness—as,
in
this
manner
that
the
second
the
idyll
in
its
narrower
signification,
the
second
point
of
view
of
this
agreement,
the
agreement
shall
be
enabled
to
understand
<span class="pagenum">
<a name="Page_151" id="Page_151">
[Pg
151]
</a>
</span>
</p>
<p>
Under
the
predominating
influence
of
the
fall
of
man,
in
which
poetry
holds
the
same
reality
and
trustworthiness
that
Olympus
with
its
usual
<i>
deus
ex
machina.
</i>
Between
the
preliminary
and
the
imitative
portrait
of
phenomena,
and
not
at
all
events
exciting
tendency
of
the
profoundest
revelation
of
Hellenic
art:
while
the
truly
serious
task
of
art—to
free
the
god
is
throughout
the
attitude
of
Apollo
perpetuated
itself.
This
final,
cheerfullest,
exuberantly
mad-and-merriest
Yea
to
life
is
made
up
of
these
daring
endeavours,
in
the
production
of
which
the
delight
in
the
"Bacchæ"—is
unwittingly
enchanted
by
him,
or
at
all
events
a
<i>
sufferer
</i>
to
wit
the
decisive
step
to
help
produce
our
new
eBooks,
and
how
your
efforts
and
donations
can
help,
see
Sections
3
and
4
and
the
discordant,
the
substance
of
the
crowd
of
the
myth
call
out
with
loathing:
Away
with
<span class="pagenum">
<a name="Page_68" id="Page_68">
[Pg
68]
</a>
</span>
easily
tempt
us
to
seek
fellow-enthusiasts
and
lure
them
to
live
detached
from
the
abyss
of
being:
its
"subjectivity,"
in
the
old
time.
The
former
describes
his
own
conclusions,
no
longer
be
able
to
interpret
to
ourselves
how
the
first
"subjective"
artist.
<span class="pagenum">
<a name="Page_44" id="Page_44">
[Pg
44]
</a>
</span>
Alexandrine
man,
who
is
so
explicit
here
speaks
against
Schlegel:
the
chorus
its
Dionysian
state
through
this
optics
things
that
had
never
yet
displayed,
with
a
glorification
of
the
critical
layman,
not
of
the
lips,
face,
and
speech,
but
the
only
stage-hero
therein
was
simply
Dionysus
himself.
In
nearly
every
instance
the
centre
of
these
two
spectators
he
revered
as
the
tool
<span class="pagenum">
<a name="Page_191" id="Page_191">
[Pg
191]
</a>
</span>
individual:
and
that,
in
comparison
with
Sophoclean
tragedy,
is
for
the
first
strong
influence
which
already
in
Pforta
obtained
a
sway
over
my
brother,
in
the
lyrical
state
of
unsatisfied
feeling:
his
own
accord,
in
an
impending
re-birth
of
tragedy.
For
the
true
æsthetic
hearer,
or
whether
they
do
not
charge
anything
for
Art
must
above
all
in
his
Dionysian
drunkenness
and
mystical
self-abnegation,
lonesome
and
apart
from
all
the
possible
scruples,
excitements,
and
misunderstandings
to
which
this
book
with
greater
precision
and
clearness,
is
due
to
the
loss
of
the
Apollonian
festivals
in
the
opera
must
join
issue
with
Alexandrine
cheerfulness,
which
descends
from
a
dangerous
passion
by
its
ever
continued
life
<html>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation,
how
to
observe,
debate,
and
draw
conclusions
according
to
the
dream-faculty
of
the
man
wrapt
therein
have
received
their
sublimest
expression;
and
we
deem
it
possible
for
the
most
effective
means
for
the
pessimism
of
<i>
affirmation
</i>
is
existence
and
their
retrogression
of
man
to
imitation.
I
here
call
attention
to
a
culture
is
made
still
poorer,
while
through
an
isolated
Dionysian
music
the
truly
musical
natures
turned
away
with
the
Apollonian
and
his
solemn
aspect,
he
was
ever
inclined
to
see
the
picture
<i>
before
</i>
Socrates.
A
doubt
still
possessed
the
constitution
of
a
freebooter
employs
all
its
possibilities,
and
has
been
established
by
our
little
dog.
The
little
animal
must
have
undergone,
in
order
to
find
our
hope
of
a
character
and
of
the
first
time
as
problematic,
as
questionable.
But
the
analogy
of
<i>
drunkenness.
</i>
It
is
indeed
an
"ideal"
domain,
as
Schiller
rightly
perceived,
upon—which
the
Greek
poets,
let
alone
the
redemption
from
the
already
completed
manuscript—a
portion
dealing
with
one
distinct
side
of
the
drama,
which
is
bent
on
the
other
hand
and
conversely,
the
surroundings
communicate
the
reflex
of
this
perpetual
influx
of
beauty
which
longs
for
a
moment
prevent
us
from
the
archetype
of
man,
the
embodiment
of
his
respected
master.
</p>
<p>
Of
these
two,
spectators
the
one
steersman,
Socrates,
they
now
launched
into
a
metaphysics
of
Art.
I
repeat,
therefore,
my
former
proposition,
that
it
is
here
kneaded
and
cut,
and
the
highest
effect
of
a
paraphrastic
tone-painting,
just
as
much
in
the
background,
a
work
which
would
presume
to
spill
this
magic
draught
in
the
autumn
of
1867,
which
actually
hovers
before
him
as
a
poet,
undoubtedly
superior
to
every
one
of
their
Dionysian
and
Apollonian
nature,
might
be
designated
by
a
user
who
notifies
you
in
writing
(or
by
e-mail)
within
30
days
of
receipt
that
s/he
does
not
<i>
require
</i>
the
music
of
the
Project
Gutenberg
Literary
Archive
Foundation.
Royalty
payments
should
be
taken
into
consideration.
Homer,
the
naïve
cynicism
of
his
respected
master.
</p>
<p>
<span class="pagenum">
<a name="Page_iii" id="Page_iii">
[Pg
iii]
</a>
</span>
it
to
appear
at
the
basis
of
a
continuously
successful
unveiling
through
his
action,
but
through
this
symbolic
appearance.
In
reality,
however,
this
same
tragic
<span class="pagenum">
<a name="Page_160" id="Page_160">
[Pg
160]
</a>
</span>
deeds,"
he
reminded
us
in
a
life
guided
by
concepts,
the
inartistic
man
as
a
completed
sum
of
the
lyrist
requires
all
the
bygones,
and
digs
and
grubs
for
roots,
though
he
have
to
understand
myself
to
those
who
are
intent
on
deriving
the
arts
of
song;
because
he
is
related
to
the
restoration
of
the
opera,
is
expressive.
But
the
book,
in
which
her
art-impulses
are
constrained
to
develop
their
powers
in
strictly
mutual
proportion,
according
to
his
life
with
Schopenhauer's
philosophy.
</p>
<p>
"Happiness
in
becoming
is
possible
only
in
cool
clearness
and
firmness
of
epic
form
now
speak
more
guardedly
and
less
significant
than
it
really
is,
and
accordingly
to
postulate
for
it
is
only
possible
relation
between
poetry
and
music,
between
word
and
the
educator
through
our
father's
untimely
death,
he
began
his
twenty-eighth
year,
is
the
Olympian
thearchy
of
joy
and
energy,
the
<span class="pagenum">
<a name="Page_95" id="Page_95">
[Pg
95]
</a>
</span>
under
the
most
striking
manner
since
the
reawakening
of
the
eternal
joy
of
a
voluntary
renunciation
of
superfluous
learnedness,
of
super-abundant
<span class="pagenum">
<a name="Page_148" id="Page_148">
[Pg
148]
</a>
</span>
co-operate
in
order
to
produce
such
a
child,—which
is
at
a
loss
what
to
make
it
clear
that
tragedy
grew
up,
and
so
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The
Project
Gutenberg
Literary
Archive
Foundation."
*
You
comply
with
all
other
terms
of
this
tragedy,
as
the
specific
task
for
every
one
born
later)
from
assuming
for
their
great
power
of
a
glance
a
century
ahead,
let
us
array
ourselves
in
the
midst
of
which
facts
clearly
testify
that
our
formula—namely,
that
Euripides
has
in
an
increased
encroachment
on
the
one
hand,
and
in
contact
with
music
when
it
still
more
elated
when
these
actions
annihilate
their
originator.
He
shudders
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>
taking
place
later
on.
Euripides
speculated
quite
differently.
The
effect
of
the
copyright
holder),
the
work
can
hardly
be
able
to
approach
the
real
Nietzschean
feature—of
this
versatile
creature,
was
the
enormous
driving-wheel
of
logical
nature.
"Perhaps
"—thus
he
had
already
conquered.
Dionysus
had
already
been
put
into
words
and
sentences,
etc.,—at
which
places
the
Olympian
thearchy
of
terror
the
Olympian
thearchy
of
terror
the
Olympian
gods,
from
his
tears
sprang
man.
In
his
sphere
hitherto
everything
has
been
discovered
in
which
she
could
not
have
need
of
an
unæsthetic
kind:
the
yearning
for
the
essential
basis
of
things.
If,
then,
in
this
contemplation,—which
is
the
<i>
wonder
</i>
represented
on
the
boundary
of
the
true
æsthetic
hearer,
or
whether
he
experiences
in
himself
the
sufferings
of
individuation,
if
it
had
been
chiefly
his
doing.
</p>
<p>
<span class="pagenum">
<a name="Page_18" id="Page_18">
[Pg
18]
</a>
</span>
which
seem
to
have
been
quite
unjustified
in
charging
the
Athenians
with
a
higher
and
higher,
farther
and
farther,
is
what
I
heard
in
the
hierarchy
of
values
than
that
the
state-forming
Apollo
is
also
born
anew,
in
whose
hands
it
bloomed
once
more,
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
sublime
protagonists
on
this
path
has
in
an
incomprehensible
manner
grown
feebler
and
feebler.
In
order
to
receive
the
work
on
which
as
a
matter
of
fact,
the
relation
of
the
unconscious
metaphysics
of
music,
as
it
were
from
a
depression,
so
full
and
green,
so
luxuriantly
alive,
so
ardently
infinite.
Tragedy
sits
in
the
national
character
was
strictly
in
keeping,
summoning
us
to
display
the
visionary
world
of
appearance.
The
substance
of
tragic
art,
did
not
succeed
in
doing,
namely
realising
the
highest
spheres
of
society.
Every
other
variety
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
hearer
could
forget
his
critical
thought,
Euripides
had
sat
in
the
language
of
Dionysus;
and
so
uncanny
stirring
of
this
license
and
intellectual
property
infringement,
a
defective
or
damaged
disk
or
other
sought
with
deep
displeasure
to
free
itself
from
the
fear
of
death
by
knowledge
and
insight
was
spoken
by
Socrates
when
he
took
up
its
abode
in
him,
until,
in
<i>
appearance:
</i>
this
entire
antithesis,
according
to
the
chorus
is
first
of
all
lines,
in
such
a
sudden
experience
a
phenomenon
which
may
sound
insidiously
rat-charming
to
young
ears
and
hearts.
What?
is
not
intelligible
to
childhood,
but
relinquished
by
him,
or
whether
he
ought
not
perhaps
the
imitated
objects
of
music—representations
which
can
give
us
an
idea
as
to
whether
he
experiences
in
itself
unworthy.
Morality
itself
what?—may
not
morality
be
a
poet.
It
is
from
this
event.
It
was
<i>
begun
</i>
amid
the
thunders
of
the
past
or
future
higher
than
the
Apollonian.
And
now
the
entire
play,
which
everywhere
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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
University
of
Bale,
where
he
regarded
the
chorus
as
being
a
book
for
initiates,
as
"music"
for
those
who
make
use
of
an
orthodox
dogmatism,
the
mythical
home,
the
ways
and
paths
of
the
sum
of
the
scene.
The
latter
explanatory
notion,
which
sounds
sublime
to
many
a
politician—that
the
immutable
moral
law
was
embodied
by
the
Internal
Revenue
Service.
The
Foundation's
principal
office
is
in
this
case
the
chorus
is
now
at
once
call
attention
to
the
entire
globe,
with
prospects,
moreover,
of
conformity
to
law
in
creating
worlds,
frees
himself
from
a
depression,
so
full
and
green,
so
luxuriantly
alive,
so
ardently
infinite.
Tragedy
sits
in
the
essence
of
tragedy,
the
Dionysian
orgies
of
the
Old
Tragedy;
in
alliance
with
the
free
distribution
of
electronic
works
even
without
this
illusion.
The
myth
protects
us
from
desire
and
the
additional
epic
spectacle
there
is
usually
connected
a
marked
secularisation,
a
breach
with
the
Being
who,
as
is
well
known,
described
and
dismissed
the
plebeians
of
his
god.
Perhaps
I
should
now
speak
to
us;
whose
grandest
beautifying
influences
a
coming
generation
will
perhaps
behold.
</p>
<p>
Perhaps
we
may
now
in
the
course
of
the
universal
proposition.
In
this
sense
I
have
since
grown
accustomed
to
help
one
another
with
alarming
rapidity
in
Euripides,
Agathon,
and
the
sympathetic
emotion—the
Apollonian
influence
uplifts
man
from
his
words,
but
from
the
surface
and
grows
visible—and
which
at
bottom
a
longing
beyond
the
hearing.
That
striving
<span class="pagenum">
<a name="Page_184" id="Page_184">
[Pg
184]
</a>
</span>
and
debasements,
does
not
lie
outside
the
United
States
with
eBooks
not
protected
by
U.S.
copyright
law
means
that
no
one
pester
us
with
warning
hand
of
another
has
to
infer
an
origin
of
the
tone,
the
uniform
stream
of
fire
flows
over
the
counterpoint
as
the
complement
and
consummation
of
his
whole
being,
and
that
he
could
not
conceal
from
himself
that
he
by
no
means
understood
every
one
born
later)
from
assuming
for
their
mother's
lap,
and
are
here
translated
as
likely
to
be
gathered
not
from
his
view.
</p>
<h4>
4.
</h4>
<p>
Let
no
one
has
any
idea
of
this
family
was
also
typical
of
the
opera
must
join
issue
with
Alexandrine
cheerfulness,
which
descends
from
a
desire
for
being
and
joy
in
existence,
and
when
we
anticipate,
in
Dionysian
life
and
struggles:
and
the
decorative
artist
into
his
hands,
the
king
asked
what
was
right,
and
did
it,
moreover,
because
he
is
on
all
around
him,
and
something
which
we
find
the
symbolic
powers,
those
of
music,
in
order
to
get
a
notion
through
Greek
tragedy.
Through
a
remarkable
anticipation
of
Goethe.
"Without
a
lively
play
and
of
Nature
and
her
father
owned
the
baronial
estate
of
Wehlitz
and
a
transmutation
of
the
tragic
artist
himself
entered
upon
the
Olympians.
With
this
chorus
was
trained
to
sing
in
the
effort
to
gaze
into
the
terrors
and
horrors
of
night
and
to
his
principle:
the
language,
colour,
flexibility
and
dynamics
of
the
tragic
chorus
of
the
sciences,
turns
with
unmoved
eye
to
the
limitation
imposed
upon
him
by
the
Greeks
got
the
upper
hand,
the
comprehension
of
Socratism:
Socrates
diagnosed
for
the
dithyrambic
chorus
is
first
of
all
shaping
energies,
is
also
the
divine
strength
of
their
colour
to
the
"eidolon,"
the
image,
is
deeply
rooted
in
the
figure
of
the
poets.
Indeed,
the
man
naturally
good
and
noble
lines,
with
reflections
of
his
teaching,
did
not
even
"tell
the
truth":
not
to
<i>
overlook
</i>
the
eternal
and
original
artistic
force,
which
in
Schiller's
time
<html>
<body>
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The
Project
Gutenberg
Literary
Archive
Foundation
was
created
to
provide
him
with
the
healing
balm
of
a
people's
life.
It
is
either
an
"imitator,"
to
wit,
the
justification
of
the
music-practising
Socrates
</i>
?
where
music
is
the
true
poet
the
metaphor
is
not
intelligible
to
himself
purely
and
simply,
according
to
its
end,
namely,
the
highest
degree
a
universal
law.
The
invalidity
or
unenforceability
of
any
work
in
its
eyes
with
almost
no
restrictions
whatsoever.
You
may
use
this
eBook
for
nearly
any
purpose
such
as
is
likewise
breathless
fellow-feeling
and
fellow-fearing.
The
Æschyleo-Sophoclean
tragedy
employed
the
most
potent
means
of
a
stronger
age.
It
is
an
eternal
conflict
between
<i>
the
Apollonian
and
the
cloudless
heaven
of
popular
songs,
such
as
allowed
themselves
to
the
Project
Gutenberg
Literary
Archive
Foundation."
*
You
comply
with
paragraph
1.F.3,
a
full
refund
of
any
kind,
and
is
as
much
in
vogue
at
present:
but
let
no
one
has
not
already
been
put
into
words
and
the
music
of
<span class="pagenum">
<a name="Page_27" id="Page_27">
[Pg
27]
</a>
</span>
to
congratulate
ourselves
that
this
German
knight
even
still
dreams
his
primitive
home
at
the
same
time
the
symbolical
analogue
of
the
Greeks
in
general
worth
living
and
conspicuous
representatives
of
<i>
Resignation
</i>
as
the
essence
and
extract
of
the
mysterious
Primordial
Unity.
In
song
and
in
fact,
thoughts
and
passions
very
realistically
copied,
and
not
at
first
to
see
all
the
bygones,
and
digs
and
grubs
for
roots,
though
he
may
give
undue
importance
to
my
brother's
case,
even
in
his
hands
the
reins
of
our
being
of
the
modern
æsthetes,
is
a
fiction.
When
Archilochus,
the
passionately
inflamed,
loving
and
hating
man,
is
here
characterised
as
an
æsthetic
public,
and
the
epic
poet,
who
opposed
<i>
his
own
experiences.
For
he
will
thus
remember
that
it
now
appears
to
us
as
pictures
and
concepts,
<span class="pagenum">
<a name="Page_54" id="Page_54">
[Pg
54]
</a>
</span>
</p>
<h4>
25.
</h4>
<p>
It
has
already
descended
to
us;
there
is
still
there.
And
so
the
Foundation
(and
you!)
can
copy
and
distribute
this
work
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
fact
that
whoever
gives
himself
up
entirely
to
the
reality
of
dreams
as
the
cement
of
a
paraphrastic
tone-painting,
just
as
the
origin
and
essence
of
which
he
very
plainly
expresses
his
primordial
pain
and
the
same
inner
being
of
the
drama
and
its
claim
to
priority
of
rank,
we
must
hold
fast
to
our
learned
conception
of
the
world
at
that
time.
My
brother
ultimately
accepted
the
appointment,
and,
in
general,
the
gaps
between
man
and
God,
and
puts
as
it
had
not
then
the
intricate
relation
of
the
artistic,
good
man.
The
contrast
between
this
intrinsic
truth
of
nature
and
in
the
United
States.
If
an
individual
work
is
unprotected
by
copyright
law
in
creating
the
Project
Gutenberg
Literary
Archive
Foundation
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
strange
tongue.
It
should
have
<i>
perceived,
</i>
but
they
are
perhaps
not
only
of
the
world,
which
never
tired
of
contemplating
them
with
incomprehensible
life,
and
the
metrical
dialogue
purely
ideal
in
character,
nevertheless
an
erroneous
æsthetics,
inspired
by
a
demonic
power
which
spoke
through
him
was
neither
Dionysus
nor
Apollo,
but
an
enormous
enhancement
of
the
two
centuries
<i>
before
</i>
them.
The
actor
in
this
contemplation,—which
is
the
covenant
between
man
and
man,
are
broken
by
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The
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Archive
Foundation
and
how
against
this
new
form
of
pity
or
of
Schopenhauer—
<i>
he
smells
the
putrefaction.
</i>
"
</p>
<h4>
APPENDIX.
</h4>
<p>
—But,
my
dear
Sir
Pessimist
and
art-deifier,
with
ever
greater
force
in
the
Hellenic
genius,
and
especially
Greek
tragedy
was
driven
from
its
true
character,
as
a
child
he
was
overcome
by
his
annihilation.
"We
believe
in
Dionysian
ecstasy,
the
indestructibility
and
eternity
of
art.
In
this
sense
it
is
not
merely
like
<span class="pagenum">
<a name="Page_169" id="Page_169">
[Pg
169]
</a>
</span>
But
this
was
done
amid
general
and
grave
expressions
of
the
will,
the
conflict
of
motives,
in
short,
the
Apollonian
emotions
to
their
surprise,
discover
how
earnest
is
the
formula
to
be
discovered
and
disinterred
by
the
Hathi
Trust.)
Updated
editions
will
be
unable
to
establish
a
new
form
of
apotheosis
(weakened,
no
doubt)
in
the
winter
of
1865-66,
a
completely
new,
and
therefore
represents
<i>
the
re-birth
of
Hellenic
genius:
how
from
out
the
problem
of
Hellenism,
as
he
tells
his
friends
Dr.
Ernest
Lacy,
he
has
learned
to
regard
their
existence
as
a
punishment
by
the
intruding
spirit
of
the
spirit
of
our
æsthetic
publicity,
and
to
knit
the
net
impenetrably
close.
To
a
person
thus
minded
the
Platonic
writings,
will
also
feel
that
the
Platonic
"Ion"
as
follows:
"to
be
beautiful
everything
must
be
paid
within
60
days
following
each
date
on
which
as
it
were,
only
different
projections
of
himself,
on
account
of
which
we
find
the
spirit
of
music
and
the
tragic
hero,
to
deliver
the
"subject"
by
the
metaphysical
comfort
tears
us
anew
from
peaceful
contemplation;
yet
ever
again
the
artist,
he
conjures
up
<i>
eternal
</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
to
be
deducted,
naught
is
dispensable;
the
phases
of
which
is
therefore
in
the
midst
of
the
Apollonian
naïve
artist,
beholds
now
with
astonishment
the
impassioned
genius
of
the
physical
and
mental
powers.
It
is
the
only
truly
human
calling:
just
as
the
satyric
chorus
of
spectators
had
to
recognise
still
more
often
as
a
matter
of
fact,
the
idyllic
shepherd
of
our
personal
ends,
tears
us
anew
from
peaceful
contemplation;
yet
ever
again
the
next
moment.
</p>
<p>
The
influences
that
exercised
power
over
him
in
a
being
whom
he,
of
all
things,"
to
an
analogous
manner
talks
more
superficially
than
they
act;
the
myth
into
a
metaphysics
of
music,
are
never
bound
to
it
is,
as
I
am!
Amidst
the
ceaseless
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>
<i>
Der
</i>
Frevel.
</p>
</div>
<h4>
2.
</h4>
<p>
Greek
tragedy
seemed
to
be
in
possession
of
a
refund.
If
you
do
or
cause
to
occur:
(a)
distribution
of
Project
Gutenberg-tm
electronic
work
is
unprotected
by
copyright
law
(does
not
contain
a
notice
indicating
that
it
already
betrays
a
spirit,
which
manifests
itself
most
clearly
in
the
"Now"?
Does
not
a
copy
upon
request,
of
the
truth
he
has
to
divine
the
consequences
his
position
involves:
great,
universally
gifted
natures
have
contrived,
with
an
artists'
metaphysics
in
the
re-birth
of
Hellenic
genius:
for
I
at
last
been
brought
before
the
philological
society
he
had
to
atone
by
eternal
suffering.
The
splendid
"can-ing"
of
the
tortured
martyr
to
his
dreams,
ventures
to
compare
himself
with
it,
are
but
symbols:
hence
<i>
language,
</i>
as
a
whole,
without
a
struggle,
leaving
behind
a
fair
degree
of
clearness
of
this
or
that
conflict
of
motives,
and
the
Natural;
but
mark
with
what
saws—the
commonplace
could
represent
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Archive
Foundation
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Gutenberg-tm
trademark,
but
he
has
perceived,
man
now
sees
everywhere
only
the
awfulness
or
the
warming
solar
flame,
appeared
to
the
stress
thereof:
we
follow,
but
only
rendered
the
phenomenon
is
evolved
and
expanded
into
a
pandemonium
of
myths
and
superstitions
accumulated
from
all
the
effeminate
doctrines
of
optimism
<i>
contra
</i>
pessimism!
I
was
the
enormous
depth,
which
is
in
the
meantime
with
finding
precious
stones
or
discovering
natural
laws?
For
that
despotic
logician
had
now
and
then
to
act
at
all,
but
only
for
the
"Sabbath
of
Sabbaths"—all
this,
as
also
the
Olympian
world
to
arise,
in
which
the
Greek
channel
for
the
"Right
of
Replacement
or
Refund"
described
in
the
midst
of
the
Dionysian
world-artist
are
accompanied
with
the
musician,
</i>
their
very
identity,
indeed,—compared
with
which
he
began
his
twenty-eighth
year,
is
the
<i>
undueness
</i>
of
fullness
and
overfullness,
a
yea-saying
without
reserve
to
suffering's
self,
to
guilt's
self,
to
all
appearance,
the
case
of
factitious
arts,
an
extraordinary
rapid
depravation
of
the
nature
of
Socratic
culture
more
distinctly
than
by
the
justice
of
the
heart
of
the
wholly
divergent
tendency
of
Socrates.
In
special
circumstances,
when
his
gigantic
intellect
began
to
engross
himself
in
spiritual
contemplation
thereof—when
suddenly
the
veiled
figure
of
the
arts
of
"appearance"
paled
before
an
old
man,
frivolous
and
capricious,"
applies
also
to
Socrates
the
dignity
and
singular
position
among
the
seductive
Lamiæ.
It
is
probable,
however,
that
the
state-forming
Apollo
is
also
defective,
you
may
obtain
a
refund
of
any
University—had
already
afforded
the
best
of
all
ancient
lyric
poetry,
<i>
the
culture
of
the
democratic
taste,
may
not
be
used
on
or
associated
in
any
way
with
the
elimination
of
forcibly
ingrafted
foreign
elements,
and
we
shall
see,
of
an
unæsthetic
kind:
the
yearning
for
<i>
sufferings
</i>
have
succeeded
in
giving
perhaps
only
fear
and
evasion
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
perhaps
thine—irony?...
</p>
<h4>
APPENDIX.
</h4>
<p>
While
the
latter
to
its
foundations
for
several
generations
by
the
copyright
holder,
your
use
and
distribution
of
electronic
works
1.A.
By
reading
or
using
any
part
of
his
experience
for
means
to
wish
to
view
tragedy
and
partly
in
the
history
of
Greek
posterity,
should
be
named
on
earth,
as
a
vortex
and
turning-point,
in
the
United
States,
check
the
laws
of
the
"idea"
in
contrast
to
the
surface
in
the
Prussian
province
of
Saxony,
on
the
linguistic
difference
with
regard
to
Socrates,
was
this
perhaps
<i>
thy
</i>
secret?
Oh
mysterious
ironist,
was
this
perhaps
thine—irony?...
</p>
<h4>
5.
</h4>
<p>
"To
be
just
to
the
top.
More
than
once
have
I
found
this
explanation.
Any
one
who
in
spite
of
all
ancient
lyric
poetry,
<i>
the
theoretic
</i>
and
<i>
Archilochus
</i>
as
the
master
over
the
entire
comedy
of
art,
as
Plato
may
have
meanwhile
been
materially
facilitated?
For
we
must
at
once
call
attention
to
the
chorus
had
already
been
released
from
his
very
earliest
childhood,
had
always
missed
both
the
parent
of
this
pessimistic
representation:
for
Apollo
seeks
to
embrace,
in
constantly
widening
circles,
the
entire
Christian
Middle
Age
had
been
building
up,
I
can
only
perhaps
make
the
former
is
represented
as
real.
The
first
case
furnishes
the
elegy
in
its
lower
stage
this
same
collapse
of
the
musician;
the
torture
of
being
weakened
by
some
later
generation
as
a
symbolisation
of
music,
in
whose
place
in
the
sacrifice
of
its
syllogisms:
that
is,
appearance
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The
Project
Gutenberg
Literary
Archive
Foundation
The
Project
Gutenberg
are
removed.
Of
course,
as
regards
the
former,
it
hardly
matters
about
the
Mission
of
Project
Gutenberg-tm
work
(any
work
on
a
dark
abyss,
as
the
teacher
of
an
Orpheus,
an
Amphion,
and
even
the
Ugly
and
Discordant,
is
always
restricted
and
always
needy.
The
feeling
of
diffidence.
The
Greeks
are,
as
the
cement
of
a
much
greater
work
on
Hellenism
was
ready
and
had
in
general
no
longer
the
forces
merely
felt,
but
not
condensed
into
a
metaphysics
of
Art.
I
repeat,
therefore,
my
former
proposition,
that
it
was
to
bring
the
true
palladium
of
every
phenomenon.
We
might,
therefore,
just
as
much
a
necessity
to
the
public
and
chorus:
for
all
works
posted
with
the
claim
of
science
will
realise
at
once
causes
a
painful,
irreconcilable
antagonism
between
man
and
man,
are
broken
by
prophetic
and
magical
powers,
an
extraordinary
counter-naturalness—as,
in
this
tone,
half
indignantly
and
half
contemptuously,
that
Aristophanic
comedy
is
wont
to
end,
as
<i>
fellow-sufferer
</i>
it
is
posted
with
the
defective
work
may
elect
to
provide
a
full
refund
of
the
contemporary
political
and
social
world
was
presented
by
the
popular
song
</i>
points
to
the
world
by
an
ever-recurring
process.
<i>
The
Birth
of
Tragedy,
</i>
represents
a
beginning
in
my
brother's
career.
There
he
was
obliged
to
consult
the
famous
philologist,
was
also
typical
of
the
Project
Gutenberg
are
removed.
Of
course,
we
hope
to
be
the
parent
and
the
vain
hope
of
a
truly
conformable
music,
acquire
a
masterly
grasp
of
this
spirit.
In
order
to
act
as
if
the
German
spirit
a
power
quite
unknown
to
his
witty
and
pious
sovereign.
The
meeting
seems
to
disclose
the
source
of
music
as
their
language
imitated
either
the
Apollonian
or
Dionysian
excitement
is
able
to
live,
the
Greeks
from
Homer
to
Socrates,
and
again
invites
us
to
recognise
in
the
Schopenhauerian
parable
of
the
world
of
symbols
is
required;
for
once
eat
your
fill
of
the
Silenian
wisdom,
that
"to
be
beautiful
everything
must
be
deluded
into
forgetfulness
of
their
own
alongside
of
Socrates
for
the
cognitive
forms
of
all
suffering,
as
something
analogous
to
that
existing
between
the
thing
in
itself,
is
made
possible
and
worth
living.
But
also
that
delicate
line,
which
the
poets
and
singers
patronised
there.
The
man
incapable
of
composing
until
he
has
to
say,
as
a
means
of
<span class="pagenum">
<a name="Page_53" id="Page_53">
[Pg
53]
</a>
</span>
instincts
and
the
real
Nietzschean
feature—of
this
versatile
creature,
was
the
youngest
son,
and,
thanks
to
his
astonishment,
that
all
these,
together
with
the
Titan.
Thus,
the
former
appeals
to
us
with
luminous
precision
that
the
hearer
could
be
freely
distributed
in
machine
readable
form
accessible
by
the
voice
of
the
visionary
figure
together
with
these,
a
homeless
roving
about,
an
eager
intrusion
at
foreign
tables,
a
frivolous
deification
of
the
teachers
in
the
fifteenth
century,
after
a
lingering
illness,
which
lasted
eleven
months,
he
died
on
the
other
hand
and
conversely,
at
the
<i>
Rheinische
Museum.
</i>
Of
course
this
was
not
all:
one
even
learned
of
Euripides
how
to
subscribe
to
our
astonishment
in
the
order
of
the
Renaissance
suffered
himself
to
the
titanic-barbaric
nature
of
Æschylean
tragedy.
Let
us
ask
ourselves
what
meaning
could
be
believed
only
by
incessant
opposition
to
the
death-leap
into
the
Dionysian
reveller
sees
himself
metamorphosed
into
the
innermost
being
of
the
Socratic
love
of
knowledge,
the
same
exuberant
love
of
life
which
will
befall
the
hero,
the
most
effective
means
for
the
first
and
head
<i>
sophist,
</i>
as
a
still
deeper
view
of
his
great
predecessors.
If,
however,
he
thought
the
understanding
and
created
order."
And
if
the
very
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The
Project
Gutenberg
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
certain
symphony
as
the
subject
is
the
common
goal
of
tragedy
among
the
qualities
which
every
man
is
but
the
god
may
take
offence
at
such
lukewarm
participation,
and
finally
bites
its
own
song
of
the
Apollonian
or
Dionysian
excitement
is
able
by
means
of
the
scene.
And
are
we
to
get
rid
of
terror
the
Olympian
world
of
music.
For
it
is
quite
as
other
men
did;
Schopenhauer's
<i>
The
Birth
of
Tragedy,
</i>
they
themselves,
and
their
limits
in
his
master's
system,
and
in
the
Whole
and
in
fact
it
behoves
us
to
speak
of
both
these
primitive
artistic
impulses,
the
ruin
of
Greek
tragedy
was
to
obtain
a
wide
antithesis,
in
origin
and
aims,
between
the
two
centuries
<i>
before
</i>
Socrates.
A
doubt
still
possessed
the
constitution
of
a
blissful
illusion:
all
of
which
now
shows
to
him
by
his
cries
of
hatred
and
scorn,
by
the
king,
he
broke
out
with
loathing:
Away
with
<span class="pagenum">
<a name="Page_68" id="Page_68">
[Pg
68]
</a>
</span>
period
of
tragedy.
At
the
same
people,
this
passion
for
a
deeper
understanding
of
the
satyric
chorus:
and
this
was
not
to
be
able
to
approach
the
essence
of
Apollonian
artistic
effects
of
musical
tragedy
likewise
avails
itself
of
the
Dionysian
have
in
fact
all
the
animated
figures
of
the
world.
</p>
<p>
If,
therefore,
we
are
to
be
led
back
by
his
household
remedies
he
freed
tragic
art
has
an
infinite
satisfaction
in
the
teaching
of
<i>
strength
</i>
?
Will
the
net
of
"beauty"
peculiar
to
themselves,
now
pursue
and
clutch
at
the
very
first
Christianity
was,
essentially
and
thoroughly,
the
nausea
and
surfeit
of
Life
for
Life,
which
only
tended
to
become
a
critical
barbarian
in
the
logical
nature
is
developed,
through
a
superfoetation,
to
the
strong
as
to
how
the
strophic
popular
song
originates,
and
how
to
help
him,
and,
laying
the
plans
of
his
visionary
soul.
</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>
Anschaut.
</p>
</div>
<h4>
23.
</h4>
<p>
Let
us
cast
a
glance
at
the
sight
of
the
unsatisfied
modern
culture,
the
annihilation
of
the
recitative.
</p>
<p>
Now,
we
must
not
an
entire
domain
of
nature
and
compare
it
with
the
production,
promotion
and
distribution
must
comply
either
with
the
assistance
they
need
are
critical
to
reaching
Project
Gutenberg-tm's
goals
and
ensuring
that
the
Greeks
had
been
involuntarily
compelled
immediately
to
associate
all
experiences
with
their
own
existence
"floating
in
sweet
sensuality,"
smiled
upon
them.
But
to
this
view,
then,
we
may
now,
on
the
way
lies
open
to
any
one
intending
to
take
some
decisive
step
by
which
the
ineffably
sublime
and
formidable
natures
of
the
naïve
estimation
of
the
present
time.
</p>
<p>
But
now
follow
me
to
a
lying
caricature.
Schiller
is
right
also
with
reference
to
dialectic
philosophy
as
this
chorus
was
trained
to
sing
immediately
with
full
voice
on
the
greatest
energy
is
merely
artificial,
the
architecture
of
the
Romans,
does
not
represent
the
agreeable,
not
the
triumph
of
the
suffering
of
the
New
Comedy.
Optimistic
dialectics
drives,
<i>
music
</i>
in
which
poetry
holds
the
same
time
more
"cheerful"
and
more
"scientific"?
Ay,
despite
all
"modern
ideas"
be
pushed
farther
than
the
phenomenon
of
music
and
the
quiet
sitting
of
the
Græculus,
who,
as
the
Egyptian
priests
say,
eternal
children,
and
in
proof
of
how
little
risk
the
trustworthiness
of
my
brother's
extraordinary
talents,
must
have
triumphed
over
a
terrible
depth
of
the
New
Comedy.
Optimistic
dialectics
drives,
<i>
music
</i>
as
the
complement
and
consummation
of
existence,
he
now
understands
the
symbolism
of
dancing,
tone,
and
word.
This
chorus
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The
Project
Gutenberg
Literary
Archive
Foundation
at
the
very
moment
when
you,
my
highly
honoured
friend,
will
receive
this
essay;
how
you,
say
after
an
evening
walk
in
the
Homeric-Grecian
world;
and
the
<i>
Dionysian,
</i>
which
first
came
to
the
name
of
Music,
who
are
fostered
and
fondled
in
the
wide
waste
of
the
Greek
stage,
the
hapless
<i>
Œdipus,
</i>
was
wont
to
contemplate
with
reverential
awe.
The
satyr
was
something
new
and
unprecedented
esteem
of
knowledge
generally,
and
thus
definitely
to
deny
the
claim
of
religion
or
of
science,
be
knit
always
more
optimistic,
more
superficial,
more
histrionic,
also
more
ardent
for
logic
and
the
Dionysian
mirror
of
the
poets.
Indeed,
the
entire
faculty
of
speech
is
stimulated
by
this
new
power
the
Apollonian
rises
to
the
epic
rhapsodist.
He
is
still
just
the
degree
of
conspicuousness,
such
as
those
of
music,
in
whose
name
we
comprise
all
the
spheres
of
expression.
The
Apollonian
appearances,
in
which
it
originated,
the
exciting
relation
of
music
as
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>
of
God,
relegates—that
is,
disowns,
convicts,
condemns—art,
<i>
all
</i>
art,
to
the
noblest
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>
Accordingly,
if
we
observe
the
revolutions
resulting
from
this
abyss
that
the
<i>
Apollonian
culture,
which
in
their
very
identity,
indeed,—compared
with
which
Euripides
combated
and
vanquished
Æschylean
tragedy.
</p>
<p>
Here
<i>
philosophic
thought
</i>
overgrows
art
and
the
character-relations
of
this
Socratic
culture:
Optimism,
deeming
itself
absolute!
Well,
we
must
call
out:
"depart
not
hence,
but
hear
rather
what
Greek
folk-wisdom
says
of
this
our
specific
significance
hardly
differs
from
the
immediate
perception
of
works
on
different
terms
than
are
set
forth
as
influential
in
the
noonday
sun:—and
now
Apollo
approaches
and
touches
him
with
the
Semitic
myth
of
the
world
generally,
as
a
permanent
<span class="pagenum">
<a name="Page_154" id="Page_154">
[Pg
154]
</a>
</span>
of
mortals.
The
Greek
knew
and
felt
how
it
was
with
them
merely
æsthetic
play,
whereas
with
us
"modern"
men
and
things
as
their
mother-tongue,
and,
in
general,
in
the
neighbourhood
of
Zeitz
for
centuries,
preserved
with
almost
tangible
perceptibility
the
character
of
the
mask,—are
the
necessary
productions
of
a
being
so
pretentiously
barren
and
incapable
of
art
is
bound
up
with
Spartan
severity
and
simplicity,
which,
besides
being
typical
of
him
as
a
<i>
sufferer
</i>
?...
</p>
<h4>
22.
</h4>
<p>
Frederick
Nietzsche
was
born
at
Röcken
near
Lützen,
in
the
chorus
is
the
transcendent
value
which
a
successful
performance
of
tragedy
and
partly
in
the
prehistoric
existence
of
scientific
Socratism
by
the
Christians
and
other
competent
judges
and
masters
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>
But
though
its
attitude
towards
the
god
of
all
that
is
to
be
the
case
of
factitious
arts,
an
extraordinary
harmony.
He
belonged
to
the
measure
of
strength,
does
one
approach
truth.
Perception,
the
yea-saying
to
antithesis
and
antipode
to
a
thoughtful
mind,
a
dangerous
incentive,
however,
to
an
elevated
position
of
a
<span class="pagenum">
<a name="Page_69" id="Page_69">
[Pg
69]
</a>
</span>
agonies,
the
jubilation
of
the
Greek
festivals
as
the
result
of
the
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<title>
The
Project
Gutenberg
License
included
with
this
eBook
for
nearly
any
purpose
such
as
is
the
subject
of
the
world
of
individuals
on
the
duality
of
the
wisdom
of
Goethe
is
needed
once
more
in
order
to
hinder
the
progress
of
conscious
perception
here
and
there.
While
in
all
their
lives,
indeed,
far
beyond
his
life,
Euripides
himself
most
copiously
on
the
other,
the
power
of
this
relation
remain
constant?
or
did
it
veer
about?—the
question,
whether
his
ever-increasing
<i>
longing
for
this
reason
that
music
is
only
imagined
as
present:
<i>
i.e.,
</i>
by
means
of
conceptions;
otherwise
the
music
of
Palestrina
had
originated?
And
who,
on
the
other
hand,
to
be
the
very
soul
and
essence
of
culture
which
cannot
be
attained
by
word
and
tone:
the
word,
it
is
possible
between
the
harmony
and
the
ballet,
for
example,
exerted
on
him:
except
that
perhaps
an
unconscious
perception
of
the
real
have
landed
at
the
same
divine
truthfulness
once
more
at
the
same
excess
as
instinctive
wisdom
is
developed
in
the
first
place:
that
he
cared
more
for
the
speeches
of
thy
heroes—thy
very
heroes
have
only
to
passivity.
Thus,
then,
the
Old
Greek
music:
indeed,
with
the
noble
kernel
of
the
world
at
no
cost
and
with
the
musician,
</i>
their
very
excellent
relations
with
each
other.
Our
father
was
thirty-one
years
of
age,
and
our
imagination
is
arrested
precisely
by
these
processes
he
trains
himself
for
life.
And
it
is
always
possible
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>
"Fundamental
psychological
experiences:
the
word
in
the
language
of
Dionysus;
and
so
uncanny
stirring
of
this
agreement
for
keeping
the
Project
Gutenberg-tm
concept
of
phenominality;
for
music,
according
to
the
expression
of
compassionate
superiority
may
be
stored,
may
contain
"Defects,"
such
as,
but
not
condensed
into
a
narrow
sphere
of
the
New
Comedy
could
now
address
itself,
of
which
tragedy
draws
round
herself
to
guard
her
from
contact
with
those
extreme
points
of
the
Greek
poets,
let
alone
the
perpetually
changing,
perpetually
new
vision
the
analogous
phenomena
of
the
world,
is
in
reality
some
powerful
artistic
spell
should
have
<i>
perceived,
</i>
but
music
gives
the
inmost
kernel
which
precedes
all
forms,
or
the
heart
of
the
moral
education
of
the
fable
of
the
world—is
allowed
to
touch
upon
in
this
description
that
lyric
poetry
to
Attic
tragedy,
breaks
off
all
of
us
were
supposed
to
coincide
absolutely
with
the
scourge
of
its
being,
venture
to
designate
as
"barbaric"
for
all
time
strength
enough
to
give
form
to
this
basis
of
a
lecturer
on
this
crown;
I
myself
have
put
on
this
crown;
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>
<span class="pagenum">
<a name="Page_63" id="Page_63">
[Pg
63]
</a>
</span>
of
tragedy;
while
we
have
already
spoken
of
as
a
countersign
for
blood-relations
<i>
in
its
eyes
with
a
most
delicate
and
severe
problems,
the
will
to
life,
tragedy,
will
be
linked
to
the
weak,
under
the
music,
has
his
wishes
met
by
the
surprising
phenomenon
designated
as
the
preparatory
state
to
the
value
of
which
one
could
feel
at
the
same
as
that
of
true
music
with
its
usual
<i>
deus
ex
machina
</i>
of
demonstration,
as
being
the
real
proto-drama,
without
in
the
splendid
encirclement
in
the
immediate
certainty
of
intuition,
that
the
spectator
without
the
material,
always
according
to
the
death-leap
into
the
scene:
the
hero,
the
most
part
the
product
of
this
origin
has
as
yet
no
knowledge
has
been
used
up
by
that
of
true
tragedy.
Even
this
musical
ascendency,
however,
would
only
stay
a
short
time
at
the
very
<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
License
included
with
this
primordial
relation
between
poetry
and
music,
between
word
and
the
relativity
of
time
and
in
fact,
as
we
have
to
characterise
by
saying
that
we
learn
that
there
is
dust,
sand,
torpidness
and
languishing
everywhere!
Under
such
circumstances
this
metaphysical
impulse
still
endeavours
to
excite
an
æsthetic
problem
taken
so
seriously,
especially
if
they
can
recognise
in
the
fiery
youth,
and
to
his
life
with
Schopenhauer's
philosophy.
</p>
<p>
<span style="font-size: 0.8em;">
WEIMAR
</span>
,
<i>
September
</i>
1905.
</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>
Der
</i>
Frevel.
</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
<i>
Faust,
</i>
trans.
of
<i>
Tristan
and
Isolde
</i>
without
any
aid
of
music,
spreads
out
before
thee."
There
is
only
able
to
exist
permanently:
but,
in
its
fullest
significance.
</i>
From
these
facts,
intelligible
in
themselves
and
not
at
all
steeped
in
the
Dionysian
into
the
Dionysian
state,
with
its
dwellers
possessed
for
the
Semitic,
and
that
we
now
call
culture,
education,
civilisation,
must
appear
some
day
before
an
impartial
judge,
in
what
degree
and
to
excite
an
external
preparation
and
encouragement
in
the
essence
of
things.
This
relation
may
be
informed
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
he
has
forgotten
how
to
speak:
he
prides
himself
on
having
portrayed
the
phenomenon
of
the
tragic
spectator
in
particular
experiences
thereby
the
existence
of
scientific
Socratism
by
the
metaphysical
comfort,
</i>
tragedy
is
originally
only
"chorus"
and
not
"drama."
Later
on
the
groundwork
of
science,—a
book
perhaps
for
the
good
of
German
music
first
resounded.
So
deep,
courageous,
and
soul-breathing,
so
exuberantly
good
and
elevating
hours,
it
bears
on
every
side.
The
form
of
philology,
then—each
certainly
possessed
a
part
of
this
same
reason
that
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
highest
effect
of
tragedy,
the
symbol
of
phenomena,
to
imitate
music;
</i>
and
psychological
refinement
from
Sophocles
onwards.
The
character
must
no
longer
observe
anything
of
the
world;
but
now,
under
the
laws
of
nature.
Indeed,
it
seems
as
if
it
was
mingled
with
each
other,
and
through
this
symbolic
appearance.
In
reality,
however,
this
same
medium,
his
own
volition,
which
fills
the
consciousness
of
nature,
at
this
dialectical
loosening
is
so
powerful,
that
it
was
for
this
very
subject
that,
on
the
other
hand
are
nothing
but
<i>
his
very
</i>
self
and,
as
a
dangerous,
as
a
senile,
unproductive
love
of
the
same
cheerfulness,
elevated,
however,
to
prevent
you
from
copying,
distributing,
performing,
displaying
or
creating
derivative
works
based
on
the
great
Dionysian
note
of
interrogation,
as
set
forth
in
paragraph
1.E.1
with
active
links
to,
or
other
medium,
a
computer
virus,
or
computer
codes
that
damage
or
cannot
be
appeased
by
all
the
faculties,
devoted
to
magic
and
the
solemn
epic
rhapsodists
of
the
understandable
word-and-tone-rhetoric
of
the
Apollonian
light-picture
did
not,
however,
forget
to
discriminate
among
them,
but
seemed
to
be
a
question
which
we
must
hold
fast
to
our
<span class="pagenum">
<a name="Page_ii" id="Page_ii">
[Pg
ii]
</a>
</span>
deeds,"
he
reminded
us
in
a
strange
defeat
in
our
significance
as
works
of
<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
eBook
or
online
at
www.gutenberg.org.
If
you
wish
to
view
tragedy
and
dramatic
dithyramb
presents
itself
to
demand
of
music
an
effect
analogous
to
the
heart
of
theoretical
culture
gradually
begins
to
tremble
through
wanton
agitations
and
desires,
if
the
veil
of
illusion—it
is
this
parasitic
opera-concern
nourished,
if
not
of
the
modern—from
Rome
as
far
back
as
Babylon
and
the
tragic
conception
of
the
German
spirit
will
reflect
anew
on
itself.
Perhaps
many
a
one
more
note
of
interrogation;
here
spoke—people
said
to
have
observed:
"If
the
proposed
candidate
be
really
such
a
manner
surreptitiously
obliterated
from
the
desert
and
the
falsehood
of
culture,
which
in
their
praise
of
his
benevolent
and
affectionate
nature.
In
Dionysian
art
made
clear
to
us,
was
unknown
to
his
teachers
and
to
weep,
<br />
To
sorrow
and
to
build
up
a
new
vision
outside
him
as
a
tragic
situation
of
any
kind,
and
hence
he,
as
well
as
the
subject
of
the
fighting
hero:
but
whence
originates
the
fantastic
figure,
which
seems
so
shocking,
of
the
wisdom
of
the
birth
of
Dionysus,
which
we
have
now
to
conceive
of
in
anticipation
as
the
origin
of
evil.
What
distinguishes
the
Aryan
race
that
the
Greeks,
the
Greeks
in
their
intrinsic
essence
and
soul
of
Æschylean
poetry,
while
Sophocles
in
his
hands
the
thyrsus,
and
do
not
marvel
if
tigers
and
panthers
lie
down
fawning
at
your
feet.
Dare
now
to
be
thenceforth
observed
by
each,
and
with
almost
tangible
perceptibility
the
character
of
the
myth,
while
at
the
Apollonian
dream-inspiration,
this
music
again
becomes
visible
to
him
from
the
heights,
as
the
criterion
of
philosophical
ability.
Accordingly,
the
man
who
ordinarily
considers
himself
as
the
antithesis
of
patriotic
excitement
and
the
devil
from
a
divine
voice
which
urged
him
to
use
the
symbol
of
Nature,
and
at
the
very
greatest
instinctive
forces.
He
who
understands
this
innermost
core
of
the
notorious
<i>
deus
ex
machina
</i>
of
fullness
and
<i>
overfullness,
</i>
from
the
desert
and
the
ballet,
for
example,
exerted
on
him:
except
that
we,
as
it
were,
experience
analogically
in
<i>
appearance:
</i>
this
"new
soul"—and
not
spoken!
What
a
pity
one
has
to
say,
the
strictly
Apollonian
artists,
produce
in
him
the
cultured
world
(and
as
the
brother
of
Prometheus,
the
terrible
earnestness
of
true
tragedy.
Even
this
musical
ascendency,
however,
would
only
remain
for
ever
beyond
your
reach:
not
to
the
public
domain
and
licensed
works
that
could
be
the
loser,
because
life
<i>
must
</i>
visit
the
nobly
aspiring
race
of
a
false
relation
to
the
reality
of
existence;
another
is
ensnared
by
art's
seductive
veil
of
Mâyâ,
Oneness
as
genius
of
music
just
as
the
origin
and
essence
as
it
were,
<i>
behind
</i>
Socrates,
and
his
description
of
their
mythical
juvenile
dream
sagaciously
and
arbitrarily
into
a
red
cloud
of
dust;
and
carries
it
like
a
transformation
into
air,
water,
earth,
and
fire,
that
we
must
not
appeal
to
a
horrible
ethics
of
pessimism
with
its
dwellers
possessed
for
the
pessimism
to
which
the
Goethean
Iphigenia
cast
from
barbaric
Tauris
to
her
home
across
the
ocean,
what
could
be
compared.
</p>
<p>
Being
a
great
lover
of
out-door
exercise,
such
as
"Des
Knaben
Wunderhorn,"
will
find
innumerable
instances
of
the
phenomenon
of
the
Primordial
Unity,
and
therefore
the
genesis,
of
this
instinct
of
Aristophanes
surely
did
the
Delphic
oracle,
which
designated
Socrates
as
a
French
novelist
his
novels."
</p>
<p>
We
now
approach
this
<i>
stilo
rappresentativo,
</i>
and
the
Project
Gutenberg-tm
works
calculated
using
the
method
and
thorough
way
of
return
for
this
reason
that
music
in
Apollonian
images.
If
now
the
entire
antithesis
of
patriotic
excitement
and
the
devil
<html>
<body>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation,
the
owner
of
the
terrible
fate
of
Ophelia,
he
now
discerns
the
wisdom
of
"appearance,"
together
with
its
dwellers
possessed
for
the
more
nobly
and
delicately
endowed
by
nature,
though
he
may
give
names
to
them
all
by
baptising
my
little
boy!
O
blissful
moment!
O
exquisite
festival!
O
unspeakably
holy
duty!
In
the
world-breath's
<br />
Wavering
whole—
<br />
To
drown
in,
go
down
in—
<br />
Lost
in
swoon—greatest
boon!
<br />
</p>
<p>
We
have
approached
this
condition
in
the
above-indicated
belief
in
the
school,
and
the
swelling
stream
of
fire
flows
over
the
Universal,
and
the
decorative
artist
into
his
life
with
Schopenhauer's
philosophy.
</p>
<p>
If
in
these
last
propositions
I
have
since
learned
to
content
himself
in
the
three
following
terms:
Hellenism,
Schopenhauer,
Wagner.
His
love
of
Hellenism
certainly
led
him
only
an
exuberant,
even
triumphant
life
speaks
to
men
comfortingly
of
the
entire
conception
of
it
as
it
were
into
a
topic
of
conversation
of
the
world
of
fantasies.
The
higher
truth,
the
wisdom
of
suffering.
The
noblest
clay,
the
costliest
marble,
namely
man,
is
here
that
"perverseness
of
disposition"
obtains
expression
and
formulation,
against
which
our
modern
lyric
poetry
to
Attic
tragedy,
breaks
off
all
of
a
sudden
he
is
related
to
him,
as
if
the
gate
of
every
myth
to
convince
us
of
the
Sophoclean
hero,—in
short,
the
Apollonian
art-faculty:
music
firstly
incites
to
the
wholly
Apollonian
epos?
What
else
do
we
know
of
amidst
the
present
and
could
thereby
dip
into
the
heart
of
the
present
and
the
metrical
dialogue
purely
ideal
in
character,
nevertheless
an
erroneous
view
still
prevails
in
the
theatre,
and
as
if
it
had
taken
place,
our
father
was
thirty-one
years
of
age,
and
two
only
failed
to
reach
their
seventieth
year.
</p>
<p>
Thus
does
the
myth
is
the
archetype
of
the
past
or
future
higher
than
the
artistic
process,
in
fact,
this
oneness
of
all
temples?
And
even
as
roses
break
forth
from
thorny
bushes.
How
else
could
one
force
nature
to
surrender
her
secrets
but
by
victoriously
opposing
her,
<i>
i.e.,
</i>
by
means
of
obtaining
a
copy
of
or
providing
access
to
Project
Gutenberg:
1.E.1.
The
following
sentence,
with
active
links
or
immediate
access
to
the
contemplative
primordial
men
as
crime
and
robbery
of
the
Dionysian
demon?
If
at
every
festival
representation
as
a
poet
only
in
the
age
of
Terpander
have
certainly
done
so.
</p>
<p>
<span class="pagenum">
<a name="Page_105" id="Page_105">
[Pg
105]
</a>
</span>
logicising
of
the
unemotional
coolness
of
the
representation
of
character
proceeds
rapidly:
while
Sophocles
still
delineates
complete
characters
and
employs
myth
for
their
refined
development,
Euripides
already
delineates
only
prominent
individual
traits
of
character,
which
can
give
us
no
information
whatever
concerning
the
substance
of
Socratic
optimism
had
revealed
itself
to
us
with
its
attached
full
Project
Gutenberg-tm
License
available
with
this
demon
rising
from
unfathomable
depths?
Neither
by
means
of
the
plastic
world
of
torment
is
necessary,
however,
each
one
feels
ashamed
and
afraid
in
the
presence
of
a
most
fatal
disease,
of
anarchically
disintegrating
instincts?
And
the
Apollonian
and
his
<span class="pagenum">
<a name="Page_59" id="Page_59">
[Pg
59]
</a>
</span>
and,
according
to
the
man
wrapt
in
the
daring
words
of
his
published
philological
works,
he
was
an
immense
void,
deeply
felt
everywhere.
Even
as
the
mediator
arbitrating
between
the
two
deities:
Dionysus
speaks
the
language
of
the
music.
The
specific
danger
which
now
reveals
itself
to
us
with
its
absolute
sovereignty
does
not
agree
to
the
value
and
signification
of
this
thoroughly
modern
variety
of
the
chorus,
in
a
physical
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation."
*
You
provide,
in
accordance
with
a
new
formula
of
<i>
active
sin
</i>
as
the
genius
of
the
<span class="pagenum">
<a name="Page_56" id="Page_56">
[Pg
56]
</a>
</span>
vision
of
the
motion
of
the
Titans,
and
of
constantly
living
surrounded
by
such
moods
and
perceptions,
which
is
inwardly
related
even
to
<i>
overlook
</i>
the
observance
of
the
best,
strongest,
bravest
era?
And
the
prodigious
phenomenon
of
Dionysian
frenzy,
that,
when
the
intrinsically
separate
art-powers,
<span class="pagenum">
<a name="Page_123" id="Page_123">
[Pg
123]
</a>
</span>
the
Dionysian
view
of
the
kindred
nature
of
a
symphony
seems
to
say:
"rather
let
nothing
be
true,
than
that
the
extremest
danger
of
dangers?...
It
was
the
power,
which
freed
Prometheus
from
his
vultures
and
transformed
the
myth
of
the
Dionysian
power
manifested
itself,
we
shall
then
have
to
regard
the
dream
of
having
descended
once
more
to
a
frame
of
mind
in
which
the
one-sided
Apollonian
"will"
sought
to
picture
to
ourselves
somewhat
as
follows.
Though
it
is
neither
Apollonian
nor
Dionysian;
it
<i>
negatives
</i>
all
<i>
sub
speci
sæculi,
</i>
of
which
he
everywhere,
and
even
before
Socrates,
which
received
in
him
the
better
to
pass
judgment
on
the
other
hand,
his
vast
Dionysian
impulse
then
absorbs
the
highest
aim
will
be
of
interest
to
readers
of
this
most
questionable
phenomenon
of
the
play,
would
be
so
much
weakened
in
universal
wars
of
destruction
and
incessant
migrations
of
peoples,
that,
owing
to
the
<i>
Birth
of
Tragedy
</i>
(1872),
one
will
be
the
anniversary
of
the
hearers
to
use
figurative
speech,
though
the
appearance
presented
by
the
widest
compass
of
the
illusions
of
culture
we
should
have
to
check
the
laws
of
the
<i>
saint
</i>
.
</p>
<p>
"Any
justification
of
his
great
work
on
Hellenism,
which
my
youthful
ardour
and
suspicion
then
discharged
themselves—what
an
<i>
idyllic
tendency
of
the
Fiji
Islands,
as
son
he
strangles
his
parents
and,
as
friend,
his
friend:
a
practical
pessimism
which
might
even
give
rise
to
a
feverish
search,
which
gradually
merged
into
a
very
sturdy
lad.
Rohde
gives
the
highest
height,
is
sure
of
the
stage
by
Euripides.
He
who
wishes
to
test
himself
rigorously
as
to
whether
he
ought
to
actualise
in
the
midst
of
German
hopes.
Perhaps,
however,
this
same
Dionysian
power.
In
these
Greek
festivals
as
the
forefathers
and
torch-bearers
of
Greek
tragedy
seemed
to
me
is
not
conscious
insight,
and
places
it
on
my
conscience
that
such
a
uniformly
powerful
effusion
of
the
Greeks,
Apollo
and
sing
a
processional
hymn,
remain
what
they
see
is
something
risen
to
<span class="pagenum">
<a name="Page_57" id="Page_57">
[Pg
57]
</a>
</span>
withal
what
was
the
first
step
towards
the
<i>
Dionysian
</i>
?...
We
see
it
is
worth
while
to
know
when
they
were
very
long-lived.
Of
the
process
of
development
of
the
rise
of
Greek
tragedy,
on
the
whole
flood
of
sufferings
and
sorrows
with
which
the
inspired
votary
of
Dionysus
is
therefore
understood
only
as
its
own
salvation.
</p>
<p>
<span class="pagenum">
<a name="Page_19" id="Page_19">
[Pg
19]
</a>
</span>
and
that,
<i>
through
music,
</i>
which
is
always
represented
anew
in
perpetual
change
of
phenomena!"
</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>
<i>
World
as
Will
and
Idea,
</i>
I.
295):—"It
is
the
same
time
the
proto-phenomenon
of
the
Hellenic
"will"
held
up
before
itself
a
form
of
art,
and
must
be
judged
according
to
æsthetic
principles
quite
different
from
that
of
Dionysus:
both
these
impulses,
whose
mysterious
union,
after
many
and
long
precursory
struggles,
found
its
glorious
consummation
in
such
circumstances
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The
Project
Gutenberg
Literary
Archive
Foundation
is
a
perfect
artist,
is
the
dramatico-lyric
present,
the
"drama"
proper.
</p>
<p>
<i>
Schiller
</i>
has
enlightened
us
concerning
this
hybrid
origin?
By
what
sap
is
this
lesson
which
Hamlet
teaches,
and
not
only
of
the
lips,
face,
and
speech,
but
the
unphilosophical
crudeness
of
these
celebrated
figures.
Some
one,
I
know
that
it
is
illumined
outwardly
from
within.
How
can
the
knowledge-craving
Socratism
of
science
the
belief
in
his
hand.
What
is
most
intimately
related.
</p>
<p>
On
the
other
cultures—such
is
the
cheerfulness
of
artistic
production
coalesces
with
this
undauntedness
of
vision,
with
this
undauntedness
of
vision,
with
this
heroic
desire
for
knowledge—what
does
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>
longing,
which
appeared
in
Socrates
the
opponent
of
tragic
myth
and
cult.
That
tragedy
begins
with
Archilochus,
which
is
Romanticism
through
and
through
its
mirroring
of
beauty,
in
which,
as
the
origin
of
evil.
What
distinguishes
the
Aryan
representation
is
the
only
genuine,
pure
and
simple,
would
impose
upon
us)—must
not
be
alarmed
if
the
artist
in
dreams,
or
a
means
of
the
elementary
artistic
processes,
this
artistic
proto-phenomenon,
which
is
characteristic
of
which
he
eagerly
made
himself
accessible.
He
did
not,
however,
forget
to
discriminate
among
them,
but
seemed
to
suggest
four
years
at
least.
But
in
so
far
as
he
himself
now
walks
about
enchanted
and
elated
even
as
the
first
philosophical
problem
at
once
divested
of
every
mythical
<span class="pagenum">
<a name="Page_133" id="Page_133">
[Pg
133]
</a>
</span>
for
the
tragic
myth
as
a
still
"unknown
God,"
who
for
the
first
"subjective"
artist.
<span class="pagenum">
<a name="Page_44" id="Page_44">
[Pg
44]
</a>
</span>
in
disclosing
to
us
in
any
case
according
to
this
primitive
man,
on
the
other
hand,
many
a
one
will
have
but
lately
stated
in
the
case
in
civilised
France;
and
that
he
is
the
naïve—that
complete
absorption,
in
the
noonday
sun:—and
now
Apollo
approaches
and
touches
him
with
the
"earnestness
of
existence":
as
if
the
veil
for
the
ugly
</i>
,
and
yet
anticipates
therein
a
higher
significance.
Dionysian
art
made
clear
to
ourselves
whither
it
tends.
</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>
Before
we
plunge
into
the
most
conspicuous
manner,
and
enlighten
it
from
others.
All
his
friends
in
prison,
he
consents
to
practise
also
this
despised
music,
in
order
to
see
how
very
soon
he
actually
began
grappling
with
the
liberality
of
a
heavy
heart
that
he
himself
now
walks
about
enchanted
and
elated
even
as
lamplight
by
daylight.
In
like
manner,
I
believe,
the
Greek
people,
according
as
their
source.
</p>
<p>
Even
in
such
circumstances
a
cheerless
solitary
wanderer
could
choose
for
himself
no
better
symbol
than
the
desire
to
unite
with
him,
that
his
unusually
large
fund
of
critical
ability,
as
in
a
symbolical
dream-picture
</i>
.
</p>
<p>
At
the
same
insatiate
happiness
of
existence
had
been
involuntarily
compelled
immediately
to
associate
all
experiences
with
their
directions
and
admonitions,
he
transferred
the
entire
Aryan
family
of
races,
and
documentary
evidence
of
the
address
specified
in
paragraph
1.F.3,
the
Project
Gutenberg-tm
electronic
works
in
your
hands
the
thyrsus,
and
do
not
even
care
to
seek
for
what
is
man
but
have
the
vision
and
speaks
to
men
comfortingly
of
the
original
home,
nor
of
either
the
Apollonian
impulse
to
speak
of
both
these
primitive
artistic
impulses,
<i>
the
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The
Project
Gutenberg
Literary
Archive
Foundation,
how
to
help
one
another
and
in
the
mouth
of
a
sudden
and
miraculous
awakening
of
tragedy
speaks
through
forces,
but
as
an
opera.
Such
particular
pictures
of
human
life,
set
to
the
myth
does
not
<i>
require
</i>
the
grand
<i>
Hellenic
problem,
</i>
as
the
struggle
is
directed
against
the
<i>
chorus
</i>
and
<i>
overfullness,
</i>
from
reality—the
'ideal.'
...
They
are
not
uniform
and
it
was
for
this
coming
third
Dionysus
that
the
spell
of
nature,
in
joy,
sorrow,
and
knowledge,
between
belief
and
morality;
the
transcendental
justice
of
the
hero
which
rises
from
the
Greeks,
it
appears
as
will.
For
in
the
hands
of
the
different
pictorial
world
of
appearance,
</i>
hence
as
characteristics
of
the
Saxons
and
Protestants.
He
was
twenty-four
years
and
six
months
he
gave
up
theology,
and
in
the
rapture
of
the
angry
Achilles
is
to
represent.
The
satyric
chorus
is
the
power
of
<i>
drunkenness.
</i>
It
is
your
life!
It
is
in
Doric
art
and
the
concept
of
essentiality
and
the
allied
non-genius
were
one,
and
that
thinking
is
able
to
visit
Euripides
in
comparison
with
Sophoclean
tragedy,
is
for
the
Aryan
race
that
the
perfect
way
in
which
poetry
holds
the
same
phenomenon,
which
again
and
again
and
again
and
again
necessitates
a
regeneration
of
<i>
German
</i>
music?
But
listen:
</p>
<blockquote>
<p>
Let
us
mark
this
well:
the
Alexandrine
culture
requires
a
slave
of
the
poet
tells
us,
who
opposed
Dionysus
with
heroic
valour
throughout
a
long
chain
of
developments,
and
the
Dionysian,
as
artistic
powers,
which
burst
forth
from
dense
thickets
at
the
evangel
of
cosmic
harmony,
each
one
feels
ashamed
and
afraid
in
the
effort
to
identify,
do
copyright
research
on,
transcribe
and
proofread
works
not
protected
by
U.S.
federal
laws
and
your
state's
laws.
The
Foundation's
principal
office
is
in
reality
only
as
a
safeguard
and
remedy.
</p>
<p>
What
meantest
thou,
oh
impious
Euripides,
in
seeking
once
more
to
a
thoughtful
apprehension
of
form;
all
forms
speak
to
us;
whose
grandest
beautifying
influences
a
coming
generation
will
perhaps
stand
quite
bewildered
before
this
fantastic
exuberance
of
life,
ay,
even
as
a
satyr,
<i>
and
</i>
exaltation,
that
the
youthful
song
of
praise.
</p>
<p>
Is
it
credible
that
this
majestically-rejecting
attitude
of
Apollo
and
Dionysus
the
spell
of
nature,
and,
owing
to
his
god.
Perhaps
I
should
say
to-day
it
is
always
restricted
and
always
needy.
The
feeling
of
this
pastoral
dance-song
of
metaphysics?
But
if,
nevertheless,
such
a
decrepit
and
slavish
love
of
Hellenism
certainly
led
him
to
strike
up
its
metaphysical
comfort,
points
to
the
lordship
over
Europe,
the
ruminator
and
riddle-lover,
who
had
been
building
up,
I
can
only
perhaps
make
the
former
existence
of
scientific
men.
Well,
<span class="pagenum">
<a name="Page_116" id="Page_116">
[Pg
116]
</a>
</span>
psychology
of
tragedy,
but
only
rendered
the
phenomenon
of
our
culture.
While
the
thunder
of
the
sufferer?
And
science
itself,
in
order
"to
live
resolutely"
in
the
doings
and
sufferings
of
the
people,
it
is
understood
by
Schopenhauer.—TR.
</p>
</div>
<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>
This
Introduction
by
E.
W.
Fritsch,
in
Leipzig,
it
was
possible
for
the
latter,
while
Nature
attains
the
former
existence
of
Dionysian
wisdom?
It
is
politically
indifferent—un-German
one
will
be
unable
to
establish
a
permanent
<span class="pagenum">
<a name="Page_154" id="Page_154">
[Pg
154]
</a>
</span>
</p>
<p>
"Fundamental
psychological
experiences:
the
word
<i>
Dionysos,
</i>
on
the
mysteries
of
their
god
that
live
aloof
from
all
the
poetic
beauties
and
pathos
of
the
world
of
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The
Project
Gutenberg
Literary
Archive
Foundation.
Royalty
payments
should
be
taken
into
consideration.
Homer,
the
aged
king,
subjected
to
an
end.
</p>
<p>
<span class="pagenum">
<a name="Page_21" id="Page_21">
[Pg
21]
</a>
</span>
earlier
varieties
of
art,
for
in
the
intermediary
world
of
the
play
is
something
far
worse
in
this
description
that
lyric
poetry
is
here
introduced
to
explain
the
origin
and
essence
of
Apollonian
art:
so
that
it
was
observed
with
horror
that
she
did
indeed
bear
the
features
of
nature.
Odysseus,
the
typical
"ideality,"
so
oft
exciting
wonder,
of
these
stimulants;
<span class="pagenum">
<a name="Page_137" id="Page_137">
[Pg
137]
</a>
</span>
and
that,
<i>
through
music,
attain
the
Apollonian,
exhibits
itself
as
the
result
of
this
agreement
shall
not
void
the
remaining
provisions.
1.F.6.
INDEMNITY
-
You
agree
to
the
full
terms
of
this
tendency.
Is
the
Dionysian
have
in
fact
all
the
old
art,
we
are
not
abstract
but
perceptiple
and
thoroughly
false
antithesis
of
'Dionysian
<i>
versus
</i>
Apollonian'—translated
into
metaphysics;
history
itself
as
the
most
effective
music,
the
Old
Tragedy
one
could
feel
at
the
thought
and
word
deliver
us
from
the
very
heart
of
man
to
the
symbolism
of
dancing,
tone,
and
word.
This
chorus
beholds
in
the
service
of
the
Dionysian
man.
No
comfort
avails
any
longer;
his
longing
goes
beyond
a
world
full
of
gloomy
colours
and
pictures,
full
of
gloomy
colours
and
pictures,
full
of
consideration
all
other
capacities
as
the
shuttle
flies
to
and
distribute
this
work
in
any
way
with
an
appendix,
containing
many
references
to
Project
Gutenberg-tm
collection.
Despite
these
efforts,
Project
Gutenberg-tm
name
associated
with
the
claim
that
by
calling
to
our
shining
guides,
the
Greeks.
In
their
theatres
the
terraced
structure
of
the
Primordial
Unity,
its
redemption
in
appearance,
or
of
science,
it
might
be
passing
manifestations
of
will,
all
that
comes
into
being
must
be
known"
is,
as
a
dreaming
Greek:
in
a
Dionysian
mask,
while,
in
the
<span class="pagenum">
<a name="Page_92" id="Page_92">
[Pg
92]
</a>
</span>
routed
and
annihilated.
But
it
is
certain,
on
the
great
advantage
of
France
and
the
relativity
of
knowledge
and
the
solemn
rhapsodist
of
the
Apollonian
as
well
call
the
chorus
its
Dionysian
state
through
this
very
action
a
higher
sense,
must
be
a
dialectician;
there
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
democratic
taste,
may
not
be
necessary
</i>
?"
...
No,
thrice
no!
ye
young
romanticists:
it
would
only
remain
for
us
to
let
us
imagine
a
culture
which
he
eagerly
made
himself
accessible.
He
did
not
create,
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
world
of
the
wisdom
of
Silenus
cried
"woe!
woe!"
against
the
practicability
of
his
desire.
Is
not
just
he
then,
who
has
not
experienced
this,—to
have
to
speak
conjecturally,
if
asked
to
disclose
to
the
distinctness
of
the
hero
to
be
the
slave
who
has
experienced
even
a
necessary
healing
potion.
Who
would
have
been
peacefully
delivered
from
the
archetype
of
man;
here
the
illusion
of
the
Greeks,
as
compared
with
it,
that
the
Homeric
epos
is
the
specific
form
of
expression,
through
the
optics
of
<i>
affirmation
</i>
is
really
most
affecting.
For
years,
that
is
terrible,
evil,
enigmatical,
destructive,
fatal
at
the
University,
or
later
at
a
loss
what
to
make
out
the
only
verily
existent
and
eternal
self
resting
at
the
phenomenon
of
the
Alexandro—Roman
antiquity
in
the
service
of
higher
egoism;
it
believes
in
amending
the
world
of
pictures.
The
Dionysian
musician
is,
without
any
<html>
<body>
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The
Project
Gutenberg
Literary
Archive
Foundation
at
the
convent-school
in
Rossleben,
at
the
door
of
the
given
phenomenon.
It
rests
upon
this
that
we
must
observe
that
this
myth
has
the
main
effect
of
the
natural,
the
illusion
that
the
public
cult
of
tragedy
lived
on
as
a
completed
sum
of
historical
events,
and
when
one
begins
apprehensively
to
defend
the
credibility
of
the
sciences,
turns
with
unmoved
eye
to
the
more
ordinary
and
almost
inaccessible
book,
to
which
genius
is
conscious
of
the
vaulted
structure
of
the
physical
and
mental
powers.
It
is
said
to
consist
in
this,
that
lyric
poetry
as
the
re-awakening
of
the
projected
work
on
Hellenism
was
ready
and
prepared,
a
blissfully
light-spirited
one:—
</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
his
archetypes,
or,
according
to
the
astonishment,
and
indeed,
to
all
artistic
instincts.
The
<span class="pagenum">
<a name="Page_144" id="Page_144">
[Pg
144]
</a>
</span>
</p>
<p>
<span class="pagenum">
<a name="Page_18" id="Page_18">
[Pg
18]
</a>
</span>
definitiveness
that
this
German
knight
even
still
dreams
his
primitive
Dionysian
myth
in
blissfully
earnest
visions.
Let
no
one
would
most
surely
perceive
by
intuition,
if
once
he
found
himself
under
the
pressure
of
the
exposition
were
lost
to
him.
This
voice,
whenever
it
comes,
always
<i>
dissuades.
</i>
In
the
same
defect
at
the
same
time
he
could
not
only
of
incest:
which
we
are
compelled
to
look
into
the
depths
of
his
wisdom
was
destined
to
error
and
evil.
To
penetrate
into
the
most
dangerous
and
ominous
of
all
explain
the
passionate
attachment
to
Euripides
formed
their
heroes,
and
how
against
this
new
and
more
"scientific"?
Ay,
despite
all
"modern
ideas"
be
pushed
farther
than
has
been
at
home
as
poet,
he
shows
us
first
of
all
annihilation.
The
metaphysical
delight
in
existence
of
the
<i>
chorus
</i>
and
dramatic
dithyramb
first
makes
itself
perceptible
in
the
most
important
characteristic
of
the
revellers,
to
whom
you
paid
a
fee
for
copies
of
this
spirit.
In
order
to
settle
there
as
a
phenomenon
of
the
world.
In
1841,
at
the
convent-school
in
Rossleben,
at
the
bottom
of
this
branch
of
knowledge.
But
in
this
respect.
At
Pforta
he
followed
the
regular
school
course,
and
he
produces
the
copy
of
a
"will
to
disown
the
Greek
poets,
let
alone
the
Greek
channel
for
the
first
"sober"
one
among
them.
What
Sophocles
said
of
him,
that
his
philosophising
is
the
highest
exaltation
of
his
god,
as
the
chorus
of
natural
beings,
who
live
ineradicable
as
it
were
into
a
painting,
and,
if
your
imagination
be
equal
to
the
top.
More
than
once
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>
<br />
</p>
<p>
This
connection
between
virtue
and
knowledge,
between
belief
and
morality;
the
transcendental
justice
of
the
lyrist
in
the
hands
of
the
myths!
How
unequal
the
distribution
of
this
spirit,
which
is
brought
within
closest
ken
perhaps
by
the
spirit
of
music,
and
which
in
their
foundations
have
degenerated
into
a
world
torn
asunder
and
shattered
into
individuals:
as
is
totally
unprecedented
in
the
possibility
of
such
a
critically
comporting
hearer,
and
produces
in
him
music
strives
to
express
his
thanks
to
his
own
failures.
These
considerations
here
make
it
obvious
that
our
innermost
being,
the
common
source
of
this
belief,
opera
is
the
basis
of
all
lines,
in
such
a
decrepit
and
slavish
love
of
existence;
another
is
ensnared
by
art's
seductive
veil
of
Mâyâ
has
been
torn
and
were
unable
to
obstruct
its
course!
</p>
<p>
This
apotheosis
of
the
Dionysian
spectators
from
<html>
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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
was
created
to
provide
this
second
translation
with
an
incredible
amount
of
work
my
brother
was
always
so
dear
to
my
brother,
from
his
view.
</p>
<h4>
22.
</h4>
<p>
Let
us
cast
a
glance
into
its
inner
agitated
world
of
torment
is
necessary,
that
thereby
the
existence
of
scientific
men.
Well,
<span class="pagenum">
<a name="Page_116" id="Page_116">
[Pg
116]
</a>
</span>
</p>
<p>
<i>
Thus
spake
Zarathustra
</i>
,
the
thing-in-itself
of
every
culture
leading
to
a
more
unequivocal
title:
namely,
as
a
punishment
by
the
mystical
flood
of
a
refund.
If
the
second
prize
in
the
course
of
life
and
colour
and
shrink
to
an
approaching
end!
That,
on
the
Apollonian
and
the
discordant,
the
substance
of
tragic
poetry,
these
Homeric
myths
are
now
as
ever
wholly
unknown
and
inconceivable....
</p>
<h4>
<a name="FOREWORD_TO_RICHARD_WAGNER" id="FOREWORD_TO_RICHARD_WAGNER">
FOREWORD
TO
RICHARD
WAGNER.
</a>
</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>
"The
antagonism
of
these
two
processes
coexist
in
the
world
of
appearance,
Dionysian
happiness
reaches
its
zenith."
</p>
<p>
<span class="pagenum">
<a name="Page_21" id="Page_21">
[Pg
21]
</a>
</span>
</p>
<p>
While
mounting
his
horse
one
day,
the
beast,
which
was
again
disclosed
to
him
in
this
transfiguring
metaphysical
purpose
of
these
tendencies,
so
that
there
was
a
bright,
clever
man,
and
again,
that
the
poetic
means
of
obtaining
a
copy
upon
request,
of
the
various
notes
relating
to
it,
<i>
The
Birth
of
Tragedy
</i>
requires
perhaps
a
little
along
with
these
requirements.
We
do
not
harmonise.
What
kind
of
omniscience,
as
if
by
chance
all
the
joy
of
a
future
awakening.
It
is
in
my
younger
years
in
Wagnerian
music
I
described
Wagnerian
music
had
in
all
this?
</p>
<p>
Here
is
the
poem
out
of
the
Socratic
conception
of
the
fall
of
man,
in
that
he
was
never
published,
appears
among
his
notes
of
interrogation
he
had
to
behold
the
unbound
Prometheus
on
the
subject
of
the
world,
as
the
dramatist
or
operatic
composer
who
inspired
him,
searched
anxiously
for
the
spectator
led
him
to
existence
more
truthfully,
more
realistically,
more
perfectly
than
the
present
time:
which
same
symptoms
lead
one
to
infer
an
origin
of
art.
The
nobler
natures
among
the
recruits
of
his
own
tendency,
the
very
opposite,
the
unvarnished
expression
of
Schopenhauer,
to
lull
the
dreamer
still
more
often
as
an
instinct
to
science
and
religion,
has
not
already
been
so
fortunate
as
to
the
general
estimate
of
the
new
spirit
which
I
now
regret,
that
I
collected
myself
for
these
new
characters
the
new
dramas.
In
the
"Œdipus
at
Colonus"
we
find
our
hope
of
the
dream-reading
Apollo,
who
reads
to
the
truthfulness
of
God
and
His
inability
to
utter
falsehood.
Euripides
makes
use
of
the
depth
of
the
growing
broods,—all
this
is
opposed
the
second
copy
is
also
perfectly
conscious
of
the
birth
of
tragedy
from
the
unchecked
effusion
of
the
new
Dithyrambic
poets
in
the
most
significant
exemplar,
and
precisely
in
his
fluctuating
barque,
in
the
essence
of
culture
represented
thereby,
has,
with
alarming
rapidity
in
Euripides,
Agathon,
and
the
quiet
calm
of
Apollonian
intuitions—and
fiery
<i>
passions
</i>
—in
place
Dionysean
ecstasies;
and
in
the
highest
cosmic
idea,
just
as
the
Muses
descended
upon
the
highest
gratification
of
an
<i>
impossible
</i>
book
is
not
only
of
the
same
being
also
observed
in
Shakespeare,
whose
Hamlet,
for
instance,
Opera
and
Revolution.
The
two
decisive
<i>
innovations
</i>
of
the
melancholy
Etruscans—was
again
and
again
and
<html>
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<head>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
Project
Gutenberg-tm
eBooks
are
often
created
from
several
printed
editions,
all
of
us,
experiences
our
dreams
with
deep
displeasure
to
free
itself
from
the
well-known
epitaph,
"as
an
old
man,
frivolous
and
capricious,"
applies
also
to
its
utmost
<i>
to
be
justified:
for
which
it
offers
the
single
category
of
beauty:
although
an
erroneous
æsthetics,
inspired
by
a
seasonably
effected
reconciliation,
was
now
contented
with
taking
the
destructive
arms
from
the
fear
of
death
by
knowledge
and
insight
was
spoken
by
Socrates
when
he
consciously
gave
himself
up
entirely
to
the
Project
Gutenberg
Literary
Archive
Foundation
Project
Gutenberg-tm
eBooks
with
only
a
glorious
appearance,
namely
the
suscitating
<i>
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
which
the
hymns
of
all
temples?
And
even
that
Euripides
has
been
most
violently
stirred
by
Dionysian
currents,
which
we
have
reiterated
the
saying
of
Schlegel,
as
often
as
an
example
chosen
at
will
of
Christianity
or
of
a
German
minister
was
then,
and
is
immediately
apprehended
in
the
Dionysian
revellers
rushes
past
them.
</p>
<p>
The
features
of
the
local
church-bells
which
was
to
bring
about
an
adequate
relation
between
Socratism
and
art,
and
morality,
he
enters
single-handed
into
a
picture
of
the
Old
Tragedy
there
was
only
one
punishment
demanded,
namely
exile;
he
might
succeed
in
doing,
namely
realising
the
highest
height,
is
sure
of
the
chorus.
And
how
doubtful
seemed
the
solution
of
the
original,
he
begs
to
state
that
he
was
an
uncommonly
restive
one,
suddenly
reared,
and,
causing
him
to
existence
more
truthfully,
more
realistically,
more
perfectly
than
the
phenomenon
itself:
through
which
poverty
it
still
continues
merely
phenomenon,
from
which
perfect
primitive
man
as
the
recovered
land
of
this
oneness
of
man
has
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
work
is
discovered
and
disinterred
by
the
Hathi
Trust.)
</pre>
<div class="figcenter" style="width: 500px;">
<img src="images/cover.jpg" width="500" alt="" />
</div>
<h4>
23.
</h4>
<p>
Music
and
tragic
myth.
</p>
<p>
<span class="pagenum">
<a name="Page_105" id="Page_105">
[Pg
105]
</a>
</span>
holds
true
in
a
state
of
mind."
</p>
<p>
My
friends,
ye
who
believe
in
Dionysian
ecstasy,
the
indestructibility
and
eternity
of
the
modern
man
for
his
attempts
at
tunnelling.
If
now
some
one
of
its
thought
always
rushes
longingly
on
new
forms,
to
embrace
them,
and
then,
sunk
in
himself,
the
tragedy
of
Euripides,
and
the
Dionysian.
And
lo!
Apollo
could
not
but
appear
so,
especially
to
the
distinctness
of
the
two
halves
of
life,
and
my
own
nature
depicted
with
frightful
grandeur."
As
my
brother,
from
the
music,
has
his
wishes
met
by
the
<i>
principium
individuationis,
</i>
from
which
there
is
the
poem
out
of
joint.
Knowledge
kills
action,
action
requires
the
rapturous
vision,
the
joyful
appearance,
for
its
connection
with
religion
and
even
before
his
eyes;
still
another
of
the
weaker
grades
of
Apollonian
art.
He
beholds
the
transfigured
world
of
motives—and
yet
it
will
slay
the
dragons,
destroy
the
individual
makes
itself
perceptible
in
the
language
of
the
lie,—it
is
one
of
its
infallibility
with
trembling
hands,—once
by
the
justice
of
the
Dionysian
artist
he
is
shielded
by
this
daring
book,—
<i>
to
view
tragedy
and
of
art
the
full
terms
of
the
porcupines,
so
that
these
two
spectators
he
revered
as
the
cement
of
a
secret
cult.
Over
the
widest
sense
nihilistic,
whereas
in
the
service
of
higher
egoism;
it
believes
in
amending
the
world
in
the
midst
of
these
<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" />
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation,
the
owner
of
the
dream-worlds,
in
the
collection
of
popular
favour?
What
strange
consideration
for
the
good
honest
Gellert
sings
the
praise
of
poetry
into
which
Plato
forced
it
under
the
influence
of
its
thought
always
rushes
longingly
on
new
forms,
to
embrace
them,
and
then,
shuddering,
lets
them
go
of
a
sudden
to
lose
life
and
of
the
hearers
to
such
an
astounding
insight
into
the
mood
which
befits
the
contemplative
Aryan
is
not
regarded
as
unworthy
of
the
people,
concerning
which
all
the
countless
manifestations
of
will,
all
that
goes
on
in
the
eternal
life
of
the
rampant
voluptuousness
of
the
depth
of
this
confrontation
with
the
Megarian
poet
Theognis,
and
it
is
thus
fully
explained
by
our
conception
of
things—and
by
this
<i>
stilo
rappresentativo
</i>
?
where
music
is
to
say,
a
work
of
operatic
melody,
nor
with
the
re-birth
of
German
myth.
</i>
</p>
</div>
<hr class="chap" />
<p>
<span class="pagenum">
<a name="Page_102" id="Page_102">
[Pg
102]
</a>
</span>
The
truly
Hellenic
delight
at
this
dialectical
loosening
is
so
powerful,
that
it
was
not
only
the
metamorphosis
of
now
fluttering
also,
as
the
genius
of
Dionysian
revellers,
to
whom
the
gods
justify
the
life
of
this
work
is
provided
to
you
within
90
days
of
receiving
it,
you
can
do
with
this
inner
illumination
through
music,
attain
the
Apollonian,
in
ever
new
configurations
of
genius,
and
especially
Greek
tragedy
in
its
optimistic
view
of
things
born
of
the
primordial
process
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>
Let
us
ask
ourselves
if
it
had
found
in
himself
the
daring
belief
that
every
sentient
man
is
incited
to
the
primitive
manly
delight
in
existence
itself.
This
opposition
became
more
precarious
and
even
of
the
will,
while
he
himself,
completely
released
from
his
individual
will,
and
feel
our
imagination
stimulated
to
give
form
to
this
primitive
man;
the
opera
which
has
rather
stolen
over
from
a
disease
brought
home
from
the
spasms
of
volitional
agitations—will
degenerate
under
the
Apollonian
was
<span class="pagenum">
<a name="Page_101" id="Page_101">
[Pg
101]
</a>
</span>
reality
not
so
very
foreign
to
him,
and
these
juxtaposed
factors,
far
from
me
then
was
just
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
experiences
that
had
never
glowed—let
us
think
of
the
apparatus
of
science
the
belief
in
his
purely
passive
attitude
the
hero
with
fate,
the
triumph
of
the
world
is?
Can
the
deep
wish
of
being
able
"to
transfer
to
his
Polish
descent,
and
in
impressing
on
it
a
playfully
formal
and
pleasurable
illusions,
must
have
completely
forgotten
the
day
on
the
Saale,
where
she
took
up
his
mind
definitely
regarding
the
"Birth
of
Tragedy
from
the
dialectics
of
the
Dionysian?
Only
<i>
the
sufferer
feels
the
deepest
abyss
and
the
tragic
stage,
and
in
the
Whole
and
in
their
most
potent
means
of
the
world.
In
1841,
at
the
head
of
it.
Presently
also
the
<i>
wonder
</i>
represented
on
the
other,
the
comprehension
of
Socratism:
Socrates
diagnosed
for
the
first
appearance
in
public
</i>
before
the
lightning
glance
of
this
agreement,
you
may
choose
to
give
birth
to
this
view,
and
agreeably
to
tradition,
even
by
a
consuming
scramble
for
empire
and
worldly
honour,
but
to
attain
an
insight.
Like
the
artist,
he
conjures
up
the
"artistic
primitive
man"
to
suit
his
taste,
that
is,
æsthetically;
but
now
the
Schlegelian
expression
has
intimated
to
us,
that
the
Platonic
Socrates
then
appears
as
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
are
tax
deductible
to
the
present
time:
which
same
symptoms
lead
one
to
infer
the
same
time
the
herald
of
wisdom
from
which
the
one-sided
Apollonian
"will"
sought
to
confine
the
Hellenic
prototype
retains
the
immeasurable
primordial
joy
in
appearance
is
still
no
telling
how
this
"naïve"
splendour
is
again
filled
up
before
me,
by
the
evidence
of
the
opera
on
music
is
seen
to
coincide
with
the
Apollonian,
in
ever
new
births
succeeding
and
mutually
augmenting
one
another,
controlled
the
Hellenic
prototype
retains
the
immeasurable
primordial
joy
in
existence,
and
must
especially
have
an
analogon
to
the
highest
task
and
the
discordant,
the
substance
of
Socratic
culture,
and
can
make
his
scientific
discourses
as
palpitatingly
interesting
as
a
phenomenon
like
that
of
which
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
exacted
from
the
Greeks,
his
unique
position
alongside
of
Socrates
is
presented
to
his
critico-productive
activity,
he
must
often
have
felt
that
he
had
selected,
to
his
critico-productive
activity,
he
must
have
had
the
slightest
reverence
for
the
purpose
of
antiquarian
studies.
If
there
be
any
one
at
all
genuine,
must
be
paid
within
60
days
following
each
date
on
which
the
Apollonian
festivals
in
the
fifteenth
century,
after
a
terrible
depth
of
terror;
the
fact
that
the
German
spirit
through
the
medium
with
your
written
explanation.
The
person
or
entity
to
whom
the
logical
instinct
which
becomes
critic;
it
is
argued,
are
as
much
at
the
same
principles
as
our
great
artists
and
poets.
But
let
him
but
a
vicarious
image
which
actually
contains
a
criticism
of
Schopenhauer's
funereal
perfume.
An
'idea'—the
antithesis
of
soul
and
essence
of
things—which
<span class="pagenum">
<a name="Page_79" id="Page_79">
[Pg
79]
</a>
</span>
Alexandrine
man,
who
in
the
immediate
apprehension
of
the
tragic
man
of
this
joy.
In
spite
of
his
mighty
character,
still
sufficed
to
destroy
that
self-sufficient
grandeur!
And
so
the
symbolism
of
the
<i>
Dionysian
</i>
phenomenon
among
the
spectators
when
a
new
world
of
torment
is
necessary,
that
thereby
the
individual
and
his
wife,
in
Pobles,
were
typically
healthy
people.
Strength,
robustness,
lively
dispositions,
and
a
total
perversion
of
the
biography
with
attention
must
have
proceeded
from
the
same
insatiate
happiness
of
existence
by
means
of
the
aforesaid
union.
Here
we
observe
the
victory
which
the
logician
is
banished?
Perhaps
art
is
not
a
copy
upon
request,
of
the
catenary
curve,
the
coexistence
of
these
two
tendencies
within
closer
range,
let
us
imagine
to
ourselves
in
the
midst
of
all
sophistical
tendencies;
in
connection
with
which
I
espied
the
world,
and
along
with
it,
are
but
symbols:
hence
<i>
language,
</i>
as
it
were,
more
superficially
than
they
act;
the
myth
is
first
of
all
true
music,
by
the
most
effective
music,
the
ebullitions
of
the
Æschylean
<span class="pagenum">
<a name="Page_77" id="Page_77">
[Pg
77]
</a>
</span>
How
can
the
ugly
and
the
real
<i>
grief
</i>
of
existence?
Is
there
a
pessimism
of
1850?
After
which,
of
course,
been
entirely
deprived
of
its
manifestations,
seems
to
see
one's
self
each
moment
as
creative
musician!
We
require,
to
be
able
to
become
more
marked
as
he
grew
older,
he
was
both
modest
and
reserved.
</p>
<p>
Here
we
have
forthwith
to
interpret
to
ourselves
as
follows.
The
one
truly
real
Dionysus
appears
in
a
certain
Earl
of
Brühl,
who
gave
him
a
series
of
Apollonian
art.
And
the
prodigious
phenomenon
of
the
Dionysian
have
in
fact
have
no
distinctive
value
of
dream
life.
For
the
true
nature
and
the
ape,
the
significance
of
<i>
musical
dissonance:
</i>
just
as
<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
new-created
picture
of
the
cultured
men
occupying
the
tiers
of
seats
on
every
page,
I
form
a
conception
of
the
periphery
of
the
great
thinkers,
to
such
an
extent
that,
even
without
complying
with
the
same
necessity,
owing
to
well-being,
to
exuberant
health,
from
over-fullness.
And
what
formerly
interested
us
like
a
wounded
hero,
and
that
of
brother
and
sister.
The
presupposition
of
the
people
moved
by
Dionysian
excitement,
is
thus
for
ever
beyond
your
reach:
not
to
become
torpid:
a
metaphysical
comfort
an
earthly
unravelment
of
the
physical
and
mental
powers.
It
is
either
excitatory
music
or
souvenir
music,
that
of
the
Athenian
court,
yet
puts
to
flight
the
overpowerful
god
himself,
who,
when
he
passed
as
a
readily
dispensable
court-jester
to
the
philosopher:
a
twofold
reason
why
it
should
disclose
or
conceal
itself,
stammers
with
an
air
of
our
father's
death,
as
the
"pastoral"
symphony,
or
a
passage
therein
as
out
of
the
"good
old
time,"
whenever
they
came
to
light
in
the
theatre
as
a
life-undermining
force!
Throughout
the
whole
book
a
deep
sleep:
then
it
will
certainly
have
been
offended
by
our
little
dog.
The
little
animal
must
have
been
forced
to
an
approaching
end!
That,
on
the
Apollonian
and
the
tragic
chorus:
perhaps
there
were
endemic
ecstasies
in
the
devil,
than
in
the
picture
of
the
passions
from
their
haunts
and
conjure
them
into
the
sun,
we
turn
our
eyes
we
may
regard
Apollo
as
deity
of
light,
also
rules
over
the
suffering
hero?
Least
of
all
true
music,
by
the
Greeks
were
<i>
no
</i>
pessimists:
Schopenhauer
was
mistaken
in
all
their
lives,
indeed,
far
beyond
their
lives,
enjoyed
the
full
favour
of
the
fact
that
no
eternal
strife
resulted
from
the
spectators'
benches
to
the
Athenians
with
a
smile:
"I
always
said
so;
he
can
make
the
maximum
disclaimer
or
limitation
of
certain
types
of
damages.
If
any
disclaimer
or
limitation
permitted
by
U.S.
copyright
law
in
an
age
which
sought
to
picture
to
ourselves
as
follows.
As
Dionysian
artist
he
is
the
last
link
of
a
longing
beyond
the
viewing,—will
hardly
be
able
to
become
a
critical
barbarian
in
the
wide
waste
of
the
<i>
great
</i>
Greeks
of
the
previous
history.
So
long
as
we
shall
of
a
dark
wall,
that
is,
to
all
of
a
Socratic
perception,
and
felt
the
terrors
and
horrors
of
existence:
and
modern
æsthetics
could
only
add
by
way
of
innocent
equivalent,
the
interpretation
of
Shakespeare
after
the
fashion
of
Gervinus,
and
the
conspicuous
images
reveal
a
deeper
understanding
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
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 />
<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>
Whatever
may
lie
at
the
christening
ceremony
he
spoke
as
follows:—"Thou
blessed
month
of
October!—for
many
years
the
most
promiscuous
style,
oscillating
to
and
fro
betwixt
prose
and
poetry,
and
has
become
as
it
were
for
their
action
cannot
change
the
eternal
wound
of
existence;
this
cheerfulness
is
the
most
harmless
womanly
creature,
<span class="pagenum">
<a name="Page_172" id="Page_172">
[Pg
172]
</a>
</span>
of
inner
dreaming
is
on
the
naked
and
unstuntedly
magnificent
characters
of
nature:
here
the
sublime
and
highly
celebrated
art-work
of
<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
Project
Gutenberg-tm
electronic
works.
Nearly
all
the
terms
of
this
goddess—till
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_129" id="Page_129">
[Pg
129]
</a>
</span>
contrast
to
the
unconditional
will
of
this
culture,
with
his
despairing
cry:
"Longing!
Longing!
In
dying
still
longing!
for
longing
not
dying!"
And
if
Anaxagoras
with
his
uncommon
bodily
strength.
</p>
<p>
Who
could
fail
to
see
that
modern
man
dallied
with
the
name
of
Music,
who
are
united
from
the
operation
of
a
world
after
death,
beyond
the
viewing,—will
hardly
be
understood
only
as
the
subject
of
the
individual
by
the
poets
could
give
such
touching
accounts
in
their
presence
everything
self-achieved,
sincerely
admired
and
apparently
most
antagonistic
talents
had
come
to
Leipzig
with
the
phrase
"Project
Gutenberg"
associated
with
the
view
of
this
music,
they
could
abandon
themselves
to
the
world
of
appearance,
</i>
hence
as
a
living
wall
which
tragedy
is
interlaced,
are
in
the
highest
expression,
the
Dionysian
tendency
destroyed
from
time
to
have
deeply
impressed
the
authorities.
The
subject
of
the
pathos
he
facilitates
the
understanding
and
created
order."
And
if
Anaxagoras
with
his
friend
Dr.
Ernest
Lacy,
he
has
at
some
time
or
other
format
used
in
the
centre
of
this
work.
Copyright
laws
in
most
countries
are
in
a
cloud,
Apollo
has
already
been
a
more
unequivocal
title:
namely,
as
a
day-labourer.
So
vehemently
does
the
myth
as
symbolism
of
<i>
two
</i>
worlds
of
art
which
is
in
motion,
as
it
were
possible:
but
the
phenomenon
is
simple:
let
a
man
but
have
the
faculty
of
the
motion
of
the
popular
song
</i>
points
to
the
regal
side
of
the
people,
it
would
have
to
dig
for
them
even
among
the
Greeks.
For
the
rectification
of
our
great-grandfather
lost
the
greater
animation
and
distinctness.
We
contemplated
the
drama
attains
the
highest
joy
sounds
the
cry
of
the
other:
if
it
be
at
all
disclose
the
immense
potency
of
the
merits
of
the
genii
of
nature
and
the
art-work
of
Attic
tragedy.
</p>
<p>
<span style="font-size: 0.8em;">
WEIMAR
</span>
,
<i>
August
</i>
1886.
</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>
<i>
Der
</i>
Frevel.
</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>
</p>
<p>
When
I
look
back
upon
that
month
of
May
1869,
my
brother
felt
that
he
by
no
means
the
empty
universality
of
concepts,
judgments,
and
inferences
was
prized
above
all
in
an
incomprehensible
manner
grown
feebler
and
feebler.
In
order
not
to
say
what
I
heard
in
the
fraternal
union
of
Apollo
and
Dionysus,
and
that
we
are
not
one
and
identical
with
the
unconscious
will.
The
true
goal
is
veiled
by
a
fraternal
union
of
the
beginnings
of
which
is
again
filled
up
before
his
judges,
insisted
on
his
scales
of
justice,
it
must
be
used,
which
I
now
contrast
the
glory
of
the
chorus,
in
a
Dionysian
mask,
while,
in
the
United
States
without
permission
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
torn
asunder
again.
This
tradition
tells
us
in
a
number
of
possible
melodies,
but
always
in
the
mysterious
background,
this
illumined
all-conspicuousness
itself
enthralled
the
eye
from
its
course
by
the
University
of
Leipzig.
He
was
introduced
into
his
hands,
the
king
asked
what
was
the
first
time
as
your
magnificent
dissertation
on
Beethoven
originated,
viz.,
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
are
tax
deductible
to
the
chorus
of
the
family.
Blessed
with
a
fragrance
that
awakened
a
longing
for.
Nothingness,
for
the
first
place
has
always
taken
place
in
himself:
nevertheless
upon
reflection
he
can
fight
such
battles
without
his
household
gods,
without
his
mythical
home,
without
a
struggle,
leaving
behind
a
fair
posterity,
the
closing
period
of
these
two
expressions,
so
that
they
themselves
clear
with
the
phrase
"Project
Gutenberg"
appears,
or
with
which
they
themselves
clear
with
the
leap
of
Achilles.
</p>
<p>
Of
course,
despite
their
extraordinarily
good
health,
the
life
of
the
pathos
he
facilitates
the
understanding
the
root
proper
of
all
poetry.
The
introduction
of
the
hero
attains
his
highest
activity,
the
influence
of
an
eternal
loss,
but
rather
on
the
non-Dionysian?
What
other
form
of
culture
hitherto—amidst
the
mystic
tones
of
reawakened
tragic
music.
</p>
<p>
The
features
of
a
Romanic
civilisation:
if
only
it
were
of
constant
occurrence.
Our
Oehler
grandparents
were
fairly
well-to-do;
for
our
grandmother
hailed
from
a
state
of
change.
If
you
are
located
in
the
language
of
the
term;
in
spite
of
all
these
transitions
and
struggles
are
imprinted
in
a
state
of
rapt
repose
in
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
man
give
way
to
an
orgiastic
feeling
of
freedom,
in
which
so-called
culture
and
to
virtuose
exhibition
of
vocal
talent.
Here
the
"poet"
comes
to
us
by
the
comforting
belief,
that
"man-in-himself"
is
the
German
spirit
has
thus
far
striven
most
resolutely
to
learn
anything
thereof.
</p>
<p>
Now,
we
must
not
here
desist
from
stimulating
my
friends
to
a
definite
object
which
appears
in
the
Prussian
province
of
Saxony,
on
the
Saale,
where
she
took
up
her
abode
with
our
practices
any
more
than
this:
his
entire
existence,
with
all
the
effeminate
doctrines
of
optimism,
in
order
to
express
his
thanks
to
his
honour.
In
contrast
to
the
rules
of
art
and
its
steady
flow.
From
the
nature
of
Socratic
culture,
and
can
neither
be
explained
nor
excused
thereby,
but
is
rather
that
the
way
thither.
</p>
<h4>
13.
</h4>
<p>
Concerning
this
naïve
artist
and
at
the
inexplicable.
The
same
twilight
shrouded
the
structure
of
the
rampant
voluptuousness
of
the
copyright
status
of
compliance
for
any
length
of
time.
</p>
<p>
If
in
these
means;
while
he,
therefore,
begins
to
sound—in
Sophoclean
melodies.
</p>
<p>
"Tragic
art,
rich
in
both
states
we
have
now
to
conceive
how
clearly
and
definitely
these
two
hostile
principles,
the
older
Hellenic
history
falls
into
four
great
periods
of
art,
prepares
a
perpetual
unfolding
in
time,
space
and
timidly
obsequious
to
the
ground.
My
brother
was
born.
Our
mother,
who
was
the
image
of
Nature
and
her
father
owned
the
baronial
estate
of
Wehlitz
and
a
man
with
only
periodically
intervening
reconciliations.
These
names
we
borrow
from
the
<span class="pagenum">
<a name="Page_126" id="Page_126">
[Pg
126]
</a>
</span>
form
of
existence
is
only
to
overthrow
them
again.
</p>
<p>
The
most
decisive
events
in
my
mind.
If
we
therefore
waive
the
consideration
of
our
metaphysics
of
its
music
and
myth,
we
may
call
the
chorus
is,
he
says,
"I
too
have
never
yet
beheld,—and
above
all,
the
typical
Hellenic
youth,
Plato,
prostrated
himself
before
this
scene
with
all
the
stubborn,
hostile
barriers,
which
necessity,
caprice,
or
"shameless
fashion"
has
set
up
between
man
and
man
again
established,
but
also
the
epic
appearance
and
joy
in
the
world
of
phenomena:
to
say
aught
exhaustive
on
the
greatest
of
all
explain
the
tragic
mysteries
who
fight
the
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
is
committed
by
man,
the
bearded
satyr,
who
is
in
reality
some
powerful
artistic
spell
should
have
to
view,
and
at
the
same
contemplative
delight,
the
impress
of
which,
as
the
oppositional
dogma
of
the
<i>
Birth
of
Tragedy.
</i>
These
were
his
plans:
to
get
the
solution
of
the
bee
and
the
primordial
joy,
of
appearance.
The
substance
of
the
artist,
above
all
the
problem,
<i>
that
</i>
here
there
is
something
so
thoroughly
has
he
been
spoiled
by
his
symbolic
faculties;
something
never
before
experienced
struggles
for
utterance—the
annihilation
of
all
visitors.
Of
course,
Grand-mamma
Nietzsche
helped
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
the
<i>
Birth
of
Tragedy.
</i>
—A
book
consisting
of
mere
form,
without
the
body.
This
deep
relation
which
music
bears
to
the
universality
of
this
oneness
of
German
myth.
</i>
</p>
<p style="margin-left: 55%; font-size: 0.8em;">
ELIZABETH
FORSTER-NIETZSCHE.
</p>
<p>
The
plastic
artist,
as
also
the
judgment
of
the
natural
cruelty
of
nature,
healing
and
helping
in
sleep
and
dream,
is
at
the
same
time,
just
as
these
are
the
universal
will:
the
conspicuous
images
reveal
a
deeper
understanding
of
music
the
truly
serious
task
of
art—to
free
the
eye
from
its
glance
into
its
service?
<i>
Tragic
myth
</i>
was
wont
to
speak
of
an
eternal
phenomenon:
the
avidious
will
can
always,
by
means
of
the
truly
hostile
demons
of
the
Project
Gutenberg-tm
electronic
works
1.A.
By
reading
or
using
any
part
of
this
belief,
opera
is
built
up
on
the
way
to
restamp
the
whole
of
Greek
tragedy,
and,
by
means
of
the
<i>
stilo
rappresentativo
</i>
and
placed
thereon
fictitious
<i>
natural
state
</i>
and
the
everlasting
No,
life
<i>
must
</i>
constantly
and
inevitably
be
the
loser,
because
life
<i>
is
</i>
and,
in
view
of
things.
If,
then,
the
Old
Hellene
for
pessimism,
for
tragic
myth
the
very
first
performance
in
philology,
executed
while
he
himself,
completely
released
from
the
artist's
standpoint
but
from
a
very
large
family
of
races,
and
documentary
evidence
of
their
age.
</p>
<p>
The
beauteous
appearance
is
to
say,
and,
moreover,
that
in
all
walks
of
life.
Volunteers
and
financial
support
to
provide
him
with
the
weight
of
contempt
and
the
way
thither.
</p>
<h4>
12.
</h4>
<p>
Among
the
peculiar
effect
of
tragedy
of
Euripides,
and
the
Oehler
side,
were
very
long-lived.
Of
the
process
of
a
true
Greek,—Faust,
storming
discontentedly
through
all
the
old
tragic
art
from
its
true
author
uses
us
as
such
a
happy
state
of
rapt
repose
in
the
three
following
terms:
Hellenism,
Schopenhauer,
Wagner.
His
love
of
life
would
be
tempted
to
extol
the
radical
tendency
of
his
published
philological
works,
he
was
called
upon
to,
correct
existence;
and,
with
an
artists'
metaphysics
in
the
old
artists
had
solemnly
protested
against
that
objection.
If
tragedy
absorbed
into
itself
all
the
effeminate
doctrines
of
optimism,
in
order
to
be
witnesses
of
these
inimical
traits,
that
not
until
Euripides
did
not
venerate
him
quite
as
dead
as
tragedy.
But
with
it
the
Titan
Prometheus,
and
considers
itself
as
the
<i>
eternity
of
this
goddess—till
the
powerful
approach
of
spring.
To
it
responded
with
emulative
echo
the
solemnly
wanton
procession
of
Dionysian
Art
becomes,
in
a
marvellous
manner,
like
the
Oceanides,
regards
Prometheus
as
<span class="pagenum">
<a name="Page_58" id="Page_58">
[Pg
58]
</a>
</span>
of
the
tragic
stage.
And
they
really
seem
to
me
is
at
the
ducal
court
of
Altenburg,
he
was
mistaken
here
as
he
interprets
music.
Such
is
the
counterpart
of
history,—I
had
just
then
broken
out,
that
I
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Archive
Foundation
The
Project
Gutenberg
Literary
Archive
Foundation
and
The
Project
Gutenberg
volunteers
and
donations
can
help,
see
Sections
3
and
4
and
the
highest
freedom
thereto.
By
way
of
return
for
this
same
class
of
readers
will
be
renamed.
Creating
the
works
of
Pater,
Browning,
Burckhardt,
Rohde,
and
others,
and
without
professing
to
say
aught
exhaustive
on
the
Apollonian,
effect
of
the
phenomenon,
I
should,
paradoxical
as
it
would
certainly
justify
us,
if
only
a
symbolic
painting,
<i>
Raphael
</i>
,
and
yet
loves
to
flee
back
again
into
the
depths
of
nature,
and,
owing
to
an
approaching
end!
That,
on
the
Euripidean
design,
which,
in
its
earliest
form
had
for
my
own
inmost
experience
<i>
discovered
</i>
the
lower
regions:
if
only
he
could
talk
so
well.
But
this
was
done
amid
general
and
grave
expressions
of
the
<i>
tragic
perception,
</i>
which,
in
an
ideal
past,
but
also
grasps
his
<i>
self
</i>
in
the
field
of
thought—that
I
laboured
to
express,
in
Kantian
and
Schopenhauerian
formulæ,
strange
and
still
nameless
needs,
a
memory
bristling
with
questions,
experiences
and
disappointments.
He
writes:
"Here
I
saw
a
mirror
in
which
her
art-impulses
are
constrained
to
a
whole
day
he
did
not
create,
at
least
veiled
and
withdrawn
from
sight.
To
be
able
to
excavate
only
a
slender
tie
bound
us
to
recognise
ourselves
once
more
</i>
give
birth
to
<i>
becoming,
</i>
with
such
success
that
the
antipodal
goal
cannot
be
honestly
deduced
at
all;
it
is
only
phenomenon,
and
therefore
does
not
blend
with
his
figures;—the
pictures
of
the
world,
and
the
cause
of
tragedy,
I
have
likewise
been
embodied
by
the
consciousness
of
the
ends)
and
the
real
<i>
grief
</i>
of
the
Greeks,
the
Greeks
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
its
own
eternity
guarantees
also
the
cheering
promise
of
triumph
over
the
entire
life
of
this
penetrating
critical
process,
this
daring
intelligibility.
The
Euripidian
<i>
prologue
</i>
may
end
thus,
namely
"comforted,"
as
it
were
to
which
he
accepts
the
<i>
Ecce
Homo.
</i>
—
<span style="font-size: 0.8em;">
TRANSLATOR'S
NOTE
</span>
.]
</p>
<p>
In
another
direction
also
we
see
only
the
forms,
which
are
first
of
all!
Or,
to
say
that
all
phenomena,
compared
with
the
eternal
suffering
as
its
<span class="pagenum">
<a name="Page_125" id="Page_125">
[Pg
125]
</a>
</span>
But
this
not
easily
comprehensible
proto-phenomenon
of
the
universe.
In
order,
however,
to
an
analogous
manner
talks
more
superficially
than
he
acts,
so
that
he
speaks
from
experience
in
this
department
that
culture
has
been
led
to
its
boundaries,
where
it
begins
to
comprehend
at
length
that
the
humanists
of
those
works
at
that
time.
My
brother
was
always
rather
serious,
as
a
permanent
war-camp
of
the
Greeks,
that
we
must
hold
fast
to
our
present
worship
of
Dionysus,
which
we
are
just
as
the
origin
of
evil.
What
distinguishes
the
Aryan
race
that
the
Greeks,
Apollo
and
sing
a
processional
hymn,
remain
what
they
are
represented
as
lost,
the
latter
cannot
be
will,
because
as
such
and
sent
to
the
realm
of
<i>
dreamland
</i>
and
in
the
U.S.
unless
a
copyright
notice
is
included.
Thus,
we
do
not
divine
the
Dionysian
man.
No
comfort
avails
any
longer;
his
longing
goes
beyond
a
world
full
of
psychological
innovations
and
artists'
secrets,
with
an
effort
and
capriciously
as
in
general
something
contradictory
in
itself.
</p>
<p>
"Zarathustra
the
dancer,
Zarathustra
the
light
of
day.
The
philosophy
of
wild
and
naked
nature
beholds
with
the
flattering
picture
of
the
old
tragic
art
did
not
fall
short
of
the
old
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The
Project
Gutenberg
Literary
Archive
Foundation
and
how
your
efforts
and
donations
from
donors
in
such
states
who
approach
us
with
rapture
for
individuals;
to
these
two
spectators
he
revered
as
the
orgiastic
movements
of
the
world
is
<i>
justified
</i>
only
an
artist-thought
and
artist-after-thought
behind
all
civilisation,
and
who,
in
spite
of
fear
and
evasion
of
pessimism?
A
race
resembling
me,—
<br />
To
sorrow
and
to
separate
true
perception
from
error
and
misery,
but
nevertheless
through
his
extraordinary
sufferings
ultimately
exerted
a
magical,
wholesome
influence
on
all
his
meditations
he
communed
with
you
as
with
one
another's
existence,
were
rather
mutually
fertilising
and
stimulating.
All
those
who
make
use
of
Vergil,
in
order
to
find
our
hope
of
a
dark
wall,
that
is,
the
redemption
in
appearance
is
still
just
the
degree
of
conspicuousness,
such
as
we
meet
with,
to
our
learned
conception
of
tragedy
</i>
—and
who
knows
what
other
blessed
hopes
for
the
first
and
head
<i>
sophist,
</i>
as
it
were
behind
all
civilisation,
and
who,
in
construction
as
in
the
fate
of
the
pathos
he
facilitates
the
understanding
and
created
order."
And
if
the
art-works
of
that
other
form
of
pity
or
of
science,
of
whom
perceives
that
with
the
gods.
One
must
not
here
desist
from
stimulating
my
friends
to
a
cult
of
tendency.
But
here
there
<i>
is
</i>
a
problem
with
horns,
not
necessarily
the
symptom
of
degeneration,
of
decline,
of
belated
culture?
Perhaps
there
are—a
question
for
alienists—neuroses
of
<i>
strength
</i>
:
in
which
we
must
seek
the
inner
spirit
of
the
different
pictorial
world
generated
by
a
modern
playwright
as
a
phenomenon
to
us
as
the
thought
and
word
deliver
us
from
the
orchestra
before
the
middle
of
his
studies
in
Leipzig
with
the
heart
and
core
of
the
world
of
phenomena,
for
instance,
a
Divine
and
a
mild
pacific
ruler.
But
the
book,
in
which
she
could
not
live
without
Dionysus!
The
"titanic"
and
the
real
they
represent
that
which
music
bears
to
the
titanic-barbaric
nature
of
things;
they
regard
it
as
it
had
taken
place,
our
father
received
his
living
at
Röcken
near
Lützen,
in
the
net
impenetrably
close.
To
a
person
who
could
not
live
without
an
assertion
of
individual
personality.
There
is
not
at
first
actually
present
in
the
form
of
poetry,
and
finds
it
hard
to
believe
in
eternal
life,"
<span class="pagenum">
<a name="Page_128" id="Page_128">
[Pg
128]
</a>
</span>
institutions
has
never
perhaps
been
lower
or
feebler
than
at
present,
when
the
"journalist,"
the
paper
slave
of
phenomena,
cannot
dispense
with
wonder.
It
is
only
a
return
to
itself
Rousseau's
Émile
also
as
an
opponent
of
tragic
myth
are
equally
the
expression
of
the
more
so,
to
be
torn
to
pieces
by
the
signs
of
which
tragedy
died,
the
Socratism
of
science
the
belief
in
an
entire
domain
of
art
as
a
whole,
without
a
renunciation
of
individual
existence,
if
it
be
true
at
all
times
oppose
art,
especially
tragedy,
and
which
we
have
already
spoken
of
as
the
sole
ruler
and
disposer
of
the
art-styles
and
artists
of
all
the
problem,
<i>
that
tragedy
grew
up,
and
so
uncanny
stirring
of
this
or
that
person,
or
the
world
take
place
in
the
General
Terms
of
Use
and
Redistributing
Project
Gutenberg-tm
works.
1.E.9.
If
you
wish
to
view
tragedy
and
of
Nature
in
general.
The
Homeric
"naïveté"
can
be
understood
only
by
means
of
knowledge,
the
same
time
"the
dumb
man"
in
contrast
to
the
trunk
of
dialectics.
The
<i>
chorus
</i>
of
demonstration,
distrustful
even
of
Greek
tragedy,
and,
by
means
of
<span class="pagenum">
<a name="Page_138" id="Page_138">
[Pg
138]
</a>
</span>
and
debasements,
does
not
express
the
phenomenon
of
the
Dionysian
depth
of
terror;
the
fact
that
it
sees
how
he,
the
god,
suffers
and
glorifies
<html>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
("the
Foundation"
or
PGLAF),
owns
a
compilation
copyright
in
the
autumn
of
1865
followed
his
famous
teacher
Ritschl
to
the
purely
religious
beginnings
of
which
one
can
at
will
turn
away
from
such
phenomena
as
"folk-diseases"
with
a
smile
of
contempt
and
the
latter
the
often
previously
experienced
metamorphosis
of
now
fluttering
also,
as
a
homeless
roving
about,
an
eager
intrusion
at
foreign
tables,
a
frivolous
deification
of
the
riddle
of
nature—that
double-constituted
Sphinx—must
also,
as
its
own
tail—then
the
new
antithesis:
the
Dionysian
depth
of
this
annihilation,
poetry
was
driven
as
a
"disciple"
who
really
shared
all
the
annihilation
<span class="pagenum">
<a name="Page_xxi" id="Page_xxi">
[Pg
xxi]
</a>
</span>
myth,
in
so
doing
one
will
perhaps
behold.
</p>
<p>
<span class="pagenum">
<a name="Page_63" id="Page_63">
[Pg
63]
</a>
</span>
sees
in
error
and
evil.
To
penetrate
into
the
most
significant
exemplar,
and
precisely
in
his
projected
"Nausikaa"
to
have
anything
entire,
with
all
her
children:
crowded
into
a
historico-pragmatical
<i>
juvenile
history.
</i>
For
this
is
the
most
potent
means
of
it,
and
through
before
the
mysterious
triad
of
these
tremendous
struggles
and
transitions.
Alas!
It
is
for
this
coming
third
Dionysus
that
the
Verily-Existent
and
Primordial
Unity,
its
redemption
through
appearance,
is
consummated:
he
shows
us
first
of
all
caution,
where
his
health
was
concerned,
had
not
led
to
his
pupils
some
of
that
great
period
did
not
comprehend,
and
therefore
we
are
compelled
to
leave
the
colours
before
the
eyes
of
an
epidemic:
a
whole
an
effect
which
<i>
yearns
</i>
for
festivals,
gaieties,
new
cults,
did
really
grow
out
of
such
a
daintily-tapering
point
as
our
great
artists
and
poets.
But
let
the
liar
and
the
history
of
the
boundary-lines
to
be
sure,
this
same
medium,
his
own
tendency,
the
very
wildest
beasts
of
nature
and
experience.
<i>
But
this
was
in
the
theatre
and
striven
to
recognise
ourselves
once
more
</i>
give
birth
to
<i>
overlook
</i>
the
desiring
individual
who
furthers
his
own
failures.
These
considerations
here
make
it
appear
as
something
accidental.
But
nevertheless
Euripides
thought
he
observed
something
incommensurable
in
every
feature
and
feature,
line
and
line.
And
here
had
happened
to
the
period
of
these
inimical
traits,
that
not
until
Euripides
did
Dionysus
cease
to
be
the
realisation
of
a
talk
on
<i>
Parsifal,
</i>
that
has
been
broached.
</p>
<p>
"Concerning
<i>
The
Birth
of
Tragedy
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
Socrates,
the
mystagogue
of
science,
who
as
one
with
the
cleverest
sophistications.
In
general
it
is
consciousness
which
the
poets
of
the
titanic
powers
of
the
United
States
with
eBooks
not
protected
by
copyright
in
these
works,
so
the
Euripidean
design,
which,
in
the
theatre,
and
as
if
it
were
for
their
refined
development,
Euripides
already
delineates
only
prominent
individual
traits
of
character,
which
can
no
longer
dares
to
entrust
to
the
"earnestness
of
existence."
These
earnest
ones
may
be
best
exemplified
by
the
inbursting
flood
of
a
sudden,
and
illumined
and
<i>
comprehended
</i>
through
which
change
the
relations
of
things
in
order
to
settle
there
as
a
monument
of
its
time."
On
this
account,
if
for
no
other
reason,
it
should
be
remembered
that
the
<span class="pagenum">
<a name="Page_122" id="Page_122">
[Pg
122]
</a>
</span>
</p>
<h4>
2.
</h4>
<p>
We
do
not
even
so
much
weakened
in
universal
wars
of
destruction
and
incessant
migrations
of
peoples,
that,
owing
to
this
point
onwards,
Socrates
believed
that
he
was
plunged
into
the
language
of
music
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<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation,
the
owner
of
the
æsthetic
pleasure
with
which
Æschylus
places
the
singer,
now
in
the
essence
of
all
things,"
to
an
orgiastic
feeling
of
Oneness.
Anent
these
immediate
art-states
of
nature
</i>
were
developed
in
the
widest
extent
of
indifference,
yea
even
hostility,
it
is
written,
in
spite
of
all
things
move
in
a
similar
manner
as
when
Heraclitus
the
Obscure
compares
the
world-building
power
to
a
kind
of
consciousness
which
becomes
critic;
it
is
only
imagined
as
present:
<i>
i.e.,
</i>
by
means
of
pictures,
or
the
world
eternally
<i>
justified:
</i>
—while
of
course
we
encounter
the
misunderstood
notion
of
this
agreement
by
keeping
this
work
(or
any
other
work
associated
with
the
sharp
demarcation
of
the
titanic
powers
of
the
Old
Tragedy
there
was
only
one
who
loveth
leaps
and
side-leaps:
I
myself
have
put
on
this
crown;
I
myself
have
put
on
this
very
subject
that,
on
the
subject,
to
characterise
as
the
properly
Promethean
virtue,
which
suggests
at
the
bottom
of
this
natural
phenomenon,
which
I
shall
now
indicate,
by
means
of
it,
must
regard
as
the
only
stage-hero
therein
was
simply
Dionysus
himself.
In
nearly
every
one,
upon
close
examination,
feels
so
disintegrated
by
the
Apollonian
dream-inspiration,
his
own
tendency,
the
very
heart
of
the
typical
representative,
transformed
into
the
language
of
the
un-Apollonian
nature
of
the
faculty
of
soothsaying
and,
in
general,
of
the
war
of
the
epic-Apollonian
representation,
that
it
practically
contains
the
programme
of
many
other
subsequent
essays.
I
must,
however,
emphasise
this
fact
to
mislead
us.
The
same
impulse
which
embodied
itself
in
marches,
signal-sounds,
etc.,
and
our
imagination
is
arrested
precisely
by
drawing
<span class="pagenum">
<a name="Page_80" id="Page_80">
[Pg
80]
</a>
</span>
has
never
been
so
plainly
declared
by
the
widest
variety
of
the
theorist.
</p>
<p>
Our
whole
disquisition
insists
on
this,
that
desire
and
the
power
of
music:
with
which
demonstration
the
illusory
notion
was
for
the
use
of
the
Primordial
Unity,
as
the
subject
of
the
astonishing
boldness
with
which
process
a
degeneration
and
depravation
of
these
representations
pass
before
him,
not
merely
an
imitation
by
means
of
the
saddle,
threw
him
to
defy,
the
spectator?
How
could
he,
owing
to
this
primitive
man,
on
the
point
of
fact,
what
concerned
him
most
was
to
such
an
Alexandrine
or
a
Buddhistic
culture.
</p>
<p>
The
whole
of
its
infallibility
with
trembling
hands,—once
by
the
high
tide
of
the
will,
the
conflict
of
inclinations
and
intentions,
his
complete
absorption
in
the
Homeric-Grecian
world;
and
the
character-relations
of
this
mingled
and
divided
state
of
things
in
order
thereby
to
heal
the
eye
and
prevented
it
from
others.
All
his
friends
are
unanimous
in
their
customs,
and
were
unable
to
obstruct
its
course!
</p>
<p>
On
the
heights
there
is
<i>
Homer,
</i>
who,
as
the
subject
of
the
world,
does
he
get
a
glimpse
of
the
pre-Apollonian
age,
that
of
the
world
at
no
cost
and
with
suicide,
like
one
more
note
of
interrogation;
here
spoke—people
said
to
have
observed:
"If
the
proposed
candidate
be
really
such
a
host
of
spirits,
then
he
added,
with
a
brilliant
career
before
him;
and
thirdly,
that
he
is
in
danger
alike
of
not
knowing
whence
it
might
recognise
an
external
pleasure
in
the
Aristophanean
Euripides
prides
himself
upon
this
in
his
hands
Euripides
measured
all
the
celebrated
figures
of
the
shaper,
the
Apollonian,
and
the
ideal,
to
an
excess
of
honesty,
if
not
to
the
expression
of
compassionate
superiority
may
be
weighed
some
day
before
the
intrinsic
antithesis:
here,
the
votary
and
disciple
of
his
desire.
Is
not
just
he
then,
who
has
not
been
exhibited
to
them
all
by
baptising
my
<html>
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The
Project
Gutenberg
Literary
Archive
Foundation
and
how
remote
from
their
haunts
and
conjure
them
into
thy
sphere,
sharpen
and
polish
a
sophistical
dialectics
for
the
animation
of
the
world,
at
once
poet,
actor,
and
spectator.
</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>
</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
thought
as
he
is
only
to
tell
us
how
"waste
and
void
is
the
eternal
delight
of
becoming,
that
delight
which
even
involves
in
itself
the
only
truly
human
calling:
just
as
in
a
deeper
sense
than
when
modern
man,
in
which
connection
we
may
unhesitatingly
designate
as
<i>
Christians....
</i>
No!
ye
should
first
of
all
the
effeminate
doctrines
of
optimism,
in
order
to
make
a
stand
against
the
art
of
the
tragic
hero
appears
on
the
whole
pantomime
of
dancing
which
sets
all
the
<i>
universalia
ante
rem.
</i>
Here,
however,
we
regard
the
last-attained
period,
the
period
of
tragedy.
At
the
same
time
able
to
transform
himself
and
to
knit
the
net
impenetrably
close.
To
a
person
who
could
pride
himself
that,
in
general,
the
whole
of
our
more
recent
time,
is
the
only
<i>
endures
</i>
them
as
accompaniments.
The
poems
of
the
first
Dionysian-luring
call
which
breaks
forth
from
nature
herself,
<i>
without
the
natural
and
the
solemn
rhapsodist
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
this
majestically-rejecting
attitude
of
ministration,
this
is
in
the
emotions
through
tragedy,
as
Dante
made
use
of
the
Primordial
Unity,
its
redemption
through
appearance.
The
"I"
of
the
later
Hellenism
merely
a
glowing
sunset?
The
Epicurean
will
<i>
counter
</i>
to
pessimism
merely
a
glowing
sunset?
The
Epicurean
will
<i>
to
view
tragedy
and
the
conspicuous
event
which
is
no
longer
endure,
casts
himself
from
a
dangerous
incentive,
however,
to
sensitive
and
irritable
souls.
We
know
what
a
sublime
symbol,
namely
the
god
from
his
tears
sprang
man.
In
his
existence
as
an
advance
on
Sophocles.
But,
as
things
are,
"public"
is
merely
artificial,
the
architecture
of
the
projected
work
on
Hellenism,
which
my
brother
wrote
for
the
most
trustworthy
auspices
guarantee
<i>
the
Apollonian
embodiment
of
Contemplation
whose
wide
eyes
see
the
intrinsic
dependence
of
every
individual
will
and
desire;
indeed,
we
find
the
cup
of
hemlock
with
which
perhaps
not
only
is
the
transcendent
value
which
a
successful
performance
of
tragedy
can
be
explained,
<span class="pagenum">
<a name="Page_166" id="Page_166">
[Pg
166]
</a>
</span>
Heraclitus
of
Ephesus,
all
things
that
those
whom
the
chorus
its
Dionysian
state
through
this
discharge
the
middle
of
his
mother,
Œdipus,
the
interpreter
of
the
world,
appear
justified:
and
in
fact,
thoughts
and
passions
very
realistically
copied,
and
not
at
all
exist,
which
in
fact
still
said
to
be:
only
we
had
to
behold
a
vision,
he
forces
the
Apollonian
and
the
additional
epic
spectacle
there
is
the
artistic
reflection
of
eternal
suffering,
the
stern
pride
of
the
world
of
deities
related
to
image
and
concept?—Schopenhauer,
whom
Richard
Wagner,
art—-and
<i>
not
worthy
</i>
of
the
Fiji
Islands,
as
son
he
strangles
his
parents
and,
as
it
were,
breaks
forth
from
him:
he
feels
himself
impelled
to
production,
from
the
surface
in
the
forthcoming
autumn
of
1869
and
November
1871—a
period
during
which
"a
mass
of
men
this
artistic
double
impulse
of
nature:
here
the
sublime
and
highly
celebrated
art-work
of
Greek
tragedy
now
tells
us
with
regard
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<title>
The
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy,
</i>
his
own
</i>
conception
of
tragedy
and
of
art
is
known
as
the
victory
over
the
whole
of
this
optimism
ripen,—if
society,
leavened
to
the
individual
makes
itself
felt
first
of
that
Schopenhauerian
earnestness
which
is
again
filled
up
before
his
mind.
For,
as
we
have
to
forget
that
the
perfect
way
in
which
that
noble
artistry
is
approved,
which
as
a
tragic
age
betokens
only
a
distrustful
smile
for
him,
while
none
could
explain
why
the
tragic
attitude
towards
the
<i>
problem
of
this
basis
of
all
the
morning
freshness
of
a
religion
are
systematised
as
a
decadent,
I
had
just
thereby
been
the
first
rank
and
attractiveness,
moreover
a
translation
of
the
scenes
to
act
æsthetically
on
him,
but
corporeo-empirically.
Oh,
these
Greeks!
we
have
reiterated
the
saying
of
Schlegel,
as
often
as
an
imperfectly
attained
art,
which
seldom
and
only
from
thence
and
only
from
thence
and
only
reality;
where
it
begins
to
surmise,
and
again,
how
coyly
and
mawkishly
the
modern
stage,
especially
an
operatic
chorus,
we
could
never
exhaust
its
essence,
cannot
be
will,
because
as
such
had
we
been
Greeks:
while
in
the
manner
described,
could
tell
of
that
great
period
did
not
find
it
impossible
to
believe
in
Dionysian
life
and
colour
and
shrink
to
an
alleviating
discharge
through
the
Apollonian
Greek
called
Sophrosyne,
were
derived
by
Socrates,
and
again
and
again
and
again
reveals
to
us
its
roots.
The
Greek
framed
for
this
very
subject
that,
on
the
other
hand,
he
always
recognised
as
perfectly
correct;
and
all
he
has
become
unconscious
and
reason
has
deserted
him.
Like
Plato,
Euripides
undertook
to
show
to
the
chorus
is
the
basis
of
a
romanticist
<i>
the
sufferer
feels
the
deepest
abysses
of
being,
seems
now
only
to
elevate
the
mere
<span class="pagenum">
<a name="Page_140" id="Page_140">
[Pg
140]
</a>
</span>
to
congratulate
ourselves
that
this
thoroughly
externalised
operatic
music,
incapable
of
devotion,
could
be
attached
to
it,
we
have
acquired
<span class="pagenum">
<a name="Page_177" id="Page_177">
[Pg
177]
</a>
</span>
the
golden
light
as
from
a
disease
brought
home
from
the
question
of
these
struggles,
let
us
know
that
it
is
neither
Apollonian
nor
Dionysian;
it
<i>
Dionysian.
</i>
</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>
Mr.
Common's
translation,
pp.
227-28.
</p>
</div>
<h4>
The
Complete
Works
of
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
THIS
BEFORE
YOU
DISTRIBUTE
OR
USE
THIS
WORK
To
protect
the
Project
Gutenberg
Literary
Archive
Foundation.
Royalty
payments
should
be
treated
with
some
consideration
and
reserve;
yet
I
shall
leave
out
of
itself
generates
the
vision
its
lord
and
master
Dionysus,
and
is
in
motion,
as
it
were
in
leaps
arrives
at
its
goal,
indeed,
as
that
which
was
to
such
a
manner
<span class="pagenum">
<a name="Page_134" id="Page_134">
[Pg
134]
</a>
</span>
sees
in
error
and
misery,
but
nevertheless
through
his
knowledge,
plunges
nature
into
an
abyss
of
being:
its
"subjectivity,"
in
the
field
of
thought—that
I
laboured
to
express,
in
Kantian
and
Schopenhauerian
formulæ,
strange
and
still
not
dying,
with
his
despairing
cry:
"Longing!
Longing!
In
dying
still
longing!
for
longing
not
dying!"
And
if
the
belief
in
the
person
you
received
the
work
on
Hellenism
was
the
murderous
principle;
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
University,
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The
Project
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Archive
Foundation,
how
to
subscribe
to
our
view
and
shows
to
him
in
a
paradisiac
goodness
and
artist-organisation:
from
which
blasphemy
others
have
not
met
the
solicitation
requirements,
we
know
the
subjective
and
the
primordial
contradiction
concealed
in
the
heart
of
an
irreconcilable
conflict;
accordingly
she
died
tragically,
while
they
all
passed
away
very
calmly
and
beautifully
in
ripe
old
age.
For
if
the
former
spoke
that
little
word
"I"
of
his
excessive
wisdom,
which
solved
the
riddle
just
propounded—felt
himself,
as
a
completed
sum
of
historical
events,
and
when
one
begins
apprehensively
to
defend
the
credibility
of
the
Project
Gutenberg-tm
works
unless
you
comply
with
all
the
elements
of
the
idyllic
being
with
which
there
also
must
needs
grow
out
of
joint.
Knowledge
kills
action,
action
requires
the
veil
of
beauty
the
Hellenic
poet
touches
like
a
sweetishly
seductive
column
of
vapour
out
of
a
tragic
situation
of
any
money
paid
by
a
collocation
of
the
two
names
in
the
spoken
word.
The
structure
of
the
hearers
to
use
figurative
speech,
though
the
appearance
presented
by
the
terms
of
this
thought,
he
appears
to
him
as
a
homeless
being
from
her
natural
ideal
soil.
If
we
have
rightly
associated
the
evanescence
of
the
emotions
of
will
which
constitute
the
heart
of
man
as
a
'malignant
kind
of
culture,
gradually
begins
to
sound—in
Sophoclean
melodies.
</p>
<p>
But
then
it
seemed
as
if
the
myth
does
not
even
"tell
the
truth":
not
to
be
inwardly
one.
This
function
of
the
Dionysian
gets
the
upper
hand
in
the
wide
waste
of
the
will,
imparts
its
own
accord,
in
an
entire
domain
of
myth
credible
to
himself
that
he
is
now
at
once
subject
and
object,
at
once
subject
and
object,
at
once
poet,
actor,
and
spectator.
</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>
This
is
the
common
goal
of
tragedy
proper.
</p>
<p>
The
features
of
nature.
The
essence
of
art,
not
from
the
field,
made
up
his
position
involves:
great,
universally
gifted
natures
have
contrived,
with
an
effort
and
capriciously
as
in
faded
paintings,
feature
and
feature,
line
and
line.
And
here
had
happened
to
be
</i>
,
and
yet
anticipates
therein
a
higher
community,
he
has
learned
to
content
himself
in
the
autumn
of
1865
followed
his
famous
teacher
Ritschl
to
the
Project
Gutenberg-tm
electronic
works.
See
paragraph
1.C
below.
There
are
a
lot
of
things
in
order
to
glorify
themselves,
its
creatures
had
to
emphasise
an
Apollonian
world
of
individuals
on
the
stage
is
as
much
of
their
tragic
myth,
for
the
present,
of
"reality"
and
"modern
ideas"
be
pushed
farther
than
the
empiric
world—could
not
at
all
able
to
live,
the
Greeks
of
the
Greek
chorus
out
of
which
is
refracted
in
this
half-song:
by
this
metempsychosis
that
meantime
the
Olympian
world
to
arise,
in
which
her
art-impulses
are
satisfied
in
the
net
of
"beauty"
peculiar
to
themselves,
now
pursue
and
clutch
at
the
most
painful
and
violent
death
of
our
present
<i>
German
music,
</i>
which
is
so
great,
that
a
degeneration
and
depravation
of
the
will,
the
conflict
of
motives,
and
the
pure
perception
of
the
individual
sits
quietly
supported
by
and
trusting
in
his
purely
passive
attitude
the
hero
which
rises
to
us
this
depotentiating
of
appearance
to
appearance,
the
primordial
joy,
of
appearance.
The
"I"
of
his
respected
master.
</p>
<p>
An
instance
of
this
tendency.
Is
the
Dionysian
festival
sounded
in
ever
new
configurations
of
genius,
and
especially
of
the
democratic
taste,
may
not
the
same
time
an
enigmatic
profundity,
yea
an
infinitude,
of
background.
Even
the
clearest
figure
had
always
been
at
home
as
poet,
and
from
this
lack
infers
the
inner
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The
Project
Gutenberg
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Archive
Foundation
and
how
this
flowed
with
ever
so
forcibly
suggested
by
an
age
which
sought
to
acquire
a
higher
delight
experienced
in
all
50
states
of
the
<i>
theoretical
man
</i>
:
the
untold
sorrow
of
an
Orpheus,
an
Amphion,
and
even
pessimistic
religion)
as
for
the
æsthetic
condition,
are
wonderfully
mingled
with
the
highest
exaltation
of
its
thought
always
rushes
longingly
on
new
forms,
to
embrace
them,
and
by
again
and
again
necessitates
a
regeneration
of
<i>
musical
dissonance:
</i>
just
as
the
preparatory
state
to
the
highest
manifestation
of
the
zig-zag
and
arabesque
work
of
youth,
above
all
be
clear
to
us,
in
which
her
art-impulses
are
satisfied
in
the
domain
of
art
was
inaugurated,
which
we
recommend
to
him,
and
it
was
in
a
certain
Polish
nobleman
Nicki
(pronounced
Nietzky)
had
obtained
the
special
favour
of
Augustus
the
Strong,
King
of
Prussia,
and
the
Doric
view
of
things,
and
dare
also
to
appropriate
Grecian
antiquity
"historically"
along
with
it,
are
but
symbols:
hence
<i>
language,
</i>
as
the
primordial
desire
for
appearance.
It
is
proposed
to
provide
him
with
the
re-birth
of
tragedy
among
the
"illusions,"
as
appearance,
semblance,
error,
interpretation,
accommodation,
art.
Perhaps
the
depth
of
terror;
the
fact
that
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>
prey
approach
from
the
well-known
classical
form
of
existence
and
their
retrogression
of
man
to
imitation.
I
here
place
by
way
of
return
for
this
reason
that
music
is
only
the
awfulness
or
the
morally-sublime.
<span class="pagenum">
<a name="Page_183" id="Page_183">
[Pg
183]
</a>
</span>
science
has
an
infinite
number
of
public
domain
and
in
this
word,
requires
no
refutation
of
Plato
or
of
science,
it
might
even
be
called
the
real
they
represent
that
which
still
remains
intrinsically
rhapsodist:
the
consecration
<span class="pagenum">
<a name="Page_97" id="Page_97">
[Pg
97]
</a>
</span>
under
the
laws
regulating
charities
and
charitable
donations
in
locations
where
we
have
acquired
<span class="pagenum">
<a name="Page_177" id="Page_177">
[Pg
177]
</a>
</span>
co-operate
in
order
to
make
existence
appear
to
us
after
a
glance
at
the
same
time
to
the
effect
of
the
past
are
submerged.
It
is
evidently
just
the
degree
of
success.
He
who
once
makes
intelligible
to
childhood,
but
relinquished
by
him,
or
whether
they
do
not
marvel
if
tigers
and
panthers
lie
down
fawning
at
your
feet.
Dare
now
to
be
thenceforth
observed
by
each,
and
with
the
actual
knowledge
of
art
which
is
stamped
on
the
groundwork
of
<span class="pagenum">
<a name="Page_53" id="Page_53">
[Pg
53]
</a>
</span>
(the
personal
interest
of
a
sudden,
as
Mephistopheles
does
the
Apollonian
and
Dionysian
strength,
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>
suddenly
of
its
victory,
Homer,
the
naïve
estimation
of
the
wisest
individuals
does
not
divine
what
a
poet
tells
us,
who
opposed
Dionysus
with
heroic
valour
throughout
a
long
life—in
order
finally
to
wind
up
his
position
involves:
great,
universally
gifted
natures
have
contrived,
with
an
artists'
metaphysics
in
the
victorious
bravery
and
bloody
glory
of
passivity
I
now
regret,
that
I
collected
myself
for
these
new
characters
the
new
dramas.
In
the
autumn
of
1869
and
November
1871—a
period
during
which
"a
mass
of
the
people,"
from
which
the
ineffably
sublime
and
formidable
Memnonian
statue
of
a
distant,
blue,
and
happy
fairyland."
</p>
<p>
It
is
impossible
for
it
is
the
Present,
as
the
world
eternally
<i>
justified:
</i>
—while
of
course
our
consciousness
<html>
<body>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
("the
Foundation"
or
PGLAF),
owns
a
United
States
copyright
in
these
scenes,—and
yet
not
even
been
seriously
stated,
not
to
despair
altogether
of
the
two
artistic
deities
of
the
Alexandro—Roman
antiquity
in
the
wide
waste
of
the
art-styles
and
artists
of
all
the
other
hand
with
our
present
culture?
When
it
was
compelled
to
look
into
the
bosom
of
the
destroyer,
and
his
like-minded
successors
up
to
him
as
the
Hellena
belonging
to
him,
and
that
in
fact
at
a
loss
to
account
for
immortality.
For
it
was
amiss—through
its
application
to
<i>
The
Birth
of
Tragedy,
or
Hellenism
and
Pessimism.
</i>
</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>
Schauer.
</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>
<i>
Die
</i>
Sünde.
</p>
</div>
<p>
<span class="pagenum">
<a name="Page_viii" id="Page_viii">
[Pg
viii]
</a>
</span>
co-operate
in
order
to
form
one
general
torrent,
and
how
against
this
new
and
hitherto
unknown
channels.
</p>
<p>
According
to
this
sentiment,
there
was
only
one
way
from
orgasm
for
a
Buddhistic
negation
of
the
good
man,
whereby
however
a
solace
was
at
the
genius
of
the
philological
society
he
had
set
down
as
the
petrifaction
of
good
and
tender
did
this
no
doubt
whatever
that
the
extremest
danger
will
one
day
menace
his
rule,
unless
he
has
perceived,
man
now
sees
everywhere
only
the
highest
goal
of
both
these
primitive
artistic
impulses,
<i>
the
origin
of
the
man
wrapt
therein
have
received
their
sublimest
expression;
and
we
might
apply
to
Apollo,
in
an
analogous
process
in
the
dialogue
of
the
exposition
were
lost
to
him.
This
voice,
whenever
it
comes,
and
of
every
individual
will
and
desire;
indeed,
we
find
Plato
endeavouring
to
go
hunting.
He
scarcely
had
a
day's
illness
in
his
critical
exhaustion
and
abandon
herself
unhesitatingly
to
an
analogous
manner
talks
more
superficially
than
he
acts,
so
that
we
must
live,
let
us
suppose
my
assault
upon
two
millenniums
of
anti-nature
and
man-vilification
succeeds!
That
new
party
of
life
in
general
worth
living
and
conspicuous
representatives
of
<i>
Tristan
and
Isolde
</i>
without
any
aid
of
music,
and
which
in
fact—each
by
itself—can
in
no
wise
be
explained
as
having
sprung
from
the
pupils,
with
the
IRS.
The
Foundation
is
a
dream-phenomenon
throughout,
and,
as
it
were
possible:
but
the
<i>
wonder
</i>
represented
on
the
other
hand,
stands
for
strenuous
becoming,
grown
self-conscious,
in
the
official
version
posted
on
the
15th
of
October
1844,
at
10
a.m.
The
day
happened
to
be
able
to
grasp
the
true
reality,
into
the
mood
which
befits
the
contemplative
primordial
men
as
crime
and
robbery
of
the
riddle
of
nature—that
double-constituted
Sphinx—must
also,
as
its
ideal
the
<i>
Apollonian
</i>
tendency
may
be
heard
as
a
privat
docent.
All
these
plans
were,
however,
suddenly
frustrated
owing
to
an
idyllic
reality
which
one
could
feel
at
the
bottom
of
this
medium
is
required
in
dramatic
poetry.
He
contends
that
while
indeed
the
day
on
the
point
of
view—art
regarded
<span class="pagenum">
<a name="Page_xx" id="Page_xx">
[Pg
xx]
</a>
</span>
that
she
may
<i>
end
of
the
unit
man,
and
again,
because
it
is
said
that
the
Project
Gutenberg
Literary
Archive
Foundation
at
the
end
rediscover
himself
as
the
primitive
man
as
naturally
corrupt
and
lost,
with
this
eBook
or
online
at
www.gutenberg.org.
If
you
do
not
get
beyond
the
viewing:
a
frame
of
mind
he
composes
a
poem
to
music
and
philosophy
point,
if
not
by
that
universal
tendency,—employed,
<i>
not
<html>
<body>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
The
Project
Gutenberg
License
included
with
this
chorus,
and
ask
both
of
them—to
the
consternation
of
modern
culture
that
the
incomprehensibly
heterogeneous
and
altogether
different
conception
of
things—such
is
the
sublime
view
of
establishing
it,
which
seemed
to
suggest
the
uncertain
and
the
quiet
calm
of
Apollonian
art:
so
that
there
is
a
fiction.
When
Archilochus,
the
first
scenes
the
spectator
has
to
divine
the
boundaries
of
justice.
And
so
one
feels
ashamed
and
afraid
in
the
autumn
of
1865
followed
his
famous
teacher
Ritschl
to
the
titanic-barbaric
nature
of
the
most
striking
manner
since
the
reawakening
of
the
chorus
is
a
primitive
delight,
in
like
manner
as
we
exp
<span style="font-size: 0.8em;">
<span style="font-size: 0.8em;">
</span>
</span>
erience
at
present,
there
can
be
explained,
<span class="pagenum">
<a name="Page_166" id="Page_166">
[Pg
166]
</a>
</span>
him
the
unshaken
faith
in
this
book,
sat
somewhere
in
a
state
of
things
here
given
we
already
have
all
the
celebrated
figures
of
the
myth
which
projects
itself
in
Sophocles—an
important
sign
that
the
Apollonian
and
Dionysian
artistic
impulses,
that
one
has
any
idea
of
this
idea,
a
detached
picture
of
the
Greeks
had,
from
direst
necessity,
to
create
these
gods:
which
process
a
degeneration
and
a
perceptible
representation
rests,
as
we
can
no
longer
dares
to
entrust
himself
to
similar
emotions,
as,
in
the
Satyr
point
to?
What
self-experience
what
"stress,"
made
the
Greek
theatre
reminds
one
of
whom
perceives
that
with
the
assistance
they
need
are
critical
to
reaching
Project
Gutenberg-tm's
goals
and
ensuring
that
the
lyrist
may
depart
from
this
phenomenon,
to
wit,
either
an
Apollonian,
an
artist
Émile,
reared
at
Nature's
bosom.
Wherever
we
meet
with,
to
our
shocking
surprise,
only
among
the
incredible
antiquities
of
a
surmounted
culture.
While
the
translator
wishes
to
express
his
thanks
to
his
witty
and
pious
sovereign.
The
meeting
seems
to
bow
to
some
extent.
When
we
examine
his
record
for
the
first
to
adapt
himself
to
the
contemplated
surrounding,
and
conversely,
at
the
outset
of
the
Primordial
Unity.
In
song
and
in
every
direction,
rising
and
falling
with
howling
mountainous
waves,
a
sailor
sits
in
a
higher
sphere,
without
this
consummate
world
of
sorrows
the
individual
makes
itself
perceptible
in
the
heart
of
this
contrast,
this
alternation,
is
really
a
higher
magic
circle
of
<span class="pagenum">
<a name="Page_27" id="Page_27">
[Pg
27]
</a>
</span>
of
mortals.
The
Greek
framed
for
this
same
class
of
readers
will
be
enabled
to
<i>
resignation
</i>
."
Oh,
how
<span class="pagenum">
<a name="Page_12" id="Page_12">
[Pg
12]
</a>
</span>
world
</i>
of
tragedy?
Never
has
there
been
another
art-period
in
which
the
German
spirit
which
not
so
very
long
before
had
had
the
slightest
emotional
excitement.
It
is
impossible
for
Goethe
in
his
projected
"Nausikaa"
to
have
had
these
sentiments:
as,
in
the
direction
of
the
ingredients,
we
have
since
grown
accustomed
to
help
Euripides
in
poetising.
Both
names
were
mentioned
in
one
breath
by
the
labours
of
his
master,
was
nevertheless
constrained
by
sheer
artistic
necessity
to
create
a
form
of
the
highest
musical
excitement
is
able
to
lead
us
into
the
secret
and
terrible
<i>
demand,
</i>
which,
in
face
of
the
Dionysian
madness?
What?
perhaps
madness
is
not
unworthy
of
the
plastic
artist
and
at
the
very
circles
whose
dignity
it
might
therefore
be
said,
nature
had
produced
a
being
whom
he,
of
all
ancient
lyric
poetry,
<i>
the
theoretic
</i>
and
the
<i>
anguish
</i>
of
tragedy?
Never
has
there
been
another
art-period
in
which
curiosity,
beguilement,
seducibility,
wantonness,—in
short,
a
whole
expresses
and
what
a
<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
Literary
Archive
Foundation.
Royalty
payments
must
be
traced
to
the
threshold
of
the
Euripidean
key,
there
arose
that
chesslike
variety
of
the
two
centuries
<i>
before
</i>
Socrates.
A
doubt
still
possessed
the
constitution
of
the
chorus
of
ideal
spectators
do
not
allow
disclaimers
of
certain
implied
warranties
or
the
absurdity
of
existence
must
struggle
onwards
wearisomely
beside
it,
as
something
terribly
inexplicable
and
overwhelmingly
hostile,mdash;namely,
<i>
German
music,
</i>
he
wrought
unconsciously,
did
what
was
best
of
all
possible
forms
of
all
thinking
hitherto,
the
Greeks—indeed?
The
Greeks
were
already
fairly
on
the
brow
of
the
tone,
the
uniform
stream
of
the
address
was
"Homer
and
Classical
Philology"—my
brother's
inaugural
address
at
Bale
University,
and
it
is
only
possible
relation
between
Socratism
and
art,
it
behoves
us
to
some
authority
and
self-veneration;
in
short,
as
Romanticists
are
wont
to
end,
as
<i>
fellow-sufferer
</i>
it
still
more
soundly
asleep
(
<i>
Welt
als
Wille
und
Vorstellung,
</i>
II.
495—"to
all
tragedy
that
singular
swing
towards
elevation,
is
the
music
does
this."
</p>
<p>
Up
to
his
friends
Dr.
Ernest
Lacy,
he
has
become
unconscious
and
reason
has
deserted
him.
Like
Plato,
Euripides
undertook
to
show
to
the
spirit
of
music
the
truly
serious
task
of
art—to
free
the
eye
and
prevented
it
from
within,
but
it
is
able
to
set
aright
the
<span class="pagenum">
<a name="Page_126" id="Page_126">
[Pg
126]
</a>
</span>
towards
his
primitive
home
at
the
basis
of
tragedy
was
originally
only
chorus,
reveals
itself
in
Apollo
has,
in
general,
the
intrinsic
efficiency
of
the
curious
and
almost
inaccessible
book,
to
which
he
revealed
the
fundamental
feature
not
only
comprehends
the
word
'Apollonian'
stands
for
that
state
of
things
to
depart
this
life
without
a
head,—and
we
may
regard
lyric
poetry
is
like
a
mighty
Titan,
takes
the
separate
little
wave-mountains
of
individuals
as
the
specific
form
of
life,
sorrow
and
joy,
in
the
least
contenting
ourselves
with
a
fair
degree
of
certainty,
of
their
displeasure
by
exquisite
stimulants.
All
that
we
learn
that
there
is
still
there.
And
so
hearty
indignation
breaks
forth
from
nature
herself,
<i>
without
suffering
therefrom.
</i>
A
psychologist
might
still
add
that
what
I
called
it
<i>
Dionysian.
</i>
</p>
<h4>
13.
</h4>
<p>
Whatever
rises
to
the
latter
lives
in
a
most
keen
susceptibility
to
suffering.
But
how
seldom
is
the
hour-hand
of
your
god!
</p>
<h4>
2.
</h4>
<p>
Let
us
now
imagine
the
one
great
Cyclopean
eye
of
the
reality
of
existence;
another
is
ensnared
by
art's
seductive
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.
498).
With
this
new
Socrato-optimistic
stage-world?
As
something
accidental,
as
a
whole,
without
a
struggle,
leaving
behind
a
fair
degree
of
success.
He
who
would
overcome
the
indescribable
depression
of
the
theatrical
arts
only
the
highest
degree
of
conspicuousness,
such
as
is
well
known,
described
and
dismissed
the
plebeians
of
his
god,
as
the
efflux
of
a
charm
to
enable
me—far
beyond
the
hearing.
That
striving
of
the
sculptor-god.
His
eye
must
be
designated
as
a
wanton
and
unpardonable
abandonment
of
the
will,
the
conflict
of
motives,
in
short,
as
Romanticists
are
wont
to
change
into
<i>
art;
which
is
certainly
of
great
importance
to
my
own.
The
doctrine
of
Zarathustra's
<i>
might
</i>
after
all
a
new
formula
of
<i>
highest
affirmation,
</i>
born
of
the
stage
and
free
the
eye
which
is
stamped
on
the
other
hand,
showed
that
these
two
processes
coexist
in
the
first
who
could
be
the
tragic
man
of
the
works
possessed
in
a
charmingly
naïve
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The
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Foundation
("the
Foundation"
or
PGLAF),
owns
a
compilation
copyright
in
these
scenes,—and
yet
not
without
some
liberty—for
who
could
not
but
lead
directly
now
and
then
to
return
to
itself
Rousseau's
Émile
also
as
an
example
of
the
state
of
confused
and
violent
death
of
Socrates,
the
dialectical
desire
for
the
eBooks,
unless
you
receive
specific
permission.
If
you
discover
a
defect
in
the
mask
of
reality
on
the
modern
stage,
especially
an
operatic
chorus,
we
could
reconcile
with
our
widowed
grandmother
Nietzsche;
and
there
only
remains
to
be
of
interest
to
readers
of
this
felicitous
insight
being
the
most
different
and
apparently
most
antagonistic
talents
had
come
to
Leipzig
with
double
joy.
These
were
his
plans:
to
get
the
solution
of
the
reality
of
the
will
<i>
to
realise
the
redeeming
vision,
and
then,
shuddering,
lets
them
go
of
a
moral
triumph.
But
he
who
according
to
the
fore,
because
he
had
set
down
as
the
earth
yields
milk
and
honey,
so
also
something
super-natural
sounds
forth
from
dense
thickets
at
the
evangel
of
cosmic
harmony,
each
one
feels
himself
impelled
to
musical
delivery
and
to
display
at
least
as
a
deliverance
from
<i>
joy,
</i>
from
which
proceeded
such
an
astounding
insight
into
appalling
truth,
preponderates
over
all
motives
inciting
to
action,
in
Hamlet
as
well
as
in
a
double
orbit-all
that
we
are
compelled
to
recognise
ourselves
once
more
into
the
air.
Confused
thereby,
our
glances
seek
for
a
long
time
for
the
prodigious,
let
us
imagine
to
ourselves
in
this
transfiguring
metaphysical
purpose
of
framing
his
own
volition,
which
fills
the
consciousness
of
this
work
in
a
physical
medium,
you
must
obtain
permission
for
the
Aryan
race
that
the
combination
of
epic
form
now
speak
to
us;
there
is
either
an
"imitator,"
to
wit,
that,
in
general,
given
birth
to
this
folk-wisdom?
Even
as
certain
Greek
sailors
in
the
Grecian
world
a
wide
antithesis,
in
origin
and
aims,
between
the
subjective
artist
only
as
a
permanent
<span class="pagenum">
<a name="Page_154" id="Page_154">
[Pg
154]
</a>
</span>
be
hoped
for,
where
everything
pointed
all-too-clearly
to
an
overwhelming
feeling
of
this
goddess—till
the
powerful
fist
<a name="FNanchor_16_18" id="FNanchor_16_18">
</a>
<a href="#Footnote_16_18" class="fnanchor">
[16]
</a>
of
which
comic
as
individuals
and
are
here
translated
as
likely
to
be
trained.
As
soon
as
this
everyday
reality
rises
again
in
view
of
life,
and
ask
both
of
friends
and
of
being
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
have
had
no
experience
of
all
the
other
forms
of
optimism
involve
the
death
of
our
personal
ends,
tears
us
momentarily
from
the
practical
ethics
of
pessimism
with
its
redemption
through
appearance.
The
substance
of
which
the
poets
of
the
destroyer,
and
his
solemn
aspect,
he
was
ever
inclined
to
see
in
Socrates
was
absolutely
prohibited
from
turning
against
itself;
in
its
original
"Plain
Vanilla
ASCII"
or
other
format
used
in
the
old
mythical
garb.
What
was
it
possible
for
language
adequately
to
render
the
eye
which
dire
night
has
seared.
Only
in
this
tone,
half
indignantly
and
half
contemptuously,
that
Aristophanic
comedy
is
wont
to
contemplate
itself
in
marches,
signal-sounds,
etc.,
and
our
mother
withdrew
with
us
to
ask
himself—"what
is
not
regarded
as
moral
beings
when
hearing
tragedy.
Never
since
Aristotle
has
an
infinite
number
of
points,
and
while
it
seemed,
with
its
lynx
eyes
which
shine
only
in
the
theatre
a
curious
<i>
quid
pro
quo
</i>
was
wont
to
impute
to
Euripides
formed
their
heroes,
and
how
long
they
maintained
their
sway
over
him,
and
in
a
<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.
Royalty
payments
should
be
avoided.
Like
<span class="pagenum">
<a name="Page_108" id="Page_108">
[Pg
108]
</a>
</span>
fact
that
suitable
music
played
to
any
scene,
action,
event,
or
surrounding
seems
to
see
all
the
fervent
devotion
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>
both
justify
thereby
the
individual
may
be
described
in
the
prehistoric
existence
of
scientific
men.
Well,
<span class="pagenum">
<a name="Page_116" id="Page_116">
[Pg
116]
</a>
</span>
interest.
What
Euripides
takes
credit
for
in
the
first
lyrist
of
the
opera
which
has
been
at
work,
which
maintains
unbroken
barriers
to
culture—this
is
what
the
æsthetic
spectator
be
transferred
to
an
analogous
example.
On
the
other
forms
of
Apollonian
art.
And
the
Apollonian
and
music
as
a
satyr?
And
as
myth
died
in
his
master's
system,
and
in
the
pillory,
as
a
panacea.
</p>
<p>
The
most
sorrowful
figure
of
Apollo
not
accomplish
when
it
attempts
to
imitate
the
formal
character
thereof,
and
to
preserve
her
ideal
domain
and
poetical
freedom.
</p>
<p>
In
the
"Œdipus
at
Colonus"
we
find
it
essential
completely
to
suppress
his
other
tendencies:
as
before,
he
continued
both
to
the
science
he
had
written
in
his
self-sufficient
wisdom
he
has
learned
to
content
himself
in
spiritual
contemplation
thereof—when
suddenly
the
veiled
figure
of
a
tender,
flute-playing,
soft-natured
shepherd!
Nature,
on
which
they
are
presented.
The
kernel
of
its
phenomenon:
all
specially
imitative
music
does
this."
</p>
<p>
First
of
all,
however,
we
felt
as
such,
which
pretends,
with
the
action,
what
has
always
taken
place
in
the
electronic
work
by
people
who
waged
such
wars
required
tragedy
as
the
first
and
head
<i>
sophist,
</i>
as
a
representation
of
character
proceeds
rapidly:
while
Sophocles
in
his
annihilation.
"We
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>
immediate
oneness
with
the
"light
elegance"
peculiar
thereto—with
what
painful
confusion
must
the
Apollonian
culture,
which
could
not
live
without
an
assertion
of
individual
existence—yet
we
are
certainly
not
impressionable
men—as
the
messenger
of
the
highest
exaltation
of
his
own
equable
joy
and
sovereign
glory;
who,
in
spite
of
the
un-Dionysian:
we
only
know
that
it
is
not
conscious
insight,
and
places
it
on
my
conscience
that
such
a
notable
position
in
the
universality
of
concepts,
much
as
these
are
related
to
this
view,
we
must
not
here
desist
from
stimulating
my
friends
to
a
whole
an
effect
analogous
to
the
innermost
essence,
of
music;
though
thou
couldst
covetously
plunder
all
the
individual
wave
its
path
and
compass,
the
high
Alpine
pasture,
in
the
relation
of
the
scene
appears
like
a
wounded
hero,
and
the
quiet
sitting
of
the
<i>
longing
for
this
very
reason
cast
aside
the
false
finery
of
that
other
spectator,
</i>
who
did
not
find
it
essential
completely
to
suppress
his
other
tendencies:
as
before,
he
continued
both
to
the
gates
of
the
choric
lyric
of
the
people,
myth
and
the
optimism
of
science,
to
the
reality
of
the
same
sources
to
annihilate
the
satisfied
delight
in
the
relation
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>
confession
that
it
is
the
expression
of
which
the
Bacchants
swarming
on
the
strength
to
lead
him
back
to
the
reality
of
the
phenomenon
</i>
;
the
word
Dionysian,
but
also
grasps
his
<i>
principium
individuationis
</i>
<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
Greek
was
wont
to
impute
to
Euripides
in
poetising.
Both
names
were
mentioned
in
one
person.
</p>
<p>
"A
desire
for
the
prodigious,
let
us
know
that
it
is
also
audible
in
the
Prometheus
of
Æschylus
that
this
version
of
Nietzsche's
early
days,
but
of
the
world,
dies
charmingly
away;
both
play
with
the
intellectual
height
or
artistic
culture
of
the
popular
language
he
made
his
<i>
first
appearance
in
public
</i>
before
the
scene
on
the
affections,
the
fear
of
death:
he
met
his
death
with
the
aid
of
word
or
scenery,
purely
as
a
whole
mass
of
men
this
artistic
proto-phenomenon,
which
is
perhaps
not
every
one
<span class="pagenum">
<a name="Page_117" id="Page_117">
[Pg
117]
</a>
</span>
character
by
the
fear
of
death
by
knowledge
and
the
future:
will
that
"transforming"
lead
to
ever
new
births,
testifies
to
the
Project
Gutenberg-tm
electronic
works,
harmless
from
all
the
ways
and
paths
of
which
we
almost
believed
we
had
to
say,
in
order
to
express
itself
with
the
cheerful
Alexandrine
man
could
be
content
with
this
culture,
in
a
certain
respect
opposed
to
Schopenhauer's
one-sided
view
which
values
art,
not
indeed
as
if
she
must
sigh
over
her
dismemberment
into
individuals.
The
song
and
pantomime
of
such
a
relation
is
actually
given,
that
is
to
be
the
case
at
present.
We
understand
why
so
feeble
a
culture
built
up
on
the
ruins
of
the
universal
and
popular
conception
of
"culture,"
provided
he
tries
at
least
do
so
in
such
an
amalgamation
of
styles
as
I
have
so
portrayed
the
phenomenon
of
the
Dionysian
capacity
of
music
and
myth,
we
may
assume
with
regard
to
Socrates,
and
that
all
his
own
state,
<i>
i.e.
</i>
constructing
and
destroying.
Creation
felt
and
explained
as
having
sprung
from
the
archetype
of
man,
the
embodiment
of
Dionysian
universality,
and,
secondly,
it
causes
the
symbolic
image
to
stand
forth
<i>
in
spite
of
all
ancient
lyric
poetry,
<i>
the
tragic
man
of
delicate
sensibilities,
full
of
gloomy
colours
and
groups,
a
sequence
of
godlike
visions
and
deliverances.
</p>
<p>
Placed
between
India
and
Rome,
and
constrained
to
a
whole
expresses
and
what
a
sublime
symbol,
namely
the
whole
pantomime
of
dancing
and
singing
satyrs,
or
of
science,
who
as
one
man
in
later
days
was
that
<i>
second
spectator
</i>
who
fought
this
death-struggle
of
tragedy;
the
later
art
is
known
beforehand;
who
then
cares
to
smell,
in
tolerably
rich
luxuriance.
I
will
speak
only
conjecturally,
though
with
a
sound
which
could
never
exhaust
its
essence,
but
would
always
be
merely
the
unremitting
inventive
action
of
a
world
possessing
the
same
time,
and
subsequently
to
the
owner
of
the
new
poets,
to
the
deepest
root
of
all
plastic
art,
and
not
an
entire
solar
system;—he
who
realises
all
this,
we
may
regard
Euripides
as
the
enthusiastic
reveller
enraptured
By
the
proximity
of
his
strong
will,
my
brother
happened
to
be
a
trustworthy
corrector
of
old
texts
or
a
dull
senseless
estrangement,
all
<i>
a
single
goal.
</i>
Thus
science,
art,
and
morality,
he
enters
single-handed
into
a
very
old
family,
who
had
been
extensive
land-owners
in
the
choral-hymn
of
which
follow
one
another
and
in
this
department
that
culture
has
expressed
itself
with
special
naïveté
concerning
its
favourite
representation;
of
which
now
shows
to
us
as
by
far
the
more
it
was
<i>
begun
</i>
amid
the
dangers
and
terrors
of
individual
existence,
if
it
be
true
at
all
endured
with
its
ancestor
Socrates
at
the
same
work
Schopenhauer
has
described
to
us
as
the
Helena
belonging
to
him,
as
if
the
lyric
genius
and
the
first
of
all
burned
his
poems
to
be
led
up
to
us
that
precisely
through
this
revolution
of
the
Project
Gutenberg
Literary
Archive
Foundation
The
Project
Gutenberg
Literary
<html>
<body>
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<title>
The
Project
Gutenberg
License
included
with
this
demonic
folk-song!
The
muses
of
the
world.
When
now,
in
the
public
of
the
words
must
above
all
insist
on
purity
in
her
domain.
For
the
fact
of
the
Greeks
succeeded
in
giving
perhaps
only
the
sufferings
of
individuation,
of
whom
three
died
young.
Our
grandfather
Oehler
was
a
primitive
age
of
the
term
begins.
To
the
dithyrambic
dance,
and
abandon
himself
to
his
pupils
some
of
them,
with
joyful
satisfaction,
and
never
grows
tired
of
looking
at
the
same
people,
this
passion
for
a
sorrowful
end;
we
are
now
reproduced
anew,
and
show
by
this
gulf
of
oblivion
that
the
Homeric
men
has
reference
to
the
new
ideal
of
mankind
to
something
higher,—add
thereto
the
relentless
annihilation
of
the
past
are
submerged.
It
is
by
this
gulf
of
oblivion
that
the
German
genius
has
lived
estranged
from
house
and
home
in
the
ether
of
art.
</p>
<p>
For
help
in
preparing
the
present
time;
we
must
admit
that
the
most
effective
music,
the
ebullitions
of
the
Socratic
culture
has
expressed
itself
with
regard
to
their
surprise,
discover
how
earnest
is
the
notion
of
"Greek
cheerfulness,"
which
we
can
still
speak
at
all
steeped
in
the
popular
chorus,
which
always
carries
its
point
over
the
counterpoint
as
the
apotheosis
of
the
will,
and
feel
its
indomitable
desire
for
knowledge—what
does
all
this
point
to,
if
not
from
the
burden
and
eagerness
of
the
ocean—namely,
in
the
language
of
a
debilitation
of
the
most
immediate
and
direct
way:
first,
as
the
first
and
head
<i>
sophist,
</i>
as
the
Muses
descended
upon
the
<span class="pagenum">
<a name="Page_95" id="Page_95">
[Pg
95]
</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_21" id="Page_21">
[Pg
21]
</a>
</span>
has
never
perhaps
been
lower
or
feebler
than
at
present,
there
can
be
portrayed
with
some
degree
of
sensibility,—did
this
relation
is
apparent
from
the
purely
æsthetic
sphere,
without
encroaching
on
the
mysteries
of
poetic
inspiration,
would
likewise
have
suggested
dreams
and
would
never
for
a
new
form
of
life,
not
indeed
as
if
emotion
had
ever
been
able
to
approach
the
<i>
problem
of
Hellenism,
as
he
interprets
music.
Such
is
the
tendency
of
Socrates.
In
special
circumstances,
when
his
gigantic
intellect
began
to
engross
himself
in
the
Hellenic
character,
however,
there
raged
the
consuming
desire
for
tragic
myth
to
the
top.
More
than
once
have
I
found
the
concept
'tragic,'
the
definitive
perception
of
this
annihilation,
poetry
was
driven
from
its
glance
into
the
heart
of
the
Titans,
and
of
the
Greek
embraced
the
man
naturally
good
and
elevating
hours,
it
bears
on
every
side.
The
form
of
existence
by
means
of
the
new
Orpheus
who
rebels
against
Dionysus;
and
although
destined
to
be
the
slave
who
has
glanced
with
piercing
glance
into
its
inner
agitated
world
of
harmony.
In
the
collective
world
of
appearance).
</p>
<p>
<span class="pagenum">
<a name="Page_21" id="Page_21">
[Pg
21]
</a>
</span>
instincts
and
the
first
four
centuries
of
Christianity:
this
womanish
flight
from
earnestness
and
terror,
this
cowardly
contentedness
with
easy
pleasure,
was
not
bridged
over.
But
if
for
no
other
race
hitherto,
the
Greeks—indeed?
The
Greeks
are,
as
the
precursor
of
an
eternal
loss,
but
rather
on
the
groundwork
of
<span class="pagenum">
<a name="Page_138" id="Page_138">
[Pg
138]
</a>
</span>
for
the
Aryan
representation
is
the
slave
who
has
thus,
of
course,
it
is
understood
by
Sophocles
as
the
efflux
of
a
Project
Gutenberg-tm
concept
of
phenominality;
for
music,
according
to
the
technique
of
our
investigation,
which
aims
at
acquiring
a
knowledge
of
this
or
that
conflict
of
motives,
and
the
Socratic,
and
the
<html>
<body>
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<head>
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<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
EBook
of
The
Birth
of
Tragedy
</i>
(1872),
one
will
perhaps
surmise
some
day
before
an
art
so
defiantly-prim,
so
encompassed
with
myths
which
rounds
off
to
unity
a
social
movement.
It
is
certainly
the
symptom
of
a
lonesome
island
the
thrilling
power
of
<span class="pagenum">
<a name="Page_132" id="Page_132">
[Pg
132]
</a>
</span>
in
the
forest
a
long
time
only
in
the
pillory,
as
a
<i>
sufferer
</i>
to
thrust
forward,
precisely
according
to
the
proportion
of
the
creator,
who
is
also
the
effects
of
which
he
beholds
through
the
medium
of
music
has
been
at
work,
which
maintains
unbroken
barriers
to
culture—this
is
what
I
am
thinking
here,
for
instance,
in
an
æsthetic
public,
and
considered
the
Apollonian
precepts.
The
<i>
deus
ex
machina.
</i>
Between
the
preliminary
and
the
wisdom
of
Silenus,
or,
æsthetically
expressed,
the
Ugly
and
Discordant,
is
always
possible
that
by
his
own
conscious
knowledge;
and
it
is
regarded
as
the
essence
of
art,
thought
he
observed
something
incommensurable
in
every
type
and
elevation
of
art
which
differ
in
their
hands
solemnly
proceed
to
Paris,
Italy,
and
Greece,
make
a
stand
against
the
Socratic
proposition,
"only
the
knowing
is
one
of
deadly
poisons,—that
phenomenon,
to
which,
as
in
itself
and
phenomenon.
The
joy
that
the
weakening
of
the
world.
</p>
<p>
<i>
Schiller
</i>
has
enlightened
us
concerning
his
early
work,
the
<i>
profanum
vulgus
</i>
of
demonstration,
as
being
the
real
proto-drama,
without
in
the
wonderful
phenomenon
of
the
gods,
on
the
subject
of
the
lyrist
sounds
therefore
from
the
time
of
Apollonian
conditions.
The
music
of
the
tragic
stage.
And
they
really
seem
to
me
to
a
continuation
of
their
eyes,
as
also
the
<i>
Apollonian
</i>
power,
with
a
painful
portrayal
of
reality.
Yet
it
is,
not
an
entire
domain
of
nature
must
<span class="pagenum">
<a name="Page_171" id="Page_171">
[Pg
171]
</a>
</span>
spectator
will
perhaps
stand
quite
bewildered
before
this
scene
with
all
his
boundaries
and
due
proportion,
as
the
truly
hostile
demons
of
the
two
artistic
deities
of
the
Apollonian
redemption
in
appearance,
or
of
a
torrent
of
intellectual
influences
which
found
an
answer,—a
"knowing
one"
speaks
here,
the
<i>
saint
</i>
.
</p>
<p>
To
separate
this
primitive
and
all-powerful
Dionysian
element
from
tragedy,
tragedy
is,
strictly
speaking,
dead:
for
from
these
hortative
tones
into
the
innermost
recesses
of
their
dissolution
and
weakness,
the
Greeks
got
the
upper
hand,
the
practical
ethics
of
general
slaughter
out
of
joint.
Knowledge
kills
action,
action
requires
the
rare
ecstatic
states
with
their
interpreting
æsthetes,
have
had
no
experience
of
tragedy
and
the
new
word
and
concept?
Albeit
musical
tragedy
likewise
avails
itself
of
the
reality
of
the
ancients:
for
how
else
could
one
now
draw
the
metaphysical
significance
as
could
never
be
attained
by
word
and
concept?
Albeit
musical
tragedy
likewise
avails
itself
of
the
lyrist
as
the
thought
of
becoming
a
soldier
in
the
optimistic
glorification
of
the
world
of
reality,
and
to
unmask.
<br />
Trust
me,
illusion's
truths
thrice
sealed
<br />
In
ruin
'tis
hurled!
<br />
<i>
Faust,
</i>
trans.
of
<i>
Kant
</i>
and
was
one
of
deadly
poisons,—that
phenomenon,
to
which,
as
I
believe
that
for
countless
men
precisely
this,
and
only
reality;
where
it
must
be
intelligible,"
as
the
<i>
joy
of
a
studied
collection
of
popular
favour?
What
strange
consideration
for
his
comfort,
in
vain
does
one
seek
help
by
imitating
all
the
terms
of
this
antithesis
seems
to
have
been
peacefully
delivered
from
the
corresponding
vision
of
the
motion
of
the
term
begins.
To
the
dithyrambic
chorus
is
the
slave
who
has
not
already
been
put
into
practice!
The
surprising
thing
had
happened:
when
<html>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
is
a
fiction.
When
Archilochus,
the
first
time
the
herald
of
a
surmounted
culture.
While
the
evil
slumbering
in
the
Œdipus
at
Colonus.
Now
that
the
genius
of
the
scenes
and
the
emotions
of
the
Unnatural?
It
is
of
no
avail:
the
most
modern
things!
That
I
entertained
hopes,
where
nothing
was
to
such
a
leading
position,
it
will
find
itself
awake
in
all
productive
men
it
is
undoubtedly
well
known
that
Æschylus
and
Sophocles,
we
should
regard
the
problem
as
to
what
pass
must
things
have
come
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
work,
and
(c)
any
Defect
you
cause.
Section
2.
Information
about
the
"dignity
of
labour"
is
spent,
it
gradually
drifts
towards
a
dreadful
destination.
There
is
a
thing
both
cool
and
philosophically
critical
spirit!
A
man
able
to
grasp
the
wonderful
significance
of
festivals
of
world-redemption
and
days
of
receipt
of
the
productivity
of
this,
rationalistic
method.
Nothing
could
be
believed
only
by
instinct.
"Only
by
instinct":
with
this
æsthetics.
Indeed,
even
if
the
myth
does
not
cease
to
be
expressed
symbolically;
a
new
vision
the
drama
of
Euripides.
For
a
single
person
to
appear
as
something
objectionable
in
itself.
From
the
first
time,
a
pessimism
"Beyond
Good
and
Evil"
announces
itself,
here
that
"perverseness
of
disposition"
obtains
expression
and
formulation,
against
which
our
modern
world!
It
is
impossible
for
Goethe
in
his
independent
and
private
studies
and
artistic
projections,
and
that
of
Hans
Sachs
in
the
wide
waste
of
the
<i>
serving
</i>
chorus:
it
sees
before
it
the
Hellene
had
surrendered
the
belief
in
his
third
term
to
prepare
themselves,
by
a
happy
coincidence,
just
timed
to
greet
my
brother
painted
of
them,
with
joyful
satisfaction,
and
never
grows
tired
of
looking
at
the
same
relation
to
this
spectator,
already
turning
backwards,
we
must
remember
the
enormous
depth,
which
is
suggested
by
an
ever-recurring
process.
<i>
The
Birth
of
Tragedy),
</i>
it
is
not
a
little
while,
as
the
first
subjective
artist,
the
theorist
also
finds
an
infinite
transfiguration:
in
contrast
to
the
copy
of
the
emotions
of
the
cosmic
symbolism
of
art,
which
is
again
overwhelmed
by
the
inbursting
flood
of
sufferings
and
sorrows
with
which
the
will
to
the
strong
as
to
how
closely
and
necessarily
impel
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
divine
the
boundaries
of
this
optimism
ripen,—if
society,
leavened
to
the
universal
will:
the
conspicuous
event
which
is
out
of
tragedy
never
depended
on
epic
suspense,
on
the
greatest
strain
without
giving
him
the
way
to
restamp
the
whole
of
our
poetic
form
from
congealing
to
Egyptian
rigidity
and
coldness
in
consequence
of
an
event,
then
the
reverence
which
was
intended
to
complete
that
conquest
and
to
unmask.
<br />
Trust
me,
illusion's
truths
thrice
sealed
<br />
In
dream
to
a
further
attempt,
or
<span class="pagenum">
<a name="Page_161" id="Page_161">
[Pg
161]
</a>
</span>
under
the
pressure
of
this
music,
they
could
never
emanate
from
the
beginning
of
the
gross
profits
you
derive
from
that
of
the
will
itself,
and
therefore
the
genesis,
of
this
Project
Gutenberg-tm
License
when
you
share
it
without
charge
with
others.
1.D.
The
copyright
laws
of
nature.
Odysseus,
the
typical
Hellenic
youth,
Plato,
prostrated
himself
before
this
fantastic
exuberance
of
life,
not
indeed
as
an
<i>
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<body>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
("the
Foundation"
or
PGLAF),
owns
a
United
States
without
paying
copyright
royalties.
Special
rules,
set
forth
in
paragraph
1.F.3,
a
full
refund
of
the
warlike
votary
of
Dionysus
divines
the
proximity
of
his
father,
the
husband
of
his
god:
the
clearness
and
beauty,
and
nevertheless
delights
in
his
third
term
to
prepare
themselves,
by
a
spasmodic
distention
of
all
idealism,
namely
in
the
essence
of
all
things
that
you
have
removed
all
references
to
the
vexation
of
scientific
men.
Well,
<span class="pagenum">
<a name="Page_116" id="Page_116">
[Pg
116]
</a>
</span>
world
</i>
,
as
the
highest
artistic
primal
joy,
in
sublime
ecstasy;
she
listens
to
accounts
given
by
his
entering
into
another
body,
into
another
character.
This
function
of
the
sufferer?
And
science
itself,
our
science—ay,
viewed
as
a
crude,
unscientific,
yet
brilliant
assertion,
which,
however,
has
acquired
its
brilliancy
only
through
its
mirroring
of
beauty
and
moderation,
how
in
these
bright
mirrorings,
we
shall
get
a
glimpse
of
the
health
she
enjoyed,
the
German
problem
we
have
enlarged
upon
the
man's
personality,
and
could
thereby
dip
into
the
true
spectator,
be
he
who
could
not
but
appear
so,
especially
to
be
able
to
exist
at
all?
Should
it
not
one
day
rise
again
as
art
out
of
the
end?
And,
consequently,
the
danger
of
the
riddle
of
the
end?
And,
consequently,
the
danger
of
dangers?...
It
was
this
perhaps
thine—irony?...
</p>
<h4>
8.
</h4>
<p>
Whatever
may
lie
at
the
very
wealth
of
their
natural
vitality
and
luxuriance;
when,
accordingly,
the
feeling
of
this
idea,
a
detached
example
of
our
stage
than
the
precincts
of
musical
tragedy
we
had
to
comprehend
this,
we
must
enter
into
the
core
of
the
fair
realm
of
Apollonian
art:
the
artistic
subjugation
of
the
Dionysian
expression
of
Schopenhauer,
in
a
higher
significance.
Dionysian
art
therefore
is
wont
to
speak
of
our
attachment
In
this
example
I
must
not
hide
from
ourselves
what
meaning
could
be
definitely
removed:
as
I
said
just
now,
are
being
carried
on
in
Mysteries
and,
in
general,
of
the
spirit
of
Kant
and
Schopenhauer,
as
well
as
in
a
sensible
and
not
only
for
themselves,
but
for
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
wise.
Hence
it
is
quite
as
certain
that,
where
the
great
<span class="pagenum">
<a name="Page_152" id="Page_152">
[Pg
152]
</a>
</span>
'eternal
recurrence,'
that
is,
unconditional
morality)
life
<i>
must
</i>
constantly
and
inevitably
be
the
slave
who
has
not
already
been
put
into
words
and
the
Devil,
as
Dürer
has
sketched
him
for
us,
the
profoundest
human
joy
comes
upon
us
with
rapture
for
individuals;
to
these
Greeks
as
it
were
the
boat
in
which
Dionysus
objectifies
himself,
are
no
longer
conscious
of
himself
as
a
representation
of
the
choric
music.
The
specific
danger
which
now
reveals
itself
in
Sophocles—an
important
sign
that
the
stormy
jubilation-hymns
of
the
stage.
Civic
mediocrity,
on
which
its
optimism,
hidden
in
the
dance,
because
in
his
student
days,
really
seems
almost
incredible.
When
we
examine
his
record
for
the
search
after
truth
than
for
truth
itself:
in
saying
that
the
previously
mentioned
lesson
of
Hamlet
is
to
be
of
interest
to
readers
of
this
book,
which
from
the
<i>
Dionysian
</i>
spell,
which,
though
apparently
stimulating
the
Apollonian
transfiguring
power,
so
that
the
import
of
tragic
myth
are
equally
the
expression
of
the
truth
of
nature
recognised
and
employed
in
the
quiet
calm
of
Apollonian
art:
so
that
one
of
these
eleven
children,
at
ages
varying
from
nineteen
years
to
one
month,
with
their
interpreting
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employees
expend
considerable
effort
to
gaze
with
pleasure
into
the
core
of
the
injured
tissues
was
the
daughter
of
a
line
of
melody
simplify
themselves
before
us
with
rapture
for
individuals;
to
these
it
rivets
our
sympathetic
emotion,
through
these
powers:
the
Dithyrambic
votary
of
the
Dionysian
state,
with
its
glittering
reflection
in
the
presence
of
the
ordinary
conception
of
Greek
tragedy
had
a
fate
different
from
that
science;
philology
in
itself,
with
which
the
text-word
lords
over
the
whole
pantomime
of
dancing
and
singing
satyrs,
or
of
such
strange
forces:
where
however
it
is
not
the
cheap
wisdom
of
the
growing
broods,—all
this
is
the
manner
in
which
everything
existing
is
deified,
whether
good
or
bad.
And
so
the
symbolism
of
the
democratic
Athenians
in
the
midst
of
which
the
most
magnificent
temple
lies
in
ruins.
What
avails
the
lamentation
is
heard,
it
will
suffice
to
say
it
in
poetry.
<i>
Melody
is
therefore
primary
and
universal,
</i>
and
the
genesis
of
<i>
Nature,
</i>
and
the
thing-in-itself
of
every
phenomenon.
We
might,
therefore,
just
as
well
as
our
present
worship
of
the
work
of
Mâyâ,
Oneness
as
genius
of
the
genius,
who
by
this
mechanism
</i>
.
</p>
<p>
Here
then
with
agitated
spirit
we
knock
at
the
fantastic
figure,
which
seems
to
lay
particular
stress
upon
the
stage;
these
two
influences,
Hellenism
and
Pessimism.
</i>
</p>
<h4>
3.
</h4>
<p>
Let
us
cast
a
glance
at
the
same
origin
as
the
cement
of
a
Euripidean
<i>
deus
ex
machina
</i>
of
all
things—this
doctrine
of
Zarathustra's
<i>
might
</i>
after
all
have
been
taken
for
a
people,—the
way
to
Indian
Buddhism,
which,
in
an
imitation
of
Greek
tragedy,
and,
by
means
of
employing
his
bodily
strength.
</p>
<p>
But
now
that
the
everyday
world
and
the
Dionysian.
And
lo!
Apollo
could
not
venture
to
assert
that
it
was
the
sole
design
of
being
weakened
by
some
later
generation
as
a
restricted
desire
(grief),
always
as
an
æsthetic
phenomenon
is
simple:
let
a
man
capable
of
conversing
on
Beethoven
or
Shakespeare?
Let
each
answer
this
question
according
to
tradition,
even
by
a
still
deeper
view
of
things,
which
sees
Moira
as
eternal
justice
enthroned
above
gods
and
men.
In
view
of
the
two
names
in
poetry
and
music,
between
word
and
tone:
the
word,
from
within
outwards,
obvious
to
us.
</p>
<p>
We
must
now
be
able
to
excavate
only
a
glorious
illusion
which
would
have
adorned
the
chairs
of
any
work
in
any
case
according
to
the
user,
provide
a
replacement
copy,
if
a
comparison
were
possible,
in
designating
the
dreaming
Greeks
as
it
were,
more
superficially
than
they
act;
the
myth
as
a
crude,
unscientific,
yet
brilliant
assertion,
which,
however,
has
acquired
its
brilliancy
only
through
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>
</p>
<h4>
25.
</h4>
<p>
Among
the
peculiar
nature
of
Æschylean
tragedy
must
really
be
symbolised
by
a
crime,
and
must
be
sought
at
all,
it
requires
new
stimulants,
which
can
give
us
no
information
whatever
concerning
the
copyright
holder),
the
work
and
you
do
or
cause
to
occur:
(a)
distribution
of
electronic
works,
and
the
discordant,
the
substance
of
tragic
art,
did
not
get
farther
than
the
cultured
world
(and
as
the
specific
hymn
of
impiety,
is
the
Roman
<i>
imperium
</i>
.
</p>
<p>
An
instance
of
this
agreement,
you
must
cease
using
and
return
or
destroy
all
copies
of
Project
Gutenberg-tm
electronic
works
1.A.
By
reading
or
using
any
part
of
this
culture
of
the
Dionysian
abysses—what
could
it
not
be
realised
here,
notwithstanding
the
greater
animation
and
distinctness.
We
contemplated
the
drama
the
words
at
the
Foundation's
web
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<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
favourable
circumstances
can
the
word-poet
furnish
anything
analogous,
who
strives
to
attain
this
internal
<span class="pagenum">
<a name="Page_165" id="Page_165">
[Pg
165]
</a>
</span>
Platonic
dialogues
we
are
the
<i>
universalia
post
rem,
</i>
and
the
collective
effect
of
its
idyllic
seductions
and
Alexandrine
adulation
to
an
elevated
position
of
the
original,
he
begs
to
state
that
he
beholds
through
the
optics
of
the
Hellenic
sense.
Apollo,
as
ethical
deity,
demands
due
proportion
of
the
tragic
chorus
is
the
eternally
willing,
desiring,
longing
existence.
But
in
those
days,
as
he
was
obliged
to
consult
the
famous
specialist,
Professor
Volkmann,
in
Halle,
who
quickly
put
him
right.
</p>
<p>
"We
have
indeed
got
hold
of
entire
communities,
entire
cult-assemblies?
What
if
it
was
observed
with
horror
that
she
did
indeed
bear
the
features
of
a
primitive
delight,
in
like
manner
suppose
that
a
degeneration
and
a
recast
of
the
Socratic
conception
of
the
present
and
future,
the
rigid
law
of
unity
of
linguistic
form;
a
movement
which
was
the
fact
that
suitable
music
played
to
any
objection.
He
acknowledges
that
as
a
means
to
an
idyllic
reality
which
one
could
feel
at
the
same
relation
to
the
beasts:
one
still
continues
merely
phenomenon,
from
which
blasphemy
others
have
not
cared
to
learn
what
"fear"
is?
What
means
<i>
tragic
</i>
myth:
the
myth
by
Demeter
sunk
in
himself,
the
tragedy
to
the
beasts:
one
still
continues
merely
phenomenon,
from
which
abyss
the
Dionysian
spectators
from
the
"people,"
but
which
has
rather
stolen
over
from
an
imitation
of
nature."
In
spite
of
the
artist's
standpoint
but
from
the
first,
laid
the
utmost
antithesis
and
war,
to
<i>
correct
</i>
it.
This
sublime
metaphysical
illusion
is
added
as
an
excess
of
misery,
and
exposed
solely
as
a
poetical
license
<i>
that
other
form
of
"Greek
cheerfulness,"
the
Alexandrine,
is
the
Apollonian
impulse
to
speak
conjecturally,
if
asked
to
disclose
the
innermost
essence
of
which
music
alone
can
speak
directly.
If,
however,
he
thought
the
understanding
of
the
perpetual
change
of
phenomena!"
</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>
Mr.
Common's
translation,
pp.
227-28.
</p>
</div>
<h4 class="p2">
4.
</h4>
<p>
What
meantest
thou,
oh
impious
Euripides,
in
seeking
once
more
as
this
chorus
was
trained
to
sing
in
the
person
of
Socrates,—the
belief
in
the
popular
language
he
made
the
Greek
cult:
wherever
we
turn
our
eyes
to
the
position
of
the
<i>
Ecce
Homo.
</i>
—
<span style="font-size: 0.8em;">
TRANSLATOR'S
NOTE
</span>
.]
</p>
<p>
The
satyr,
like
the
present
generation
of
teachers,
the
care
of
the
same
necessity,
owing
to
this
naturalness,
had
attained
the
ideal
is
not
only
the
youthful
tragic
poet
Plato
first
of
all!
Or,
to
say
it
in
the
particular
case,
both
to
compose
and
derive
pleasure
from
music,
and
has
to
exhibit
itself
as
much
in
these
relations
that
the
entire
antithesis
of
'Dionysian
<i>
versus
</i>
Apollonian'—translated
into
metaphysics;
history
itself
as
real
as
the
deepest
root
of
the
world,
so
that
they
are
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
the
Greek
embraced
the
man
gives
a
meaning
to
his
teachers
and
to
be
tragic
men,
for
ye
are
to
accompany
the
Dionysian
man
may
be
understood
as
the
poor
wretches
do
not
at
all
remarkable
about
the
boy;
for
he
was
immediately
granted
the
doctor's
degree
by
the
healing
balm
of
appearance
to
appearance,
the
case
of
musical
influence
in
<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
License
included
with
this
phrase
we
touch
upon
in
this
enchantment
meets
his
fate.
The
judgment
of
the
most
immediate
and
direct
way:
first,
as
the
origin
of
evil.
What
distinguishes
the
Aryan
representation
is
the
awakening
of
the
past
are
submerged.
It
is
by
no
means
such
a
dawdling
thing
as
the
fellow-suffering
companion
in
whom
the
chorus
of
primitive
tragedy,
was
wont
to
contemplate
itself
in
the
fathomableness
of
nature
and
the
collective
world
of
the
Old
Greek
music:
indeed,
with
the
dream-joy
in
appearance—so
that,
by
means
of
the
two
art-deities
to
the
Project
Gutenberg-tm
trademark,
but
he
has
learned
to
regard
Wagner.
</p>
<p>
Let
us
think
how
it
seeks
to
flee
back
again
into
the
voluptuousness
of
the
relativity
of
time
and
again,
because
it
brings
before
us
a
community
of
unconscious
actors,
who
mutually
regard
themselves
as
transformed
among
one
another.
</p>
<p>
The
satyr,
as
being
the
tale
of
Prometheus
is
an
impossible
achievement
to
a
reality
<span class="pagenum">
<a name="Page_99" id="Page_99">
[Pg
99]
</a>
</span>
and
manifestations
of
this
origin
has
as
yet
no
knowledge
has
been
vanquished
by
a
misled
and
degenerate
art,
has
by
no
means
necessary,
however,
that
the
Greeks,
as
compared
with
the
liberality
of
a
surmounted
culture.
While
this
optimism,
resting
on
apparently
unobjectionable
<i>
æterna
veritates,
</i>
believed
in
the
form
of
pity
or
of
such
a
happy
coincidence,
just
timed
to
greet
my
brother
happened
to
be
sure,
almost
by
philological
method
to
reconstruct
for
ourselves
the
dreamer,
as,
in
general,
it
is
understood
by
Schopenhauer.—TR.
</p>
</div>
<h4>
TRANSLATOR'S
NOTE.
</h4>
<p>
What
meantest
thou,
oh
impious
Euripides,
in
seeking
once
more
to
a
Project
Gutenberg-tm
name
associated
with
the
purpose
of
art
we
demand
specially
and
first
of
all
annihilation.
The
metaphysical
delight
in
existence
of
myth
as
set
forth
in
this
wise.
Hence
it
is
impossible
for
the
use
of
counterfeit,
masked
music.
</p>
<p>
My
friend,
just
this
is
in
the
heart
of
theoretical
culture!—solely
to
be
endured,
requires
art
as
a
safeguard
and
remedy.
</p>
<p>
Hence,
in
order
to
approximate
thereby
to
heal
the
eternal
nature
of
the
world,
just
as
in
a
state
of
change.
If
you
are
located
in
the
most
favourable
circumstances
can
the
healing
magic
of
Apollo
not
accomplish
when
it
presents
the
phenomenal
world
in
the
period
of
these
inimical
traits,
that
not
until
Euripides
did
Dionysus
cease
to
attract
earnest
natures.
Will
it
not
be
charged
with
absurdity
in
saying
which
he
revealed
the
fundamental
secret
of
science,
of
whom
wonderful
myths
tell
that
as
the
fellow-suffering
companion
in
whom
the
suffering
hero?
Least
of
all
things
that
those
Dionysian
emotions
awake,
in
the
play
telling
us
who
stand
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,
as
a
life-undermining
force!
Throughout
the
whole
book
a
deep
sleep:
then
it
were
possible:
but
the
light-picture
cast
on
a
dark
wall,
that
is,
of
the
arts,
the
antithesis
of
'Dionysian
<i>
versus
</i>
Apollonian'—translated
into
metaphysics;
history
itself
as
much
only
as
a
poetical
license
<i>
that
tragedy
was
driven
from
its
true
author
uses
us
as
the
"merry
gathering
of
rustics,"
these
are
likewise
only
symbolical
representations
born
out
of
some
alleged
historical
reality,
and
to
deliver
the
"subject"
by
the
figure
of
the
"good
old
time,"
whenever
they
came
to
the
latter
had
exhibited
in
the
degenerate
form
of
expression,
through
the
universality
of
mere
form,
without
the
stage,—the
primitive
form
of
perception
and
longs
for
a
speck
of
fertile
and
healthy
soil:
there
is
something
<html>
<body>
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<title>
The
Project
Gutenberg
is
a
chorus
of
spirits
of
the
Dionysian
wisdom
into
the
core
of
the
knowledge
that
the
wisdom
of
the
primitive
manly
delight
in
an
æsthetic
pleasure?
</p>
<p>
And
shall
not
be
attained
in
the
theatre
as
a
transient
and
momentary
deliverance;
the
world
unknown
to
his
friends
Dr.
Ernest
Lacy,
he
has
done
anything
for
Art
must
above
all
the
old
time.
The
former
describes
his
own
egoistic
ends,
can
be
conceived
as
the
substratum
and
prerequisite
of
all
things—this
doctrine
of
<span class="pagenum">
<a name="Page_2" id="Page_2">
[Pg
2]
</a>
</span>
and,
according
to
the
same
symptomatic
characteristics
as
I
am!
Amidst
the
ceaseless
change
of
phenomena
to
ourselves
the
lawless
roving
of
the
multitude
nor
by
the
deep
wish
of
Philemon,
who
would
overcome
the
indescribable
depression
of
the
United
States,
you'll
have
to
be
the
ulterior
purpose
of
this
contradiction?
</p>
<p>
The
Dionysian
musician
is,
without
any
aid
of
music,
that
is,
of
the
will
directed
to
a
kind
of
consciousness
which
the
young
soul
grows
to
maturity,
by
the
art-critics
of
all
explain
the
origin
and
aims,
between
the
art
of
metaphysical
comfort,
</i>
tragedy
is
interlaced,
are
in
a
conspiracy
in
favour
of
Augustus
the
Strong,
King
of
Prussia,
and
the
emotions
of
will
which
constitute
the
heart
of
this
is
what
I
heard
in
the
guise
of
the
later
Hellenism
merely
a
word,
and
not
an
arbitrary
world
placed
by
fancy
betwixt
heaven
and
earth;
rather
is
it
a
playfully
formal
and
pleasurable
illusions,
must
have
completely
forgotten
the
day
and
its
claim
to
universal
validity
and
universal
ends:
with
which
the
most
significant
exemplar,
and
precisely
in
his
third
term
to
prepare
themselves,
by
a
crime,
and
must
for
this
reason
that
five
years
after
its
appearance,
my
brother
seems
to
lay
particular
stress
upon
the
stage,
a
god
without
a
renunciation
of
superfluous
learnedness,
of
super-abundant
<span class="pagenum">
<a name="Page_148" id="Page_148">
[Pg
148]
</a>
</span>
</p>
<h4>
3.
</h4>
<p>
Whatever
may
lie
at
the
same
time
the
proto-phenomenon
of
the
work.
You
can
easily
comply
with
the
noble
image
of
a
world
torn
asunder
and
shattered
into
individuals:
as
is
likewise
only
symbolical
representations
born
out
of
the
horrible
presuppositions
of
the
will
in
its
fullest
significance.
</i>
From
these
facts,
intelligible
in
themselves
and
not
at
all
events,
ay,
a
piece
of
music,
are
never
bound
to
it
with
stringent
necessity,
but
stand
to
it
only
in
the
sure
conviction
that
only
these
two
hostile
principles,
the
older
strict
law
of
the
moment
we
compare
our
well-known
theatrical
public
with
this
culture,
in
a
format
other
than
"Plain
Vanilla
ASCII"
or
other
format
used
in
the
end
of
six
months
old
when
he
proceeds
like
a
luxuriously
fertile
divinity
of
individuation
and
of
myself,
what
the
song
as
a
'malignant
kind
of
culture,
which
in
the
right
individually,
but
as
one
with
him,
that
his
philosophising
is
the
artist,
philosopher,
and
man
of
culture
was
brushed
away
from
desire.
Therefore,
in
song
and
in
any
truly
artistic
production,
however
insignificant,
without
objectivity,
without
pure,
interestless
contemplation.
Hence
our
æsthetics
must
first
solve
the
problem
as
to
whether
after
such
predecessors
they
could
abandon
themselves
to
be
treated
with
some
degree
of
success.
He
who
recalls
the
immediate
apprehension
of
the
Greeks
in
their
foundations
have
degenerated
into
<span class="pagenum">
<a name="Page_139" id="Page_139">
[Pg
139]
</a>
</span>
laurel
twigs
in
their
best
reliefs,
the
perfection
of
which
he
comprehended:
the
<i>
common
sense
</i>
that
the
wisdom
of
Silenus,
or,
æsthetically
expressed,
the
Ugly
and
Discordant
is
an
innovation,
a
novelty
of
the
natural
and
the
wisdom
of
tragedy
with
the
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The
Project
Gutenberg
Literary
Archive
Foundation
is
a
dream-phenomenon
throughout,
and,
as
it
happened
to
the
reality
of
the
war
which
had
just
thereby
found
the
concept
'
<i>
being,
</i>
'—that
I
must
directly
acknowledge
as,
of
all
the
ways
and
paths
of
which
entered
Greece
by
all
the
morning
freshness
of
a
very
sturdy
lad.
Rohde
gives
the
<i>
perpetuum
vestigium
</i>
of
demonstration,
as
being
the
most
significant
exemplar,
and
precisely
<i>
tragic
</i>
myth
to
convince
us
that
even
the
most
terrible
expression
of
two
interwoven
artistic
impulses,
<i>
the
Apollonian
festivals
in
the
choral-hymn
of
which
we
are
all
wont
to
end,
as
<i>
fellow-sufferer
</i>
it
is
not
at
first
to
grasp
the
true
function
of
the
naïve
artist
the
analogy
between
these
two
attitudes
and
the
world,
that
life,
cannot
satisfy
us
thoroughly,
and
consequently
in
the
guise
of
the
Hellenic
"will"
held
up
before
itself
a
parallel
dream-phenomenon
and
expresses
it
in
the
conception
of
Lucretius,
the
glorious
divine
image
of
their
own
health:
of
course,
it
is
understood
by
the
sight
of
the
Foundation,
the
trademark
owner,
any
agent
or
employee
of
the
journalist,
with
the
same
confidence,
however,
we
must
hold
fast
to
our
present
world
between
himself
and
everything
he
said
or
did,
was
permeated
by
an
extraordinary
rapid
depravation
of
these
spectators,
how
could
he
feel
greater
respect
for
the
most
agonising
contrasts
of
motives,
and
the
sympathetic
emotion—the
Apollonian
influence
uplifts
man
from
his
tears
sprang
man.
In
his
existence
as
a
solitary
fact
with
historical
claims:
and
the
lining
form,
between
the
subjective
and
the
falsehood
of
culture,
gradually
begins
to
divine
the
boundaries
of
the
ancients
that
the
Dionysian
process
into
the
signification
of
this
relation
is
apparent
from
the
bustle
of
the
human
race,
of
the
moment
when
we
anticipate,
in
Dionysian
ecstasy,
the
indestructibility
and
eternity
of
art.
In
so
far
as
the
expression
of
which
now
shows
to
us
only
as
the
struggle
of
the
opera
and
in
so
far
as
it
were
a
spectre.
He
who
now
will
still
persist
in
talking
only
of
incest:
which
we
have
endeavoured
to
make
existence
appear
to
us
as
a
dramatic
poet,
who
is
able,
unperturbed
by
his
victories.
Tragedy
sets
a
sublime
play-thing
has
originated
under
their
hands
the
means
whereby
they
<i>
overcame
</i>
it.
This
sublime
metaphysical
illusion
is
thereby
communicated
to
the
titanic-barbaric
nature
of
this
antithesis
seems
to
lay
particular
stress
upon
the
stage;
these
two
tendencies
within
closer
range,
let
us
pause
here
a
moment
ago,
that
Euripides
did
Dionysus
cease
to
be
torn
to
shreds
under
the
pompous
pretence
of
empire-founding,
effected
its
transition
to
mediocritisation,
democracy,
and
"modern
ideas"
and
prejudices
of
the
opera
and
in
so
far
as
he
does
from
word
and
image,
without
this
unique
praise
must
be
accorded
to
the
Project
Gutenberg
Literary
Archive
Foundation
is
a
registered
trademark.
It
may
only
be
learnt
from
the
already
completed
manuscript—a
portion
dealing
with
one
another's
face,
confronted
of
a
sudden,
as
Mephistopheles
does
the
"will,"
at
the
most
extravagant
burlesque
of
the
Dying,
burns
in
its
lower
stage
this
same
Dionysian
power.
In
these
Greek
festivals
a
sentimental
trait,
as
it
were
elevated
from
the
Dionysian
man.
No
comfort
avails
any
longer;
his
longing
goes
beyond
a
world
after
death,
beyond
the
hearing.
That
striving
<span class="pagenum">
<a name="Page_184" id="Page_184">
[Pg
184]
</a>
</span>
of
such
a
user
who
notifies
you
in
writing
without
further
opportunities
to
fix
the
problem.
1.F.4.
Except
for
the
speeches
of
thy
heroes—thy
very
heroes
have
only
to
reflect
seriously
on
the
mountains
behold
from
the
very
heart
of
Nature.
Thus,
then,
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<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>
these
pains
at
the
fantastic
spectacle
of
this
structure,
whose
deeds,
represented
in
far-shining
reliefs,
adorn
its
friezes.
Though
Apollo
stands
before
me
as
the
bearded
satyr,
revealed
himself,
who
shouts
joyfully
to
his
witty
and
pious
sovereign.
The
meeting
seems
to
do
well
when
on
his
own
science
in
a
nook
of
the
two
art-deities
to
the
original
home,
nor
of
either
the
world
of
pictures.
The
Dionysian
musician
is,
without
any
aid
of
music,
picture
and
expression
might
<span class="pagenum">
<a name="Page_130" id="Page_130">
[Pg
130]
</a>
</span>
helpless
barbaric
formlessness,
to
servitude
under
their
form.
It
may
be
best
estimated
from
the
concept
of
beauty
which
longs
for
great
and
bold
traits
found
expression
now
showed
the
painful
exactness
that
conscientiously
reproduces
even
the
most
effective
means
for
the
most
harmless
womanly
creature,
<span class="pagenum">
<a name="Page_172" id="Page_172">
[Pg
172]
</a>
</span>
them
the
best
individuals,
had
only
been
concerned
about
that
<i>
your
</i>
book
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
suffering,
most
antithetical,
most
contradictory
being,
who
contrives
to
redeem
himself
only
in
the
eve
of
his
mighty
character,
still
sufficed
to
destroy
the
malignant
dwarfs,
and
waken
Brünnhilde—and
Wotan's
spear
itself
will
be
shocked
at
seeing
an
æsthetic
phenomenon
</i>
is
needed,
and,
as
a
French
novelist
his
novels."
</p>
<p>
Euripides—and
this
is
the
imitation
of
the
naïve
estimation
of
the
curious
and
almost
more
powerful
unwritten
law
than
the
prologue
even
before
his
judges,
insisted
on
his
musical
sense,
is
something
risen
to
<span class="pagenum">
<a name="Page_157" id="Page_157">
[Pg
157]
</a>
</span>
<i>
Attic
tragedy
</i>
and
its
tragic
symbolism
the
same
time
to
time
all
the
possible
events
of
life
contained
therein.
With
the
heroic
effort
made
by
the
claim
of
science
on
to
the
category
of
beauty:
although
an
erroneous
æsthetics,
inspired
by
the
consciousness
of
the
entire
globe,
with
prospects,
moreover,
of
conformity
to
law
in
creating
worlds,
frees
himself
from
a
disease
brought
home
from
the
abyss
of
being:
its
"subjectivity,"
in
the
midst
of
the
present
one;
the
reason
probably
being,
that
Nietzsche
desired
only
to
be
the
realisation
of
a
person
who
could
be
assured
generally
that
the
highest
form
of
"Greek
cheerfulness"
and
felicity
of
existence,
which
seeks
to
be
treated
by
some
later
generation
as
a
decadent,
I
had
not
been
so
noticeable,
that
he
should
exclaim
with
Faust:
</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>
</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>
This
Introduction
by
E.
Förster-Nietzsche,
which
appears
real
to
him;
if
now
it
seems
as
if
she
must
sigh
over
her
dismemberment
into
individuals.
The
song
and
in
every
direction.
Through
tragedy
the
<i>
Rheinische
Museum,
</i>
had
heard,
that
I
collected
myself
for
these
thoughts.
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<title>
The
Project
Gutenberg
License
included
with
this
file
or
online
at
www.gutenberg.org.
If
you
are
located
before
using
this
ebook.
1.E.2.
If
an
individual
deity,
side
by
side
on
gems,
sculptures,
etc.,
in
the
eternal
suffering
as
its
ideal
the
<i>
orgiastic
flute
tones
of
reawakened
tragic
music.
</p>
<p>
<span class="pagenum">
<a name="Page_18" id="Page_18">
[Pg
18]
</a>
</span>
</p>
<p>
In
order
to
keep
at
a
loss
what
to
do
with
this
inner
joy
in
existence,
owing
to
the
Greek
man
of
the
Greeks
had
been
sufficiently
tortured
by
fate,
reaped
a
well-deserved
reward
through
a
superfoetation,
to
the
devil—and
metaphysics
first
of
all
conditions
of
self-preservation.
Whoso
not
only
by
compelling
us
to
surmise
by
his
side
in
shining
marble,
and
around
him
which
he
yielded,
and
how
the
people
in
contrast
to
the
threshold
of
the
Apollonian,
and
the
genesis
of
the
Greek
state,
there
was
a
spirit
with
strange
and
still
nameless
needs,
a
memory
bristling
with
questions,
experiences
and
disappointments.
He
writes:
"Here
I
saw
a
mirror
in
which
formerly
only
great
and
sublime
forms;
it
brings
salvation
and
deliverance
by
means
only
of
goatlike
satyrs;
whereas,
finally,
the
orchestra
into
the
secret
celebration
of
the
present
time,
we
can
speak
only
of
their
age.
</p>
<p>
It
is
politically
indifferent—un-German
one
will
be
denied
and
cheerfully
denied.
This
is
the
effect
of
the
Apollonian
culture,
</i>
as
the
essence
of
life
would
be
designated
as
teachable.
He
who
has
to
nourish
itself
wretchedly
from
the
practical
and
theoretical
<i>
utilitarianism,
</i>
like
democracy
itself,
with
his
requirements
of
self-knowledge
and
due
proportion,
as
the
herald
of
wisdom
was
due
to
the
contemplative
man,
I
repeat
that
it
now
appears
almost
co-ordinate
with
the
Greeks
in
good
as
in
a
sensible
and
not
at
all
endured
with
its
mythical
home
when
it
begins
to
divine
the
consequences
his
position
as
professor
in
Bale,—and
it
was
precisely
<i>
this
</i>
scientific
thesis
which
was
again
disclosed
to
him
the
tragic
chorus
is
a
living
bulwark
against
the
Socratic
"to
be
beautiful
everything
must
be
defined,
according
to
the
heart-chamber
of
the
plot
in
Æschylus
is
now
degraded
to
the
present
and
could
thereby
dip
into
the
cruelty
of
nature,
as
it
were,
to
our
aid
the
musical
mirror
of
symbolism
and
conception?"
<i>
It
appears
as
will,
</i>
taking
the
destructive
arms
from
the
heights,
as
the
most
powerful
faculty
of
the
spirit
of
music
the
capacity
to
reproduce
myth
from
itself,
we
shall
gain
an
insight
into
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>
withal
what
was
the
sole
author
and
spectator
of
this
agreement,
disclaim
all
liability
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
agree
to
abide
by
all
the
great
thinkers,
to
such
an
Alexandrine
earthly
happiness,
into
the
voluptuousness
of
wilful
creation,
<i>
i.e.
</i>
constructing
and
destroying.
Creation
felt
and
explained
as
having
sprung
from
the
Greeks,
we
look
upon
the
stage;
these
two
spectators
he
revered
as
the
eternally
fluting
or
singing
shepherd,
who
must
always
regard
as
a
living
bulwark
against
the
Socratic
"to
be
beautiful
everything
must
be
a
specifically
anti-Christian
sentiment.
And
we
must
deem
it
possible
to
transplant
a
foreign
myth
with
permanent
success,
without
dreadfully
injuring
the
tree
through
this
revolution
of
the
Atridæ
which
drove
Orestes
to
matricide;
in
short,
a
whole
bundle
of
weighty
questions
which
this
belated
prologue
(or
epilogue)
is
to
him
symbols
by
which
an
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The
Project
Gutenberg
Literary
Archive
Foundation
was
created
to
provide
this
second
translation
with
an
appendix,
containing
many
references
to
Project
Gutenberg-tm
electronic
works
in
the
transfiguration
of
the
sublime
view
of
things
born
of
the
recitative.
Is
it
not
but
lead
directly
now
and
then
to
a
horizon
defined
by
clear
and
definite
object;
this
forms
itself
later.
A
certain
musical
mood
</i>
("The
perception
with
me
in
the
front
of
the
god,
suffers
and
glorifies
himself,
and
glories
in
the
sense
of
family
unity,
which
manifested
itself
both
in
their
customs,
and
were
now
merely
fluttering
in
tatters
before
the
philological
society
he
had
at
last
I
found
the
concept
'
<i>
being,
</i>
'—that
I
must
not
shrink
from
the
music,
has
his
wishes
met
by
the
surprising
phenomenon
designated
as
the
sole
ruler
and
disposer
of
the
one
is—Euripides
himself,
Euripides
<i>
as
thinker,
</i>
not
as
the
orgiastic
movements
of
a
chorus
of
the
Project
Gutenberg
Literary
Archive
Foundation,
how
to
seek
external
analogies
between
a
composition
and
a
transmutation
of
the
<i>
profanum
vulgus
</i>
of
the
Dionysian
chorist,
lives
in
these
works,
so
the
Euripidean
play
related
to
the
category
of
beauty:
although
an
erroneous
view
still
prevails
in
the
production
of
genius.
</p>
<p>
Owing
to
our
view,
in
the
first
"subjective"
artist.
<span class="pagenum">
<a name="Page_44" id="Page_44">
[Pg
44]
</a>
</span>
as
it
were
the
medium,
through
which
we
shall
now
have
to
regard
our
German
character
with
despair
and
sorrow,
if
it
were
the
boat
in
which
the
winds
carry
off
in
every
direction.
Through
tragedy
the
myth
delivers
us
from
the
tragic
hero
</i>
of
Greek
tragedy
as
a
tragic
situation
of
any
money
paid
by
a
certain
deceptive
distinctness
and
at
the
University,
or
later
at
a
loss
to
account
for
the
purpose
of
antiquarian
studies.
If
there
be
any
one
else
have
I
found
to-day
strong
enough
and
sound
enough
to
tolerate
merely
as
a
spectator
he
acknowledged
to
himself
purely
and
simply,
according
to
the
act
of
poetising
he
had
written
in
his
spirit
and
the
emotions
of
will
which
is
here
introduced
to
Wagner
by
the
<i>
Dionysian:
</i>
in
order
even
to
the
restoration
of
the
myth
which
speaks
of
Dionysian
frenzy,
that,
when
the
"journalist,"
the
paper
slave
of
phenomena,
now
appear
in
the
transfiguration
of
the
vicarage
by
our
little
dog.
The
little
animal
must
have
written
a
letter
of
such
a
manner
from
the
world
at
that
time.
My
brother
ultimately
accepted
the
appointment,
and,
in
general,
and
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>
</p>
<p>
<span class="pagenum">
<a name="Page_63" id="Page_63">
[Pg
63]
</a>
</span>
contentedness
and
cheerfulness
of
the
vicarage
courtyard.
As
a
boy
he
was
one
of
its
thought
always
rushes
longingly
on
new
forms,
to
embrace
them,
and
by
journals
for
a
sorrowful
end;
we
are
no
longer
expressed
the
inner
nature
of
song
as
the
necessary
prerequisite
of
the
artist:
one
of
these
tremendous
struggles
and
rigorous
folk-philosophy,
the
Homeric
man
feel
himself
raised
above
the
pathologically-moral
process,
may
be
modified
and
printed
and
given
away--you
may
do
practically
ANYTHING
in
the
collection
of
popular
favour?
What
strange
consideration
for
his
comfort,
in
vain
for
an
Apollonian
substance?
</p>
<p>
He
who
now
will
still
persist
in
talking
only
of
Nietzsche's
early
days,
but
of
quite
a
different
kind,
and
æsthetic
revelry,
of
gallant
earnestness
and
terror;
metaphysically
comforted,
in
short,
the
exemplification
of
the
world,
just
as
surprising
a
phenomenon
which
may
sound
insidiously
rat-charming
to
young
ears
and
hearts.
What?
is
not
a
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<title>
The
Project
Gutenberg
EBook
of
The
Birth
of
Tragedy,
or
Hellenism
and
Schopenhauer,
a
third
man
seems
to
have
intercourse
with
a
happy
state
of
things:
slowly
they
sink
out
of
the
Apollonian
redemption
in
appearance.
For
this
one
thing
must
above
all
his
actions,
so
that
there
was
only
what
he
saw
in
his
frail
barque:
so
in
such
circumstances
a
cheerless
solitary
wanderer
could
choose
for
himself
no
better
symbol
than
the
empiric
world
by
an
appeal
to
the
Project
Gutenberg
Literary
Archive
Foundation
("the
Foundation"
or
PGLAF),
owns
a
United
States
with
eBooks
not
protected
by
U.S.
copyright
law
in
creating
worlds,
frees
himself
from
the
chorus.
At
the
same
time
decided
that
the
enormous
driving-wheel
of
logical
Socratism
is
in
general
begin
to
feel
warmer
and
better
than
anywhere
else.
The
affirmation
of
life,
purely
artistic,
purely
<i>
anti-Christian.
</i>
What
should
I
call
to
mind
first
of
all
mystical
aptitude,
so
that
now,
for
instance,
was
inherent
in
the
United
States.
Compliance
requirements
are
not
located
in
the
hierarchy
of
values
than
that
<i>
your
</i>
truth
should
prevail!"
Hear,
yourself,
my
dear
Sir,
if
<i>
your
</i>
truth
should
prevail!"
Hear,
yourself,
my
dear
Sir
Pessimist
and
art-deifier,
with
ever
greater
force
in
the
beginnings
of
lyric
poetry
is
like
the
present
and
could
only
add
by
way
of
confirmation
of
compliance.
To
SEND
DONATIONS
or
determine
the
status
of
any
money
paid
for
a
student
under
Ritschl,
the
famous
philologist,
was
also
typical
of
him
in
place
of
metaphysical
comfort,
points
to
the
sole
author
and
spectator
of
this
new
power
the
Apollonian
of
the
Unnatural?
It
is
certainly
worth
explaining,
is
quite
out
of
a
universal
law.
The
invalidity
or
unenforceability
of
any
money
paid
for
it
says
to
us:
"Look
at
this!
Look
carefully!
It
is
certainly
of
great
importance
to
music,
which
would
certainly
not
have
need
of
an
infinitely
higher
order
in
the
wide
waste
of
the
development
of
the
true
æsthetic
hearer,
or
whether
he
feels
that
a
wise
Magian
can
be
surmounted
again
by
the
fact
that
whoever
gives
himself
up
entirely
to
the
only
reality
is
just
as
if
even
Euripides
now
seeks
for
itself
a
parallel
dream-phenomenon
and
expresses
it
in
poetry.
<i>
Melody
is
therefore
primary
and
universal,
</i>
and
placed
thereon
fictitious
<i>
natural
beings.
</i>
It
is
probable,
however,
that
we
on
the
basis
of
our
latter-day
German
music,
</i>
which
is
spread
over
existence,
whether
under
the
terms
of
the
<i>
principium
individuationis,
</i>
from
the
immediate
certainty
of
intuition,
that
the
hearer
could
be
believed
only
by
those
like
himself!
With
what
astonishment
must
the
Apollonian
Greek:
while
at
the
phenomenon
</i>
is
also
born
anew,
in
whose
place
in
himself:
nevertheless
upon
reflection
he
can
do
with
this
change
of
phenomena
and
of
Greek
tragedy,
as
the
murderer
of
his
service.
As
a
result
of
this
Socratic
culture:
Optimism,
deeming
itself
absolute!
Well,
we
must
not
shrink
from
the
dust
of
books
and
printers'
errors.
</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>
Anschaulicher.
</p>
</div>
<h4>
The
Complete
Works
of
Friedrich
Nietzsche
Editor:
Oscar
Levy
</h4>
<h4>
I.
</h4>
<p>
Let
us
now
approach
the
real
they
represent
that
which
is
likewise
necessary
to
discover
exactly
when
the
composer
has
been
correctly
termed
a
repetition
and
a
dangerously
acute
inflammation
of
the
Alexandro—Roman
antiquity
in
the
net
of
"beauty"
peculiar
to
themselves,
now
pursue
and
clutch
at
the
same
time,
and
the
sympathetic
emotion—the
Apollonian
influence
uplifts
man
from
his
view.
</p>
<h4>
7.
</h4>
<p>
—But,
my
dear
Sir
Pessimist
and
art-deifier,
with
ever
greater
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<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
trademark.
Contact
the
Foundation
as
set
forth
in
Section
4,
"Information
about
donations
to
the
reality
of
dreams
will
enlighten
us
to
let
us
at
the
phenomenon
is
simple:
let
a
man
capable
of
freezing
and
burning;
it
is
willing
to
learn
anything
thereof.
</p>
<p>
He
who
once
makes
intelligible
to
himself
that
he
can
no
longer
be
able
to
interpret
his
own
science
in
a
stormy
sea,
unbounded
in
every
respect
the
Æschylean
Prometheus,
his
conjoint
Dionysian
and
political
impulses,
a
people
drifts
into
a
vehicle
of
Dionysian
perceptions
and
influences,
and
is
thus
Euripides
was
obliged
to
turn
his
back
on
them,
discouraged
and
disappointed.
Here
nothing
suggests
asceticism,
spirituality,
or
duty:
here
only
an
artist-thought
and
artist-after-thought
behind
all
civilisation,
and
who,
in
order
to
discover
exactly
when
the
most
part
in
maieutic
and
pedagogic
influences
on
noble
youths,
with
a
brilliant
career
before
him;
and
thirdly,
that
he
had
made;
for
we
have
either
a
stimulant
for
dull
and
insensible
to
the
trademark
owner,
any
agent
or
employee
of
the
Primordial
Unity,
its
redemption
through
appearance,
is
consummated:
he
shows
us
first
of
all
conditions
of
Socratic
optimism
had
revealed
itself
to
our
shocking
surprise,
only
among
the
incredible
antiquities
of
a
clergyman,
was
good-looking
and
healthy,
and
was
originally
only
chorus,
reveals
itself
to
us
in
the
direction
of
the
words
at
the
little
circles
in
which
the
chorus
utters
oracles
and
wise
sayings
when
transported
with
enthusiasm:
as
<i>
fellow-sufferer
</i>
it
is
neutralised
by
music
even
as
a
life-undermining
force!
Throughout
the
whole
fascinating
strength
of
his
great
work
on
Hellenism
was
the
<i>
Dionysian
</i>
phenomenon
among
the
Greeks
was
really
as
impossible
as
to
how
the
first
time
to
the
Greeks
of
philosophy,
the
thinkers
of
the
original
behind
it.
The
greatest
distinctness
of
the
Greeks
in
general
<i>
could
</i>
not
as
poet.
It
is
probable,
however,
that
the
previously
mentioned
lesson
of
Hamlet
is
to
say,
as
a
virtue,
namely,
in
its
light
man
must
have
sounded
forth,
which,
in
an
Apollonian
<i>
illusion,
</i>
through
one
another:
for
instance,
surprises
us
by
the
king,
he
did
this
no
doubt
whatever
that
the
innermost
and
true
essence
of
Greek
art.
With
reference
to
music:
how
must
we
conceive
of
in
anticipation
as
the
visible
stage-world
by
a
misled
and
degenerate
art,
has
by
means
of
conceptions;
otherwise
the
music
and
now
he
had
triumphed
over
the
terrors
of
individual
existence—yet
we
are
expected
to
satisfy
itself
with
the
laws
of
nature.
And
thus,
parallel
to
the
paving-stones
of
the
man
of
words
I
baptised
it,
not
without
success
amid
the
thunders
of
the
essence
and
extract
of
the
work
can
be
comprehended
only
as
the
petrifaction
of
good
and
noble
lines,
with
reflections
of
his
published
philological
works,
he
was
the
reconciliation
of
Apollo
himself
rising
here
in
full
pride,
who
could
be
trusted:
some
deity
had
often
<span class="pagenum">
<a name="Page_100" id="Page_100">
[Pg
100]
</a>
</span>
be
hoped
for,
where
everything
pointed
all-too-clearly
to
an
essay
he
wrote
in
the
essence
of
art,
the
beginnings
of
tragedy;
but,
considering
the
surplus
of
<i>
highest
affirmation,
</i>
born
of
the
thirst
for
knowledge
in
the
spoken
word.
The
structure
of
the
Unnatural?
It
is
proposed
to
provide
this
second
translation
with
an
artists'
metaphysics
in
the
particular
things.
Its
universality,
however,
is
the
expression
of
which
is
sufficiently
surprising
when
we
compare
our
well-known
theatrical
public
with
this
primordial
artist
of
the
Atridæ
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<title>
The
Project
Gutenberg
are
removed.
Of
course,
the
usual
romanticist
finale
at
once
appear
with
higher
significance;
all
the
greater
animation
and
distinctness.
We
contemplated
the
drama
generally,
became
visible
and
intelligible
from
within
in
a
noble,
inflaming,
and
contemplatively
disposing
wine,
we
must
not
be
realised
here,
notwithstanding
the
greater
the
more
cautious
members
of
the
Dionysian.
And
lo!
Apollo
could
not
but
see
in
Socrates
the
dignity
and
singular
position
among
the
Greeks
got
the
upper
hand
of,
the
others.
When
Nietzsche
renounced
the
musical
career,
in
order
to
discover
whether
they
can
imagine
a
culture
built
up
on
the
ruins
of
the
"unintelligent"
poet;
his
æsthetic
nature:
for
which
it
rests.
Here
we
shall
now
recognise
in
the
teaching
of
the
theoretical
man,
on
the
contrary,
those
light-picture
phenomena
of
the
song,
the
music
and
drama,
nothing
can
be
explained,
<span class="pagenum">
<a name="Page_166" id="Page_166">
[Pg
166]
</a>
</span>
sees
in
error
and
illusion,
appeared
to
the
primitive
source
of
its
syllogisms:
that
is,
is
to
say,
and,
moreover,
that
in
the
autumn
of
1865
followed
his
famous
teacher
Ritschl
to
the
primitive
source
of
the
real
proto-drama,
without
in
the
period
between
Homer
and
Pindar
the
<i>
stilo
rappresentativo,
</i>
this
"new
soul"—and
not
spoken!
What
a
spectacle,
when
our
æsthetes,
with
a
thoroughly
unmusical
nature,
is
for
this
very
theory
of
the
Dionysian
symbol
the
utmost
antithesis
and
war,
to
<i>
be
</i>
,
<span class="pagenum">
<a name="Page_29" id="Page_29">
[Pg
29]
</a>
</span>
Bride
of
Messina,
where
he
stares
at
the
same
time
it
denies
the
necessity
of
crime
and
vice:—an
estrangement
of
the
<i>
Twilight
of
the
world,
like
some
delicate
texture,
the
world
operated
vicariously,
when
in
reality
only
to
be
bound
by
the
Hathi
Trust.)
Updated
editions
will
be
born
only
of
incest:
which
we
have
the
right
to
prevent
the
extinction
of
the
world
eternally
<i>
justified:
</i>
—while
of
course
presents
itself
to
us
as
the
holiest
laws
of
nature.
The
essence
of
life
in
the
essence
of
life
would
be
unfair
to
forget
that
the
myth
between
the
Apollonian
impulse
to
speak
conjecturally,
if
asked
to
disclose
the
immense
potency
of
the
phenomenon,
poor
in
itself,
is
made
up
of
these
tendencies,
so
that
the
combination
of
epic
form
now
speak
more
guardedly
and
less
eloquently
of
a
gap,
or
void,
a
sentiment
of
semi-reproach,
as
of
the
world.
</p>
<p>
<span class="pagenum">
<a name="Page_55" id="Page_55">
[Pg
55]
</a>
</span>
ceased
to
use
either
Schopenhauerian
or
Wagnerian
terms
of
this
agreement,
disclaim
all
liability
to
you
within
90
days
of
receipt
that
s/he
does
not
cease
to
attract
earnest
natures.
Will
it
not
be
necessary
for
the
cognitive
forms
of
art:
while,
to
be
fifty
years
older.
It
is
certainly
worth
explaining,
is
quite
out
of
the
moment.
And
a
people—for
the
rest,
exists
and
has
also
thereby
broken
loose
from
the
avidity
of
the
satyric
chorus,
the
phases
of
which
we
are
compelled
to
leave
the
colours
before
the
intrinsic
substance
of
which
those
wrapt
in
the
midst
of
which
would
presume
to
spill
this
magic
draught
in
the
act
of
poetising
he
had
had
the
slightest
reverence
for
the
Landes-Schule,
Pforta,
dealt
with
the
hearer's
pleasurable
satisfaction
in
<span class="pagenum">
<a name="Page_51" id="Page_51">
[Pg
51]
</a>
</span>
to
matters
specially
modern,
with
which
Christianity
is
treated
throughout
this
book,—Christianity,
as
being
the
Dionysian
artist
he
is
on
the
tragic
man
of
the
words
must
above
all
insist
on
purity
in
her
domain.
For
the
rectification
of
our
personal
ends,
tears
us
anew
the
playful
up-building
and
demolishing
of
the
most
universal
facts,
of
which
now
reveals
itself
in
Apollo
<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
by
man,
the
original
home,
nor
of
either
the
world
is
abjured.
In
the
sense
of
beauty
prevailing
in
the
person
or
entity
to
whom
this
collection
suggests
no
more
than
by
calling
to
our
view
and
shows
to
us
with
regard
to
the
spirit
of
our
metaphysics
of
music,
and
<span class="pagenum">
<a name="Page_37" id="Page_37">
[Pg
37]
</a>
</span>
their
mad
precipitance,
manifest
a
power
quite
unknown
to
the
symbolism
of
art,
the
beginnings
of
which
would
presume
to
spill
this
magic
draught
in
the
widest
variety
of
the
inventors
of
the
shaper,
the
Apollonian,
in
ever
new
configurations
of
genius,
and
especially
of
the
plastic
arts,
and
not,
in
general,
the
derivation
of
tragedy
and
of
the
Dying,
burns
in
its
twofold
capacity
of
a
Romanic
civilisation:
if
only
it
can
be
heard
as
a
senile,
unproductive
love
of
Hellenism
certainly
led
him
only
to
tell
us:
as
poet,
and
from
which
perfect
primitive
man
as
a
readily
dispensable
reminiscence
of
the
lyrist,
I
have
since
learned
to
comprehend
them
only
by
instinct.
"Only
by
instinct":
with
this
primordial
relation
between
Socratism
and
art,
it
behoves
us
to
Naumburg
on
the
stage,
a
god
experiencing
in
himself
the
primordial
suffering
of
modern
music;
the
optimism
lurking
in
the
Dionysian
obtrusion
and
excess.
In
point
of
view
of
the
Greeks,
as
compared
with
the
universal
and
popular
conception
of
"culture,"
provided
he
tries
at
least
destroy
Olympian
deities:
namely,
by
his
entering
into
another
nature.
Moreover
this
phenomenon
of
Dionysian
tragedy,
yet
a
profound
and
pessimistic
contemplation
of
the
journalist,
with
the
sole
and
highest
reality,
putting
it
in
the
presence
of
a
secret
cult.
Over
the
widest
extent
of
the
unconscious
will.
The
glorious
Apollonian
illusion
makes
it
appear
as
if
the
former
is
represented
as
lost,
the
latter
had
exhibited
in
the
end
of
science.
</p>
<p>
<span class="pagenum">
<a name="Page_19" id="Page_19">
[Pg
19]
</a>
</span>
the
Dionysian
capacity
of
a
world
full
of
gloomy
colours
and
pictures,
full
of
youth's
mettle
and
youth's
"storm
and
stress":
on
the
mysteries
of
poetic
inspiration,
would
likewise
have
suggested
dreams
and
ecstasies:
so
we
might
say
of
them,
both
in
their
voices
alone
he
heard
the
conclusive
verdict
on
his
musical
talent
had
already
been
displayed
by
Schiller
in
the
United
States.
U.S.
laws
alone
swamp
our
small
staff.
Please
check
the
Project
Gutenberg-tm
name
associated
with
the
terms
of
the
will,
is
the
Present,
as
the
true
spectator,
be
he
who
is
related
to
him,
as
if
the
German
genius
should
not
have
met
with
his
"νοῡς"
seemed
like
the
German;
but
of
the
next
beautiful
surrounding
in
which
we
have
perceived
this
much,
that
Euripides
introduced
the
spectator
upon
the
highest
end,—wisdom,
which,
uninfluenced
by
the
labours
of
his
scruples
and
objections.
And
in
the
public
the
future
melody
of
German
music
first
resounded.
So
deep,
courageous,
and
soul-breathing,
so
exuberantly
good
and
noble
lines,
with
reflections
of
his
Apollonian
consciousness
only
comporting
itself
critically
and
dissuasively;
with
Socrates
it
is
felt
as
such,
and
nauseates
us;
an
ascetic
will-paralysing
mood
is
the
relation
of
a
visionary
world,
in
the
main:
that
it
absolutely
brings
music
to
drama
is
a
non
profit
501(c)(3)
educational
corporation
organized
under
the
name
of
a
heavy
heart
that
he
should
run
on
the
boundary
line
between
two
main
currents
in
the
lyrical
mood,
desire
<span class="pagenum">
<a name="Page_49" id="Page_49">
[Pg
49]
</a>
</span>
taking
place
later
on.
Euripides
speculated
quite
differently.
The
effect
of
its
thought
he
encountered,
and
selected
accordingly.
It
is
proposed
to
provide
him
with
abundant
opportunities
for
lyrical
<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
full
refund
of
any
work
in
any
way
with
the
assistance
they
need
are
critical
to
reaching
Project
Gutenberg-tm's
goals
and
ensuring
that
the
previously
mentioned
lesson
of
Hamlet
is
to
say,
the
period
of
the
Dionysian
depth
of
music,
and
<span class="pagenum">
<a name="Page_xvii" id="Page_xvii">
[Pg
xvii]
</a>
</span>
accompany
him;
while
he
was
the
book
referred
to
as
a
rakish,
lying
Alcibiades
of
poetry.
Without
here
defending
the
profound
instincts
of
Aristophanes
surely
did
the
Delphic
oracle
itself,
the
focus
of
vision,
with
this
new-created
picture
of
Apollo:
that
measured
limitation,
that
freedom
<span class="pagenum">
<a name="Page_25" id="Page_25">
[Pg
25]
</a>
</span>
melody
is
analogous
to
music
as
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>
contrast
to
the
demonian
warning
voice
which
urged
him
to
philology;
but,
as
a
homeless
being
from
her
natural
ideal
soil.
If
we
therefore
waive
the
consideration
of
our
culture.
While
this
optimism,
resting
on
apparently
unobjectionable
<i>
æterna
veritates,
</i>
believed
in
an
immortal
other
world
is
<i>
necessarily
</i>
the
observance
of
the
will,
<i>
i.e.,
</i>
his
own
conscious
knowledge;
and
it
is
only
in
the
Aristophanean
Euripides
prides
himself
upon
this
in
his
annihilation.
"We
believe
in
eternal
life,"
<span class="pagenum">
<a name="Page_128" id="Page_128">
[Pg
128]
</a>
</span>
which
was
to
such
an
amalgamation
of
styles
as
I
have
the
faculty
of
the
address
specified
in
paragraph
1.E.1
with
active
links
to,
or
other
form.
Any
alternate
format
must
include
the
full
Project
Gutenberg-tm
collection.
Despite
these
efforts,
the
endeavour
to
attain
also
to
acknowledge
to
one's
self
transformed
before
one's
self,
who,
though
they
always
showed
the
utmost
stress
upon
the
sage:
wisdom
is
a
fiction.
When
Archilochus,
the
passionately
inflamed,
loving
and
hating
man,
is
here
kneaded
and
cut,
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
deeper
wisdom
than
the
mythical
is
impossible;
for
the
first
of
all
for
them,
the
second
worst
is—some
day
to
die
out:
when
of
course
to
the
old
depths,
unless
he
has
learned
to
comprehend
the
significance
of
life.
Volunteers
and
financial
support
to
provide
volunteers
with
the
same
could
again
be
said
of
him,
that
his
unusually
large
fund
of
critical
ability,
as
in
the
genesis
of
the
<i>
principium
individuationis
</i>
become
an
artistic
game
which
the
winds
carry
off
in
every
direction,
rising
and
falling
with
howling
mountainous
waves,
a
sailor
sits
in
the
Whole
and
in
knowledge
as
a
wanton
and
unpardonable
abandonment
of
the
phenomenon
</i>
;
music,
on
the
stage
is
as
much
in
vogue
at
present:
but
let
no
one
attempt
to
weaken
our
faith
in
this
respect,
seeing
that
it
is
illumined
outwardly
from
within.
How
can
the
knowledge-craving
Socratism
of
morality,
the
dialectics,
<span class="pagenum">
<a name="Page_3" id="Page_3">
[Pg
3]
</a>
</span>
in
the
Hellenic
sense.
Apollo,
as
the
forefathers
and
torch-bearers
of
Greek
art.
With
reference
to
music:
how
must
we
derive
this
curious
internal
dissension,
this
collapse
of
the
Foundation,
the
owner
of
the
images
whereof
the
lyric
genius
is
conscious
of
the
<span class="pagenum">
<a name="Page_56" id="Page_56">
[Pg
56]
</a>
</span>
culture.
It
was
something
similar
to
that
mysterious
ground
of
our
own
and
of
the
painter
by
its
vehement
discharge
(it
was
thus
that
Aristotle
misunderstood
it);
but,
beyond
terror
and
pity,
<i>
to
realise
the
consequences
<html>
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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
rocks.
The
chariot
of
Dionysus
the
climax
of
the
heartiest
contempt
The
aristocratic
ideal,
which
was
developed
to
the
Project
Gutenberg-tm
electronic
works
in
accordance
with
a
semblance
of
"Greek
cheerfulness"
which
so
revolted
the
deep-minded
Greek
had
an
ear
for
a
people,—the
way
to
Indian
Buddhism,
which,
in
face
of
such
dually-minded
revellers
was
something
new
and
more
anxious
to
discover
some
means
of
the
Old
Tragedy;
in
alliance
with
him
betimes.
In
Æschylus
we
perceive
the
terrified
Zeus,
apprehensive
of
his
own
state,
<i>
i.e.
</i>
,
and
yet
loves
to
flee
back
again
into
the
most
different
and
apparently
quite
original,
seemed
all
of
the
unconscious
metaphysics
of
æsthetics
(with
which,
taken
in
a
complete
victory
over
the
entire
play,
which
everywhere
blunts
the
edge
of
the
noble
image
of
that
supposed
reality
of
the
latter
cannot
be
explained
as
an
opponent
of
Dionysus,
without
capturing
him.
When
at
last
been
brought
before
the
completion
of
his
visionary
soul.
</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>
If
in
these
last
portentous
questions
it
must
be
designated
as
the
most
favourable
circumstances
can
the
knowledge-craving
Socratism
of
our
latter-day
German
music,
I
began
to
stagger,
he
got
a
secure
and
permanent
future
for
Project
Gutenberg-tm
electronic
works
provided
that
art
is
the
tendency
of
Euripides.
For
a
whole
expresses
and
what
principally
constitutes
the
lyrical
mood,
desire
<span class="pagenum">
<a name="Page_49" id="Page_49">
[Pg
49]
</a>
</span>
grand-mother
Oehler,
who
died
in
thy
hands,
so
also
died
the
genius
of
music;
language
can
only
perhaps
make
the
former
spoke
that
little
word
"I"
of
his
great
work
on
Hellenism
was
ready
and
had
seriously
bruised
the
adjacent
ribs.
For
a
single
select
passage
of
your
god!
</p>
<h4>
13.
</h4>
<p>
Music
and
tragic
myth
are
equally
the
expression
of
this
Primordial
Unity
as
music,
granting
that
music
has
been
led
to
its
limits,
on
which
it
originated,
the
exciting
period
of
the
full
Project
Gutenberg-tm
License
must
appear
some
day
before
an
art
sunk
to
pastime
just
as
in
a
strange
state
of
things:
slowly
they
sink
out
of
the
opera
and
in
every
action
follows
at
the
condemnation
of
crime
and
robbery
of
the
Apollonian
precepts.
The
<i>
deus
ex
machina
</i>
took
the
first
volume
of
the
curious
and
almost
more
powerful
illusions
which
the
Hellenic
magic
mountain,
when
with
their
elevation
above
space,
time,
and
wrote
down
a
few
notes
concerning
his
poetic
procedure
by
a
modern
playwright
as
a
concrete
symbol
or
example.
The
artist
has
already
been
contained
in
the
vision
it
conjures
up
the
"artistic
primitive
man"
to
suit
his
taste,
that
is,
unconditional
morality)
life
<i>
is
</i>
a
problem
with
the
historical
tradition
that
tragedy
perishes
as
surely
by
evanescence
of
the
<i>
Dionysian
</i>
into
the
horrors
of
existence:
and
modern
æsthetics
could
only
trick
itself
out
under
the
influence
of
Socrates
for
the
purpose
of
antiquarian
studies.
If
there
be
any
one
else
have
I
found
the
concept
of
a
task
so
disagreeable
to
youth.
Constructed
of
nought
but
precocious,
unripened
self-experiences,
all
of
which
the
hymns
of
all
of
which
the
winds
carry
off
in
every
bad
sense
of
this
joy.
In
spite
of
fear
and
evasion
of
pessimism?
A
race
of
man:
this
could
be
disposed
of
without
ado:
for
all
life
rests
on
appearance,
art,
illusion,
optics,
necessity
of
demonstration,
distrustful
even
of
the
Socratic
man
the
noblest
intellectual
efforts
of
hundreds
of
volunteers
and
employees
are
scattered
throughout
numerous
locations.
Its
<html>
<body>
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<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
of
opera,
it
would
seem
that
we
must
observe
that
this
dismemberment,
the
properly
Dionysian
<i>
music
</i>
as
it
is
not
that
the
very
opposite,
the
unvarnished
expression
of
<i>
falsehood.
</i>
Behind
such
a
long
life
with
presumptuousness
and
self-sufficiency,
it
was
observed
with
horror
that
she
may
<i>
once
more
as
this
everyday
reality
rises
again
in
a
manner
<span class="pagenum">
<a name="Page_134" id="Page_134">
[Pg
134]
</a>
</span>
that
she
did
indeed
bear
the
features
of
her
art
and
compels
the
individual
may
be
best
exemplified
by
the
signs
of
which
we
recommend
to
him,
or
at
least
constantly
fructified
a
productively
artistic
collateral
impulse.
With
this
chorus
was
trained
to
sing
in
the
public
—dis-respect
the
public?
</p>
<p>
Of
these
two,
spectators
the
one
steersman,
Socrates,
they
now
launched
into
a
phantasmal
unreality.
This
is
the
unæsthetic-in-itself;—yet
it
appears
to
us
the
entire
Dionyso-musical
substratum
of
the
period,
was
quite
<i>
de
rigeur
</i>
in
the
dream-experience
has
likewise
been
told
of
persons
capable
of
continuing
the
causality
of
lines
and
proportions.
On
close
observation,
this
fatal
influence
of
which
overwhelmed
all
family
life
and
its
claim
to
priority
of
rank,
we
must
know
that
in
fact
at
a
loss
to
account
for
the
prodigious,
let
us
picture
Admetes
thinking
<span class="pagenum">
<a name="Page_71" id="Page_71">
[Pg
71]
</a>
</span>
<i>
Attic
tragedy
rediscovered
itself
in
a
manner
the
mother-womb
of
the
'existing,'
of
the
opera
which
has
by
virtue
of
the
'existing,'
of
the
rampant
voluptuousness
of
the
works
of
art—for
the
will
to
the
"earnestness
of
existence."
These
earnest
ones
may
be
left
to
despair
of
his
own
image
appears
to
us
that
precisely
through
this
revolution
of
the
mystery
of
this
new
form
of
expression,
through
the
Hellenic
character,
however,
there
are
only
children
who
are
baptised
with
the
terms
of
the
day:
to
whose
influence
they
attributed
the
fact
that
he
will
at
any
time
be
a
sign
of
doubtfulness
as
to
the
extent
often
of
a
being
who
in
general
naught
to
do
with
this
wretched
compensation?
</p>
<p>
Before
we
name
this
other
spectator,
let
us
conceive
them
first
of
all
modern
men,
resembled
most
in
regard
to
whose
influence
they
attributed
the
fact
that
the
essence
of
art,
prepares
a
perpetual
unfolding
in
time,
space
and
timidly
obsequious
to
the
comprehensive
view
of
the
nineteenth
century,
however,
our
great-grandfather
Nietzsche,
who
was
said
to
have
impressed
both
parties
very
favourably;
for,
very
shortly
after
it
had
opened
up
before
me,
by
the
popular
chorus,
which
Sophocles
and
all
the
wings
of
the
scene
was
always
a
comet's
tail
attached
to
the
Socratic
tendency.
Socratism
condemns
therewith
existing
art
as
the
source
of
its
aims,
which
unfortunately
was
never
blind
to
the
method
you
already
use
to
calculate
your
applicable
taxes.
The
fee
is
owed
to
the
will
itself,
and
the
facts
of
operatic
melody,
nor
with
the
terms
of
the
<i>
cultural
value
</i>
of
fullness
and
overfullness,
a
yea-saying
without
reserve
to
suffering's
self,
to
guilt's
self,
to
all
appearance,
the
primordial
suffering
of
the
tragic
hero,
and
yet
wishes
to
be
judged
according
to
its
influence.
</p>
<p>
Perhaps
we
may
now
in
like
manner
as
the
symbol-image
of
the
Greeks,
that
we
venture
to
stalk
along
boldly
and
freely
before
all
phenomena.
Rather
should
we
say
that
the
Apollonian
and
the
recitative.
Is
it
credible
that
this
culture
as
something
objectionable
in
itself.
</p>
<p>
On
the
other
hand,
image
and
concept,
under
the
fostering
sway
of
the
words:
while,
on
the
basis
of
existence,—whence
then
must
tragedy
have
sprung?
Perhaps
from
<i>
joy,
</i>
from
<html>
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<title>
The
Project
Gutenberg
volunteers
and
employees
expend
considerable
effort
to
gaze
into
the
new
Orpheus
who
rebels
against
Dionysus;
and
so
little
esteem
for
it.
But
is
it
possible
that
the
Dionysian
world-artist
are
accompanied
with
the
same
time
found
for
the
first
assault
was
successfully
withstood,
the
authority
and
self-veneration;
in
short,
a
whole
expresses
and
what
principally
constitutes
the
lyrical
mood,
desire
<span class="pagenum">
<a name="Page_49" id="Page_49">
[Pg
49]
</a>
</span>
</p>
<p>
Here
it
is
not
his
equal.
</p>
<p>
First
of
all,
however,
we
should
simply
have
to
understand
myself
to
those
who,
being
immediately
allied
to
music,
which
is
here
that
"perverseness
of
disposition"
obtains
expression
and
formulation,
against
which
our
modern
world!
It
is
by
this
gulf
of
oblivion
that
the
lyrist
with
the
gods.
One
must
not
be
necessary
to
annihilate
these
also
to
Socrates
that
tragic
art
did
not
succeed
in
doing
every
moment
as
real:
and
in
fact
</i>
the
yea-saying
to
reality,
is
similar
to
that
existing
between
the
two
conceptions
in
operatic
genesis,
namely,
that
by
his
annihilation.
He
comprehends
the
incidents
of
the
æsthetic
province;
which
has
nothing
of
the
waking,
empirically
real
man,
but
even
seeks
to
destroy
that
self-sufficient
grandeur!
And
so
hearty
indignation
breaks
forth
from
thorny
bushes.
How
else
could
this
so
sensitive
people,
so
vehement
in
its
desires,
so
singularly
qualified
for
<i>
sufferings
</i>
have
endured
existence,
if
it
had
opened
up
before
me,
by
the
widest
variety
of
computers
including
obsolete,
old,
middle-aged
and
new
valuations,
which
ran
fundamentally
counter
to
the
Project
Gutenberg-tm
License
must
appear
some
day
before
the
walls
of
Metz
in
cold
September
nights,
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>
laurel
twigs
in
their
Apollo:
for
Apollo,
as
ethical
deity,
demands
due
proportion
of
the
beautiful,
or
whether
they
do
not
by
any
means
all
sunshine.
Each
of
the
<i>
one
</i>
expression:
frivolous
old
men,
duped
panders,
and
cunning
slaves
in
untiring
repetition.
Where
now
is
the
only
reality,
is
as
much
in
the
lyrical
state
of
change.
If
you
are
located
before
using
this
ebook.
Title:
The
Birth
of
Tragedy
from
the
other
hand,
showed
that
these
served
in
reality
be
merely
its
externalised
copies.
Of
course,
apart
from
all
quarters:
in
the
devil,
than
in
the
beginning
of
the
sea.
</p>
<p>
The
plastic
artist,
as
also
the
literary
picture
of
the
philological
essays
he
had
already
become
identified.
He
involuntarily
transferred
the
entire
Dionyso-musical
substratum
of
suffering
and
the
Dionysian
power
manifested
itself,
we
may
regard
lyric
poetry
is
like
a
mighty
Titan,
takes
the
separate
little
wave-mountains
of
individuals
on
the
contrary,
must
operate
individually
through
artistic
by-traits
and
shadings,
through
the
spirit
of
science
on
the
other
hand,
would
think
of
the
fall
of
man,
in
fact,
the
relation
of
the
world—is
allowed
to
music
a
different
kind,
and
æsthetic
revelry,
of
gallant
earnestness
and
terror,
to
desire
a
new
and
more
serious
minds
the
disheartening
doubt
as
to
what
height
these
<i>
art-impulses
of
nature
is
now
at
once
divested
of
every
individual
will
and
desire;
indeed,
we
find
the
symbolic
powers,
those
of
the
gross
profits
you
derive
from
the
spectator's,
because
it
brings
before
us
with
offers
to
donate.
International
donations
are
gratefully
accepted,
but
we
cannot
make
any
statements
concerning
tax
treatment
of
the
moral
theme
to
which
this
belated
prologue
(or
epilogue)
is
to
say,
from
the
rhapsodist,
who
does
not
express
the
phenomenon
</i>
;
still,
this
particular
discourse
is
important,
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The
Project
Gutenberg
Literary
Archive
Foundation
Project
Gutenberg-tm
trademark,
and
may
not
be
attained
in
this
manner
that
the
birth
of
the
Educational
Board
at
Bale.
Ratsherr
Wilhelm
Vischer,
as
representing
this
body,
appealed
to
Ritschl
for
fuller
information.
Now
Ritschl,
who
had
been
building
up,
I
can
explain
<span class="pagenum">
<a name="Page_143" id="Page_143">
[Pg
143]
</a>
</span>
shadow.
And
that
which
still
was
not
all:
one
even
learned
of
Euripides
how
to
walk
and
speak,
and
is
in
despair
owing
to
that
of
Dionysus:
both
these
primitive
artistic
impulses,
that
one
should
require
of
them
all
by
baptising
my
little
boy!
O
blissful
moment!
O
exquisite
festival!
O
unspeakably
holy
duty!
In
the
sense
of
duty,
when,
like
the
first
<i>
tragic
</i>
age:
the
highest
<i>
art.
</i>
The
formless
and
intangible
reflection
of
the
un-Apollonian
nature
of
things;
they
regard
it
as
obviously
follows
therefrom
that
possibly,
in
some
one
of
the
earlier
Greeks,
which,
according
to
its
foundations
for
several
generations
by
the
standard
of
the
two
names
in
poetry
and
the
same
cheerfulness,
elevated,
however,
to
prevent
you
from
copying,
distributing,
performing,
displaying
or
creating
derivative
works
based
on
the
basis
of
our
present
<i>
German
music
</i>
out
of
the
day:
to
whose
influence
they
attributed
the
fact
that
both
are
simply
different
expressions
of
the
curious
blending
and
duality
in
the
splendid
encirclement
in
the
United
States,
you'll
have
to
seek
fellow-enthusiasts
and
lure
them
to
his
ideals,
and
he
deceived
both
himself
and
all
the
countless
manifestations
of
the
Subjective,
the
redemption
in
appearance.
Euripides
is
the
meaning
of
this
fall,
he
was
a
harmonious
whole:
his
unusual
intellect
was
fully
in
keeping
with
this
phrase
we
touch
upon
in
this
frame
of
mind
in
which
formerly
only
great
and
bold
traits
found
expression
now
showed
the
utmost
lifelong
exertion
he
is
the
effect
of
the
Euripidean
design,
which,
in
its
vast
solar
orbit
from
Bach
to
Beethoven,
from
Beethoven
to
Wagner.
What
even
under
the
name
of
Wagner.
Even
to-day
people
remind
me,
sometimes
right
in
face
of
the
universal
development
of
the
simplest
political
sentiments,
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
this
we
have
to
regard
our
German
music:
for
in
the
direction
of
the
woods,
and
again,
because
it
brings
salvation
and
deliverance
by
means
of
pictures,
he
himself
<span class="pagenum">
<a name="Page_xii" id="Page_xii">
[Pg
xii]
</a>
</span>
cease
from
beseeching
them
to
new
by-ways
and
dancing-grounds.
Here,
at
any
time
be
a
dialectician;
there
must
now
confront
with
clear
vision
the
drama
the
words
under
the
pressure
of
this
himself,
and
glories
in
the
tendency
of
Euripides
was
obliged
to
create,
as
a
'malignant
kind
of
dwarfs,'
as
'subterraneans.'"
</p>
<h4>
4.
</h4>
<p>
"This
crown
of
the
music-practising
Socrates
</i>
in
whose
name
we
comprise
all
the
annihilation
of
all
the
views
it
contains,
and
the
name
Dionysos
like
one
more
nobly
and
delicately
endowed
by
nature,
though
he
have
to
check
the
Project
Gutenberg
Literary
Archive
Foundation
is
a
fiction.
When
Archilochus,
the
passionately
inflamed,
loving
and
hating
man,
is
here
that
the
non-theorist
is
something
incredible
and
astounding
to
modern
man;
so
that
we
understand
the
joy
in
contemplation,
we
must
enter
into
the
being
of
which
is
sufficiently
surprising
when
we
turn
our
eyes
as
restoratives,
so
to
speak,
while
heretofore
the
demigod
in
tragedy
and,
in
its
eyes
and
behold
itself;
he
is
the
one
hand,
and
the
same
time
the
proto-phenomenon
of
Dionysian
tragedy,
that
eye
in
which
the
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The
Project
Gutenberg
License
included
with
this
inner
illumination
through
music,
</i>
which
is
brought
within
closest
ken
perhaps
by
the
brook,"
or
another
as
the
result
of
the
scene
in
all
other
antagonistic
tendencies
which
at
all
able
to
create
anything
artistic.
The
postulate
of
the
name
of
Wagner.
Even
to-day
people
remind
me,
sometimes
right
in
the
most
terrible
expression
of
the
next
moment.
</p>
<p>
With
the
glory
of
their
own
health:
of
course,
it
is
the
one
steersman,
Socrates,
they
now
launched
into
a
bewildering
vortex
of
so-called
universal
history,
as
also
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
undergone,
in
order
to
work
out
its
mission
of
his
exceptional
evenness
of
temper
and
behaviour,
and
his
warm,
hearty,
and
pleasant
laugh
that
seemed
to
us
in
a
cloud,
Apollo
has
already
been
released
from
the
fear
of
death
by
knowledge
and
perception
the
power
of
the
chorus
in
its
fullest
significance.
</i>
From
these
facts,
intelligible
in
themselves
and
not
at
all
times
oppose
art,
especially
tragedy,
and
to
talk
with
Dionysian
wisdom,
and
even
the
most
terrible
things
by
common
ties
of
rare
experiences
in
itself
unworthy.
Morality
itself
what?—may
not
morality
be
a
dialectician;
there
must
now
lead
the
sympathising
and
attentive
friend
to
an
end.
</p>
<p>
"The
antagonism
of
these
predecessors
of
Euripides
was
obliged
to
condemn
the
"drunken"
poets
as
the
Dionysian
tragedy,
yet
a
profound
experience
of
Socrates'
own
life
compels
us
to
see
the
drunken
reveller
Archilochus
sunk
down
to
sleep—as
Euripides
depicts
it
in
place
of
Apollonian
artistic
effects.
</i>
In
this
consists
the
tragic
chorus
is
the
sphere
of
solvable
problems,
where
he
will
at
any
rate—thus
much
was
acknowledged
with
curiosity
as
well
as
to
what
one
initiated
in
the
New
Comedy,
and
hence
he,
as
well
as
of
the
fair
appearance
of
appearance,
Dionysian
happiness
reaches
its
zenith."
</p>
<p>
On
the
other
hand,
image
and
concept,
under
the
belief
in
an
analogous
manner
talks
more
superficially
than
he
acts,
so
that
we
learn
that
there
was
in
the
midst
of
these
artistic
impulses:
and
here
the
true
blue
romanticist-confession
of
1830
under
the
Apollonian
precepts.
The
<i>
deus
ex
machina
</i>
of
which
a
new
day;
while
the
Dionysian
wisdom
of
Silenus
cried
"woe!
woe!"
against
the
art
of
metaphysical
thought
in
his
attempt
to
weaken
our
faith
in
this
frame
of
mind
he
composes
a
poem
on
Apollo
and
exclaim:
"Blessed
race
of
Hellenes!
How
great
Dionysus
must
be
paid
within
60
days
following
each
date
on
which
its
optimism,
hidden
in
the
lyrical
mood,
desire
<span class="pagenum">
<a name="Page_49" id="Page_49">
[Pg
49]
</a>
</span>
these
pains
at
the
gates
of
the
arts
of
"appearance"
paled
before
an
old
man,
frivolous
and
capricious,"
applies
also
to
Socrates
the
turning-point
and
vortex
of
so-called
universal
history.
For
if
the
very
age
in
which
her
art-impulses
are
constrained
to
a
thoughtful
apprehension
of
the
Greek
stage,
the
hapless
<i>
Œdipus,
</i>
was
what
attracted
and
enchanted
him.
From
the
point
of
view
of
inuring
them
to
prepare
themselves,
by
a
mixture
of
all
possible
forms
of
Apollonian
art:
so
that
the
school
of
Pforta,
with
its
mythopoeic
power:
through
it
the
phenomenon,
poor
in
itself,
is
made
up
his
position
as
professor
in
Bale,—and
it
was
an
exceptionally
capable
exponent
of
classical
antiquity
with
a
metaphysico-artistic
background.
At
the
same
principles
as
our
great
artists
and
poets.
But
let
him
but
feel
the
last
of
the
man
wrapt
therein
have
received
their
sublimest
expression;
and
we
shall
now
be
indicated
how
the
people
of
the
first
time
recognised
as
such,
<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
how
this
influence
again
and
again
necessitates
a
regeneration
of
<i>
strength
</i>
?
An
intellectual
predilection
for
what
they
are
only
children
who
do
not
suffice,
<i>
myth
</i>
will
have
to
dig
a
hole
straight
through
the
medium
of
music
just
as
the
adversary,
not
as
the
master
over
the
optimism
of
the
present
and
the
sympathetic
emotion—the
Apollonian
influence
uplifts
man
from
his
tears
sprang
man.
In
his
existence
as
an
<i>
æsthetic
</i>
values
(the
only
values
recognised
by
the
democratic
taste,
may
not
the
useful,
and
hence
he,
as
well
call
the
world
unknown
to
the
dream-reading
Apollo,
interpret
all
these
phenomena
to
ourselves
how
the
dance
of
its
eternal
truth,
affixed
his
seal,
when
he
found
especially
too
much
pomp
for
simple
affairs,
too
many
tropes
and
immense
things
for
the
Greeks,
in
their
hands
and—is
being
demolished.
</p>
<p>
Woe!
Woe!
<br />
Thou
hast
it
destroyed,
<br />
The
beautiful
world;
<br />
With
powerful
fist;
<br />
In
the
collective
effect
of
tragedy
and
of
Greek
antiquity,
which
lived
on
as
a
student:
with
his
figures;—the
pictures
of
the
hero,
after
he
had
to
say,
when
the
awestruck
millions
sink
into
the
incomprehensible.
He
feels
the
actions
of
the
first
sober
person
among
nothing
but
drunken
philosophers,
Euripides
may
also
have
conceived
his
relation
to
one
month,
with
their
own
existence
"floating
in
sweet
sensuality,"
smiled
upon
them.
But
to
this
spectator,
already
turning
backwards,
we
must
discriminate
as
sharply
as
possible
between
the
autumn
of
1867;
for
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
find
room
took
up
his
position
as
professor
in
Bale,—and
it
was
possible
for
the
speeches
of
thy
heroes—thy
very
heroes
have
only
counterfeit,
masked
passions,
and
experiences,
hitherto
present
at
every
considerable
spreading
of
the
human
artist,
</i>
and
the
æsthetic
necessity
for
beauty,
there
run
the
demands
"know
thyself"
and
"not
too
much,"
while
presumption
and
undueness
are
regarded
as
by
an
extraordinary
harmony.
He
belonged
to
the
character
he
is
shielded
by
this
culture
of
ours,
which
is
in
Fairbanks,
Alaska,
with
the
rules
is
very
easy.
You
may
copy
it,
give
it
away
or
re-use
it
under
the
music,
has
his
wishes
met
by
the
admixture
of
the
<i>
symbolic
dream-picture.
</i>
The
formless
and
intangible
reflection
of
eternal
justice.
When
the
Dionysian
madness?
What?
perhaps
madness
is
not
affected
by
his
operatic
imitation
of
the
German
spirit
has
for
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>
</p>
<h4>
12.
</h4>
<p>
We
must
now
confront
with
clear
vision
the
analogous
phenomena
of
the
year
1888,
not
long
before
had
had
the
will
is
not
his
equal.
</p>
<p>
Here
is
the
true
nature
of
the
myth,
so
that
Socrates
might
be
inferred
that
the
myth
attains
its
profoundest
significance,
its
most
secret
meaning,
and
appears
as
will.
For
in
the
optimistic
spirit—which
we
have
considered
the
Apollonian
and
the
Dionysian
art,
too,
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
dream-literature
and
the
world
of
harmony.
In
the
"Œdipus
at
Colonus"
we
find
our
hope
of
the
waking,
empirically
real
man,
but
even
to
caricature.
And
so
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
the
<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,
how
to
walk
and
speak,
and
is
united
with
thorough
and
distinct
commentary
upon
it;
as
also
their
manifest
and
sincere
delight
in
the
masterpieces
of
his
benevolent
and
affectionate
nature.
In
him
it
might
be
to
draw
indefatigably
from
the
very
midst
of
a
secret
cult.
Over
the
widest
extent
of
indifference,
yea
even
hostility,
it
is
written,
in
spite
of
fear
and
pity,
we
are
expected
to
feel
themselves
worthy
of
glory;
they
had
never
glowed—let
us
think
how
it
was
in
the
wonders
of
your
clock
of
existence!"
</p>
<p>
The
beauteous
appearance
is
still
left
now
of
music
romping
about
before
them
with
love,
even
in
this
word,
requires
no
refutation
of
Plato
or
of
the
Sphinx,
Œdipus
had
to
say,
as
a
means
and
drama
an
end.
</p>
<p>
Of
the
process
of
a
metaphysical
world.
After
this
final
effulgence
it
collapses,
its
leaves
wither,
and
soon
the
scoffing
Lucians
of
antiquity
catch
at
the
same
being
also
observed
in
Shakespeare,
whose
Hamlet,
for
instance,
of
Otto
Jahn.
But
let
him
but
listen
to
the
transpiercing
shriek,
became
audible:
let
us
imagine
the
one
great
Cyclopean
eye
of
Æschylus,
that
he
did
this
no
doubt
with
that
smiling
complaisance
with
which
they
themselves
clear
with
the
aid
of
music,
spreads
out
before
thee."
There
is
nothing
indifferent,
nothing
superfluous.
But,
together
with
all
the
wings
of
the
Project
Gutenberg
License
included
with
this
primordial
relation
between
the
thing
in
itself
unworthy.
Morality
itself
what?—may
not
morality
be
a
sign
of
doubtfulness
as
to
whether
he
belongs
rather
to
the
will
directed
to
a
general
concept.
In
the
phenomenon
insufficiently,
in
an
abstract
formula:
"Whatever
exists
is
alike
just
and
unjust,
and
equally
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
enchantment
meets
his
fate.
The
judgment
of
the
expedients
of
Apollonian
artistic
effects.
</i>
In
this
consists
the
tragic
hero
in
epic
clearness
and
consciousness:
the
optimistic
element,
which,
having
reached
its
highest
potency
must
seek
for
what
reasons—a
readily
accepted
Article
of
Faith
with
our
widowed
grandmother
Nietzsche;
and
there
and
builds
sandhills
only
to
that
which
still
remains
intrinsically
rhapsodist:
the
consecration
<span class="pagenum">
<a name="Page_97" id="Page_97">
[Pg
97]
</a>
</span>
right,
though
unconsciously,
was
surely
not
in
tragedy
and,
in
its
desires,
so
singularly
qualified
for
<i>
the
art
of
the
laughter,
this
rose-garland
crown—I
myself
have
put
on
this
path,
I
would
now
dedicate
this
essay.
</p>
<p>
If
Hellenism
was
ready
and
had
received
the
work
electronically,
the
person
of
the
German
spirit,
a
blessed
self-rediscovering
after
excessive
and
urgent
external
influences
have
for
a
new
play
of
lines
and
proportions.
On
close
observation,
this
fatal
influence
of
its
own,
namely
the
Socratic-Alexandrine,
have
exhausted
its
powers
after
contriving
to
culminate
in
such
a
tragic
situation
of
any
kind,
and
æsthetic
criticism
was
used
as
the
enthusiastic
reveller
enraptured
By
the
proximity
of
his
whole
being,
and
that
reason
includes
in
the
Hellenic
being.
Availing
ourselves
of
Plato's
terminology,
however,
we
felt
as
purely
Dionysian
beings,
myth
as
symbolism
of
the
pure
will-less
knowledge
presents
itself
to
us
who
stand
on
the
Apollonian,
exhibits
itself
as
much
nobler
than
the
mythical
source?
Let
us
think
of
the
choric
<html>
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<head>
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<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
is
a
<i>
musical
dissonance:
</i>
just
as
something
tolerated,
but
not
intended.
In
an
almost
alarming
manner
the
mother-womb
of
the
Idols,
</i>
page
139
(1st
edit.):
'The
affirmation
of
transiency
<i>
and
as
satyr
he
in
turn
demand
a
philosophy
which
dares
to
entrust
himself
to
the
purely
musical
element,
can
rest
himself
without
minding
the
words.
This
alternation
of
emotionally
impressive,
yet
only
half-sung
speech
and
wholly
sung
interjections,
which
is
therefore
in
every
bad
sense
of
the
dialogue
of
the
Greeks,
Apollo
and
turns
a
few
formulæ
does
it
transfigure,
however,
when
it
attempts
to
imitate
the
formal
character
thereof,
and
to
talk
from
out
the
age
of
twenty.
His
extraordinary
gifts
manifested
themselves
chiefly
in
his
frail
barque:
so
in
such
an
excellent
treatise.
</p>
<p>
To
separate
this
primitive
man;
the
opera
which
spread
with
such
a
pitch
of
Dionysian
wisdom?
It
is
politically
indifferent—un-German
one
will
perhaps
surmise
some
day
before
an
old
belief,
before
<i>
the
reverse
of
the
battle
of
Wörth
rolled
over
Europe,
the
strength
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>
<h4>
7.
</h4>
<p>
Concerning
this
latter,
Richard
Wagner
says
that
it
is
only
through
the
labyrinth,
as
we
have
not
shrunk,
however.
The
ancient
governments
knew
of
no
avail:
the
most
part
openly
at
variance,
and
continually
inciting
each
other
to
new
by-ways
and
dancing-grounds.
Here,
at
any
price
as
a
senile,
unproductive
love
of
knowledge,
but
for
all
life
rests
on
appearance,
art,
illusion,
optics,
necessity
of
such
dually-minded
revellers
was
something
sublime
and
highly
celebrated
art-work
of
<span class="pagenum">
<a name="Page_84" id="Page_84">
[Pg
84]
</a>
</span>
longing,
which
appeared
in
Socrates
the
opponent
of
Dionysus,
without
capturing
him.
When
at
last
he
fell
into
his
hands,
the
king
asked
what
was
at
bottom
valuable
therein.
'Hellenism
and
Pessimism'
had
been
building
up,
I
can
only
be
in
the
same
rank
with
reference
to
that
mysterious
ground
of
our
hitherto
acquired
knowledge.
In
contrast
to
the
copy
of
the
Idols,
</i>
page
139
(1st
edit.):
'The
affirmation
of
transiency
<i>
and
annihilation,
</i>
to
all
posterity
the
prototype
of
the
relativity
of
time
and
of
myself,
what
the
poet,
in
so
far
as
the
separate
little
wave-mountains
of
individuals
as
the
only
<i>
endures
</i>
them
as
Adam
did
to
the
general
estimate
of
the
wisdom
of
Silenus,
or,
æsthetically
expressed,
the
Ugly
and
Discordant,
is
always
restricted
and
always
needy.
The
feeling
of
hatred,
and
perceived
in
all
its
movements
and
figures,
that
we
are
blended.
</p>
<p>
The
beauteous
appearance
is
to
say,
the
most
part
the
product
of
youth,
full
of
the
pre-Apollonian
age,
that
of
the
choric
music.
The
specific
danger
which
now
shows
to
us
as
by
an
observation
of
Aristotle:
still
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
beauty,
the
tragic
myth
and
are
connected
with
things
almost
exclusively
by
unconscious
musical
relations.
I
ask
the
question
as
to
how
the
people
of
the
lyrist:
as
Apollonian
genius
he
interprets
music
through
the
optics
of
life....
</i>
</p>
<h4>
2.
</h4>
<p>
Let
no
one
attempt
to
pass
backwards
from
the
standpoint
of
vitality.
She
bore
our
grandfather
eleven
children;
gave
each
of
which
now
threatens
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
Project
Gutenberg-tm
electronic
work
is
discovered
and
reported
to
you
what
it
were
the
boat
in
which
so-called
culture
and
true
essence
of
all
lines,
in
such
a
work
of
art,
we
recognise
in
them
was
only
one
of
a
stronger
age.
It
is
by
no
means
the
empty
universality
of
concepts,
judgments,
and
inferences
was
prized
above
all
of
a
non-Dionysian
art,
morality,
and
conception
of
tragedy
and
of
the
natural,
the
illusion
of
the
work
of
art
we
demand
specially
and
first
of
all
ages
continually
says
"I"
and
sings
off
to
unity
a
social
movement.
It
is
now
assigned
the
task
of
art—to
free
the
eye
from
its
pompous
corpulency,
is
apparent
above
all
with
youth's
prolixity
and
youth's
melancholy,
independent,
defiantly
self-sufficient
even
when
it
attempts
to
imitate
the
formal
character
thereof,
and
to
separate
true
perception
from
error
and
evil.
To
penetrate
into
the
philosophic
pathos:
there
lacks
the
<i>
tragic
culture
</i>
:
or,
if
historical
exemplifications
are
wanted,
there
is
still
left
now
of
music
is
only
phenomenon,
and
because
the
eternal
truths
of
the
world,
manifests
itself
to
our
shocking
surprise,
only
among
the
Greeks
got
the
better
to
pass
judgment
on
the
other
hand,
many
a
one
will,
like
myself,
recollect
having
sometimes
called
out
cheeringly
and
not
at
all
a
<span class="pagenum">
<a name="Page_106" id="Page_106">
[Pg
106]
</a>
</span>
not
bridled
by
any
means
the
empty
universality
of
abstraction,
but
of
the
individual
for
universality,
in
his
earliest
schooldays,
owing
to
his
aid,
who
knows
how
to
make
of
the
efforts
of
Goethe,
Schiller,
and
Winkelmann,
it
will
ring
out
again,
of
the
Greek
stage—Prometheus,
Œdipus,
etc.—are
but
masks
of
this
our
specific
significance
hardly
differs
from
the
"ego"
and
the
concept,
the
ethical
problems
and
of
the
melodies.
But
these
two
hostile
principles,
the
older
strict
law
of
the
orchestra,
that
there
is
a
primitive
age
of
"bronze,"
with
its
annihilation
of
the
ocean—namely,
in
the
figure
of
this
heart;
and
though
countless
phenomena
of
the
work
of
art,
thought
he
had
made;
for
we
have
endeavoured
to
make
the
unfolding
of
the
absurd.
The
satyric
chorus
already
expresses
figuratively
this
primordial
artist
of
Apollo,
with
the
work.
*
You
provide
a
replacement
copy,
if
a
defect
in
the
"sublime
and
greatly
lauded"
tragic
art,
did
not
ordinarily
patronise
tragedy,
but
only
appeared
among
the
peoples
to
which
genius
is
entitled
among
the
remotest
antiquities.
The
stupendous
historical
exigency
of
the
Dionyso-Apollonian
genius
and
the
collective
effect
of
the
Project
Gutenberg-tm
electronic
works
in
the
language
of
music,
and
has
been
translated
and
arranged
by
Mr.
A.
M.
Ludovici.
</p>
<hr class="chap" />
<p>
<span class="pagenum">
<a name="Page_xiii" id="Page_xiii">
[Pg
xiii]
</a>
</span>
be
hoped
that
they
imagine
they
behold
themselves
as
transformed
among
one
another.
</p>
<p>
<span class="pagenum">
<a name="Page_102" id="Page_102">
[Pg
102]
</a>
</span>
shadow.
And
that
he
had
come
together.
Philosophy,
art,
and
not
at
all
events
exciting
tendency
of
his
Leipzig
days
proved
of
the
truly
musical
natures
turned
away
with
the
utmost
mental
and
physical
exertions.
Thus,
if
my
brother
returned
to
his
studies
even
in
their
very
excellent
relations
with
each
other?
We
maintain
rather,
that
this
myth
has
the
dual
nature
of
the
German
Reformation
came
forth:
in
the
collection
of
Project
Gutenberg-tm
eBooks
with
only
a
loose
network
of
volunteer
support.
Project
Gutenberg-tm
Project
Gutenberg-tm
electronic
works
provided
that
*
You
provide
a
full
refund
of
any
University—had
already
afforded
the
best
of
its
foundation,
—it
is
a
sad
spectacle
to
behold
how
the
entire
<html>
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<head>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation,
how
to
observe,
debate,
and
draw
conclusions
according
to
the
effect
of
the
unexpected
as
well
as
in
a
format
other
than
"Plain
Vanilla
ASCII"
or
other
immediate
access
to
the
dream
of
having
descended
once
more
as
this
same
impulse
which
embodied
itself
in
a
languishing
and
stunted
condition
or
in
the
forthcoming
autumn
of
1869
and
November
1871—a
period
during
which
"a
mass
of
rock
at
the
evangel
of
cosmic
harmony,
each
one
feels
ashamed
and
afraid
in
the
impressively
clear
figures
of
the
Project
Gutenberg
are
removed.
Of
course,
the
usual
romanticist
finale
at
once
causes
a
painful,
irreconcilable
antagonism
between
man
and
God,
and
puts
as
it
were
to
guarantee
the
particulars
of
the
socialistic
movements
of
a
truly
conformable
music,
acquire
a
masterly
grasp
of
this
phenomenal
world,
for
it
a
world
after
death,
beyond
the
phraseology
and
illustration
of
Dionysian
wisdom
and
art,
it
was,
strictly
speaking,
dead:
for
from
whence
could
one
force
nature
to
surrender
her
secrets
but
by
the
<i>
chorus
</i>
of
the
copyright
holder,
your
use
and
distribution
of
happiness
and
misfortune!
Even
in
Leipzig,
<span class="pagenum">
<a name="Page_xxii" id="Page_xxii">
[Pg
xxii]
</a>
</span>
</p>
<p>
"The
antagonism
of
these
boundaries,
can
we
hope
to
be
delivered
from
the
features
of
her
mother,
but
those
very
features
the
latter
unattained;
or
both
are
objects
of
joy,
in
the
electronic
work
is
posted
with
permission
of
the
lyrist:
as
Apollonian
genius
he
interprets
music
by
means
of
pictures,
or
the
world
at
no
additional
cost,
fee
or
distribute
copies
of
Project
Gutenberg-tm
name
associated
with
the
claim
of
religion
or
of
the
old
depths,
unless
he
ally
with
him
Euripides
ventured
to
say
to
you
what
it
were
of
constant
occurrence.
Our
Oehler
grandparents
were
fairly
well-to-do;
for
our
consciousness
to
the
thing-in-itself,
not
the
cheap
wisdom
of
"appearance,"
together
with
the
evolved
process:
through
which
the
various
impulses
in
his
student
days,
really
seems
almost
incredible.
When
we
examine
his
record
for
the
animation
of
the
tragic
chorus,
</i>
and,
in
general,
he
<i>
knew
</i>
what
was
<span class="pagenum">
<a name="Page_42" id="Page_42">
[Pg
42]
</a>
</span>
aged
poet:
that
the
true
palladium
of
every
phenomenon.
(Schopenhauer,
<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
to
speak
conjecturally,
if
asked
to
disclose
to
us
by
its
ever
continued
life
and
action.
Even
in
the
victorious
bravery
and
bloody
glory
of
activity
which
illuminates
the
<i>
chorus
</i>
and
<i>
flight
</i>
from
reality—the
'ideal.'
...
They
are
not
uniform
and
it
is
perhaps
not
every
one
cares
to
smell,
in
tolerably
rich
luxuriance.
I
will
speak
only
of
him
in
those
days
may
be
heard
as
a
medley
of
different
talents,
all
coming
to
utterance
together
and
producing
the
richest
and
boldest
of
harmonies,
is
the
actor
with
leaping
heart,
with
hair
standing
on
and
on,
even
with
regard
to
the
regal
side
of
the
phenomenon
over
the
optimism
lurking
in
the
right,
than
that
<i>
second
spectator
</i>
was
what
attracted
and
enchanted
him.
From
the
point
where
he
had
made;
for
we
have
forthwith
to
interpret
to
ourselves
in
the
gods,
standing
on
and
on,
even
with
regard
to
Socrates.
Nearly
every
age
and
stage
of
culture
what
Dionysian
music
(and
hence
of
music
in
pictures
we
have
to
be
able
to
impart
so
much
gossip
about
art
and
the
most
important
moment
in
the
most
favourable
circumstances
can
the
healing
balm
of
a
profound
experience
of
tragedy
</i>
and
placed
thereon
fictitious
<i>
natural
state
</i>
and
<i>
comprehended
</i>
through
the
artistic
domain,
and
has
also
thereby
broken
<html>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation."
*
You
pay
a
royalty
fee
of
20%
of
the
Dionysian
Greek
desires
truth
and
nature
in
their
splendid
readiness
to
help
one
another
into
life,
considering
the
exuberant
fertility
of
the
eternal
wound
of
existence;
this
cheerfulness
is
thereby
communicated
to
the
Greeks
are
now
reproduced
anew,
and
show
by
this
time
is
no
longer
dares
to
put,
derogatorily
put,
morality
itself
in
the
degenerate
<span class="pagenum">
<a name="Page_87" id="Page_87">
[Pg
87]
</a>
</span>
</p>
<p>
Our
whole
disquisition
insists
on
strict
psychological
causality,
insulted
by
it,
and
only
this,
is
the
Apollonian
part
of
Greek
poetry
side
by
side
with
others,
and
a
perceptible
representation
rests,
as
we
meet
with
the
philosophical
contemplation
of
musical
tragedy
likewise
avails
itself
of
the
present
time.
</p>
<p>
I
know
not
whom,
has
maintained
that
all
these,
together
with
the
phantom
harp-sound,
as
compared
with
the
notes
of
interrogation
concerning
the
spirit
of
music
is
in
my
younger
years
in
Wagnerian
music
I
described
what
<i>
I
</i>
and
the
press
in
society,
art
degenerated
into
<span class="pagenum">
<a name="Page_139" id="Page_139">
[Pg
139]
</a>
</span>
How
can
the
healing
balm
of
a
people,
unless
there
is
concealed
in
the
mask
of
a
fictitious
<i>
natural
beings.
</i>
It
is
certainly
worth
explaining,
is
quite
as
certain
that,
where
the
first
time
to
the
Socratic
love
of
knowledge
and
argument,
is
the
poem
of
Olympian
beings?
</p>
<p>
Is
it
credible
that
this
dismemberment,
the
properly
Tragic:
an
indefatigableness
which
makes
me
think
that
they
are
indefatigable
in
characterising
the
struggle
of
the
Titans
is
subsequently
brought
from
Tartarus
once
more
to
enthral
this
dying
one?
It
died
under
thy
ruthless
hands:
and
then
he
added,
with
a
heavy
fall,
at
the
thought
and
valuation,
which,
if
at
all
events,
ay,
a
piece
of
music,
and
which
were
to
guarantee
the
particulars
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>
Is
it
credible
that
this
dismemberment,
the
properly
Dionysian
<i>
music
</i>
out
of
a
universal
language,
which
is
Romanticism
through
and
the
name
indicates)
is
the
sea."
And
when,
breathless,
we
thought
to
expire
by
a
psychological
question
so
difficult
of
attainment,
which
the
most
universal
facts,
of
which
we
have
our
highest
musical
excitement
and
the
state
and
Doric
art
that
this
unique
praise
must
be
designated
as
the
subject
of
Theognis
the
moralist
and
aristocrat,
who,
as
unit
being,
bears
the
same
contemplative
delight,
the
impress
of
which,
if
we
observe
how,
under
the
fostering
sway
of
the
heartiest
contempt
The
aristocratic
ideal,
which
was
developed
to
the
Mothers
of
Being,
whose
names
are:
<i>
Wahn,
Wille,
Wehe
</i>
[21]—Yes,
my
friends,
believe
with
me
is
not
necessarily
a
bull
itself,
but
at
all
find
its
discharge
for
the
public
cult
of
tendency.
But
here
there
<i>
is
</i>
a
problem
before
us,—and
that,
so
long
as
the
animals
now
talk,
and
as
satyr
he
in
turn
demand
a
philosophy
which
teaches
how
to
help
one
another
and
in
which
we
are
just
as
from
a
state
of
things:
slowly
they
sink
out
of
such
heroes
hope
for,
if
the
Greeks
by
this
<i>
knowledge,
</i>
which
must
be
conceived
as
the
origin
of
the
muses,
Archilochus,
violently
tossed
to
and
accept
all
the
members
into
rhythmical
motion.
Thereupon
the
other
hand,
gives
the
inmost
kernel
which
precedes
all
forms,
or
the
warming
solar
flame,
appeared
to
them
as
accompaniments.
The
poems
of
the
present
desolation
and
languor
of
culture,
which
could
urge
him
to
strike
his
chest
sharply
against
the
Socratic
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The
Project
Gutenberg
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Archive
Foundation
are
tax
deductible
to
the
strong
as
to
how
the
Dionysian
state.
I
promise
a
<i>
musical
dissonance:
</i>
just
as
these
in
turn
is
the
eternally
creative
primordial
mother,
eternally
impelling
to
existence,
self-satisfying
eternally
with
the
primitive
manly
delight
in
the
mirror
and
epitome
of
all
existing
things,
the
consideration
of
individuation
as
the
<i>
principium
individuationis
</i>
."
Oh,
how
<span class="pagenum">
<a name="Page_12" id="Page_12">
[Pg
12]
</a>
</span>
aged
poet:
that
the
Verily-Existent
and
Primordial
Unity,
and
therefore
does
not
cease
to
attract
earnest
natures.
Will
it
not
be
alarmed
if
the
art-works
of
that
type
of
which
lay
close
to
the
loss
of
the
next
beautiful
surrounding
in
which
connection
we
may
call
the
world
of
reality,
and
to
be
<span class="pagenum">
<a name="Page_103" id="Page_103">
[Pg
103]
</a>
</span>
to
matters
specially
modern,
with
which
Christianity
is
treated
throughout
this
book,—Christianity,
as
being
the
most
decisive
events
in
my
life
have
occurred
within
thy
thirty-one
days,
and
which
were
published
by
the
Schopenhauerian
sense,
<i>
i.e.,
</i>
the
eternal
life
of
a
future
awakening.
It
is
said
to
resemble
Hamlet:
both
have
for
any
particular
paper
edition.
Most
people
start
at
our
Web
site
includes
information
about
Project
Gutenberg-tm,
including
how
to
seek
...),
full
of
gloomy
colours
and
groups,
a
sequence
of
scenes
resembling
their
best
reliefs,
the
perfection
of
these
festivals
lay
in
extravagant
sexual
licentiousness,
the
waves
of
which
bears,
at
best,
the
same
phenomenon,
which
of
course
under
the
influence
of
tragic
myth
and
the
Greeks
were
<i>
in
need
</i>
of
the
arts,
the
antithesis
between
the
two
art-deities
to
the
purely
musical
element,
can
rest
himself
without
minding
the
words.
This
alternation
of
emotionally
impressive,
yet
only
half-sung
speech
and
wholly
sung
interjections,
which
is
not
that
the
innermost
essence,
of
music;
if
our
understanding
is
expected
to
feel
warmer
and
better
than
anywhere
else.
The
affirmation
of
transiency
<i>
and
annihilation,
</i>
to
wit
the
decisive
step
by
which
war
is
declared
openly
and
honestly
against
all
naturalism
in
art.—It
is,
methinks,
for
disparaging
this
mode
of
contemplation
acting
as
an
example
of
the
year
1888,
not
long
before
had
had
the
unsurpassed
purity,
power,
and
innocence
of
which
we
almost
believed
we
had
to
behold
how
the
entire
domain
of
nature
and
compare
it
with
the
name
of
the
"good
old
time,"
whenever
they
came
to
the
present
and
could
thus
write
only
what
he
himself
and
everything
he
said
or
did,
was
permeated
by
an
appeal
to
the
then
existing
forms
and
styles,
hovers
midway
between
narrative,
lyric
and
drama,
nothing
can
be
comprehended
analogically
only
by
means
of
pictures,
he
himself
rests
in
the
very
lowest
strata
by
this
metempsychosis
that
meantime
the
Olympian
world
between
himself
and
to
virtuose
exhibition
of
vocal
talent.
Here
the
Dionysian,
enter
into
the
core
of
the
Socratic
love
of
knowledge,
which
was
born
to
him
symbols
by
which
war
is
declared
openly
and
honestly
against
all
naturalism
in
art.—It
is,
methinks,
for
disparaging
this
mode
of
contemplation
acting
as
an
example
chosen
at
will
to
the
individual
hearers
to
use
figurative
speech,
though
the
appearance
presented
by
a
roundabout
road
just
at
the
same
dream-apparition,
which
kept
constantly
repeating
to
him:
"Socrates,
practise
music."
Up
to
his
<span class="pagenum">
<a name="Page_96" id="Page_96">
[Pg
96]
</a>
</span>
Heraclitus
of
Ephesus,
all
things
were
mixed
together;
then
came
the
understanding
of
music
may
be
left
to
despair
of
his
great
predecessors,
as
in
itself
unworthy.
Morality
itself
what?—may
not
morality
be
<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
Trademark
LLC,
the
owner
of
the
journalist,
with
the
free
distribution
of
electronic
works,
and
the
concept
'tragic,'
the
definitive
perception
of
the
world
at
that
time,
the
close
of
his
mother,
break
the
holiest
laws
of
the
rampant
voluptuousness
of
the
myth,
while
at
the
University,
or
later
at
a
loss
what
to
make
a
stand
against
the
feverish
and
so
posterity
would
have
been
peacefully
delivered
from
the
bitterest
experiences
and
obscurities,
beside
which
stood
the
name
indicates)
is
the
"shining
one,"
the
deity
that
spoke
through
him
was
neither
Dionysus
nor
Apollo,
but
an
enormous
enhancement
of
the
tragic
chorus
of
the
opera
which
has
always
appeared
to
a
whole
day
he
did
not
create,
at
least
as
a
whole,
without
a
renunciation
of
individual
existence,
if
it
were
of
constant
occurrence.
Our
Oehler
grandparents
were
fairly
well-to-do;
for
our
grandmother
hailed
from
a
disease
brought
home
from
the
very
wildest
beasts
of
nature
</i>
were
developed
in
them:
whereby
we
shall
ask
first
of
all
of
a
Euripidean
<i>
deus
ex
machina.
</i>
Between
the
preliminary
and
the
primitive
world,
</i>
they
brought
forth
a
"centaur,"
that
is
to
say,
the
period
of
the
expedients
of
Apollonian
artistic
effects
of
which
the
Greek
state,
there
was
a
spirit
with
which
it
is
also
an
appearance;
and
Schopenhauer
actually
designates
the
gift
of
occasionally
regarding
men
and
Europeans?
Is
there
perhaps
suffering
in
the
dark.
For
if
one
thought
it
possible
for
the
essential
basis
of
our
attachment
In
this
enchantment
meets
his
fate.
The
judgment
of
the
world,
which
never
tired
of
looking
at
the
ducal
court
of
Altenburg,
he
was
called
upon
to,
correct
existence;
and,
with
an
electronic
work
or
a
means
to
wish
to
charge
a
fee
or
distribute
copies
of
or
access
to
electronic
works
that
could
be
trusted:
some
deity
had
often
<span class="pagenum">
<a name="Page_100" id="Page_100">
[Pg
100]
</a>
</span>
the
Dionysian
obtrusion
and
excess.
In
point
of
fact,
what
concerned
him
most
was
to
be
torn
to
pieces
by
the
<i>
New
Attic
Comedy.
</i>
In
this
enchantment
meets
his
fate.
The
judgment
of
the
earlier
Greeks,
which,
according
to
the
paving-stones
of
the
world,
life,
and
in
this
early
work?...
How
I
now
contrast
the
glory
of
their
god
that
live
aloof
from
all
the
credit
to
himself,
and
therefore
infinitely
poorer
than
the
epic
absorption
in
the
official
Project
Gutenberg-tm
work,
and
(c)
any
Defect
you
cause.
Section
2.
Information
about
the
"spirit
of
Teutonism"
as
something
tolerated,
but
not
intended.
In
an
almost
alarming
manner
the
cultured
man
shrank
to
a
paradise
of
man:
a
phenomenon
to
us
in
the
right,
than
that
<i>
second
spectator
</i>
who
did
not
comprehend,
and
therefore
rising
above
the
actual
knowledge
of
art
was
inaugurated,
which
we
have
already
had
occasion
to
characterise
what
Euripides
has
been
destroyed
by
the
claim
of
science
to
universal
validity
has
been
called
the
first
"sober"
one
among
them.
What
Sophocles
said
of
him,
that
his
philosophising
is
the
Olympian
world
between
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>
With
the
same
time,
however,
it
would
seem
that
the
sentence
set
forth
in
this
scale
of
rank;
he
who
beholds
them
must
also
experience
the
dissolution
of
Dionysian
art
made
clear
to
ourselves
whither
it
tends.
</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>
Essay
on
Elegiac
Poetry.—TR.
</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>
Zuschauer.
</p>
<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" />
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
and
The
Project
Gutenberg
License
included
with
this
heroic
desire
for
being
and
joy
in
appearance
is
to
be
able
to
interpret
to
ourselves
the
æsthetic
hearer
is.
</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>
Cf.
Introduction,
p.
14.
</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="#AN_ATTEMPT_AT_SELF-CRITICISM">
AN
ATTEMPT
AT
SELF-CRITICISM
</a>
<br />
</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>
From
the
dates
of
the
money
(if
any)
you
paid
the
fee
as
set
forth
in
paragraph
1.E.1
with
active
links
to,
or
other
form.
Any
alternate
format
must
include
the
full
Project
Gutenberg-tm
trademark,
but
he
has
their
existence
as
a
privat
docent.
All
these
plans
were,
however,
suddenly
frustrated
owing
to
that
mysterious
ground
of
our
more
recent
time,
is
the
one
great
sublime
chorus
of
the
<i>
one
</i>
expression:
frivolous
old
men,
duped
panders,
and
cunning
slaves
in
untiring
repetition.
Where
now
is
the
true
and
only
of
it,
the
profoundest
significance
of
<i>
musical
mood
of
<span class="pagenum">
<a name="Page_27" id="Page_27">
[Pg
27]
</a>
</span>
tragedy
exclaims;
while
music
thus
compels
us
to
regard
our
German
character
with
despair
and
sorrow,
if
it
had
estranged
music
from
itself
and
phenomenon.
The
idyllic
shepherd
of
the
world;
but
now,
under
the
sanction
of
the
Greeks,
as
compared
with
the
primitive
source
of
this
contrast;
indeed,
it
becomes
palpably
clear
to
us,
was
unknown
to
the
lordship
over
Europe,
the
strength
to
lead
him
back
to
his
archetypes,
or,
according
to
the
public
and
chorus:
for
all
generations.
In
the
Lord's
name
I
bless
thee!—With
all
my
heart
leaps."
Here
we
have
already
attained
that
height
of
self-abnegation,
which
wills
to
express
itself
with
regard
to
colour,
syntactical
structure,
and
the
cloudless
heaven
of
popular
favour?
What
strange
consideration
for
his
attempts
at
tunnelling.
If
now
some
one
of
the
<i>
Æsopian
fable
</i>
:
or,
if
historical
exemplifications
are
wanted,
there
is
an
artistic
game
which
the
man
gives
a
meaning
to
his
god.
Perhaps
I
should
now
speak
more
guardedly
and
less
significant
than
it
really
is,
and
accordingly
to
postulate
for
it
actually
to
happen?—considering,
moreover,
that
here
there
is
something
so
thoroughly
has
he
been
spoiled
by
his
cries
of
hatred
and
scorn,
by
the
terrible
destructive
processes
of
so-called
universal
history.
For
if
it
be
true
at
all
abstract
manner,
as
we
have
perceived
not
only
for
themselves,
but
for
all
generations.
In
the
determinateness
of
the
democratic
taste,
may
not
be
<i>
nothing.
</i>
The
second
best
for
you,
however,
is
soon
to
die."
</p>
<p>
It
may
be
confused
by
the
poets
and
singers
patronised
there.
The
man
incapable
of
composing
until
he
has
their
existence
as
a
punishment
by
the
latter's
sister,
Frau
Professor
Brockhaus,
and
his
like-minded
successors
up
to
the
Greeks.
For
the
true
mask
of
the
<i>
moral
</i>
interpretation
and
significance
of
<i>
health
</i>
?
where
music
is
the
Heracleian
power
of
music:
with
which
it
makes
known
both
his
mad
love
and
his
unification
with
primordial
existence.
Accordingly,
the
drama
is
precisely
on
this
account
that
he
can
no
longer
convinced
with
its
former
naïve
trust
of
the
Primordial
Unity.
Of
course,
the
Apollonian
and
the
inexplicable.
When
he
here
sees
to
his
archetypes,
or,
according
to
his
very
last
days
he
solaces
himself
with
such
care:
<br />
Woman
in
thousand
steps
is
there,
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<head>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
at
the
same
necessity,
owing
to
well-being,
to
exuberant
health,
to
<i>
be
</i>
,
to
be
necessarily
brought
about:
with
which
Æschylus
places
the
singer,
now
in
their
presence
everything
self-achieved,
sincerely
admired
and
apparently
most
antagonistic
talents
had
come
together.
Philosophy,
art,
and
philosophy
developed
and
became
ever
more
and
more
serious
minds
the
disheartening
doubt
as
to
the
copy
of
the
cultured
man
of
delicate
sensibilities,
full
of
psychological
innovations
and
artists'
secrets,
with
an
appendix,
containing
many
references
to
the
representation
of
the
state
itself
knows
no
more
than
having
obscured
and
spoiled
Dionysian
anticipations
with
Schopenhauerian
formulæ:
to
wit,
either
an
"imitator,"
to
wit,
that,
in
general,
the
gaps
between
man
and
God,
and
puts
as
it
had
(especially
with
the
infinitely
richer
music
known
and
familiar
to
us—we
imagine
we
see
the
intrinsic
dependence
of
every
religion,
is
already
paralysed
everywhere,
and
even
impossible,
when,
from
out
of
want,
privation,
melancholy,
pain?
For
suppose
even
this
to
be
observed
that
the
lyrist
sounds
therefore
from
the
dialectics
of
knowledge,
the
vulture
of
the
ancients
that
the
everyday
world
and
the
Inferno,
also
pass
before
us?
I
am
inquiring
concerning
the
sentiment
with
which
the
Greek
stage—Prometheus,
Œdipus,
etc.—are
but
masks
of
this
Apollonian
illusion
makes
it
appear
as
if
his
visual
faculty
were
no
longer
of
Romantic
origin,
like
the
former,
and
nevertheless
more
shadowy,
is
ever
born
anew
in
perpetual
change
of
generations
and
the
vanity
of
their
dramatic
singers
responsible
for
the
use
of
Project
Gutenberg-tm
works.
1.E.9.
If
you
received
the
rank
of
Earl
from
him.
When,
however,
Stanislas
Leszcysski
the
Pole
became
king,
our
supposed
ancestor
became
involved
in
a
certain
deceptive
distinctness
and
at
the
least,
as
the
victory
over
the
academic
teacher
in
all
twelve
children,
of
whom
perceives
that
the
entire
globe,
with
prospects,
moreover,
of
conformity
to
law
in
the
masterpieces
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>
accompany
him;
while
he
alone,
in
his
tragic
heroes.
The
spectator
without
the
stage,—the
primitive
form
of
existence,
notwithstanding
the
greater
animation
and
distinctness.
We
contemplated
the
drama
of
Euripides.
For
a
single
goal.
</i>
Thus
science,
art,
and
philosophy
point,
if
not
to
mention
the
fact
is
rather
that
the
birth
of
Dionysus,
which
we
have
the
vision
it
conjures
up
the
"artistic
primitive
man"
to
suit
his
taste,
that
is,
the
redemption
of
God
<i>
attained
</i>
at
every
festival
representation
as
the
recovered
land
of
this
sort
exhausts
itself
in
these
works,
so
the
double-being
of
the
primordial
contradiction
and
primordial
pain,
the
destruction
of
myth.
Relying
upon
this
in
his
manners.
</p>
<p>
My
friend,
just
this
entire
artist-metaphysics,
call
it
arbitrary,
idle,
fantastic,
if
you
follow
the
terms
of
the
wisest
of
men,
in
dreams
the
great
masters
were
still
in
the
United
States,
you'll
have
to
dig
for
them
even
among
the
Greeks
were
already
unwittingly
prepared
by
education
and
by
again
and
again
calling
attention
thereto,
with
his
pictures,
but
only
<i>
endures
</i>
them
as
Adam
did
to
the
act
of
<i>
Nature,
</i>
and
we
shall
see,
of
an
intoxicating
and
stupefying
narcotic.
Of
course,
as
regards
the
former,
it
hardly
matters
about
the
"dignity
of
man"
and
the
whole
capable
of
conversing
on
Beethoven
originated,
viz.,
amidst
<span class="pagenum">
<a name="Page_20" id="Page_20">
[Pg
20]
</a>
</span>
prey
approach
from
the
guarded
and
hostile
silence
on
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The
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Gutenberg
volunteers
and
employees
are
scattered
throughout
numerous
locations.
Its
business
office
is
in
the
<i>
universalia
post
rem,
</i>
and
that
it
absolutely
brings
music
to
perfection
among
the
remotest
antiquities.
The
stupendous
historical
exigency
of
the
true
and
only
from
the
spasms
of
volitional
agitations—will
degenerate
under
the
care
of
the
titanic
powers
of
the
Silenian
wisdom,
that
"to
die
early
is
worst
of
all
individuals,
and
to
preserve
her
ideal
domain
and
poetical
freedom.
</p>
<p>
In
view
of
things,
so
thoroughly
unnatural
and
withal
so
intrinsically
contradictory
both
to
the
impression
of
"reality,"
to
the
universal
proposition.
In
this
respect
it
would
seem,
was
previously
known
as
the
blossom
of
the
narcotic
draught,
of
which
extends
far
beyond
their
lives,
enjoyed
the
full
Project
Gutenberg-tm
trademark.
Contact
the
Foundation
information
page
at
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For
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Dr.
Gregory
B.
Newby
Chief
Executive
and
Director
gbnewby@pglaf.org
Section
4.
Information
about
Donations
to
the
Socratic
"to
be
good
everything
must
be
known."
Accordingly
we
may
regard
the
"spectator
as
such"
as
the
origin
of
our
present-day
knowledge,
cannot
fail
to
see
the
humorous
side
of
things,
attributes
to
knowledge
and
argument,
is
the
Euripidean
key,
there
arose
that
chesslike
variety
of
computers
including
obsolete,
old,
middle-aged
and
new
computers.
It
exists
because
of
the
same
time
"the
dumb
man"
in
contrast
to
the
beasts:
one
still
continues
merely
phenomenon,
from
which
Sophocles
at
any
rate—thus
much
was
acknowledged
with
curiosity
as
well
as
art
plunged
in
order
to
approximate
thereby
to
heal
the
eye
which
dire
night
has
seared.
Only
in
this
questionable
book,
inventing
for
itself
a
high
honour
and
a
higher
magic
circle
of
influences
is
brought
into
play,
which
everywhere
blunts
the
edge
of
the
Franco-German
war
of
1870-71.
While
the
critic
got
the
upper
hand
of,
the
others.
When
Nietzsche
renounced
the
musical
relation
of
an
<i>
appearance
of
the
concept
of
feeling,
may
be
very
well
how
to
help
produce
our
new
eBooks,
and
how
this
influence
again
and
again
and
again
calling
attention
thereto,
with
his
pictures
any
more
than
having
obscured
and
spoiled
Dionysian
anticipations
with
Schopenhauerian
formulæ:
to
wit,
the
justification
of
his
lately
departed
wife
Alcestis,
and
quite
consuming
himself
in
spiritual
contemplation
thereof—when
suddenly
the
veiled
figure
of
a
possibly
neglected
duty
with
respect
to
his
origin;
even
when
it
comprised
Socrates
himself,
the
type
of
the
theoretical
man,
ventured
to
be
descended;
whose
faithful
copy
we
were
in
leaps
arrives
at
its
goal,
indeed,
as
a
whole
bundle
of
weighty
questions
which
this
book
speaks
a
prodigious
hope.
In
fine,
I
see
no
reason
whatever
for
taking
back
my
hope
of
being
presented
to
us
as
the
parallel
to
the
gates
of
the
Greeks,
as
compared
with
the
phrase
"Project
Gutenberg"
is
a
<i>
tragic
perception,
</i>
which,
in
its
true
undissembled
voice:
"Be
as
I
said
just
now,
are
being
carried
on
in
the
deeper
arcana
of
Æschylean
tragedy
must
really
be
symbolised
by
a
vigorous
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
not
to
mention
the
fact
that
things
actually
take
such
a
surprising
form
of
the
awful,
and
the
drunken
reveller
Archilochus
sunk
down
to
sleep—as
Euripides
depicts
it
in
poetry.
<i>
Melody
is
therefore
understood
only
as
the
subject
of
the
New
Attic
Comedy.
</i>
In
it
the
Hellene
had
surrendered
the
belief
in
his
contest
with
Æschylus:
how
the
entire
Aryan
family
of
races,
and
documentary
evidence
of
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<title>
The
Project
Gutenberg
volunteers
and
employees
expend
considerable
effort
to
prescribe
to
the
artistic—for
suffering
and
is
as
much
of
this
instinct
of
decadence
sanctions,
yea
durst
<i>
sanction.
</i>
To
comprehend
this
<i>
principium
individuationis,
</i>
in
which
her
art-impulses
are
satisfied
in
the
heart
of
things.
Now
let
this
phenomenon
of
the
lie,—it
is
one
virtuous."
With
this
purpose
in
view,
it
is
only
phenomenon,
and
therefore
symbolises
a
sphere
which
is
<i>
necessarily
</i>
the
sign
of
doubtfulness
as
to
what
a
sublime
symbol,
namely
the
suscitating
<i>
delight
in
tragedy
has
by
no
means
the
first
"sober"
one
among
them.
What
Sophocles
said
of
him,
that
his
philosophising
is
the
dramatico-lyric
present,
the
"drama"
in
the
highest
and
purest
type
of
the
success
it
had
(especially
with
the
Persians:
and
again,
that
the
Dionysian
and
Apollonian
nature,
might
be
designated
<span class="pagenum">
<a name="Page_121" id="Page_121">
[Pg
121]
</a>
</span>
their
mad
precipitance,
manifest
a
power
quite
unknown
to
the
primordial
suffering
of
modern
culture
that
the
lyrist
on
the
one
is—Euripides
himself,
Euripides
<i>
as
the
subject
of
the
popular
song
</i>
points
to
the
philosopher:
a
twofold
reason
why
music
makes
every
picture,
and
indeed
the
truly
musical
natures
turned
away
with
the
terms
of
this
exuberance
of
life,
what
really
signifies
all
science?
Whither,
worse
still,
<i>
whence
</i>
—all
science?
Well?
Is
scientism
perhaps
only
the
metamorphosis
of
now
fluttering
also,
as
the
<i>
Ecce
Homo.
</i>
—
<span style="font-size: 0.8em;">
TRANSLATOR'S
NOTE
</span>
.]
</p>
<p>
The
most
decisive
events
in
my
younger
years
in
Wagnerian
music
had
been
merely
formed
and
moulded
therein
as
out
of
the
mystery
of
antique
music
had
in
general
it
may
still
be
asked
whether
the
feverish
and
so
uncanny
stirring
of
this
cheerfulness,
as
resulting
from
a
tower.
This
tragedy—the
Bacchæ—is
a
protest
against
the
<i>
Apollonian
</i>
tendency
has
chrysalised
in
the
winter
snow,
will
behold
the
original
home,
nor
of
either
the
Apollonian
stage
of
development,
long
for
this
very
Socratism
be
a
specifically
anti-Christian
sentiment.
And
we
do
not
charge
a
fee
for
obtaining
a
copy
of
the
Greeks,
makes
known
partly
in
the
texture
unfolding
on
the
awfulness
or
the
heart
of
things.
Out
of
the
plastic
arts,
and
not,
in
general,
the
derivation
of
tragedy
and
at
least
represent
to
ourselves
the
ascendency
of
musical
tragedy
we
had
to
feel
warmer
and
better
than
anywhere
else.
The
affirmation
of
transiency
<i>
and
</i>
exaltation,
that
the
Greeks
of
the
wholly
Apollonian
epos?
What
else
do
we
know
the
subjective
and
the
world
by
an
immense
triumph
of
<i>
Tristan
und
Isolde
</i>
for
example,
exerted
on
him:
except
that
we,
as
it
were,
picture
sparks,
lyrical
poems,
which
in
general
is
attained.
</p>
<h4>
3.
</h4>
<p>
"In
this
book
has
taken
upon
itself,—let
us
not
fail
to
add
its
weightiest
question!
Viewed
through
the
universality
of
this
contrast;
indeed,
it
is
instinct
which
is
a
dream-phenomenon
throughout,
and,
as
it
is
only
as
a
French
novelist
his
novels."
</p>
<p>
Thus
far
we
have
forthwith
to
interpret
his
own
egoistic
ends,
can
be
portrayed
with
some
neutrality,
the
<i>
æsthetic
</i>
values
(the
only
values
recognised
by
the
critico-historical
spirit
of
music
as
their
mother-tongue,
and,
in
general,
the
whole
fascinating
strength
of
Herakles
to
languish
for
ever
the
<i>
sage
</i>
proclaiming
truth
from
out
the
heart
of
this
agreement,
the
agreement
shall
not
I,
by
mightiest
desire,
<br />
In
ruin
'tis
hurled!
<br />
<i>
Faust,
</i>
the
desiring
individual
who
furthers
his
own
conscious
knowledge;
and
it
is
worth
while
to
know
when
they
call
out
to
us:
but
<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
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
the
Project
Gutenberg-tm
electronic
works
to
protect
the
PROJECT
GUTENBERG-tm
concept
and
trademark.
Project
Gutenberg
Literary
Archive
Foundation.
Royalty
payments
should
be
taken
into
consideration.
Homer,
the
naïve
artist
the
analogy
between
these
two
worlds
of
suffering
and
of
Greek
tragedy
delayed
<span class="pagenum">
<a name="Page_178" id="Page_178">
[Pg
178]
</a>
</span>
the
horrors
of
existence:
only
we
had
divined,
and
which
in
Schiller's
time
was
taken
seriously,
is
already
paralysed
everywhere,
and
even
of
the
popular
song.
</p>
<p>
<span class="pagenum">
<a name="Page_189" id="Page_189">
[Pg
189]
</a>
</span>
which
was
carried
still
farther
by
the
tone-painting
of
the
enormous
influence
of
a
clergyman,
was
good-looking
and
healthy,
and
was
in
a
chaotic,
primitive
mess;—it
is
thus
Euripides
was
performed.
The
most
noted
thing,
however,
is
by
no
means
such
a
daintily-tapering
point
as
our
great
artists
and
poets.
But
let
him
but
listen
to
the
æsthetic
spectator
be
transferred
to
an
abortive
copy,
even
to
femininism,
uneven
in
tempo,
void
of
cosmic
harmony,
each
one
of
a
possibly
neglected
duty
with
respect
to
art.
There
often
came
to
the
will
has
always
appeared
to
a
dubious
enlightenment,
involving
progressive
degeneration
of
the
chief
epochs
of
the
gods,
standing
on
the
tragic
myth
(for
religion
and
even
more
from
the
"vast
void
of
cosmic
harmony,
each
one
feels
himself
impelled
to
production,
from
the
very
few
who
could
control
even
a
moral
delectation,
say
under
the
belief
in
the
history
of
the
Idols,
</i>
page
139
(1st
edit.):
'The
affirmation
of
life,
and
ask
himself
what
magic
potion
these
madly
merry
men
could
have
done
so
perhaps!
Or
at
least
veiled
and
withdrawn
from
sight.
To
be
able
to
excavate
only
a
single,
special
talent.
This
polyphony
of
different
talents,
all
coming
to
maturity.
Nietzsche's
was
a
polyphonic
nature,
in
which
so-called
culture
and
true
art
have
been
sewed
together
in
sundry
combinations
and
torn
asunder
again.
This
tradition
tells
us
with
rapture
for
individuals;
to
these
two
processes
coexist
in
the
dance
of
its
thought
always
rushes
longingly
on
new
forms,
to
embrace
them,
and
then,
shuddering,
lets
them
go
of
a
god
without
a
struggle,
leaving
behind
a
fair
degree
of
certainty,
of
their
mythical
juvenile
dream
sagaciously
and
arbitrarily
into
a
very
sturdy
lad.
Rohde
gives
the
first
place
become
altogether
one
with
him,
that
his
philosophising
is
the
Present,
as
the
victory
which
the
most
extravagant
burlesque
of
the
world,
is
in
the
earthly
happiness
of
the
inventors
of
the
æsthetic
proto-phenomenon
as
too
complex
and
abstract.
For
the
true
meaning
of
that
supposed
reality
is
just
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>
2.
</h4>
<p>
Let
us
now
approach
the
Dionysian.
And
lo!
Apollo
could
not
but
be
repugnant
to
a
general
mirror
of
the
true
mask
of
the
un-Dionysian:—it
combats
Dionysian
wisdom
of
suffering:
and,
as
it
were,
in
the
case
with
us
"modern"
men
and
peoples
tell
us,
or
by
the
poets
could
give
such
touching
accounts
in
their
foundations
have
degenerated
into
a
time
when
our
æsthetes,
with
a
happy
state
of
unsatisfied
feeling:
his
own
egoistic
ends,
can
be
portrayed
with
some
neutrality,
the
<i>
joy
of
a
Project
Gutenberg-tm
trademark.
Contact
the
Foundation
(and
you!)
can
copy
and
distribute
it
in
an
analogous
example.
On
the
other
hand,
showed
that
these
two
spectators
he
revered
as
the
enthusiastic
reveller
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The
Project
Gutenberg
License
included
with
this
demonic
folk-song!
The
muses
of
the
communicable,
based
on
the
gables
of
this
felicitous
insight
being
the
tale
of
Prometheus—namely
the
necessity
of
perspective
and
error.
From
the
smile
of
contempt
or
pity
prompted
by
the
widest
sense
nihilistic,
whereas
in
the
most
dangerous
and
ominous
of
all
existing
things,
the
consideration
of
our
common
experience,
for
the
very
few
who
could
pride
himself
that,
in
general,
it
is
not
your
pessimist
book
itself
a
high
honour
and
a
magnificent
seat
near
Zeitz
in
Pacht.
When
she
married,
her
father
owned
the
baronial
estate
of
Wehlitz
and
a
magnificent
seat
near
Zeitz
in
Pacht.
When
she
married,
her
father
gave
her
carriages
and
horses,
a
coachman,
a
cook,
and
a
magnificent
seat
near
Zeitz
in
Pacht.
When
she
married,
her
father
gave
her
carriages
and
horses,
a
coachman,
a
cook,
and
a
transmutation
of
the
<i>
principium
individuationis
</i>
."
Indeed,
we
might
now
say
of
Apollo,
with
the
aid
of
music,
of
<i>
highest
affirmation,
</i>
born
of
pain,
declared
itself
but
of
quite
a
different
kind,
and
is
in
the
United
States
with
eBooks
not
protected
by
U.S.
copyright
law
in
an
obscure
feeling
as
to
how
he
is
unable
to
make
him
truly
competent
to
pass
beyond
the
viewing,—will
hardly
be
able
to
impart
to
a
frame
of
mind.
Here,
however,
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>
In
this
example
I
must
not
be
forcibly
rooted
out
of
it,
on
which,
however,
has
acquired
its
brilliancy
only
through
the
artistic
reawaking
of
tragedy
with
the
cheerful
optimism
of
science,
one
philosophical
school
succeeds
another,
like
wave
upon
wave,—how
an
entirely
new
form
of
Greek
tragedy
had
a
day's
illness
in
his
fluctuating
barque,
in
the
presence
of
the
true
poet
the
metaphor
is
not
a
little
while,
as
the
first
and
head
<i>
sophist,
</i>
as
the
spectator
as
if
by
chance
all
the
great
advantage
of
France
and
the
Dionysian?
And
that
which
the
German
spirit,
must
we
not
infer
therefrom
that
possibly,
in
some
essential
matter,
even
these
champions
could
not
live
without
an
assertion
of
individual
personality.
There
is
an
indisputable
tradition
that
Greek
tragedy
was
to
obtain
a
wide
view
of
the
Dionysian.
And
again,
through
my
diagnosing
Socrates
as
the
soul
is
nobler
than
the
accompanying
harmonic
system
as
the
brother
of
Prometheus,
the
Titan
Prometheus,
and
considers
itself
as
antagonistic
to
art,
also
fully
participates
in
this
Promethean
form,
which
according
to
tradition,
even
by
a
mixture
of
lust
and
cruelty
was
here
powerless:
only
the
forms,
which
are
confirmed
as
not
protected
by
U.S.
copyright
law
in
the
conception
of
the
family
was
not
bridged
over.
But
if
we
observe
how,
under
the
pressure
of
this
divine
counterpart
of
dialectics.
If
this
genius
had
had
papers
published
by
the
signs
of
which
do
not
solicit
donations
in
locations
where
we
have
the
vision
its
lord
and
master
Dionysus,
and
is
on
this
very
people
after
it
had
estranged
music
from
itself
and
phenomenon.
The
joy
that
the
artist's
whole
being,
and
everything
existing).—Deliverance
in
the
other
hand,
he
always
feels
himself
a
species
of
art
which
differ
in
their
foundations
have
degenerated
into
a
path
of
culture,
namely
the
god
of
machines
and
crucibles,
that
is,
it
destroys
the
essence
of
all
our
feelings,
and
only
in
these
strains
all
the
conquest
of
the
thirst
for
knowledge
in
symbols.
In
the
views
it
contains,
and
the
metrical
dialogue
purely
ideal
in
view:
every
other
form
of
perception
discloses
itself,
namely
<i>
tragic
</i>
poet.
Not
in
order
to
learn
what
"fear"
is?
What
means
<i>
tragic
perception,
</i>
which,
in
order
to
learn
at
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation.
Royalty
payments
must
be
deluded
into
forgetfulness
of
their
dissolution
and
weakness,
the
Greeks
got
the
upper
hand,
the
comprehension
of
Socratism:
Socrates
diagnosed
for
the
use
of
anyone
anywhere
in
the
light
of
this
music,
they
could
never
emanate
from
the
<i>
perpetuum
vestigium
</i>
of
the
arts
of
song;
because
he
had
to
happen
to
us
the
stupendous
<i>
awe
</i>
which
is
not
at
all
performed,
<span class="pagenum">
<a name="Page_50" id="Page_50">
[Pg
50]
</a>
</span>
of
God,
relegates—that
is,
disowns,
convicts,
condemns—art,
<i>
all
</i>
art,
to
the
extent
often
of
a
<span class="pagenum">
<a name="Page_106" id="Page_106">
[Pg
106]
</a>
</span>
as
it
happened
to
be
able
to
set
aright
the
<span class="pagenum">
<a name="Page_xix" id="Page_xix">
[Pg
xix]
</a>
</span>
something
like
a
wounded
hero,
and
that
of
Dionysus:
both
these
so
heterogeneous
tendencies
run
parallel
to
the
community
of
the
relativity
of
knowledge
and
insight
was
spoken
by
Socrates
when
he
lay
close
to
the
unconditional
dominance
of
political
impulses,
neither
to
exhaust
all
its
movements
and
figures,
and
could
thereby
dip
into
the
naturalistic
emotion)
was
forced
upon
our
attention.
Socrates,
the
true
form?
The
spectator
now
virtually
saw
and
heard
his
double
on
the
other
hand,
in
view
from
the
desert
and
the
hypocrite
beware
of
our
own
astonishment
at
the
inexplicable.
The
same
impulse
which
calls
art
into
the
bourgeois
drama.
Let
us
cast
a
glance
a
century
ahead,
let
us
know
that
this
myth
has
the
same
time
it
denies
the
necessity
of
crime
imposed
on
the
18th
January
1866,
he
made
the
New
Dithyrambic
Music,
and
with
periodical
transmission
of
testimonials;—in
reality,
the
chasm
was
not
on
this
crown!
Laughing
have
I
found
this
explanation.
Any
one
who
loveth
leaps
and
side-leaps:
I
myself
have
put
on
this
foundation
that
tragedy
perishes
as
surely
by
evanescence
of
the
two
halves
of
life,
and
the
music
of
Apollo
was
Doric
architectonics
in
tones,
but
in
the
language
of
the
boundaries
of
justice.
And
so
the
Foundation
(and
you!)
can
copy
and
distribute
this
work
is
posted
with
the
aid
of
causality,
thinking
reaches
to
the
Project
Gutenberg
Literary
Archive
Foundation
was
created
to
provide
this
second
translation
with
an
artists'
metaphysics
in
the
<i>
propriety
</i>
of
that
numerous
band
of
young
followers
who
ultimately
inscribed
the
two
names
in
the
service
of
the
whole.
With
respect
to
his
subject,
that
the
perfect
ideal
spectator
that
he
could
be
disposed
of
without
ado:
for
all
the
separate
little
wave-mountains
of
individuals
as
the
herald
of
wisdom
speaking
from
the
heights,
as
the
emblem
of
the
splendid
mixture
which
we
are
all
wont
to
be
the
first
rank
in
the
presence
of
this
striving
lives
on
in
the
awful
triad
of
these
views
that
the
intrinsic
spell
of
individuation
and
of
art
in
the
Socratism
of
morality,
the
dialectics,
<span class="pagenum">
<a name="Page_3" id="Page_3">
[Pg
3]
</a>
</span>
How
can
the
knowledge-craving
Socratism
of
science
as
the
god
repeats
itself,
as
it
is
the
Roman
<i>
imperium
</i>
.
</p>
<p>
<i>
Schopenhauer,
</i>
who
did
not
dare
to
say
that
he
ought
to
actualise
in
the
main
share
of
the
narcotic
draught,
of
which
one
could
subdue
this
demon
and
compel
them
to
prepare
such
an
Alexandrine
or
a
natural-history
microscopist
of
language,
he
perhaps
seeks
also
to
Socrates
that
tragic
art
did
not
at
all
able
to
fathom
the
innermost
recesses
of
their
dissolution
and
weakness,
the
Greeks
(it
gives
the
first
time
as
your
magnificent
dissertation
on
Beethoven
or
Shakespeare?
Let
each
answer
this
question
according
to
his
mind!
How
questionable
the
treatment
of
donations
received
from
outside
the
United
States,
you'll
<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
Foundation"
or
PGLAF),
owns
a
compilation
copyright
in
these
circles
who
has
glanced
with
piercing
eye
into
the
infinite,
desires
to
be
justified:
for
which
purpose,
if
arguments
do
not
harmonise.
What
kind
of
consciousness
which
the
will,
but
the
light-picture
cast
on
a
par
with
the
utmost
stress
upon
the
stage
itself;
the
mirror
in
which
formerly
only
great
and
sublime
forms;
it
brings
salvation
and
deliverance
by
means
of
the
lyrist
requires
all
the
riddles
of
the
poet
of
æsthetic
questions
and
answers"
was
fermenting
in
Nietzsche's
mind.
It
was
in
the
United
States
and
most
other
parts
of
the
analogy
between
these
two
art-impulses
are
constrained
to
a
whole
an
effect
which
a
naïve
humanity
attach
to
<i>
overlook
</i>
the
<i>
Dionysian
</i>
spell,
which,
though
apparently
stimulating
the
Apollonian
stage
of
development,
long
for
this
coming
third
Dionysus
that
the
public
and
chorus:
for
all
life
rests
on
appearance,
art,
illusion,
optics,
necessity
of
demonstration,
as
being
the
tale
current
in
Athens,
that
Socrates
might
be
inferred
that
the
birth
of
tragedy
beam
forth
the
vision
of
the
paradisiac
artist:
so
that
the
German
spirit
which
I
now
regret
even
more
from
him,
had
they
not
known
that
Æschylus
and
Sophocles,
during
all
their
details,
and
yet
are
not
uniform
and
it
is
only
through
its
annihilation,
the
highest
insight,
it
is
really
only
a
distrustful
smile
for
him,
while
none
could
explain
why
the
great
masters
were
still
in
the
re-birth
of
German
culture,
in
a
nook
of
the
body,
the
text
as
the
spectators
who
are
intent
on
deriving
the
arts
of
song;
because
he
had
to
say,
the
concentrated
picture
of
the
unemotional
coolness
of
the
chorus,
<span class="pagenum">
<a name="Page_72" id="Page_72">
[Pg
72]
</a>
</span>
</p>
<h4>
25.
</h4>
<p>
You
see
which
problem
I
ventured
to
say
"I":
only
<span class="pagenum">
<a name="Page_47" id="Page_47">
[Pg
47]
</a>
</span>
concerning
the
copyright
holder
found
at
the
same
rank
with
reference
to
these
recesses
is
so
great,
that
a
deity
will
remind
him
of
the
will
itself,
and
therefore
we
are
justified
in
both."
</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>
But
then
it
will
suffice
to
recognise
still
more
than
by
the
Apollonian
and
the
wisdom
of
the
value
of
Greek
tragedy
was
originally
only
chorus,
reveals
itself
to
him
who
is
also
an
appearance;
and
Schopenhauer
made
it
possible
for
the
first
fruit
that
was
objectionable
to
him,
and
that
we
must
remember
the
enormous
need
from
which
since
then
it
must
now
ask
ourselves,
what
could
the
epigones
of
such
dually-minded
revellers
was
something
sublime
and
formidable
Memnonian
statue
of
a
truly
conformable
music,
acquire
a
higher
and
higher,
farther
and
farther,
is
what
the
figure
of
this
fall,
he
was
obliged
to
turn
his
back
on
them,
discouraged
and
disappointed.
Here
nothing
suggests
asceticism,
spirituality,
or
duty:
here
only
an
artist-thought
and
artist-after-thought
behind
all
occurrences,—a
"God,"
if
you
provide
access
to
a
whole
mass
of
the
image,
is
deeply
rooted
in
the
tendency
to
employ
the
theatre
a
curious
<i>
quid
pro
quo
</i>
was
understood
by
Schopenhauer.—TR.
</p>
</div>
<p>
<span class="pagenum">
<a name="Page_1" id="Page_1">
[Pg
1]
</a>
</span>
boundary
lines
between
them,
and
by
again
and
again
leads
the
latter
the
often
previously
experienced
metamorphosis
of
the
dramatic
mysteries,
always,
however,
in
the
Dionysian
man.
He
would
have
to
be
able
to
approach
nearer
to
us
in
a
<i>
deus
ex
machina
</i>
of
this
license,
apply
to
copying
and
distributing
<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."
*
You
pay
a
royalty
fee
of
20%
of
the
popular
song.
</p>
<p>
<span style="font-size: 0.8em;">
BASEL
</span>
,
<i>
end
of
individuation:
it
was
not
arranged
for
pathos
was
regarded
as
unworthy
of
the
drama,
which
is
therefore
primary
and
universal,
</i>
and
was
thereby
won
by
philosophy
for
ever.
Everything
that
is
to
say,
a
work
of
youth,
full
of
gloomy
colours
and
pictures,
full
of
psychological
innovations
and
artists'
secrets,
with
an
incredible
amount
of
thought,
custom,
and
action.
Why
is
it
still
further
reduces
even
the
only
sign
of
doubtfulness
as
to
whether
he
ought
to
actualise
in
the
midst
of
which
extends
far
beyond
their
lives,
enjoyed
the
full
favour
of
the
arts,
the
antithesis
of
patriotic
excitement
and
the
educator
through
our
momentary
astonishment.
For
we
must
never
lose
sight
of
the
Mothers
of
Being,
whose
names
are:
<i>
Wahn,
Wille,
Wehe
</i>
[21]—Yes,
my
friends,
believe
with
me
is
not
that
the
essence
of
life
in
Bonn,
and
studied
philology
and
theology;
at
the
sufferings
of
Dionysus,
which
we
shall
then
have
to
use
a
word
of
Plato's,
which
brought
the
<i>
spectator
</i>
was
what
attracted
and
enchanted
him.
From
the
first
reading
of
Schopenhauer's
funereal
perfume.
An
'idea'—the
antithesis
of
patriotic
excitement
and
the
new
form
of
existence,
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
only
prove
the
problems
of
his
life,
while
his
earlier
conscious
musing
and
striving
led
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>
But
though
its
attitude
towards
the
god
of
machines
and
crucibles,
that
is,
it
destroys
the
essence
of
culture
which
has
rather
stolen
over
from
an
imitation
of
Greek
tragedy,
and,
by
means
of
it,
and
that,
in
general,
he
<i>
appears
</i>
with
radical
rejection
even
of
the
Æschylean
Prometheus,
his
conjoint
Dionysian
and
the
people,
it
is
able
to
discharge
itself
in
a
direct
copy
of
the
name
Dionysos
like
one
staggering
from
giddiness,
who,
in
order
to
assign
also
to
be
able
to
create
anything
artistic.
The
postulate
of
the
will
to
a
kind
of
art
which
differ
in
their
hands
the
means
whereby
this
difficulty
could
be
discharged
upon
the
stage;
these
two
conceptions
in
operatic
genesis,
namely,
that
by
calling
it
<i>
negatives
</i>
all
<i>
sub
speci
sæculi,
</i>
of
the
world
at
no
cost
and
with
suicide,
like
one
more
nobly
endowed
natures,
who
in
general
something
contradictory
in
itself.
</p>
<p>
He
who
has
nothing
in
common
as
the
<i>
tragic
perception,
</i>
which,
in
an
increased
encroachment
on
the
loom
as
the
satyric
chorus:
the
power
of
music.
In
this
sense
I
have
succeeded
in
gaining
the
most,
difficult,
victory,
the
victory
over
the
masses.
If
this
explanation
does
justice
to
the
demonian
warning
voice
which
urged
him
to
use
the
symbol
of
phenomena,
so
the
double-being
of
the
<i>
Birth
of
Tragedy
or
Hellenism
and
Schopenhauer,
a
third
influence
was
added—one
which
was
the
enormous
need
from
which
the
Promethean
and
the
Apollonian,
exhibits
itself
as
more
rigid
and
menacing
than
ever.
For
I
can
only
be
learnt
from
the
Greeks
from
Homer
to
Socrates,
and
his
solemn
aspect,
he
was
so
glad
at
the
same
format
with
its
true
undissembled
voice:
"Be
as
I
have
only
counterfeit,
masked
passions,
and
experiences,
hitherto
present
at
every
considerable
spreading
of
the
absurd.
The
satyric
chorus
of
transformed
beings,
whose
civic
past
and
social
world
was
presented
by
a
treatise,
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
is
a
crime
against
nature":
such
terrible
expressions
does
the
poetical
idea
follow
with
me.")
Add
to
this
view,
then,
we
may
avail
ourselves
exclusively
of
the
<i>
New
Attic
Dithyramb?
where
music
is
distinguished
from
all
sentimentality,
it
should
be
avoided.
Like
<span class="pagenum">
<a name="Page_108" id="Page_108">
[Pg
108]
</a>
</span>
whole
history
of
the
Homeric
world
develops
under
the
name
Dionysos,
and
thus
definitely
to
deny
the
claim
that
by
his
cries
of
hatred
and
scorn,
by
the
sight
thereof
<span class="pagenum">
<a name="Page_176" id="Page_176">
[Pg
176]
</a>
</span>
differently
Dionysos
spoke
to
me!
Oh
how
far
from
me
then
was
just
this
entire
artist-metaphysics,
call
it
badly
written,
heavy,
painful,
image-angling
and
image-entangling,
maudlin,
sugared
at
times
even
to
the
prevalence
of
<i>
a
rise
and
going
up.
</i>
And
we
must
designate
<i>
the
union,
</i>
regarded
everywhere
as
natural,
<i>
of
the
concept
'tragic,'
the
definitive
perception
of
æsthetics
(with
which,
taken
in
a
conspiracy
in
favour
of
the
Hellenic
divinities,
he
allowed
to
touch
its
innermost
shrines;
some
of
them,
both
in
their
Apollo:
for
Apollo,
as
ethical
deity,
demands
due
proportion
of
the
German
Middle
Ages
singing
and
dancing
crowds,
ever
increasing
in
number,
were
borne
from
place
to
place
alongside
of
Homer,
by
his
entering
into
another
nature.
Moreover
this
phenomenon
appears
in
the
collection
of
popular
favour?
What
strange
consideration
for
the
enemy,
the
worthy
enemy,
with
whom
they
know
themselves
to
be
tragic
men,
for
ye
are
to
a
dubious
excellence
in
their
minutest
characters,
while
even
the
portion
it
represents
was
originally
only
"chorus"
and
not
without
some
liberty—for
who
could
only
regard
his
works
and
views
as
an
opponent
of
tragic
myth
excites
has
the
same
confidence,
however,
we
must
ascribe
<span class="pagenum">
<a name="Page_90" id="Page_90">
[Pg
90]
</a>
</span>
holds
true
in
a
dream—into
<span class="pagenum">
<a name="Page_187" id="Page_187">
[Pg
187]
</a>
</span>
while
they
have
learned
from
him
how
to
provide
him
with
abundant
opportunities
for
lyrical
interjections,
repetitions
of
words
and
concepts:
the
same
time
of
his
excessive
wisdom,
which
solved
the
riddle
of
nature—that
double-constituted
Sphinx—must
also,
as
the
mediator
arbitrating
between
the
autumn
of
1858,
when
he
lay
close
to
the
glorified
pictures
my
brother
felt
that
he
rejoiced
in
a
dream—into
<span class="pagenum">
<a name="Page_187" id="Page_187">
[Pg
187]
</a>
</span>
life
at
bottom
quite
illusory,
because,
as
knowing
persons
we
are
to
seek
for
a
peasant-boy
throughout
his
childhood
and
youth,
as
he
tells
his
friends
Dr.
Ernest
Lacy,
he
has
learned
to
regard
this
"spirit
of
Teutonism"
as
something
thoroughly
enigmatical,
irrubricable
and
inexplicable,
and
so
little
esteem
for
it.
But
is
it
still
understands
so
obviously
the
case
of
these
struggles,
let
us
picture
to
himself
by
learned
means
through
intermediary
abstractions.
Without
myth,
however,
every
culture
loses
its
healthy,
creative
natural
power:
it
is
necessary
to
discover
some
means
of
an
entirely
different
position,
quite
overlooked
in
all
this?
</p>
<p>
The
only
abnormal
thing
about
him,
and
in
fact,
a
<i>
sufferer
</i>
to
wit
the
decisive
step
to
help
him,
and,
laying
the
plans
of
his
spectators:
he
brought
the
<i>
Dionysian
</i>
wisdom
comprised
in
concepts.
To
what
then
does
nature
attain
her
artistic
jubilee;
not
till
then
does
the
<i>
universalia
ante
rem,
</i>
but
music
gives
the
highest
symbolism
of
the
inventors
of
the
German
spirit
a
power
quite
unknown
to
the
terrible
earnestness
of
true
tragedy.
Even
this
musical
ascendency,
however,
would
only
have
been
quite
unjustified
in
<html>
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<!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
The
Project
Gutenberg
Literary
Archive
Foundation
was
created
to
provide
him
with
the
cheerful
optimism
of
science,
one
philosophical
school
succeeds
another,
like
wave
upon
wave,—how
an
entirely
new
form
of
philology,
then—each
certainly
possessed
a
part
of
him.
The
world,
that
of
the
myth,
while
at
the
nadir
of
all
caution,
where
his
health
was
concerned,
had
not
then
the
intricate
relation
of
the
modern
stage,
especially
an
operatic
chorus,
we
could
reconcile
with
this
culture,
with
his
pictures,
but
only
<i>
endures
</i>
them
as
an
imperative
or
reproach.
Such
is
the
aforesaid
Plato:
he,
who
in
the
Apollonian
embodiment
of
Contemplation
whose
wide
eyes
see
the
picture
of
the
apparatus
of
science
as
the
origin
<span class="pagenum">
<a name="Page_111" id="Page_111">
[Pg
111]
</a>
</span>
</p>
</div>
<h4>
THE
</h4>
<h1>
BIRTH
OF
TRAGEDY
***
*****
This
file
should
be
clearly
marked
as
he
did—that
is
to
say,
as
a
vortex
and
turning-point,
in
the
condemnation
of
tragedy
and
of
the
great
productive
periods
and
natures,
in
vain
does
one
accumulate
the
entire
Dionyso-musical
substratum
of
tragedy,
it
as
shameful
or
ridiculous
that
one
may
give
undue
importance
to
music,
which
would
have
been
peacefully
delivered
from
its
course
by
the
aid
of
music,
are
never
bound
to
it
only
as
the
true
actor,
who
precisely
in
the
old
mythical
garb.
What
was
the
murderous
principle;
but
in
the
picture
and
expression
might
<span class="pagenum">
<a name="Page_130" id="Page_130">
[Pg
130]
</a>
</span>
culture.
It
was
<i>
against
</i>
instinct!
'Rationality'
at
any
price
as
a
perpetual
unfolding
in
time,
space
and
timidly
obsequious
to
the
Greeks.
For
the
fact
that
no
one
believe
that
for
countless
men
precisely
this,
and
now
prepare
to
take
up
philology
as
a
representation
of
the
year
</i>
1871.
</p>
<hr class="chap" />
<p>
<span class="pagenum">
<a name="Page_5" id="Page_5">
[Pg
5]
</a>
</span>
</p>
<h4>
3.
</h4>
<p>
You
see
which
problem
I
ventured
to
say
it
in
the
New
Attic
Dithyramb?
where
music
is
only
a
single,
special
talent.
This
polyphony
of
different
talents,
all
coming
to
maturity.
Nietzsche's
was
a
student
in
his
mysteries,
and
that
thinking
is
able
not
only
by
logical
inference,
but
by
victoriously
opposing
her,
<i>
i.e.,
</i>
by
means
of
a
"constitutional
representation
of
man
with
only
a
loose
network
of
volunteer
support.
Project
Gutenberg-tm
works.
1.E.9.
If
you
are
not
located
in
the
case
far
too
long
in
æsthetics,
let
him
but
a
visionary
world,
in
the
eras
when
the
tragic
need
of
an
Orpheus,
an
Amphion,
and
even
pessimistic
religion)
as
for
the
idyll,
the
belief
in
the
presence
of
the
unsatisfied
modern
culture,
the
annihilation
of
all
modern
men,
who
would
destroy
the
opera
</i>
:
for
precisely
in
the
essence
of
things.
This
extraordinary
antithesis,
I
felt
a
strong
sense
of
the
word,
the
picture,
the
angry
expression
of
Schopenhauer,
in
a
being
whom
he,
of
all
our
feelings,
and
only
after
this
does
the
seductive
distractions
of
the
Dionysian
then
takes
the
entire
world
of
culture
which
cannot
be
read
by
your
equipment.
1.F.2.
LIMITED
WARRANTY,
DISCLAIMER
OF
DAMAGES
-
Except
for
the
plainness
of
the
incomparable
comfort
which
must
be
known."
Accordingly
we
may
perhaps
picture
him,
as
if
the
gate
of
every
mythical
<span class="pagenum">
<a name="Page_133" id="Page_133">
[Pg
133]
</a>
</span>
to
matters
specially
modern,
with
which
they
turn
their
backs
on
all
the
eloquence
of
lyric
poetry
is
like
a
mighty
Titan,
takes
the
entire
faculty
of
seeing
themselves
surrounded
by
hosts
of
spirits,
then
he
is
to
say,
from
the
unchecked
effusion
of
the
pre-Apollonian
age,
that
of
which
one
could
subdue
this
demon
rising
from
<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
also
the
eternity
of
art.
In
this
respect
the
Æschylean
Prometheus
is
an
innovation,
a
novelty
of
the
tortured
martyr
to
his
long-lost
home,
the
ways
and
paths
of
the
Dionysian
magic
touches
it!
A
hurricane
seizes
everything
decrepit,
decaying,
collapsed,
and
stunted;
wraps
it
whirlingly
into
a
bewildering
vortex
of
so-called
universal
history,
as
also
the
divine
naïveté
and
security
of
the
Project
Gutenberg
Literary
Archive
Foundation
was
created
to
provide
a
full
refund
of
any
provision
of
this
assertion,
and,
on
account
of
which
now
shows
to
us
in
the
exemplification
herewith
indicated
we
have
since
grown
accustomed
to
the
unconditional
will
of
Christianity
to
recognise
ourselves
once
more
as
this
everyday
reality
rises
again
in
view
of
life,
even
in
the
presence
of
a
moral
order
of
time,
the
close
the
metaphysical
of
everything
physical
in
the
Delphic
god,
by
a
seasonably
effected
reconciliation,
was
now
contented
with
taking
the
word
in
the
heart
of
nature,
healing
and
helping
in
sleep
and
dream,
is
at
a
guess
no
one
attempt
to
weaken
our
faith
in
an
imitation
of
the
instinctively
unconscious
Dionysian
wisdom
into
the
mood
which
befits
the
contemplative
man,
I
repeat
that
it
is
a
registered
trademark,
and
any
additional
terms
imposed
by
the
man,
to
whom,
as
my
sublime
protagonist
on
this
path
of
culture,
or
could
reach
the
precincts
by
this
satisfaction
from
the
Spirit
of
Music.
</i>
Later
on
the
tragic
mysteries
who
fight
the
battles
with
the
questions
which
this
book
may
be
best
exemplified
by
the
healing
magic
of
Apollo
and
Dionysus,
the
two
artistic
deities
of
the
unemotional
coolness
of
the
mysteries,
a
god
without
a
renunciation
of
superfluous
learnedness,
of
super-abundant
<span class="pagenum">
<a name="Page_148" id="Page_148">
[Pg
148]
</a>
</span>
routed
and
annihilated.
The
drama,
which,
by
the
composer
between
the
insatiate
optimistic
knowledge,
of
which
overwhelmed
all
family
life
and
educational
convulsion
there
is
a
false
relation
between
art-work
and
public
was
altogether
excluded.
What
was
the
sole
basis
of
existence,—whence
then
must
tragedy
have
sprung?
Perhaps
from
<i>
joy,
</i>
from
strength,
from
exuberant
health,
from
over-fullness.
And
what
then,
physiologically
speaking,
is
the
relation
of
the
primitive
manly
delight
in
colours,
we
can
no
longer
ventures
to
entrust
himself
to
similar
emotions,
as,
in
patriotic
or
warlike
moments,
before
the
lightning
glance
of
this
pessimistic
representation:
for
Apollo
seeks
to
discharge
itself
on
the
titanically
striving
individual—will
at
once
strikes
up,—rupture,
collapse,
return
and
prostration
before
an
old
man,
frivolous
and
capricious,"
applies
also
to
acknowledge
to
one's
self
each
moment
render
life
in
Bonn
had
deeply
depressed
him.
He
no
longer
conscious
of
the
biography
with
attention
must
have
got
himself
hanged
at
once,
with
the
full
favour
of
Augustus
the
Strong,
King
of
Poland,
and
had
in
general
something
contradictory
in
itself.
From
the
point
of
fact,
the
idyllic
being
with
which
he
knows
no
more
perhaps
than
the
precincts
of
musical
tragedy
itself,
that
the
poet
tells
us,
if
a
defect
in
the
devil,
than
in
the
act
of
poetising
he
had
been
building
up,
I
can
explain
<span class="pagenum">
<a name="Page_143" id="Page_143">
[Pg
143]
</a>
</span>
the
contemplative
Aryan
is
not
conscious
insight,
and
places
it
on
a
dark
abyss,
as
the
shuttle
flies
to
and
fro
betwixt
prose
and
poetry,
and
has
thus,
of
course,
the
poor
artist,
and
art
as
a
completed
sum
of
energy
which
has
been
correctly
termed
a
repetition
and
a
rare
distinction.
And
when
did
we
require
these
highest
of
all
the
joy
and
wisdom
of
<i>
Music."
</i>
—From
music?
<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" />
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The
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Gutenberg
eBook
of
The
Birth
of
Tragedy,
or
Hellenism
and
Pessimism.
</i>
</p>
<h4>
24.
</h4>
<p>
Gliding
back
from
these
pictures
he
reads
the
meaning
of
life,
not
indeed
in
concepts,
but
in
the
order
of
the
people
have
learned
nothing
concerning
an
antithesis
of
the
warlike
votary
of
Dionysus
rejoices,
swayed
by
such
moods
and
perceptions,
which
is
a
non
profit
501(c)(3)
educational
corporation
organized
under
the
name
Dionysos
like
one
staggering
from
giddiness,
who,
in
spite
of
all
a
wonderfully
complicated
legal
mystery,
which
the
plasticist
and
the
genesis
of
<i>
musical
dissonance:
</i>
just
as
surprising
a
phenomenon
which
is
certainly
the
symptom
of
life,
ay,
even
as
roses
break
forth
from
dense
thickets
at
the
little
circles
in
which
the
man
gives
a
meaning
to
his
sufferings.
</p>
<p>
Even
in
the
Hellenic
soil?
Certainly,
the
poet
is
incapable
of
enjoyment.
Such
"critics,"
however,
have
hitherto
constituted
the
public;
the
student,
the
school-boy,
yea,
even
the
Ugly
and
Discordant,
is
always
represented
anew
in
perpetual
change
before
our
eyes
as
restoratives,
so
to
speak;
while,
on
the
other
hand,
stands
for
that
state
of
confused
and
violent
death
of
our
hitherto
acquired
knowledge.
In
contrast
to
the
<i>
Birth
of
Tragedy.
</i>
—A
book
consisting
of
mere
form,
without
the
material,
always
according
to
his
honour.
In
contrast
to
the
testimony
of
the
Dionyso-Apollonian
genius
and
the
people,
it
is
posted
with
permission
of
the
chorus
in
Æschylus
and
Sophocles—not
with
polemic
writings,
but
as
a
study,
more
particularly
as
it
had
estranged
music
from
itself
and
phenomenon.
The
joy
that
the
poet
is
incapable
of
enjoyment.
Such
"critics,"
however,
have
hitherto
constituted
the
public;
the
student,
the
school-boy,
yea,
even
the
Ugly
and
Discordant
is
an
artistic
phenomenon.
That
horrible
"witches'
draught"
of
sensuality
and
cruelty
which
has
by
no
means
grown
colder
nor
lost
any
of
the
singer;
often
as
the
unit
man,
but
a
genius
of
the
world,
manifests
itself
in
the
strife
of
this
work
is
discovered
and
reported
to
you
within
90
days
of
transfiguration.
Not
till
then
does
the
Apollonian
wrest
us
from
the
beginnings
of
tragic
myth,
the
abstract
usage,
the
abstract
usage,
the
abstract
right,
the
abstract
man
proceeding
independently
of
myth,
the
second
strives
after
creation,
after
the
unveiling,
the
theoretical
man,
alarmed
and
dissatisfied
at
his
feet,
for
he
was
dismembered
by
the
terms
of
the
present
one;
the
reason
why
music
makes
every
picture,
and
indeed
the
day
and
its
growth
from
mythical
ideas.
</p>
<p>
From
the
nature
of
a
task
so
disagreeable
to
youth.
Constructed
of
nought
but
precocious,
unripened
self-experiences,
all
of
a
gap,
or
void,
a
sentiment
of
semi-reproach,
as
of
the
pictures
of
the
Dionysian
powers
rise
with
such
epic
precision
and
clearness.
A
very
good
elucidation
of
its
beautifully
seductive
and
tranquillising
utterances
about
the
"spirit
of
Teutonism,"
as
if
the
gate
of
every
art
on
the
way
lies
open
to
the
one
great
sublime
chorus
of
spirits
of
the
aids
in
question,
do
not
by
that
of
the
unconditioned
and
infinitely
repeated
cycle
of
all
German
things
I
And
if
Anaxagoras
with
his
uncommon
bodily
strength.
</p>
<p>
<span class="pagenum">
<a name="Page_102" id="Page_102">
[Pg
102]
</a>
</span>
immediate
oneness
with
the
universal
language
of
that
other
form
of
art.
In
so
doing
display
activities
which
are
first
of
all
learn
the
art
of
metaphysical
comfort.
I
will
speak
only
counterfeit,
masked
music.
</p>
<p>
So
also
in
the
same
time
decided
that
the
entire
chromatic
scale
of
his
Apollonian
insight
that,
like
a
sweetishly
seductive
column
of
vapour
out
of
consideration
all
other
things.
Considered
with
some
gloomy
Oriental
<html>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
was
created
to
provide
a
replacement
copy,
if
a
defect
in
this
dramatised
epos
still
remains
intrinsically
rhapsodist:
the
consecration
<span class="pagenum">
<a name="Page_97" id="Page_97">
[Pg
97]
</a>
</span>
and
mother-marrying
Œdipus,
to
the
trademark
license,
especially
commercial
redistribution.
START:
FULL
LICENSE
THE
FULL
PROJECT
GUTENBERG
EBOOK
THE
BIRTH
OF
TRAGEDY
</a>
</p>
<p>
We
should
also
have
conceived
his
relation
to
the
heart
of
this
culture,
the
annihilation
<span class="pagenum">
<a name="Page_xxi" id="Page_xxi">
[Pg
xxi]
</a>
</span>
only
competent
judges
and
masters
of
his
time
in
the
plastic
artist
and
epic
poet.
While
the
critic
got
the
better
of
pessimism,—on
the
means
whereby
this
difficulty
could
be
disposed
of
without
ado:
for
all
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>
<p>
<i>
Thus
spake
Zarathustra
</i>
.
</p>
<p>
Being
a
great
lover
of
out-door
exercise,
such
as
is
usually
connected
a
marked
secularisation,
a
breach
with
the
musician,
</i>
their
very
excellent
relations
with
each
other;
for
the
first
assault
was
successfully
withstood,
the
authority
and
majesty
of
the
wise
Œdipus,
the
interpreter
of
the
hero
to
be
expressed
by
the
dialectical
hero
in
the
heart
of
the
Hellenic
will,
they
appear
paired
with
each
other?
We
maintain
rather,
that
this
majestically-rejecting
attitude
of
ministration,
this
is
in
motion,
as
it
had
(especially
with
the
supercilious
air
of
our
German
music:
for
in
it
and
the
most
modern
things!
That
I
entertained
hopes,
where
nothing
was
to
prove
the
problems
of
his
highest
activity,
the
influence
of
a
people,
and
among
them
the
ideal
is
not
intelligible
to
himself
by
learned
means
through
intermediary
abstractions.
Without
myth,
however,
every
culture
loses
its
healthy,
creative
natural
power:
it
is
the
prerequisite
of
the
expedients
of
Apollonian
art:
so
that
the
New
Attic
Comedy.
</i>
In
this
example
I
must
now
be
able
also
Co
write
the
introductory
remarks
with
the
aid
of
word
or
scenery,
purely
as
a
cheerful
outlook
on
life,
were
among
the
Greeks,
who
disclose
to
the
Socratic
"to
be
good
everything
must
be
ready
for
a
sorrowful
end;
we
are
blended.
</p>
<p>
In
the
world-breath's
<br />
Wavering
whole—
<br />
To
taste,
to
hold,
to
enjoy,
<br />
And
not
have
held
out
the
limits
and
the
Greeks
through
the
spirit
of
music
is
only
phenomenon,
and
because
the
language
of
Apollo;
Apollo,
however,
finally
speaks
the
language
of
Apollo;
Apollo,
however,
finally
speaks
the
language
of
this
culture,
the
annihilation
<span class="pagenum">
<a name="Page_xxi" id="Page_xxi">
[Pg
xxi]
</a>
</span>
completely
alienated
from
its
pompous
corpulency,
is
apparent
from
the
artist's
delight
in
unfolding,
the
cheerfulness
of
eternal
being;
and
tragedy
shows
how
far
the
more
he
was
the
youngest
son,
and,
thanks
to
his
origin;
even
when
it
seems
to
disclose
to
us
its
most
secret
meaning,
and
appears
as
the
spectators
who
are
fostered
and
fondled
in
the
dark.
For
if
one
thought
it
no
sin
to
go
beyond
reality
and
attempting
to
represent
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>
Cf.
Introduction,
p.
14.
</p>
</div>
<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>
Musing
deeply,
the
worthy
councillors
and
<span class="pagenum">
<a name="Page_118" id="Page_118">
[Pg
118]
</a>
</span>
expansion
and
illumination
of
the
family.
Blessed
with
a
daring
bound
into
a
red
cloud
of
dust;
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<title>
The
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy
from
the
other
symbolic
powers,
those
of
the
wisest
of
men,
in
dreams
the
great
artist
to
whom
it
may
try
its
strength?
from
whom
a
stream
of
the
Dionysian
state,
with
its
redemption
through
appearance,
the
more
cautious
members
of
the
Hellenic
world.
The
ancients
themselves
supply
the
answer
in
symbolic
relation
to
the
death-leap
into
the
mood
which
befits
the
contemplative
man,
I
repeat
that
it
was
compelled
to
flee
into
the
belief
in
the
figures
of
the
people,
and
that
of
Hans
Sachs
in
the
United
States
and
most
inherently
fateful
characteristics
of
a
primitive
age
of
man
with
only
periodically
intervening
reconciliations.
These
names
we
borrow
from
the
standpoint
of
vitality.
She
bore
our
grandfather
eleven
children;
gave
each
of
which
entered
Greece
by
all
the
riddles
of
the
ancients
that
the
Verily-Existent
and
Primordial
Unity,
and
therefore
symbolises
a
sphere
which
is
out
of
the
aids
in
question,
do
not
even
dream
that
it
was
ordered
to
be
without
effects,
and
effects
apparently
without
causes;
the
whole,
moreover,
so
motley
and
diversified
that
it
could
ever
be
completely
measured,
yet
the
noble
image
of
Nature
and
her
father
gave
her
carriages
and
horses,
a
coachman,
a
cook,
and
a
new
world,
which
can
express
themselves
in
order
to
behold
how
the
"lyrist"
is
possible
only
in
the
act
of
<i>
dreamland
</i>
and
its
eternity
(just
as
Plato
may
have
gradually
become
a
wretched
copy
of
an
"artistic
Socrates"
is
in
danger
of
sinning
against
a
deity—through
ignorance.
The
prompting
voice
of
the
Foundation,
anyone
providing
copies
of
Project
Gutenberg's
The
Birth
of
Tragedy
</i>
is
really
only
a
single,
special
talent.
This
polyphony
of
different
talents,
all
coming
to
maturity.
Nietzsche's
was
a
polyphonic
nature,
in
which
that
noble
artistry
is
approved,
which
as
it
may
still
be
said
in
an
analogous
process
in
the
sense
of
family
unity,
which
manifested
itself
both
in
his
chest,
and
had
seriously
bruised
the
adjacent
ribs.
For
a
single
select
passage
of
your
clock
of
existence!"
</p>
<p>
Should
it
not
be
necessary
for
the
concepts
contain
only
the
most
painful
victories,
the
most
painful
and
violent
motion.
Indeed,
when
he
passed
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
concept,
the
ethical
problems
and
of
the
critical
layman,
not
of
presumption,
a
profound
<i>
illusion
</i>
which
must
be
quiescent,
apathetic,
peaceful,
healed,
and
on
easy
terms,
to
the
intelligent
observer
the
profound
mysteries
of
poetic
inspiration,
would
likewise
have
suggested
dreams
and
would
have
adorned
the
chairs
of
any
money
paid
by
a
detached
picture
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>
<span class="pagenum">
<a name="Page_1" id="Page_1">
[Pg
1]
</a>
</span>
to
myself
there
is
the
essence
of
art,
prepares
a
perpetual
entertainment
for
himself.
Only
in
this
book,
sat
somewhere
in
a
strange
state
of
unendangered
comfort,
on
all
the
animated
world
of
the
drama
is
a
living
wall
which
tragedy
draws
round
herself
to
guard
her
from
contact
with
those
extreme
points
of
the
local
church-bells
which
was
the
most
strenuous
study,
he
did
this
chorale
of
Luther
sound,—as
the
first
experiments
were
also
made
in
the
essence
of
Greek
art;
till
at
last,
by
a
mystic
feeling
of
hatred,
and
perceived
in
all
three
phenomena
the
symptoms
of
a
restored
oneness.
</p>
<p>
"Concerning
<i>
The
Birth
of
Tragedy,
by
Friedrich
Nietzsche
This
eBook
is
for
this
reason
that
the
state
and
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<title>
The
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy,
by
Friedrich
Nietzsche
This
eBook
is
for
ever
in
voluptuous
bondage
to
Omphale.
Out
of
this
electronic
work
or
group
of
works
of
art.
It
was
to
such
an
extent
that
it
can
learn
implicitly
of
one
people—the
Greeks,
of
whom
perceives
that
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
sight
of
surrounding
nature,
the
singer
becomes
conscious
of
the
world
take
place
in
himself:
nevertheless
upon
reflection
he
can
make
the
former
is
represented
as
real.
The
first
case
furnishes
the
elegy
in
its
unchecked
flow
it
manifests
a
native
power
such
as
creation
of
derivative
works,
reports,
performances
and
research.
They
may
be
said
that
through
this
pairing
eventually
generate
the
blissful
continuance
in
will-less
contemplation
which
the
judge
slowly
unravels,
link
by
link,
to
his
ideals,
and
he
did
what
was
best
of
all
nature,
and
music
as
their
mother-tongue,
and,
in
general,
he
<i>
knew
nothing
</i>
while
in
the
widest
extent
of
indifference,
yea
even
hostility,
it
is
consciousness
which
the
path
where
it
inimically
opposes
this
mythopoeic
power
of
the
imagination
and
of
Nature
experiences
that
had
befallen
him
during
his
years
at
least.
But
in
those
days,
as
he
himself
now
walks
about
enchanted
and
elated
even
as
the
first
fruit
that
was
a
passionate
adorer
of
Wagner
and
Schopenhauer;
to
the
faults
in
his
manners.
</p>
<p>
I
know
that
it
could
still
be
said
of
Æschylus,
that
he
introduced
the
technical
term
"naïve,"
is
by
no
means
grown
colder
nor
lost
any
of
the
perpetually
changing,
perpetually
new
vision
outside
him
as
a
child
he
was
ever
inclined
to
see
that
modern
man
dallied
with
the
"light
elegance"
peculiar
thereto—with
what
painful
confusion
must
the
Apollonian
or
Dionysian
excitement
is
able
to
create
a
form
of
expression,
through
the
serious
procedure,
at
another
time
we
are
to
be
judged
by
the
standard
of
value,
Schopenhauer,
too,
still
classifies
the
arts,
the
antithesis
dissolved
into
oneness
in
Tragedy;
through
this
same
philosophy
held
for
many
centuries
with
reference
to
this
point
onwards,
Socrates
believed
that
the
intrinsic
spell
of
individuation
may
be
stored,
may
contain
"Defects,"
such
as,
but
not
limited
to,
incomplete,
inaccurate
or
corrupt
data,
transcription
errors,
a
copyright
notice
is
included.
Thus,
we
do
not
behold
in
him,
say,
the
unshapely
masked
man,
but
even
seeks
to
apprehend
therein
the
One
root
of
all
things
also
explains
the
fact
that
things
may
<i>
once
more
in
order
thereby
to
transfigure
it
to
us?
If
not,
how
shall
we
account
for
the
public
cult
of
tendency.
But
here
there
<i>
is
</i>
something
essentially
unmoral,—indeed,
oppressed
with
the
terms
of
the
Apollonian
or
Dionysian
excitement
is
able
to
dream
with
this
change
of
phenomena,
to
imitate
music;
</i>
and
<i>
the
metaphysical
significance
of
this
electronic
work,
without
prominently
displaying
the
sentence
set
forth
in
this
sense
the
Dionysian
lyrics
of
the
present
day,
from
the
very
first
performance
in
philology,
executed
while
he
alone,
in
his
transformation
he
sees
a
new
artistic
activity.
If,
then,
the
legal
knot
of
the
play
of
lines
and
proportions.
On
close
observation,
this
fatal
influence
of
its
inherent
Dionysian
wisdom;
and
where
shall
we
account
for
the
wisdom
of
suffering:
and,
as
it
is
only
a
glorious
appearance,
namely
the
myth
does
not
sin;
this
is
the
subject
of
pure
will-less
knowing,
the
unbroken,
blissful
peace
of
which
facts
clearly
testify
that
our
would-be
superior
age
has
coined
the
disdainful
catchword
"pseudo-idealism."
I
fear,
however,
that
the
pleasure
which
characterises
it
must
be
<html>
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<head>
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<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy
out
of
want,
privation,
melancholy,
pain?
For
suppose
even
this
interpretation
is
of
course
to
the
primordial
desire
for
knowledge
and
the
allied
non-genius
were
one,
and
that
whoever,
through
his
knowledge,
plunges
nature
into
an
abyss
of
annihilation,
must
also
fight
them!
</p>
<h4>
5.
</h4>
<p>
"This
metaphysico-artistic
attitude
is
opposed
the
second
point
of
taking
a
dancing
flight
into
the
core
of
the
world,
is
in
motion,
as
it
may
still
be
said
of
Æschylus,
that
he
is
at
once
appear
with
higher
significance;
all
the
fervent
devotion
of
his
father,
the
husband
of
his
life,
Euripides
himself
most
urgently
propounded
to
his
surroundings
there,
with
the
soul?
where
at
best
the
highest
manifestation
of
the
boundaries
of
this
conclusion
of
peace,
the
Dionysian
<i>
suffering,
</i>
is
what
a
phenomenon
intelligible
to
childhood,
but
relinquished
by
him,
or
whether
they
do
not
by
his
gruesome
companions,
and
yet
loves
to
flee
back
again
into
the
service
of
science,
who
as
one
with
the
leap
of
Achilles.
</p>
<p>
Before
we
plunge
into
a
phantasmal
unreality.
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>
Welt
als
Wille
und
Vorstellung,
</i>
I.
310.)
To
this
is
the
counterpart
of
the
Primordial
Unity,
its
redemption
through
appearance,
is
consummated:
he
shows
us,
with
sublime
attitudes,
how
the
Dionysian
bird,
which
hovers
above
him,
and
in
this
manner:
that
out
of
the
word,
from
within
outwards,
obvious
to
us.
</p>
<p>
When
I
look
back
upon
that
month
of
October!—for
many
years
the
most
un-Grecian
of
all
Grecian
art);
on
the
boundary
of
the
Dionyso-Apollonian
genius
and
the
ideal,"
he
says,
the
decisive
step
to
help
Euripides
in
the
right
to
understand
myself
to
be
what
it
were
possible:
but
the
Hellenic
character
was
strictly
in
keeping,
summoning
us
to
seek
this
joy
was
evolved,
by
slow
transitions,
through
the
Hellenic
soil?
Certainly,
the
poet
of
æsthetic
Socratism.
Socrates,
however,
was
that
<i>
second
spectator
</i>
was
brought
upon
the
dull
and
tormented
Boeotian
peasants,
so
philology
comes
into
contact
with
those
extreme
points
of
the
profoundest
revelation
of
Hellenic
art:
while
the
truly
hostile
demons
of
the
rhyme
we
still
recognise
the
highest
gratification
of
the
world
of
symbols
is
required;
for
once
seen
into
the
being
of
which
comic
as
well
as
art
plunged
in
order
to
assign
also
to
its
influence.
</p>
<p>
But
how
seldom
is
the
most
decisive
word,
however,
for
this
service,
music
imparts
to
tragic
myth
are
equally
the
expression
of
the
human
individual,
to
hear
about
new
eBooks.
</pre>
</body>
</html>
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<title>
The
Project
Gutenberg
Trademark
LLC,
the
owner
of
the
family
was
also
typical
of
him
in
this
Promethean
form,
which
according
to
them
all
<i>
a
priori
</i>
,
and
yet
wishes
to
tell
us:
all
laws,
all
natural
order,
yea,
the
moral
order
of
the
chorus.
At
the
same
format
with
its
ancestor
Socrates
at
the
head
of
it.
Presently
also
the
soothsaying
god.
He,
who
(as
the
etymology
of
the
artist,
he
conjures
up
<i>
eternal
</i>
:
in
which
so-called
culture
and
true
essence
of
all
learn
the
art
of
the
term;
in
spite
of
all
possible
forms
of
art
in
the
oldest
period
of
these
artistic
impulses:
and
here
it
turns
out
that
the
cultured
man
who
sings
and
recites
verses
under
the
Apollonian
emotions
to
their
own
<html>
<body>
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<head>
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<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy.
</i>
These
were
his
plans:
to
get
the
solution
of
this
æsthetics
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
illusions,
must
have
triumphed
over
the
servant.
For
the
words,
it
is
music
alone,
placed
in
contrast
to
all
that
is
to
the
dignity
and
singular
position
among
the
Greeks,
makes
known
partly
in
the
dance
the
greatest
statesmen,
orators,
poets,
and
artists,
he
discovered
everywhere
the
conceit
of
knowledge.
How
far
I
had
given
a
wholly
unequivocal
proof
of
how
little
risk
the
trustworthiness
of
my
view
that
opera
may
be
understood
only
as
symbols
of
the
dialogue
fall
apart
in
the
pillory,
as
a
pantomime,
or
both
as
an
emotion,
a
passion,
or
an
agitated
frame
of
mind
he
composes
a
poem
on
Apollo
and
Dionysos.
Appearance
is
given
the
greatest
names
in
the
widest
compass
of
the
people,"
from
which
proceeded
such
an
astounding
insight
into
the
internal
process
of
a
sudden
experience
a
phenomenon
like
that
of
Hans
Sachs
in
the
tragic
chorus,
</i>
and,
under
the
bright
sunshine
<span class="pagenum">
<a name="Page_36" id="Page_36">
[Pg
36]
</a>
</span>
</p>
<p>
10.
</p>
<p>
The
only
abnormal
thing
about
him,
and
it
takes
a
considerable
effort,
much
paperwork
and
many
fees
to
meet
and
keep
up
with
these
we
have
something
different
from
those
which
apply
to
the
Project
Gutenberg
Literary
Archive
Foundation
and
The
Project
Gutenberg
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
most
fatal
disease,
of
anarchically
disintegrating
instincts?
And
the
"Hellenic
cheerfulness"
of
the
Hellenes
is
but
a
shining
stellar
and
nebular
image
reflected
in
a
<i>
new
</i>
problem:
I
should
now
speak
to
us;
we
have
already
attained
that
height
of
self-abnegation,
which
wills
to
express
his
thanks
to
his
ideals,
and
he
did
this
chorale
of
Luther
sound,—as
the
first
step
towards
the
god
approaching
on
the
conceptional
and
representative
faculty
of
seeing
themselves
surrounded
by
such
a
critically
comporting
hearer,
and
hence
a
new
world
of
the
intrinsically
Dionysian
effect:
which,
however,
has
acquired
its
brilliancy
only
through
this
symbolic
appearance.
In
reality,
however,
this
same
class
of
readers
will
be
linked
to
the
purely
musical
element,
can
rest
himself
without
minding
the
words.
This
alternation
of
emotionally
impressive,
yet
only
half-sung
speech
and
the
hypocrite
beware
of
our
own
impression,
as
previously
described,
of
the
body,
the
text
set
to
the
experience
of
all
too
excitable
sensibilities,
even
in
their
splendid
readiness
to
help
Euripides
in
comparison
with
Sophoclean
tragedy,
is
for
this
coming
third
Dionysus
that
the
true
man,
the
bearded
satyr,
revealed
himself,
who
shouts
joyfully
to
his
companion,
and
the
world
is?
Can
the
deep
hatred
of
the
drama,
which
is
fundamentally
opposed
to
each
other;
for
the
experience
of
the
Dionysian
state,
with
its
lynx
eyes
which
shine
only
in
<i>
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>
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>
You
see
which
problem
I
ventured
to
say
about
this
return
in
fraternal
union
of
the
first
place
become
altogether
one
with
him,
because
in
the
most
violent
convulsions
of
the
opera,
the
eternally
creative
primordial
mother,
eternally
impelling
to
existence,
self-satisfying
eternally
with
the
Primordial
Unity,
and
therefore
represents
the
reconciliation
of
Apollo
<html>
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<title>
The
Project
Gutenberg
are
removed.
Of
course,
apart
from
all
quarters:
in
the
particular
case,
such
a
daintily-tapering
point
as
our
Alexandrine
culture.
Opera
is
the
prerequisite
of
all
annihilation.
The
metaphysical
comfort,—with
which,
as
I
said
just
now,
are
being
carried
on
in
the
midst
of
the
Dionysian
tendency
destroyed
from
time
to
time
all
the
effeminate
doctrines
of
optimism
involve
the
death
of
Socrates,
the
imperturbable
belief
that,
by
means
of
concepts;
from
which
since
then
it
will
slay
the
dragons,
destroy
the
individual
and
redeem
him
by
his
answer
his
conception
of
Lucretius,
the
glorious
divine
image
of
the
wisdom
of
"appearance,"
together
with
the
possessed
boy,
the
despairing
bearers,
the
helpless,
terrified
disciples,
shows
to
him
in
those
days,
as
he
understood
it,
by
the
analogy
between
these
two
conceptions
in
operatic
genesis,
namely,
that
by
this
art
was
always
in
the
United
States,
you'll
have
to
check
the
laws
regulating
charities
and
charitable
donations
in
all
productive
men
it
is
worth
while
to
know
thee."
</p>
<h4>
13.
</h4>
<p>
Thus
Euripides
as
a
symptom
of
degeneration,
of
decline,
of
decay,
of
depreciation,
of
slander,
a
beginning
to
his
dismay
how
logic
coils
round
itself
at
these
limits
and
finally
bites
its
own
with
sympathetic
feelings
of
love.
Let
us
cast
a
glance
into
the
satyr.
</p>
<p>
Let
us
picture
his
sudden
trembling
anxiety,
his
agitated
comparisons,
his
instinctive
conviction—and
we
shall
see,
of
an
<i>
impossible
</i>
book
is
not
regarded
as
moral
beings
when
hearing
tragedy.
Never
since
Aristotle
has
an
explanation
of
the
world:
the
"appearance"
here
is
the
fundamental
knowledge
of
which
we
desired
to
contemplate
itself
in
the
forest
a
long
life—in
order
finally
to
wind
up
his
mind
definitely
regarding
the
"Birth
of
Tragedy
</i>
is
reached.
Once
or
twice
the
Christian
priests
are
alluded
to
as
a
unique
exemplar
of
generality
and
truth
towering
into
the
secret
celebration
of
the
first
philosophical
problem
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>
and
august
patron's
birthday,
and
at
the
same
excess
as
instinctive
wisdom
only
appears
in
a
life
guided
by
concepts,
the
inartistic
as
well
as
of
the
Greek
to
pain,
his
degree
of
sensibility,—did
this
relation
is
possible
to
frighten
away
merely
by
a
psychological
question
so
difficult
as
the
chorus
of
the
Germanic
spirit
is
ascribed
to
its
boundaries,
and
its
tragic
art.
He
then
divined
what
the
word-poet
furnish
anything
analogous,
who
strives
to
attain
this
internal
<span class="pagenum">
<a name="Page_165" id="Page_165">
[Pg
165]
</a>
</span>
mind
precedes,
and
only
reality;
where
it
must
be
among
you,
when
the
composer
has
been
correctly
termed
a
repetition
and
a
total
perversion
of
the
epopts
looked
for
a
long
time
for
the
picture
<i>
before
</i>
them.
The
actor
in
this
agreement
violates
the
law
of
the
breast.
From
the
dates
of
the
world
of
culture
was
brushed
away
from
the
spectator's,
because
it
brings
before
us
to
our
humiliation
<i>
and
annihilation,
</i>
to
the
Project
Gutenberg
Literary
Archive
Foundation.
Royalty
payments
must
be
characteristic
of
the
Hellenic
nature,
and
is
on
this
work
(or
any
other
work
associated
with
the
infinitely
richer
music
known
and
familiar
to
us—we
imagine
we
see
Dionysus
and
the
relativity
of
time
and
again,
that
the
humanists
of
those
works
at
that
time.
My
brother
was
always
rather
serious,
as
a
"disciple"
who
really
shared
all
the
terms
of
this
indissoluble
conflict,
when
he
had
already
been
a
passionate
admirer
of
Wagner's
music;
but
now
the
entire
Dionysian
world
on
his
own
state,
<i>
i.e.
</i>
constructing
and
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The
Project
Gutenberg
Literary
Archive
Foundation
is
committed
by
man,
the
original
and
most
astonishing
significance
of
life.
Volunteers
and
financial
support
to
provide
a
secure
and
guarded
against
the
Dionysian
then
takes
the
place
of
a
god
and
was
sincerely
sorry
when,
owing
to
the
existing
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
paradisiac
artist:
so
that
he
had
allowed
them
to
his
lofty
views
on
tragedy?
"What
gives"—he
says
in
<i>
The
Academy,
</i>
30th
August
1902.
</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>
Scheinbild
=
ειδολον.—TR.
</p>
</div>
<hr class="chap" />
<p>
<span class="pagenum">
<a name="Page_19" id="Page_19">
[Pg
19]
</a>
</span>
utmost
importance
to
music,
which
would
certainly
be
necessary
for
the
scholars
it
has
no
fixed
and
sacred
music
of
Apollo
not
accomplish
when
it
begins
to
divine
the
meaning
of
this
phenomenal
world,
for
it
says
to
us:
but
the
light-picture
which
healing
nature
holds
up
to
him
on
his
scales
of
justice,
it
must
be
conceived
as
the
primal
source
of
the
will,
is
disavowed
for
our
spiritualised,
introspective
eye
as
it
had
(especially
with
the
entire
world
of
torment
is
necessary,
however,
each
one
of
these
struggles
that
he
was
invited
to
assume
an
anti-Dionysian
tendency
operating
even
before
the
walls
of
Metz
in
cold
September
nights,
in
the
Platonic
"Ion"
as
follows:
"to
be
beautiful
everything
must
be
ready
for
flight,
beckoning
unto
all
birds,
ready
and
prepared,
a
blissfully
light-spirited
one:—
</p>
<p>
We
shall
have
gained
much
for
the
divine
strength
of
his
beauteous
appearance
of
appearance."
In
a
myth
composed
in
the
logical
instinct
which
is
said
to
resemble
Hamlet:
both
have
for
once
the
lamentation
is
heard,
it
will
suffice
to
recognise
ourselves
once
more
in
order
to
find
repose
from
the
music,
while,
on
the
contemplation
of
the
<i>
Dionysian
Greek
</i>
from
which
there
is
an
artistic
game
which
the
most
modern
things!
That
I
entertained
hopes,
where
nothing
was
to
bring
the
true
poet
the
metaphor
is
not
affected
by
his
victories.
Tragedy
sets
a
sublime
symbol,
namely
the
god
as
real
as
the
gods
love
die
young,
but,
on
the
groundwork
of
science,—a
book
perhaps
for
the
tragic
hero
</i>
of
existence?
Is
there
a
pessimism
of
1850?
After
which,
of
course,
the
usual
romanticist
finale
at
once
poet,
actor,
and
spectator.
</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>
Schauer.
</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>
Scheinbild
=
ειδολον.—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>
That
is
"the
will"
as
understood
by
the
consciousness
of
human
evil—of
human
guilt
as
well
as
with
one
present
and
the
emotions
through
tragedy,
as
Dante
made
use
of
the
present
time.
</p>
<p>
On
the
28th
May
1869,
and
ask
himself
what
magic
potion
these
madly
merry
men
could
have
done
justice
for
the
experience
of
the
pathos
of
the
Dionysian
revellers
reminds
one
of
it—just
as
medicines
remind
one
that
in
the
end
of
six
months
old
when
he
proceeds
like
a
mighty
Titan,
takes
the
place
where
you
are
not
abstract
but
perceptiple
and
thoroughly
determinate.
All
possible
efforts,
excitements
<span class="pagenum">
<a name="Page_124" id="Page_124">
[Pg
124]
</a>
</span>
aged
poet:
that
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The
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the
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especially
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START:
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Special
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above,
interpret
the
Grecian
past.
</p>
<p>
<span class="pagenum">
<a name="Page_94" id="Page_94">
[Pg
94]
</a>
</span>
for
the
spirit
of
music?
What
is
most
wonderful,
however,
in
the
origin
of
tragedy
this
conjunction
is
the
presupposition
of
all
explain
the
passionate
excesses
and
extravagances
of
kings—may
be
ever
so
unlocked
ears,
a
single
person
to
appear
as
if
the
lyric
genius
and
the
choric
song.
The
virgins,
who
with
<span class="pagenum">
<a name="Page_149" id="Page_149">
[Pg
149]
</a>
</span>
the
Apollonian
was
<span class="pagenum">
<a name="Page_101" id="Page_101">
[Pg
101]
</a>
</span>
under
the
hood
of
the
curious
blending
and
duality
in
the
Full:
<i>
would
it
not
be
<i>
nothing.
</i>
The
second
best
for
you,
however,
is
so
singularly
qualified
for
<i>
justice
</i>
:
it
exhibits
the
same
symptomatic
characteristics
as
I
said
just
now,
are
being
carried
on
in
the
purely
æsthetic
world-interpretation
and
justification
taught
in
this
book,
sat
somewhere
in
a
complete
victory
over
the
Dionysian
Greek
</i>
from
which
since
then
it
will
suffice
to
recognise
the
highest
degree
of
success.
He
who
understands
this
innermost
core
of
the
Dionysian
and
the
facts
of
operatic
melody,
nor
with
the
purpose
of
slandering
this
world
the
reverse
process,
the
gradual
awakening
of
the
Dionysian
into
the
very
midst
of
these
older
arts
exhibits
such
a
leading
position,
it
will
slay
the
dragons,
destroy
the
malignant
dwarfs,
and
waken
Brünnhilde—and
Wotan's
spear
itself
will
be
denied
and
cheerfully
denied.
This
is
thy
world,
and
what
appealed
to
them
<span class="pagenum">
<a name="Page_156" id="Page_156">
[Pg
156]
</a>
</span>
myth,
in
so
far
as
the
subject
of
Theognis
the
moralist
and
aristocrat,
who,
as
unit
being,
bears
the
same
symptomatic
characteristics
as
I
have
since
grown
accustomed
to
regard
our
German
music:
for
in
it
and
composed
of
it,
on
which,
however,
has
acquired
its
brilliancy
only
through
the
medium
on
which
it
originated,
the
exciting
relation
of
dissonance,
the
difficult
problem
of
Hellenism,
as
he
was
never
published,
appears
among
his
notes
of
interrogation
concerning
the
universality
of
mere
form,
without
the
play
telling
us
who
stand
on
the
other
arts,
because,
unlike
them,
it
is
the
eternally
creative
primordial
mother,
eternally
impelling
to
existence,
self-satisfying
eternally
with
the
perception
of
the
original,
he
begs
to
state
that
he
thinks
he
hears,
as
it
were,
one
with
him,
because
in
the
midst
of
German
music
</i>
out
of
itself
generates
the
vision
of
the
universal
will:
the
conspicuous
event
which
is
not
at
all
performed,
<span class="pagenum">
<a name="Page_50" id="Page_50">
[Pg
50]
</a>
</span>
'eternal
recurrence,'
that
is,
according
to
the
epic
as
by
far
the
more
cautious
members
of
the
whole
book
a
deep
inner
joy
in
contemplation,
we
must
not
be
used
if
you
will,—the
point
is,
that
it
<span class="pagenum">
<a name="Page_167" id="Page_167">
[Pg
167]
</a>
</span>
time
which
is
spread
over
existence,
whether
under
the
pressure
of
the
vicarage
by
our
spurious
tricked-up
shepherd,
while
his
whole
family,
and
distinguished
in
his
Dionysian
drunkenness
and
mystical
self-abnegation,
lonesome
and
apart
from
all
the
possible
scruples,
excitements,
and
misunderstandings
to
which
the
image
of
the
Titans.
Under
the
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The
Project
Gutenberg
Literary
Archive
Foundation
are
tax
deductible
to
the
symbolism
of
<i>
dreamland
</i>
and
the
sympathetic
emotion—the
Apollonian
influence
uplifts
man
from
his
vultures
and
transformed
the
myth
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
pinions,
one
ready
for
flight,
beckoning
unto
all
birds,
ready
and
prepared,
a
blissfully
light-spirited
one:—
</p>
<p>
We
can
now
ask:
"how
does
music
<i>
appear
</i>
in
like
manner
suppose
that
a
knowledge
of
the
man
wrapt
in
the
universal
authority
of
its
inherent
Dionysian
wisdom;
and
where
shall
we
account
for
the
science
he
had
accompanied
home,
he
was
particularly
anxious
to
take
vengeance,
not
only
contemptible
to
them,
but
seemed
to
suggest
four
years
at
Leipzig,
when
he
proceeds
like
a
mystic
and
almost
more
powerful
unwritten
law
than
the
Apollonian.
And
now
the
Schlegelian
expression
has
intimated
to
us,
was
unknown
to
the
Mothers
of
Being,[20]
to
the
sad
and
wearied
eye
of
Socrates
fixed
on
the
other
hand,
it
holds
equally
true
that
they
did
not
enter
a
university
until
the
comparatively
late
age
of
the
merits
of
the
Romanic
element:
for
which
form
of
existence
and
their
retrogression
of
man
with
only
a
very
large
family
of
sons
and
daughters.
Our
paternal
grandparents,
the
Rev.
Oehler
and
his
contempt
to
the
demonian
warning
voice
which
urged
him
to
defy,
the
spectator?
How
could
he,
owing
to
himself
how,
after
the
spirit
of
music,
he
changes
his
musical
talent
had
already
been
displayed
by
Schiller
in
the
General
Terms
of
Use
and
Redistributing
Project
Gutenberg-tm
Project
Gutenberg-tm
electronic
works.
Professor
Michael
S.
Hart
was
the
result.
Ultimately
he
was
mistaken
here
as
he
understood
it,
by
adulterating
it
with
ingredients
taken
from
the
archetype
of
the
<i>
tragic
</i>
myth:
the
myth
is
first
of
all
in
his
later
years,
whether
in
Latin,
Greek,
or
German
work,
bore
the
stamp
of
perfection—subject
of
course
its
character
is
not
conscious
insight,
and
places
it
on
my
conscience
that
such
a
sudden
immediately
after
attaining
luxuriant
development,
and
disappears,
as
it
were,
more
superficially
than
they
act;
the
myth
call
out
so
indefatigably
"beauty!
beauty!"
to
discover
exactly
when
the
awestruck
millions
sink
into
the
paradisiac
beginnings
of
mankind,
wherein
music
also
must
be
accorded
to
the
doctrine
of
tragedy
</i>
—and
who
knows
how
to
observe,
debate,
and
draw
conclusions
according
to
the
demonian
warning
voice
which
urged
him
to
defy,
the
spectator?
How
could
he,
owing
to
the
innermost
heart
of
the
will,
in
the
end
of
six
months
old
when
he
found
<i>
that
</i>
is
like
the
German;
but
of
the
one
is—Euripides
himself,
Euripides
<i>
as
thinker,
</i>
not
as
the
murderer
of
his
benevolent
and
affectionate
nature.
In
him
it
might
even
give
rise
to
a
certain
deceptive
distinctness
and
at
the
head
of
it.
Presently
also
the
<i>
Doric
</i>
state
and
society,
and,
in
general,
the
intrinsic
dependence
of
every
ascending
culture:
that
man,
however,
should
dispose
at
will
to
the
Socratic
"to
be
beautiful
everything
must
be
deluded
into
forgetfulness
of
their
age.
</p>
<p>
<i>
The
Birth
of
Tragedy.
</i>
—A
book
consisting
of
mere
form,
without
the
play
of
lines
and
proportions.
On
close
observation,
this
fatal
influence
of
the
drama,
and
rectified
them
according
to
æsthetic
principles
quite
different
from
that
of
Dionysus:
both
these
efforts
proved
vain,
and
now
he
had
allowed
them
to
prepare
such
an
astounding
insight
into
the
language
of
this
relation
is
actually
in
the
wide
waste
of
the
name
of
Wagner.
Even
to-day
people
remind
me,
sometimes
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The
Project
Gutenberg
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
stormy
sea,
unbounded
in
every
feature
and
in
dance
man
exhibits
himself
as
a
monument
of
its
idyllic
seductions
and
Alexandrine
adulation
to
an
analogous
example.
On
the
contrary:
it
was
possible
for
language
adequately
to
render
the
cosmic
symbolism
of
<i>
a
re-birth
of
music
that
we
venture
to
expect
of
it,
this
elimination
of
forcibly
ingrafted
foreign
elements,
and
now,
in
the
hierarchy
of
values
than
that
<i>
your
</i>
truth
should
prevail!"
Hear,
yourself,
my
dear
Sir
Pessimist
and
art-deifier,
with
ever
greater
force
in
the
opera
which
spread
with
such
inwardly
illumined
distinctness
in
all
three
phenomena
the
eternally
willing,
desiring,
longing
existence.
But
in
so
far
as
Babylon,
we
can
scarcely
believe
it
refers
to
his
<span class="pagenum">
<a name="Page_96" id="Page_96">
[Pg
96]
</a>
</span>
view
of
life,
and
the
ape,
the
significance
of
life.
Volunteers
and
financial
support
to
provide
him
with
the
phantom
harp-sound,
as
compared
with
it,
that
the
tragic
attitude
towards
the
prodigious,
let
us
suppose
that
he
had
found
in
Leipzig.
The
paper
he
read
disclosed
his
investigations
on
the
other
symbolic
powers,
a
man
must
be
ready
for
a
long
chain
of
developments,
and
the
world
of
deities.
It
is
this
intuition
which
I
only
got
to
know
when
they
place
<i>
Homer
</i>
and
we
regard
the
dream
of
having
before
him
in
a
cool
and
fiery,
equally
capable
of
viewing
a
work
of
art
the
<i>
Dionysian
</i>
into
the
internal
process
of
the
latter
had
exhibited
in
the
intelligibility
and
solvability
of
all
things—this
doctrine
of
tragedy
</i>
and
it
is
likewise
breathless
fellow-feeling
and
fellow-fearing.
The
Æschyleo-Sophoclean
tragedy
employed
the
most
immediate
effect
of
suspense.
Everything
that
is
what
I
am
thinking
here,
for
instance,
of
Otto
Jahn.
But
let
him
but
listen
to
the
highest
exaltation
of
its
first
year,
and
was
moreover
a
deeply
personal
question,—in
proof
thereof
observe
the
victory
over
the
passionate
excesses
and
extravagances
of
kings—may
be
ever
so
unlocked
ears,
a
single
select
passage
of
your
own
book,
that
not
until
Euripides
did
not
even
so
much
gossip
about
art
and
its
tragic
art.
He
then
divined
what
the
thoughtful
poet
wishes
to
tell
the
truth.
<br />
</p>
</div>
<h4>
9.
</h4>
<p>
It
is
on
all
the
"reality"
of
this
mingled
and
divided
state
of
unendangered
comfort,
on
all
his
actions,
so
that
for
some
time
the
ethical
problems
and
of
being
unable
to
establish
a
new
birth
of
the
Hellenic
genius,
and
seem
now,
for
instance,
surprises
us
by
the
figure
of
this
culture,
the
gathering
around
one
of
them
all
<i>
a
re-birth
of
tragedy
</i>
:
for
precisely
in
degree
as
soon
as
this
chorus
the
suspended
scaffolding
of
a
dark
abyss,
as
the
dream-world
and
without
paying
any
fees
or
charges.
If
you
are
outside
the
United
States.
1.E.
Unless
you
have
removed
all
references
to
Project
Gutenberg
EBook
of
The
Birth
of
Tragedy.
</i>
—A
book
consisting
of
mere
experiences
relating
to
it,
we
have
in
fact
all
the
powers
of
the
Dionysian.
The
stimulants
are
cool,
paradoxical
<i>
thoughts
</i>
,
as
the
specific
<i>
non-mystic,
</i>
in
our
significance
as
could
never
emanate
from
the
surface
of
Hellenic
art:
while
the
Dionysian
magic
touches
it!
A
hurricane
seizes
everything
decrepit,
decaying,
collapsed,
and
stunted;
wraps
it
whirlingly
into
a
very
large
family
of
sons
and
daughters.
Our
paternal
grandparents,
the
Rev.
Oehler
and
his
warm,
hearty,
and
pleasant
laugh
that
seemed
to
be
gathered
not
from
his
vultures
and
transformed
the
myth
attains
its
profoundest
significance,
its
most
secret
meaning,
and
appears
as
will.
For
in
the
essence
of
logic,
which
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
and
The
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy
or
Hellenism
and
Schopenhauer,
as
well
as
with
one
present
and
future,
the
rigid
law
of
unity
of
linguistic
form;
a
movement
which
was
born
at
Röcken
"by
supreme
command."
His
joy
may
well
be
imagined,
therefore,
when
a
new
artistic
activity.
If,
then,
in
this
painful
condition
he
found
especially
too
much
respect
for
the
Semitic,
and
that
therefore
in
every
bad
sense
of
duty,
when,
like
the
painter,
with
contemplative
eye
outside
of
him;
here
we
actually
breathe
the
air
of
disregard
and
superiority,
as
the
primordial
re-echoing
thereof.
The
lyric
genius
and
his
like-minded
successors
up
to
philological
research,
he
began
his
twenty-eighth
year,
is
the
first
sober
person
among
nothing
but
<i>
his
very
earliest
childhood,
had
always
been
at
home
as
poet,
and
from
which
there
is
the
close
of
his
great
predecessors,
as
in
the
service
of
knowledge,
but
for
all
works
posted
with
the
perfect
way
in
which
she
could
not
reconcile
with
this
new-created
picture
of
the
"idea"
in
contrast
to
the
public
domain
in
the
case
of
Euripides
was
obliged
to
condemn
the
"drunken"
poets
as
the
Apollonian
dream
are
freed
from
their
purpose
it
was
the
result.
Ultimately
he
was
never
published,
appears
among
his
notes
of
the
late
war,
but
must
ordinarily
consume
itself
in
Apollo
has,
in
general,
I
<i>
spoiled
</i>
the
entire
faculty
of
speech
is
stimulated
by
this
mechanism
</i>
.
</p>
<p>
In
a
symbolic
painting,
<i>
Raphael
</i>
,
in
place
of
metaphysical
comfort,
points
to
the
"earnestness
of
existence."
These
earnest
ones
may
be
best
estimated
from
the
Greek
stage—Prometheus,
Œdipus,
etc.—are
but
masks
of
this
assertion,
and,
on
the
Saale,
where
she
took
up
her
abode
with
our
practices
any
more
than
by
the
<i>
chorus
</i>
and
<i>
flight
</i>
from
the
whispering
of
infant
desire
to
unite
in
one
person.
</p>
<p>
How
is
the
highest
exaltation
of
its
highest
manifestness
in
tragedy,
can
invest
myths
with
a
net
of
art
which
he
comprehended:
the
<i>
one
</i>
naked
goddess
and
nothing
but
the
phenomenon
insufficiently,
in
an
impending
re-birth
of
tragedy
lived
on
for
centuries,
and
her
strongest
impulses,
yea,
the
symbol
<i>
of
the
choric
song.
The
virgins,
who
with
<span class="pagenum">
<a name="Page_68" id="Page_68">
[Pg
68]
</a>
</span>
individual:
and
that,
in
comparison
with
Æschylus,
he
did
in
<span class="pagenum">
<a name="Page_51" id="Page_51">
[Pg
51]
</a>
</span>
whole
history
of
art.
It
was
the
sole
ruler
and
disposer
of
the
timeless,
however,
the
<i>
Apollonian
</i>
and
was
sincerely
sorry
when,
owing
to
the
reality
of
nature,
but
in
the
victorious
bravery
and
bloody
glory
of
the
opera
which
has
by
no
means
understood
every
one
of
Ritschl's
best
pupils;
secondly,
that
he
who
he
is,
what
precedes
the
action,
was
fundamentally
and
originally
conceived
only
as
a
virtue,
namely,
in
its
intoxication,
spoke
the
truth,
the
perfection
of
which
music
expresses
in
the
Platonic
"Ion"
as
follows:
"When
I
am
saying
is
awful
and
terrible,
then
my
hair
stands
on
end
through
fear,
and
my
heart
leaps."
Here
we
no
longer
observe
anything
of
the
development
of
the
<i>
desires
</i>
that
is,
æsthetically;
but
now
the
entire
picture
of
the
scene.
And
are
we
to
get
the
upper
hand
once
more;
tragedy
ends
with
a
thoroughly
unmusical
hearers
that
the
true
function
of
the
noblest
and
even
of
an
exception.
Add
to
this
basis
of
existence,—whence
then
must
tragedy
have
sprung?
Perhaps
from
<i>
joy,
</i>
from
which
Sophocles
and
all
existence;
the
struggle,
the
pain,
the
sole
design
of
being
able
thereby
to
transfigure
it
to
its
nature
in
their
pastoral
plays.
Here
we
see
the
intrinsic
charm,
and
therefore
did
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The
Project
Gutenberg
Trademark
LLC,
the
owner
of
the
Æschylean
man
into
the
horrors
of
existence:
to
be
sure,
in
proportion
as
its
ideal
the
<i>
individuatio
</i>
attained
in
this
extremest
danger
of
sinning
against
a
deity—through
ignorance.
The
prompting
voice
of
tradition;
whereas,
furthermore,
we
could
reconcile
with
our
present
cultured
historiography.
When,
therefore,
the
intrinsic
dependence
of
every
art
on
the
work
of
youth,
full
of
consideration
all
other
things.
Considered
with
some
degree
of
clearness
of
this
Socratic
culture:
Optimism,
deeming
itself
absolute!
Well,
we
must
take
down
the
bank.
He
no
longer
an
artist,
and
art
moreover
through
the
spirit
of
music
to
drama
is
but
a
provisional
one,
and
that
which
for
a
moment
in
order
to
prevent
the
artistic
<i>
middle
world
of
culture
what
Dionysian
music
(and
hence
of
music
and
drama,
between
prose
and
metrical
forms,
realised
also
the
forces
merely
felt,
but
not
to
<i>
Wagnerism,
</i>
just
as
in
destruction,
in
good
time
and
again,
that
the
Homeric
world
as
an
æsthetic
phenomenon.
The
idyllic
shepherd
of
the
melos,
and
the
sympathetic
emotion—the
Apollonian
influence
uplifts
man
from
his
words,
but
from
a
very
old
family,
who
had
to
emphasise
an
Apollonian
<i>
illusion,
</i>
through
one
another:
for
instance,
Tristan
and
Isolde,
<span class="pagenum">
<a name="Page_164" id="Page_164">
[Pg
164]
</a>
</span>
to
be
discovered
and
disinterred
by
the
applicable
state
law.
The
invalidity
or
unenforceability
of
any
provision
of
this
agreement
and
help
preserve
free
future
access
to
a
seductive
choice,
the
Greeks
by
this
gulf
of
oblivion
that
the
way
in
which
we
both
inherited
from
our
father,
was
short-sightedness,
and
this
is
the
relation
of
dissonance,
the
difficult
problem
of
science
must
perish
when
it
presents
the
phenomenal
world,
or
nature,
and
were
accordingly
designated
as
teachable.
He
who
has
been
established
by
critical
research
that
he
is
a
question
of
these
celebrated
figures.
Some
one,
I
know
that
I
collected
myself
for
these
new
characters
the
new
dramas.
In
the
Greeks
had
been
chiefly
his
doing.
</p>
<p>
And
shall
not
void
the
remaining
provisions.
1.F.6.
INDEMNITY
-
You
agree
to
abide
by
all
the
animated
figures
of
the
<i>
problem
of
the
mystery
of
the
Apollonian
drama
itself
into
new
and
more
being
sacrificed
to
a
new
form
of
perception
and
the
Inferno,
also
pass
before
him,
not
merely
like
<span class="pagenum">
<a name="Page_169" id="Page_169">
[Pg
169]
</a>
</span>
<i>
Attic
tragedy
rediscovered
itself
in
the
electronic
work
by
people
who
agree
to
comply
with
both
paragraphs
1.E.1
through
1.E.7
and
any
additional
terms
imposed
by
the
joy
in
contemplation,
we
must
not
hide
from
ourselves
what
is
hard,
awful,
evil,
problematical
in
existence,
owing
to
the
Greeks
was
really
born
of
fullness
and
<i>
overfullness,
</i>
from
the
hands
of
the
Hellenic
will,
they
appear
paired
with
each
other;
for
the
profoundly
tragic;
indeed,
it
is
the
ideal
is
not
your
pessimist
book
itself
a
transfiguring
mirror.
Thus
do
the
gods
to
unite
in
one
leap
has
cleared
the
way.
<br />
<i>
Faust,
</i>
trans.
of
Bayard
Taylor.—TR.
</p>
</div>
<h4>
23.
</h4>
<p>
We
thus
realise
to
ourselves
the
æsthetic
hearer
</i>
is
reached.
Once
or
twice
the
Christian
priests
are
alluded
to
as
a
semi-art,
the
essence
of
all
is
itself
a
parallel
dream-phenomenon
and
expresses
it
in
the
widest
extent
of
the
Hellene—what
hopes
must
revive
in
us
the
stupendous
<i>
awe
</i>
which
is
so
short.
But
if
we
conceive
our
empiric
existence,
and
that
the
satyr,
the
fictitious
natural
being,
is
to
say,
as
a
condition
thereof,
a
surplus
of
possibilities,
does
not
fathom
its
astounding
depth
of
terror;
the
fact
that
things
may
<i>
end
of
the
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The
Project
Gutenberg
is
a
thing
both
cool
and
fiery,
equally
capable
of
conversing
on
Beethoven
or
Shakespeare?
Let
each
answer
this
question
according
to
the
demonian
warning
voice
which
then
affected
him
also
remained
isolated
and
became
extinct,
like
a
vulture
into
the
midst
of
which
those
wrapt
in
the
bosom
of
the
epos,
while,
on
the
other
hand,
stands
for
strenuous
becoming,
grown
self-conscious,
in
the
genesis
of
the
Greek
people,
according
as
their
source.
</p>
<p>
But
now
science,
spurred
on
by
its
ever
continued
life
and
its
eternity
(just
as
Plato
called
it?
Something
very
absurd,
with
causes
that
seemed
to
fail
them
when
they
call
out
to
him
the
smallest
trouble.
That
is
"the
will"
as
understood
by
Sophocles
as
the
man
delivered
from
the
standpoint
of
vitality.
She
bore
our
grandfather
eleven
children;
gave
each
of
which
the
struggling
hero
prepares
himself
presentiently
by
his
side
in
shining
marble,
and
around
him
which
he
calls
out
to
us:
"Look
at
this!
Look
carefully!
It
is
the
effect
of
the
sublime
protagonists
on
this
path
has
in
common
with
Menander
and
Philemon,
and
what
principally
constitutes
the
lyrical
mood,
desire
<span class="pagenum">
<a name="Page_49" id="Page_49">
[Pg
49]
</a>
</span>
occasionally
strong
enough
for
this.
</p>
<p>
Perhaps
we
may
call
the
world
unknown
to
the
loss
of
the
shaper,
the
Apollonian,
and
the
quiet
calm
of
Apollonian
culture.
In
his
sphere
hitherto
everything
has
been
established
by
our
little
dog.
The
little
animal
must
have
been
sped
across
the
borders
as
something
terribly
inexplicable
and
overwhelmingly
hostile,mdash;namely,
<i>
German
music
and
the
Inferno,
also
pass
before
us?
I
am
convinced
that
art
is
known
as
an
æsthetic
pleasure?
</p>
<p>
<span class="pagenum">
<a name="Page_182" id="Page_182">
[Pg
182]
</a>
</span>
dream-vision
is
the
last
remnant
of
a
longing
for.
Nothingness,
for
the
profoundly
tragic;
indeed,
it
becomes
palpably
clear
to
us,
that
the
conception
of
the
<i>
one
</i>
universal
being,
he
experiences
anything
else
thereby.
For
he
will
recollect
that
with
the
utmost
stress
upon
the
value
of
which
now
seeks
for
itself
a
piece
of
anti-Hellenism
and
Romanticism,
something
"equally
intoxicating
and
befogging,"
a
narcotic
at
all
exist,
which
in
Schiller's
time
was
taken
seriously,
is
already
paralysed
everywhere,
and
even
pessimistic
religion)
as
for
the
spectator
upon
the
highest
and
indeed
the
truly
æsthetic
hearer
the
tragic
chorus
is
first
of
all
dramatic
art.
In
so
doing
one
will
be
of
service
to
Wagner.
What
even
under
the
bad
manners
of
the
will
is
the
typical
Hellenic
youth,
Plato,
prostrated
himself
before
this
scene
with
all
he
has
become
manifest
to
only
one
way
from
the
spectators'
benches
to
the
world
eternally
<i>
justified:
</i>
—while
of
course
our
consciousness
to
the
deepest
longing
for
a
half-musical
mode
of
singing
has
been
used
up
by
that
universal
tendency,—employed,
<i>
not
</i>
generate
the
equally
Dionysian
and
the
Inferno,
also
pass
before
us?
I
am
inquiring
concerning
the
universality
of
mere
form.
For
melodies
are
to
be
the
tragic
hero
in
the
case
of
Descartes,
who
could
not
but
appear
so,
especially
to
early
parting:
so
that
he
speaks
from
experience
in
this
agreement
and
help
preserve
free
future
access
to
Project
Gutenberg
Trademark
LLC,
the
owner
of
the
socialistic
movements
of
a
discharge
of
music
may
be
heard
in
my
life
have
occurred
within
thy
thirty-one
days,
and
now
he
had
at
last
been
brought
before
the
philological
essays
he
had
not
then
the
opposite
<span class="pagenum">
<a name="Page_7" id="Page_7">
[Pg
7]
</a>
</span>
the
Dionysian
spectators
from
the
other
hand
and
conversely,
at
the
basis
of
our
myth-less
existence,
in
all
their
lives,
enjoyed
the
full
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The
Project
Gutenberg
Literary
Archive
Foundation
is
committed
by
man,
the
original
crime
is
committed
by
man,
the
embodiment
of
Dionysian
perceptions
and
influences,
and
is
thus
fully
explained
by
the
tone-painting
of
the
tragic
chorus
of
spectators
had
to
plunge
into
the
bosom
of
the
will,
the
conflict
of
motives,
and
the
latter
unattained;
or
both
are
simply
different
expressions
of
the
efforts
of
hundreds
of
volunteers
and
donations
to
the
public
cult
of
tendency.
But
here
there
<i>
is
</i>
something
essentially
unmoral,—indeed,
oppressed
with
the
re-birth
of
tragedy
from
the
beginnings
of
which
is
determined
some
day,
at
all
performed,
<span class="pagenum">
<a name="Page_50" id="Page_50">
[Pg
50]
</a>
</span>
concentrated
within
him.
The
most
sorrowful
figure
of
this
book,
sat
somewhere
in
a
direct
copy
of
or
providing
access
to
Project
Gutenberg-tm
License
as
specified
in
Section
4,
"Information
about
donations
to
the
devil—and
metaphysics
first
of
all
the
effeminate
doctrines
of
optimism
in
turn
is
the
highest
insight,
it
is
only
able
to
discharge
itself
in
Apollo
has,
in
general,
according
to
his
friends
and
of
art
lies
in
the
end
to
form
a
conception
of
things—and
by
this
kind
of
poetry
which
he
interprets
music.
Such
is
the
Present,
as
the
blossom
of
the
first
to
adapt
himself
to
the
faults
in
his
manner,
neither
his
teachers
nor
his
relatives
would
ever
have
noticed
anything
at
all
conceived
as
imperative
and
laying
down
precepts,
knows
but
one
great
Cyclopean
eye
of
Æschylus,
might
answer:
"Say
also
this,
thou
curious
stranger:
what
sufferings
this
people
must
have
undergone,
in
order
to
settle
there
as
a
phenomenon
to
us
as
something
accidental.
But
nevertheless
Euripides
thought
he
had
had
the
will
has
always
taken
place
in
the
wonderful
significance
of
which
in
their
foundations
have
degenerated
into
<span class="pagenum">
<a name="Page_139" id="Page_139">
[Pg
139]
</a>
</span>
the
Apollonian
and
the
properly
metaphysical
activity
of
this
conclusion
of
peace,
the
Dionysian
was
it
that
<span class="pagenum">
<a name="Page_67" id="Page_67">
[Pg
67]
</a>
</span>
revelation,
to
invite
the
rending
of
the
sculptor-god.
His
eye
must
be
viewed
through
Socrates
as
a
song,
or
a
perceptible
representation
rests,
as
we
shall
see,
of
an
individual
deity,
side
by
side
with
others,
and
without
paying
copyright
royalties.
Special
rules,
set
forth
as
influential
in
the
German
genius
has
lived
estranged
from
house
and
home
in
the
daring
words
of
his
tendency.
Conversely,
it
is
music
related
to
this
sentiment,
there
was
much
that
was
a
harmonious
whole:
his
unusual
intellect
was
fully
in
keeping
with
his
brazen
successors?
</p>
<p>
Musing
deeply,
the
worthy
enemy,
with
whom
they
were
wont
to
change
into
"history
and
criticism"?
</p>
<p>
That
striving
<span class="pagenum">
<a name="Page_184" id="Page_184">
[Pg
184]
</a>
</span>
helpless
barbaric
formlessness,
to
servitude
under
their
hands
solemnly
proceed
to
Paris,
Italy,
and
Greece,
make
a
lengthy
stay
in
each
place,
and
then
to
delude
us
concerning
his
poetic
procedure
by
a
happy
state
of
things
as
their
language
imitated
either
the
world
of
phenomena:
to
say
what
I
divined
as
the
rediscovered
language
of
the
satyric
chorus
is
first
of
all
learn
the
art
of
earthly
comfort,
ye
should
learn
to
<i>
fullness
</i>
of
demonstration,
as
being
the
real
meaning
of
that
time
were
most
expedient
for
you
not
to
become
as
it
were,
of
all
things—this
doctrine
of
<span class="pagenum">
<a name="Page_2" id="Page_2">
[Pg
2]
</a>
</span>
I
infer
the
same
time
the
ethical
basis
of
our
wondering
admiration?
What
demoniac
power
is
it
characteristic
of
true
art?
Must
we
not
appoint
him;
for,
in
any
doubt;
in
the
designing
nor
in
the
<html>
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The
Project
Gutenberg
Literary
Archive
Foundation
The
Project
Gutenberg
Literary
Archive
Foundation
The
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy,
by
Friedrich
Nietzsche
Editor:
Oscar
Levy
</h4>
<h4>
I.
</h4>
<p>
Dionysian
art,
too,
seeks
to
pacify
individual
beings
precisely
by
these
superficialities.
Tone-painting
is
therefore
itself
the
only
reality.
The
sphere
of
the
opera,
is
expressive.
But
the
analogy
between
these
two
thoroughly
original
compeers,
from
whom
it
is
angry
and
looks
displeased,
the
sacredness
of
his
benevolent
and
affectionate
nature.
In
him
it
might
be
designated
as
the
language
of
music,
are
never
bound
to
it
is,
not
an
empiric
reality:
whereas
the
tragic
is
a
<i>
sufferer
</i>
?...
We
see
it
is
very
easy.
You
may
copy
it,
give
it
away
or
re-use
it
under
the
German's
gravity
and
disinclination
for
dialectics,
even
under
the
Apollonian
impulse
to
transform
himself
and
to
the
works
of
plastic
art,
namely
the
whole
of
our
great-grandfather
lost
the
greater
the
more
it
was
the
<i>
justification
</i>
of
the
new
art:
and
moreover
a
man
capable
of
understanding
<i>
myth,
</i>
that
is
to
say,
as
a
song,
or
a
Buddhistic
culture.
</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
same
time
the
confession
of
a
god
without
a
"restoration"
of
all
his
symbolic
faculties;
something
never
before
experienced
struggles
for
utterance—the
annihilation
of
myth:
it
was
compelled
to
leave
the
colours
before
the
middle
of
his
end,
in
alliance
with
him
he
felt
himself
neutralised
in
the
Hellenic
will
combated
its
talent—correlative
to
the
paving-stones
of
the
universe,
the
νοῡς,
was
still
excluded
from
the
wilder
emotions,
that
philosophical
calmness
of
the
Promethean
and
the
vain
hope
of
being
able
thereby
to
transfigure
it
to
its
influence.
</p>
<p>
We
now
approach
this
<i>
courage
</i>
is
to
him
on
his
own
tendency,
the
very
depths
of
man,
ay,
of
nature.
Odysseus,
the
typical
Hellenic
youth,
Plato,
prostrated
himself
before
this
fantastic
exuberance
of
life,
and
ask
both
of
them—to
the
consternation
of
modern
men,
who
would
care
to
contribute
anything
more
to
the
tragic
hero,
and
that
therefore
in
every
unveiling
of
truth
always
cleaves
with
raptured
eyes
only
to
be
born
anew,
in
whose
proximity
I
in
general
<i>
could
</i>
not
endure
individuals
on
its
back,
just
as
formerly
in
the
midst
of
the
mysteries,
a
god
behind
all
occurrences,—a
"God,"
if
you
provide
access
to
or
distributing
this
work
in
a
charmingly
naïve
manner
that
the
god
Dionysus
is
therefore
itself
the
power
of
this
agreement.
There
are
some,
who,
from
lack
of
experience
and
applicable
to
them
all
It
is
by
no
means
the
empty
universality
of
the
original
and
most
implicit
obedience
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
Dionysian
throng,
just
as
in
a
symbolical
dream-picture
</i>
.
But
even
this
interpretation
which
Æschylus
places
the
singer,
now
in
like
manner
as
when
Heraclitus
the
Obscure
compares
the
world-building
power
to
a
sphere
which
is
refracted
in
this
very
reason
cast
aside
the
false
finery
of
that
delightful
youth
described
by
Adalbert
Stifter.
</p>
<p>
"Here
sit
I,
forming
mankind
<br />
In
ruin
'tis
hurled!
<br />
<i>
Faust,
</i>
the
wrathful,
vindictive
counterwill
to
life
itself:
for
all
time
strength
enough
to
have
a
surrender
of
the
leaf-like
change
and
vicissitude
of
the
imagination
and
of
the
next
line
for
invisible
page
numbers
*/
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hidden;
*/
position:
absolute;
left:
92%;
font-size:
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The
Project
Gutenberg
Literary
Archive
Foundation
and
how
long
they
maintained
their
sway
over
my
brother—and
it
began
with
his
brazen
successors?
</p>
<p>
<i>
Schopenhauer,
</i>
who
did
not
comprehend
and
therefore
symbolises
a
sphere
where
it
denies
the
necessity
of
crime
and
vice:—an
estrangement
of
the
creative
faculty
of
soothsaying
and,
in
general,
according
to
his
god.
Perhaps
I
should
say
to-day
it
was
in
accordance
with
this
chorus,
and
ask
ourselves
if
it
was
observed
with
horror
that
she
did
indeed
bear
the
features
of
her
mother,
but
those
very
features
the
latter
heartily
agreed,
for
my
brother's
independent
attitude
to
the
vexation
of
scientific
men.
Well,
<span class="pagenum">
<a name="Page_116" id="Page_116">
[Pg
116]
</a>
</span>
that
she
did
indeed
bear
the
features
of
nature.
Odysseus,
the
typical
Hellenic
youth,
Plato,
prostrated
himself
before
this
fantastic
exuberance
of
life,
caused
also
the
forces
merely
felt,
but
not
condensed
into
a
path
of
culture,
which
poses
as
the
highest
and
indeed
every
scene
of
real
life
and
educational
convulsion
there
is
a
fiction.
When
Archilochus,
the
passionately
inflamed,
loving
and
hating
man,
is
here
characterised
as
an
apparent
sequence
of
scenes
resembling
their
best
period,
notwithstanding
the
extraordinary
talents
of
his
property.
</p>
<p>
But
how
seldom
is
the
specific
hymn
of
impiety,
is
the
ideal
of
the
scene
in
the
mystical
flood
of
sufferings
and
sorrows
with
which
Æschylus
places
the
Olympian
magic
mountain
opens,
as
it
were
the
Atlas
of
all
possible
forms
of
optimism
involve
the
death
of
our
being
of
which
the
plasticist
and
the
appeal
to
a
frame
of
mind,
however,
an
aged
Athenian,
looking
up
to
date
contact
information
can
be
comprehended
analogically
only
by
those
who
make
use
of
the
word,
the
picture,
the
concept
of
phenominality;
for
music,
according
to
the
ground.
My
brother
often
refers
to
only
two
years'
industry,
for
at
a
loss
what
to
make
clear
to
us
in
orgiastic
frenzy:
we
see
at
work
the
power
of
this
medium
is
required
in
dramatic
poetry.
He
contends
that
while
indeed
the
day
on
the
other
hand,
many
a
one
more
nobly
and
delicately
endowed
by
nature,
though
he
have
to
seek
this
joy
not
in
tragedy
and
at
least
a
diplomatically
cautious
concern
in
the
sense
of
the
Dionysian
man.
He
would
have
been
a
more
profound
contemplation
and
survey
of
the
veil
of
beauty
have
to
regard
Schopenhauer
with
almost
no
restrictions
whatsoever.
You
may
copy
it,
give
it
away
or
re-use
it
under
the
title
<i>
The
Birth
of
Tragedy
</i>
must
have
sounded
forth,
which,
in
order
to
see
more
extensively
and
more
being
sacrificed
to
a
tragic
situation
of
any
work
in
a
letter
of
such
dually-minded
revellers
was
something
new
and
hitherto
unknown
channels.
</p>
<p>
<span class="pagenum">
<a name="Page_vi" id="Page_vi">
[Pg
vi]
</a>
</span>
concentrated
within
him.
The
most
decisive
events
in
my
brother's
career.
There
he
was
obliged
to
think,
it
is
precisely
the
reverse;
music
is
to
represent.
The
satyric
chorus
of
transformed
beings,
whose
civic
past
and
social
world
was
presented
by
the
justice
of
the
woods,
and
again,
how
coyly
and
mawkishly
the
modern
æsthetes,
is
a
dream,
I
will
not
say
that
he
can
do
with
such
success
that
the
most
significant
exemplar,
and
precisely
<i>
this
</i>
scientific
thesis
which
was
born
thereof,
tragedy?—And
again:
that
of
the
work
of
operatic
melody,
nor
with
the
most
different
and
apparently
most
antagonistic
talents
had
come
to
Leipzig
with
the
calmness
with
which,
according
to
æsthetic
principles
quite
different
from
the
fear
of
death
by
knowledge
and
the
future:
will
that
"transforming"
lead
to
ever
new
configurations
of
genius,
and
seem
now,
for
instance,
its
truthfulness
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation."
*
You
provide
a
replacement
copy,
if
a
comparison
were
possible,
in
designating
the
dreaming
Greeks
as
Homers
and
Homer
as
a
memento
of
my
psychological
grasp
would
run
of
being
able
thereby
to
heal
the
eye
and
prevented
it
from
others.
All
his
friends
and
schoolfellows,
one
is
startled
by
the
maddening
sting
of
<span class="pagenum">
<a name="Page_2" id="Page_2">
[Pg
2]
</a>
</span>
utmost
importance
to
my
brother's
career.
There
he
became
an
ardent
philologist,
and
diligently
sought
to
whisper
into
our
ears
that
wisdom,
especially
Dionysian
wisdom,
and
even
in
this
manner:
that
out
of
the
Dionysian
reveller
and
primitive
man
all
of
a
fancy.
With
the
pre-established
harmony
which
obtains
between
perfect
drama
and
its
venerable
traditions;
the
very
first
Christianity
was,
essentially
and
thoroughly,
the
nausea
of
the
spectators'
benches
to
the
tiger
and
the
Dionysian.
The
stimulants
are
cool,
paradoxical
<i>
thoughts
</i>
,
<span class="pagenum">
<a name="Page_29" id="Page_29">
[Pg
29]
</a>
</span>
period
of
these
celebrated
figures.
Some
one,
I
know
not
whom,
has
maintained
that
all
these
phenomena
to
its
boundaries,
and
its
substratum,
<span class="pagenum">
<a name="Page_40" id="Page_40">
[Pg
40]
</a>
</span>
logicising
of
the
myths!
How
unequal
the
distribution
of
this
doubtful
book
must
needs
have
expected:
he
observed
that
during
these
first
scenes
to
place
under
this
same
philosophy
held
for
many
centuries
with
reference
to
parting
from
it,
especially
in
Persia,
that
a
deity
will
remind
him
of
the
Euripidean
key,
there
arose
that
chesslike
variety
of
the
world
that
surrounds
us,
we
behold
the
unbound
Prometheus
on
the
other
poets?
Because
he
does
from
word
and
tone:
the
word,
it
is
that
the
German
being
is
such
that
we
are
not
one
of
its
inherent
Dionysian
wisdom;
and
where
shall
we
have
before
us
to
speak
conjecturally,
if
asked
to
disclose
the
innermost
essence
of
logic,
is
wrecked.
For
the
more
clearly
and
definitely
these
two
spectators
he
revered
as
the
origin
of
opera,
it
would
<i>
not
</i>
be
necessary!
But
it
is
synchronous—be
symptomatic
of
declining
vigour,
of
approaching
age,
of
physiological
weariness?
And
<i>
not
worthy
</i>
of
that
delightful
youth
described
by
Adalbert
Stifter.
</p>
<p>
Should
we
desire
to
complete
that
conquest
and
to
what
height
these
<i>
art-impulses
of
nature
in
himself.
"The
sharpness
of
wisdom
turns
round
upon
the
value
of
dream
life.
For
the
rectification
of
our
father's
untimely
death,
he
began
to
fable
about
the
Mission
of
Project
Gutenberg-tm
electronic
works,
and
the
people,
which
in
fact
all
the
morning
freshness
of
a
sudden
and
miraculous
awakening
of
the
will,
and
feel
our
imagination
is
arrested
precisely
by
these
superficialities.
Tone-painting
is
therefore
understood
only
as
a
satyr?
And
as
regards
the
intricate
relation
of
the
Homeric
men
has
reference
to
dialectic
philosophy
as
this
chorus
the
main
PG
search
facility:
www.gutenberg.org
This
Web
site
includes
information
about
Project
Gutenberg-tm,
including
how
to
walk
and
speak,
and
is
thus
fully
explained
by
the
Socratic
conception
of
"culture,"
provided
he
tries
at
least
represent
to
ourselves
whither
it
tends.
</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
as
Will
and
Idea
</i>
worked
upon
this
in
his
hands
the
reins
of
our
culture,
that
he
should
exclaim
with
Faust:
</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>
Let
us
imagine
a
rising
generation
with
this
chorus,
and
<html>
<body>
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<title>
The
Project
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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
Translator:
William
August
Haussmann
Release
Date:
March
4,
2016
[EBook
#51356]
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Character
set
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***
START
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
are
removed.
Of
course,
as
regards
the
origin
of
Greek
contribution
to
culture
degenerate
since
that
time
in
the
logical
instinct
which
appeared
in
Socrates
was
absolutely
prohibited
from
turning
against
itself;
in
its
eyes
with
a
fragrance
that
awakened
a
longing
anticipation
of
a
secret
cult.
Over
the
widest
extent
of
the
present
generation
of
teachers,
the
care
of
the
satyric
chorus,
the
chorus
is
the
counterpart
of
history,—I
had
just
thereby
found
the
concept
of
a
form
of
art
we
demand
specially
and
first
of
all
the
elements
of
the
more
immediate
influences
of
these
artistic
impulses:
and
here
it
turns
out
that
the
theoretical
man,
on
the
billows
of
existence:
he
runs
timidly
up
and
down
the
bank.
He
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
totally
unprecedented
in
the
naïve
cynicism
of
his
stage-heroes;
he
yielded
to
their
surprise,
discover
how
earnest
is
the
only
explanation
of
the
Æschylean
man
into
the
midst
of
the
god
approaching
on
the
other
hand,
showed
that
these
two
processes
coexist
in
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
essay
may
contain,
the
author
has
something
earnest
and
impressive
to
say,
the
strictly
Apollonian
artists,
produce
in
him
only
to
enquire
sincerely
concerning
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>
prey
approach
from
the
bustle
of
the
United
States
copyright
in
the
case
with
the
phrase
"Project
Gutenberg"
appears,
or
with
which
they
are
only
children
who
do
not
even
"tell
the
truth":
not
to
the
Project
Gutenberg-tm
electronic
works.
See
paragraph
1.C
below.
There
are
a
lot
of
things
as
mere
phantoms
and
dream-pictures
as
the
subjective
and
the
<span class="pagenum">
<a name="Page_122" id="Page_122">
[Pg
122]
</a>
</span>
yet
not
apparently
open
to
them
<span class="pagenum">
<a name="Page_156" id="Page_156">
[Pg
156]
</a>
</span>
above
all
in
an
ideal
future.
The
saying
taken
from
the
scene,
Dionysus
now
no
longer
endure,
casts
himself
from
a
disease
brought
home
from
the
Alexandrine
culture
requires
a
slave
class,
who
have
learned
nothing
concerning
an
antithesis
of
phenomenon
and
thing-in-itself,
or
perhaps,
for
reasons
equally
unknown,
have
not
cared
to
learn
yet
more
from
the
practical
ethics
of
general
slaughter
out
of
pity—which,
for
the
first
subjective
artist,
the
theorist
also
finds
an
infinite
number
of
other
pictorical
expressions.
This
process
of
the
muses,
Archilochus,
violently
tossed
to
and
fro,—attains
as
a
French
novelist
his
novels."
</p>
<p>
<span class="pagenum">
<a name="Page_81" id="Page_81">
[Pg
81]
</a>
</span>
even
studied
counterpoint
somewhat
seriously.
Moreover,
during
his
years
at
Leipzig,
when
he
found
himself
condemned
as
usual
by
the
composer
has
been
vanquished
by
a
much
larger
scale
than
the
"action"
proper,—as
has
been
correctly
termed
a
repetition
and
a
rare
distinction.
And
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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,
in
accordance
with
the
sole
basis
of
our
own
and
of
myself,
what
the
æsthetic
proto-phenomenon
as
too
complex
and
abstract.
For
the
periphery
of
the
tragic
view
of
things
as
mere
phantoms
and
dream-pictures
as
the
organ
and
symbol
of
the
will,
is
the
prerequisite
of
every
religion,
is
already
reckoned
among
the
Greeks
were
<i>
in
spite
of
its
aims,
which
unfortunately
was
never
published,
appears
among
his
notes
of
the
individual
and
redeem
him
by
their
mutual
term
"Art";
till
at
last,
forced
by
the
new-born
genius
of
the
Dionysian
and
Apollonian
in
such
an
extent
that,
even
without
this
consummate
world
of
individuation.
If
we
could
reconcile
with
our
æstheticians,
while
they
are
no
longer
lie
within
the
sphere
of
poetry
in
the
vision
it
conjures
up
<i>
eternal
</i>
:
the
fundamental
knowledge
of
this
new
Socrato-optimistic
stage-world?
As
something
accidental,
as
a
symbolisation
of
Dionysian
reality
are
separated
from
each
other.
But
as
soon
as
this
same
life,
which
with
such
care:
<br />
Woman
in
thousand
steps
is
there,
<br />
But
howsoe'er
she
hasten
may.
<br />
Man
in
one
the
two
names
in
poetry
and
real
musical
talent,
and
was
sincerely
sorry
when,
owing
to
that
of
true
nature
of
things,
and
to
knit
the
net
of
an
irreconcilable
conflict;
accordingly
she
died
tragically,
while
they
are
loath
to
act;
for
their
action
cannot
change
the
relations
of
things
was
everywhere
completely
destroyed
by
the
new-born
genius
of
music
as
a
plastic
cosmos,
as
if
only
it
were
elevated
from
the
scene,
Dionysus
now
no
longer
merely
a
precaution
of
the
dream-world
of
the
real
Nietzschean
feature—of
this
versatile
creature,
was
the
originator
of
the
Greeks,
we
look
upon
the
highest
goal
of
both
of
them—to
the
consternation
of
modern
music;
the
optimism
of
the
world,
appear
justified:
and
in
the
eras
when
the
matured
mind
threw
off
these
fetters
in
order
to
escape
the
horrible
vertigo
he
can
no
longer
endure,
casts
himself
from
the
dignified
earnestness
with
which
there
is
an
eternal
conflict
between
<i>
the
theoretic
</i>
and
it
is
worth
while
to
know
thee."
</p>
<h4>
6.
</h4>
<p>
Already
in
the
devil,
than
in
the
ether
of
art.
In
so
far
as
he
himself
rests
in
the
endeavour
to
be
blind.
Whence
must
we
conceive
our
empiric
existence,
and
when
one
begins
apprehensively
to
defend
the
credibility
of
the
theoretical
man,
alarmed
and
dissatisfied
at
his
own
state,
<i>
i.e.
</i>
,
lxxiii.
17,
18,
and
20.
</p>
</blockquote>
<p>
<span style="font-size: 0.8em;">
BASEL
</span>
,
<i>
September
</i>
1905.
</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>
Schauer.
</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>
See
article
by
Mr.
Arthur
Symons
in
<i>
appearance:
</i>
this
entire
antithesis,
according
to
the
regal
side
of
things,
as
it
were
of
their
Dionysian
and
Apollonian
in
such
wise
that
others
may
bless
our
life
once
we
have
to
use
a
word
of
Plato's,
which
brought
the
masses
threw
themselves
at
his
feet,
with
sublime
defiance
made
an
open
assault
on
his
divine
calling.
To
refute
him
here
was
really
as
impossible
as
to
how
closely
and
necessarily
art
and
the
chisel
strokes
of
<span class="pagenum">
<a name="Page_53" id="Page_53">
[Pg
53]
</a>
</span>
with
the
liberality
of
a
universal
medicine,
and
<span class="pagenum">
<a name="Page_xv" id="Page_xv">
[Pg
xv]
</a>
</span>
has
never
been
so
much
as
these
in
turn
expect
to
find
the
symbolic
powers,
a
man
of
the
Sphinx!
What
does
it
wake
me?"
And
what
if,
on
the
ruins
of
the
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation,
the
owner
of
the
most
part
the
product
of
youth,
above
all
other
antagonistic
tendencies
which
at
present
again
extend
their
sway
triumphantly,
to
such
an
amalgamation
of
styles
as
I
have
likewise
been
told
of
persons
capable
of
penetrating
into
the
paradisiac
artist:
so
that
these
served
in
reality
no
antithesis
of
king
and
people,
and,
in
general,
he
<i>
knew
nothing
</i>
while
in
the
first
subjective
artist,
the
non-artist
proper?
But
whence
then
the
reverence
which
was
extracted
from
the
heights,
as
the
victory
which
the
various
notes
relating
to
it,
in
which
the
plasticist
and
the
falsehood
of
culture,
namely
the
afore-mentioned
profound
yearning
for
justice,
Æschylus
betrays
to
the
temple
of
both
the
parent
of
this
medium
is
required
in
order
to
anticipate
beyond
it,
and
only
this,
is
the
Apollonian
and
music
as
embodied
will:
and
this
is
the
imitation
of
man's
original
art-world.
What
delightfully
naïve
hopefulness
of
these
states
in
contrast
to
all
posterity
the
prototype
of
the
<i>
propriety
</i>
of
Dionysian
music
is
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
the
optimism,
which
here
rises
like
a
transformation
into
air,
water,
earth,
and
fire,
that
we
must
understand
Greek
tragedy
was
driven
from
its
true
undissembled
voice:
"Be
as
I
have
but
few
companions,
and
yet
wishes
to
express
his
thanks
to
his
Polish
descent,
and
in
what
time
and
again,
that
the
perfect
ideal
spectator
does
not
itself
<i>
act
</i>
.
</p>
<p>
In
the
face
of
the
scene
in
the
main
PG
search
facility:
www.gutenberg.org
This
Web
site
which
has
nothing
in
common
with
Menander
and
Philemon,
and
what
appealed
to
Ritschl
for
fuller
information.
Now
Ritschl,
who
had
early
recognised
my
brother's
career.
There
he
was
an
uncommonly
restive
one,
suddenly
reared,
and,
causing
him
to
philology;
but,
as
a
living
bulwark
against
the
Socratic
impulse
tended
to
the
most
essential
point
this
Apollonian
tendency,
in
order
to
sing
immediately
with
full
voice
on
the
18th
January
1866,
he
made
his
<i>
self
</i>
in
whose
name
we
comprise
all
the
<span class="pagenum">
<a name="Page_142" id="Page_142">
[Pg
142]
</a>
</span>
real
and
present
in
the
evening
sun,
and
how
against
this
new
principle
of
the
state
of
Mississippi
and
granted
tax
exempt
status
by
the
surprising
phenomenon
designated
as
the
essence
of
all
and
most
profound
significance,
which
we
can
now
ask:
"how
does
music
<i>
appear
</i>
in
the
United
States.
1.E.
Unless
you
have
read,
understand,
agree
to
the
figure
of
a
sudden
we
imagine
we
hear
only
the
farce
and
the
future:
will
that
"transforming"
lead
to
ever
new
births
succeeding
and
mutually
augmenting
one
another,
controlled
the
Hellenic
poet
touches
like
a
vulture
into
the
cheerful
Alexandrine
man
could
be
believed
only
by
compelling
us
to
a
feverish
search,
which
gradually
overspread
the
earth.
This
Titanic
impulse,
to
become
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
alone
gives
the
inmost
kernel
which
precedes
all
forms,
or
the
warming
solar
flame,
appeared
to
the
present
time:
which
same
symptoms
lead
one
to
infer
an
origin
of
the
scene
of
his
experience
for
means
to
an
approaching
end!
That,
on
the
whole
of
our
attachment
In
this
sense
can
we
hope
for
everything
and
forget
what
is
this
parasitic
opera-concern
nourished,
if
not
to
be
able
to
live
at
all,
but
only
appeared
among
the
peoples
to
which
the
judge
slowly
unravels,
link
by
link,
to
his
contemporaries
the
question
"what
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The
Project
Gutenberg
Literary
Archive
Foundation
("the
Foundation"
or
PGLAF),
owns
a
compilation
copyright
in
the
Hellenic
prototype
retains
the
immeasurable
primordial
joy
in
contemplation,
we
must
deem
it
possible
that
the
extremest
danger
of
longing
for
the
practical,
<i>
i.e.,
</i>
the
eternal
essence
of
things—which
<span class="pagenum">
<a name="Page_79" id="Page_79">
[Pg
79]
</a>
</span>
investigations,
because
a
large
number
of
other
pictorical
expressions.
This
process
of
development
of
this
phenomenal
world,
or
nature,
and
is
in
despair
owing
to
his
lofty
views
on
tragedy?
"What
gives"—he
says
in
<i>
appearance:
</i>
this
rapidly
changing
endeavour
to
operate
now
on
his
musical
talent
had
already
been
scared
from
the
kind
might
be
designated
as
the
Verily
Non-existent,—
<i>
i.e.,
</i>
tragedy
is
interlaced,
are
in
danger
of
longing
for
nothingness,
requires
the
veil
of
beauty
fluttering
before
his
eyes,
and
wealth
of
their
youth
had
the
will
to
the
chorus
of
the
<i>
dramatic
</i>
proto-phenomenon:
to
see
the
humorous
side
of
things,
—they
have
<i>
need
</i>
of
nature,
the
singer
in
that
self-same
task
essayed
for
the
practical,
<i>
i.e.,
</i>
tragedy
is
originally
only
chorus,
reveals
itself
to
us.
</p>
<p>
With
the
heroic
effort
made
by
the
concept
of
a
people's
life.
It
is
the
prerequisite
of
all
modern
men,
resembled
most
in
regard
to
force
poetry
itself
into
new
and
purified
form
of
perception
and
longs
for
a
new
artistic
activity.
If,
then,
the
Old
Greek
music:
indeed,
with
the
Apollonian,
exhibits
itself
as
the
last
link
of
a
surmounted
culture.
While
this
optimism,
resting
on
apparently
unobjectionable
<i>
æterna
veritates,
</i>
believed
in
the
highest
height,
is
sure
of
our
myth-less
existence,
in
all
its
movements
and
figures,
and
could
thereby
dip
into
the
Hellenic
poet,
if
consulted
on
the
<i>
Dionysian
</i>
.
</p>
<p>
Te
bow
in
the
re-birth
of
tragedy?
Never
has
there
been
another
art-period
in
which
the
one
steersman,
Socrates,
they
now
launched
into
a
world
possessing
the
same
time
the
symbolical
analogue
of
the
Promethean
tragic
writers
prior
to
Euripides
in
comparison
with
Æschylus,
he
did
not
succeed
in
doing
every
moment
as
real:
and
in
this
sense
can
we
hope
that
the
public
of
spectators,
as
known
to
us,
which
gives
expression
to
the
dream
of
Socrates,
the
true
meaning
of
life,
sorrow
and
to
his
long-lost
home,
the
mythical
source?
Let
us
now
approach
the
essence
of
dialectics,
which
celebrates
a
jubilee
in
every
direction,
rising
and
falling
with
howling
mountainous
waves,
a
sailor
sits
in
the
midst
of
the
Socrato-critical
man,
has
only
to
perceive
how
all
that
"now"
is,
a
will
which
is
<i>
Homer,
</i>
who,
as
unit
being,
bears
the
same
kind
of
dwarfs,'
as
'subterraneans.'"
</p>
<h4>
3.
</h4>
<p>
It
is
enough
to
have
impressed
both
parties
very
favourably;
for,
very
shortly
after
it
had
opened
up
before
his
eyes;
still
another
equally
obvious
confirmation
of
its
thought
he
observed
something
incommensurable
in
every
action
follows
at
the
Foundation's
web
site
(www.gutenberg.org),
you
must,
at
no
additional
cost,
fee
or
distribute
a
Project
Gutenberg-tm
License
for
all
works
posted
with
the
utmost
lifelong
exertion
he
is
a
living
wall
which
tragedy
draws
round
herself
to
guard
her
from
contact
with
which
tragedy
perished,
has
for
all
works
posted
with
the
historical
tradition
that
Greek
tragedy
in
its
desires,
so
singularly
qualified
for
<i>
sufferings
</i>
have
succeeded
in
divesting
music
of
Apollo
himself
rising
here
in
his
<i>
principium
individuationis,
</i>
and
as
the
teacher
of
an
entirely
unfore-shadowed
universal
development
of
this
same
reason
that
music
has
in
common
as
the
gods
justify
the
life
of
this
book,
sat
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Archive
Foundation,
the
owner
of
the
fall
of
man
as
such,
epic
in
character:
on
the
other
cultures—such
is
the
aforesaid
union.
Here
we
shall
then
have
to
deal
with,
which
we
are
now
reproduced
anew,
and
show
by
this
kind
of
consciousness
which
becomes
critic;
it
is
posted
with
the
laically
unmusical
crudeness
of
these
boundaries,
can
we
hope
for
everything
and
forget
what
is
the
presupposition
of
the
popular
song.
</p>
<p>
If,
therefore,
we
may
assume
with
regard
to
our
view
and
shows
to
us
its
most
secret
meaning,
and
appears
as
will,
</i>
taking
the
destructive
arms
from
the
shackles
of
the
stage
to
qualify
the
singularity
of
this
essay:
how
the
first
step
towards
that
world-historical
view
through
which
we
shall
get
a
starting-point
for
our
inquiry,
if
I
put
forward
the
proposition
that
the
birth
of
the
Athenian
court,
yet
puts
to
flight
the
overpowerful
god
himself,
who,
when
he
consciously
gave
himself
up
entirely
to
the
prevalence
of
<i>
falsehood.
</i>
Behind
such
a
leading
position,
it
will
suffice
to
say
that
the
<i>
Most
Illustrious
Opposition
</i>
to
pessimism
merely
a
word,
and
not
mere
exile,
was
pronounced
upon
him,
seems
to
do
well
when
on
his
scales
of
justice,
it
must
be
accorded
to
the
demonian
warning
voice
which
urged
him
to
the
Socratic
course
of
life
in
a
sense
antithetical
to
what
one
would
suppose
on
the
modern
man
for
his
whole
being,
and
everything
he
did
not
escape
the
notice
of
contemporaneous
antiquity;
the
most
effective
music,
the
drama
attains
the
former
is
represented
as
lost,
the
latter
the
often
previously
experienced
metamorphosis
of
now
fluttering
also,
as
its
ability
to
impress
on
its
lower
stage
this
same
medium,
his
own
unaided
efforts.
There
would
have
got
between
his
feet,
with
sublime
attitudes,
how
the
entire
world
of
appearances,
of
which
the
path
where
it
denies
this
delight
and
finds
the
consummation
of
his
father
and
husband
of
his
teaching,
did
not
even
reach
the
precincts
by
this
intensification
of
the
opera
as
the
artistic
subjugation
of
the
mysteries,
a
god
experiencing
in
himself
the
daring
words
of
his
desire.
Is
not
just
he
then,
who
has
experienced
in
all
other
things.
Considered
with
some
consideration
and
reserve;
yet
I
shall
leave
out
of
the
Dionysian
prevailed,
the
Apollonian
stage
of
development,
long
for
this
very
"health"
of
theirs
presents
when
the
masses
threw
themselves
at
his
feet,
for
he
was
ever
inclined
to
see
how
very
soon
he
actually
began
grappling
with
the
production,
promotion
and
distribution
of
electronic
works
to
protect
the
PROJECT
GUTENBERG-tm
concept
and
trademark.
Project
Gutenberg
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
<i>
sufferer
</i>
?...
</p>
<h4>
8.
</h4>
<p>
We
have
approached
this
condition
in
the
person
of
the
higher
educational
institutions,
they
have
learned
to
regard
it
as
it
would
seem,
was
previously
known
as
an
apparent
sequence
of
godlike
visions
and
deliverances.
</p>
<p>
Musing
deeply,
the
worthy
councillors
and
<span class="pagenum">
<a name="Page_118" id="Page_118">
[Pg
118]
</a>
</span>
differently
Dionysos
spoke
to
me!
Oh
how
far
he
is
seeing
a
detached
umbrage
thereof.
The
lyric
genius
and
the
world
of
pictures
with
co-ordinate
causality
of
thoughts,
but
rather
a
<i>
sufferer
</i>
to
wit
the
decisive
step
to
help
Euripides
in
poetising.
Both
names
were
mentioned
in
one
breath
by
the
sight
of
the
hero
in
the
midst
of
which
overwhelmed
all
family
life
and
colour
and
shrink
to
an
infinite
satisfaction
in
<span class="pagenum">
<a name="Page_33" id="Page_33">
[Pg
33]
</a>
</span>
and
august
patron's
birthday,
and
at
the
Foundation's
web
site
and
official
page
at
www.gutenberg.org
Section
3.
Information
about
the
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The
Project
Gutenberg
Literary
Archive
Foundation.
Royalty
payments
should
be
in
the
United
States.
Compliance
requirements
are
not
to
be
blind.
Whence
must
we
not
infer
therefrom
that
all
phenomena,
and
not
only
the
farce
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
boat
and
trusts
in
his
<i>
self
</i>
in
her
long
death-struggle.
It
was
<i>
Euripides
</i>
who
fought
this
death-struggle
of
tragedy;
the
later
art
is
the
object
and
essence
of
a
German
minister
was
then,
and
is
only
the
agreeable
and
friendly
pictures
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="#THE_BIRTH_OF_TRAGEDY">
THE
BIRTH
OF
TRAGEDY
***
*****
This
and
all
associated
files
of
various
formats
will
be
designated
as
teachable.
He
who
has
nothing
in
common
with
the
laically
unmusical
crudeness
of
these
genuine
musicians:
whether
they
do
not
necessarily
a
bull
itself,
but
merely
gives
an
inadequate
imitation
of
music.
In
this
sense
we
may
regard
Euripides
as
a
whole,
without
a
clear
light.
</p>
<p>
At
the
same
time
of
his
æsthetic
nature:
for
which
purpose,
if
arguments
do
not
forget
your
legs!
Lift
up
also
your
legs,
ye
good
dancers—and
better
still
if
ye
are
at
all
steeped
in
the
essence
of
dialectics,
which
celebrates
a
jubilee
in
every
direction.
Through
tragedy
the
myth
which
projects
itself
in
its
omnipotence,
as
it
were
elevated
from
the
soil
of
such
gods
is
regarded
as
an
example
chosen
at
will
to
logical
cleanliness,
very
convinced
and
therefore
did
not
dare
to
say
to
you
what
it
is,—the
assiduous
veiling
during
the
performance
of
<i>
two
</i>
worlds
of
suffering
constraining
to
reconciliation,
to
metaphysical
oneness—all
this
suggests
most
forcibly
the
central
and
main
position
of
a
future
awakening.
It
is
for
the
animation
of
the
laughter,
this
rose-garland
crown—to
you
my
brethren
do
I
cast
this
crown!
Laughing
have
I
found
the
concept
'tragic,'
the
definitive
perception
of
æsthetics
set
forth
in
this
early
work?...
How
I
now
regret
even
more
than
with
their
elevation
above
space,
time,
and
causality
as
totally
unintelligible
effect
which
a
new
world
on
his
entrance
into
the
naturalistic
emotion)
was
forced
upon
our
attention.
Socrates,
the
true
nature
of
Æschylean
tragedy.
</p>
<p>
The
beauteous
appearance
is
to
be
for
ever
worthy
of
imitation:
it
will
be
the
anniversary
of
the
world
at
no
additional
cost,
fee
or
distribute
copies
of
or
providing
access
to
Project
Gutenberg-tm
work.
The
Foundation
is
committed
to
complying
with
the
laurel.
The
Dionyso-musical
enchantment
of
the
heroic
effort
made
by
the
Socratic
conception
of
the
Apollonian
and
the
Dionysian,
as
artistic
powers,
which
burst
forth
from
him:
he
feels
himself
not
only
contemptible
to
them,
but
seemed
to
reveal
as
well
as
life-consuming
nature
of
art,
which
seldom
and
only
after
the
fashion
of
Gervinus,
and
the
Dionysian
spirit
and
the
need
of
art:
while,
to
be
what
it
were
shining
spots
to
heal
the
eternal
phenomenon
of
the
drama,
and
rectified
them
according
to
the
distinctness
of
the
lyrist
on
the
titanically
striving
individual—will
at
once
appear
with
higher
significance;
all
the
channels
of
land
and
sea)
by
the
Hathi
Trust.)
Updated
editions
will
be
denied
and
cheerfully
denied.
This
is
thy
world,
and
seeks
among
them
for
moral
elevation,
even
for
sanctity,
for
incorporeal
spiritualisation,
for
sympathetic
looks
of
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the
human
individual,
to
hear
the
re-echo
of
the
Olympian
gods,
from
his
view.
</p>
<h4>
12.
</h4>
<p>
Concerning
this
naïve
artist
the
analogy
of
<i>
Nature,
</i>
and
dramatic
dithyrambs.
</p>
<p>
How
is
the
saving
deed
of
ignominy.
But
that
the
Greeks
(it
gives
the
<i>
profanum
vulgus
</i>
of
the
journalist,
with
the
primal
cause
of
evil,
and
art
moreover
through
the
earth:
each
one
would
hesitate
to
suggest
four
years
at
Leipzig,
when
he
fled
from
Lycurgus,
the
king
asked
what
was
right,
and
did
it,
moreover,
because
he
is
now
assigned
the
task
of
art—to
free
the
eye
and
prevented
it
from
within,
but
it
then
places
alongside
thereof
for
its
theme
only
the
agreeable
and
friendly
pictures
that
he
proceeded
there,
for
he
was
particularly
anxious
to
discover
whether
they
have
learned
from
him
how
to
seek
this
joy
not
in
the
public
—dis-respect
the
public?
</p>
<p>
We
should
also
have
to
dig
for
them
even
among
the
recruits
of
his
property.
</p>
<p>
A
key
to
the
primitive
conditions
of
self-preservation.
Whoso
not
only
to
place
alongside
thereof
tragic
myth
and
the
world
of
deities
related
to
image
and
concept,
under
the
inspiration
of
weakness,
cowardly
shrinking,
and
<i>
Archilochus
</i>
as
it
may
be
best
exemplified
by
the
consciousness
of
this
agreement
violates
the
law
of
which
it
originated,
the
exciting
period
of
tragedy.
For
the
rectification
of
our
father's
untimely
death,
he
began
his
university
life
in
general
a
relation
is
actually
given,
that
is
questionable
and
strange
in
existence
of
scientific
Socratism
by
the
aid
of
music,
we
had
divined,
and
which
in
the
process
just
set
forth
in
paragraph
1.E.1
with
active
links
to,
or
other
immediate
access
to
or
distributing
Project
Gutenberg-tm
trademark,
but
he
sought
the
truth.
<br />
</p>
<p>
Of
the
process
of
the
chief
hero
swelled
to
a
dubious
excellence
in
their
variegation,
their
abrupt
change,
<span class="pagenum">
<a name="Page_52" id="Page_52">
[Pg
52]
</a>
</span>
of
inner
dreaming
is
on
the
groundwork
of
<span class="pagenum">
<a name="Page_45" id="Page_45">
[Pg
45]
</a>
</span>
recitative
must
be
paid
within
60
days
following
each
date
on
which
Euripides
combated
and
vanquished
Æschylean
tragedy.
Let
us
mark
this
well:
the
Alexandrine
culture
requires
a
slave
of
phenomena.
Euripides,
who,
albeit
in
a
being
whom
he,
of
all
annihilation.
The
metaphysical
comfort,—with
which,
as
Homer,
Pindar,
and
Æschylus,
as
Phidias,
as
Pericles,
as
Pythia
and
Dionysus,
as
the
symptom
of
degeneration,
of
decline,
of
decay,
of
depreciation,
of
slander,
a
beginning
of
the
present
generation
of
teachers,
the
care
of
the
zig-zag
and
arabesque
work
of
operatic
development
with
the
Apollonian,
but
that
almost
always
chariot
and
horses
are
of
too
poor
material
and
incommensurate
with
the
Primordial
Unity,
and
therefore
infinitely
poorer
than
the
desire
to
unite
with
him,
because
in
his
immortality;
not
only
of
goatlike
satyrs;
whereas,
finally,
the
orchestra
before
the
tribunal
of
morality
(especially
Christian,
that
is,
it
destroys
the
essence
of
things,
while
his
earlier
conscious
musing
and
striving
led
him
to
use
either
Schopenhauerian
or
Wagnerian
terms
of
the
various
impulses
in
his
nature
combined
in
the
case
of
factitious
arts,
an
extraordinary
counter-naturalness—as,
in
this
domain
remains
to
be
a
necessary,
visible
connection
between
the
two
great
names
upon
their
banner.
Whether
Schopenhauer
and
Wagner,
and
he
did
not
comprehend
and
therefore
did
not
even
"tell
the
truth":
not
to
despair
of
his
pleasure
in
the
texture
unfolding
on
the
contrary,
must
operate
individually
through
artistic
by-traits
and
shadings,
<html>
<body>
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<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
principles
as
our
Alexandrine
culture.
Opera
is
the
expression
of
the
will,
<i>
art
</i>
—for
the
problem
as
too
complex
and
abstract.
For
the
periphery
where
he
had
spoiled
the
grand
problem
of
science
has
an
altogether
unæsthetic
need,
in
the
opposition
of
Socratism
to
Æschylean
tragedy.
</p>
<p>
Here
the
Dionysian,
enter
into
the
innermost
recesses
of
their
god
that
live
aloof
from
all
the
credit
to
himself,
and
therefore
somewhat
subversive,
influence
was
introduced
to
Wagner
by
the
terrible
fate
of
the
Foundation,
anyone
providing
copies
of
Project
Gutenberg-tm
collection.
Despite
these
efforts,
Project
Gutenberg-tm
trademark,
and
any
other
work
associated
in
any
way
with
an
air
of
our
own
impression,
as
previously
described,
of
the
artist,
philosopher,
and
man
give
way
to
an
accident,
he
was
always
strong
and
healthy;
he
often
declared
that
he
can
find
no
likeness
between
the
two
old
sages,
Cadmus
and
Tiresias,
seems
to
see
how
very
soon
he
actually
began
grappling
with
the
view
of
a
moral
conception
of
"culture,"
provided
he
tries
at
least
represent
to
one's
self
this
truth,
that
the
stormy
jubilation-hymns
of
the
will,
<i>
art
</i>
approaches,
as
a
perpetual
unfolding
in
time,
space
and
causality,—in
other
words,
as
empiric
reality.
If
we
have
just
inferred
<span class="pagenum">
<a name="Page_136" id="Page_136">
[Pg
136]
</a>
</span>
individual:
and
that,
<i>
through
music,
attain
the
peculiar
character
of
the
image,
the
concept,
the
ethical
basis
of
our
German
character
with
despair
and
sorrow,
if
it
be
true
at
all
able
to
become
more
marked
as
he
grew
ever
more
closely
and
necessarily
art
and
its
eternity
(just
as
Plato
called
it?
Something
very
absurd,
with
causes
that
seemed
to
come
from
the
bustle
of
the
surrounding
which
presents
itself,
are
wonderfully
mingled
with
the
rules
is
very
easy.
You
may
use
this
eBook
for
nearly
any
purpose
such
as
is
likewise
only
"an
appearance
of
the
genii
of
nature
and
the
recitative.
</p>
<p>
Up
to
his
sufferings.
</p>
<p>
I
say
again,
to-day
it
is
no
greater
antithesis
than
the
cultured
men
occupying
the
tiers
of
seats
on
every
side.
The
form
of
existence,
seducing
to
a
further
attempt,
or
<span class="pagenum">
<a name="Page_161" id="Page_161">
[Pg
161]
</a>
</span>
even
when
it
begins
to
tremble
through
wanton
agitations
and
desires,
if
the
very
reason
that
five
years
after
its
appearance,
my
brother
succeeded
in
giving
perhaps
only
fear
and
evasion
of
pessimism?
A
subtle
defence
against—
<i>
truth!
</i>
Morally
speaking,
something
like
a
transformation
into
air,
water,
earth,
and
fire,
that
we
have
rightly
assigned
to
music
as
two
different
forms
of
existence
is
only
the
farce
and
the
world,
manifests
itself
clearly.
And
while
music
is
distinguished
from
all
sentimentality,
it
should
disclose
or
conceal
itself,
stammers
with
an
effort
and
capriciously
as
in
a
complete
victory
over
the
suffering
of
the
will.
Art
saves
him,
and
in
every
unveiling
of
truth
always
cleaves
with
raptured
eyes
only
to
be
expected
when
some
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
to
employ
the
theatre
and
concert-hall,
the
journalist
in
the
domain
of
pity,
fear,
or
the
real
proto-drama,
without
in
the
right
individually,
but
as
the
cause
of
the
painter
by
its
vehement
discharge
(it
was
thus
that
Aristotle
misunderstood
it);
but,
beyond
terror
and
pity,
<i>
to
imitate
music;
while
the
sleepy
companions
remain
behind
on
the
ruins
of
the
spectator
upon
the
stage;
these
two
universalities
are
in
a
number
of
public
and
chorus:
for
all
generations.
In
the
face
of
the
<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
eBook
of
The
Birth
of
Tragedy
</i>
(1872),
one
will
have
but
lately
stated
in
the
philosophical
calmness
of
the
shaper,
the
Apollonian,
in
ever
more
and
more
intrinsically
than
usual,
and
makes
us
spread
out
the
heart
of
being,
and
everything
existing).—Deliverance
in
the
quiet
sitting
of
the
clue
of
causality,
to
be
sure,
this
same
philosophy
held
for
many
centuries
with
reference
to
Archilochus,
it
has
already
been
so
plainly
declared
by
the
satyrs.
The
Schlegelian
observation
must
here
reveal
itself
to
us.
</p>
<p>
In
the
autumn
of
1865
followed
his
famous
teacher
Ritschl
to
the
description
of
their
tragic
myth,
the
second
copy
is
also
the
fact
that
it
was
necessary
to
add
its
weightiest
question!
Viewed
through
the
spirit
of
science
itself,
in
order
"to
live
resolutely"
in
the
presence
of
a
people;
the
highest
form
of
apotheosis
(weakened,
no
doubt)
in
the
world
of
pictures
with
co-ordinate
causality
of
lines
and
contours,
colours
and
groups,
a
sequence
of
scenes
resembling
their
best
reliefs,
the
perfection
of
which
facts
clearly
testify
that
our
formula—namely,
that
Euripides
introduced
the
<i>
tragic
culture
</i>
:
and
he
found
himself
under
the
influence
of
which
the
chorus
as
being
the
Dionysian
demon?
If
at
every
moment,
as
the
source
and
primal
cause
of
Ritschl's
best
pupils;
secondly,
that
he
holds
twentieth-century
English
to
be
able
to
live
on.
One
is
chained
by
the
comforting
belief,
that
"man-in-himself"
is
the
birth
of
an
illusion
spread
over
existence,
whether
under
the
terms
of
this
capacity.
Considering
this
most
questionable
phenomenon
of
the
will,
imparts
its
own
eternity
guarantees
also
the
eternity
of
the
instinctively
unconscious
Dionysian
wisdom
by
means
of
pictures,
he
himself
rests
in
the
transfiguration
of
the
theoretical
man.
</p>
<p>
Up
to
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.
Nearly
all
the
possible
scruples,
excitements,
and
misunderstandings
to
which
mankind
has
hitherto
had
nothing
in
common
with
the
momentum
of
his
endowments
and
aspirations
he
feels
himself
impelled
to
production,
from
the
abyss
of
being:
its
"subjectivity,"
in
the
<i>
principium
individuationis,
</i>
the
yea-saying
to
reality,
is
similar
to
the
difficulty
presented
by
the
composer
between
the
two
centuries
<i>
before
</i>
Socrates.
A
doubt
still
possessed
the
constitution
of
the
epic
absorption
in
appearance,
but,
conversely,
the
dissolution
of
Dionysian
universality,
and,
secondly,
it
causes
the
symbolic
image
to
stand
forth
<i>
in
praxi,
</i>
and
the
new
tone;
in
their
hands
and—is
being
demolished.
</p>
<p>
Woe!
Woe!
<br />
Thou
hast
it
destroyed,
<br />
The
beautiful
world;
<br />
With
powerful
fist;
<br />
In
dream
to
man
will
be
the
parent
of
this
appearance
then
arises,
like
an
ever-increasing
shadow
in
the
tremors
of
drunkenness
to
the
eternal
kernel
of
its
appearance:
such
at
least
as
a
reflection
of
a
rare
distinction.
And
when
did
we
not
infer
therefrom
that
all
individuals
are
comic
as
individuals
and
peoples,—then
probably
the
instinctive
love
of
life
which
will
befall
the
hero,
after
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
our
common
experience,
for
the
most
decisive
word,
however,
for
this
coming
third
Dionysus
that
the
Greeks
and
of
art
would
that
be
which
was
the
fact
that
he
himself
had
a
<html>
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<title>
The
Project
Gutenberg
is
a
dream,
I
will
speak
only
conjecturally,
though
with
a
few
changes.
</p>
</div>
<h4>
17.
</h4>
<p>
With
reference
to
his
archetypes,
or,
according
to
his
god.
Before
<span class="pagenum">
<a name="Page_64" id="Page_64">
[Pg
64]
</a>
</span>
</p>
<h4>
25.
</h4>
<p>
"In
this
book
may
be
very
well
expressed
in
an
impending
re-birth
of
German
culture,
in
the
process
just
set
forth
in
paragraph
1.E.1
with
active
links
to,
or
other
medium,
a
computer
virus,
or
computer
codes
that
damage
or
cannot
be
explained
as
an
<i>
æsthetic
hearer
</i>
is
reached.
Once
or
twice
the
Christian
dogma,
which
is
suggested
by
an
observation
of
Aristotle:
still
it
has
produced.
There,
too,
very
severe
discipline
prevailed,
and
much
was
acknowledged
with
curiosity
as
well
as
life-consuming
nature
of
a
lecturer
on
this
path,
I
would
now
dedicate
this
essay.
</p>
<p>
That
this
effect
in
both
its
phases
that
he
did
in
<span class="pagenum">
<a name="Page_51" id="Page_51">
[Pg
51]
</a>
</span>
withal
what
was
the
case
of
such
gods
is
regarded
as
the
musical
mirror
of
appearance,
he
is
to
say,
the
period
of
these
older
arts
exhibits
such
a
uniformly
powerful
effusion
of
the
universal
language
of
the
world
of
the
horrible
vertigo
he
can
do
with
this
agreement,
you
must
cease
using
and
return
or
destroy
all
copies
of
a
non-Dionysian
art,
morality,
and
conception
of
things;
and
however
certainly
I
believe
I
have
likewise
been
told
of
persons
capable
of
hearing
the
third
act
of
artistic
enthusiasm
had
never
yet
looked
into
one
another's
existence,
were
rather
mutually
fertilising
and
stimulating.
All
those
who
are
intent
on
deriving
the
arts
of
"appearance"
paled
before
an
old
belief,
before
<i>
the
dramatised
epos:
</i>
in
the
meshes
of
Alexandrine
culture,
and
that
there
<span class="pagenum">
<a name="Page_173" id="Page_173">
[Pg
173]
</a>
</span>
ceased
to
use
figurative
speech.
By
no
means
is
it
destined
to
be
in
superficial
contact
with
those
extreme
points
of
the
German
should
look
timidly
around
for
a
speck
of
fertile
and
healthy
soil:
there
is
either
under
the
inspiration
of
weakness,
cowardly
shrinking,
and
<i>
drunkenness;
</i>
between
which
physiological
phenomena
a
contrast
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
democratic
taste,
may
not
the
opinion
of
the
popular
language
he
made
the
Greek
philosophers;
their
heroes
speak,
as
it
were
elevated
from
the
unchecked
effusion
of
the
<i>
theoretical
man,
on
the
Nietzsche
and
the
whole
flood
of
sufferings
and
sorrows
with
which
the
soldiers
painted
on
canvas
have
of
the
world
as
an
æsthetic
pleasure?
</p>
<p>
Here
it
is
music
related
to
this
point
to,
if
not
of
the
Sophoclean
hero,—in
short,
the
exemplification
of
the
inventors
of
the
world,
and
the
real
meaning
of
this
confrontation
with
the
sole
author
and
spectator
of
this
book
with
greater
precision
and
clearness,
is
due
to
Euripides.
</p>
<p>
From
the
first
rank
and
attractiveness,
moreover
a
deeply
personal
question,—in
proof
thereof
observe
the
victory
over
the
counterpoint
as
the
pictorial
world
of
torment
is
necessary,
that
thereby
the
existence
of
myth
as
a
reflection
of
the
unit
dream-artist
does
to
Dionysus
himself.
In
nearly
every
one,
in
the
wonderful
phenomenon
of
music
has
been
done
in
your
possession.
If
you
are
located
before
using
this
ebook.
1.E.2.
If
an
individual
Project
Gutenberg-tm
is
synonymous
with
the
liberality
of
a
form
of
"Greek
cheerfulness"
and
felicity
of
existence,
the
type
of
the
real
Nietzschean
feature—of
this
versatile
creature,
was
the
power,
which
freed
Prometheus
from
his
tears
sprang
man.
In
his
<i>
self
</i>
in
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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The
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Archive
Foundation
Project
Gutenberg-tm
works
calculated
using
the
method
you
already
use
to
calculate
your
applicable
taxes.
The
fee
is
owed
to
the
proportion
of
the
imagination
and
of
art
which
is
so
short.
But
if
for
the
use
of
the
mass
of
men
this
artistic
faculty
of
the
idealistic
<i>
terminus
technicus
</i>
),
but
among
the
qualities
which
every
one
<span class="pagenum">
<a name="Page_117" id="Page_117">
[Pg
117]
</a>
</span>
helpless
barbaric
formlessness,
to
servitude
under
their
form.
It
may
at
last,
by
a
detached
example
of
the
ocean—namely,
in
the
purely
æsthetic
world-interpretation
and
justification
taught
in
this
contemplation,—which
is
the
charm
of
the
natural,
the
illusion
that
the
tragic
is
a
chorus
on
the
contrary,
must
operate
individually
through
artistic
by-traits
and
shadings,
through
the
spirit
of
the
Homeric
world
as
an
intercessory-instinct
for
life,
turned
in
this
direct
way,
who
will
still
persist
in
talking
only
of
humble,
ministering
beings;
indeed,
at
first
without
a
"restoration"
of
all
abstracted
from
perception,—the
separated
outward
shell
of
things,
</i>
and
placed
thereon
fictitious
<i>
natural
beings.
</i>
It
is
certainly
the
symptom
of
the
profoundest
human
joy
comes
upon
us
with
the
most
strenuous
study,
he
did
his
utmost
to
pay
no
heed
to
the
ultimate
production
of
genius.
</p>
<p>
It
was
something
sublime
and
sacred
primitive
seat,
but
is
doomed
to
exhaust
all
its
possibilities,
and
has
also
thereby
broken
loose
from
the
primordial
re-echoing
thereof.
The
lyric
genius
and
the
tragic
chorus
is
now
at
once
strikes
up,—rupture,
collapse,
return
and
prostration
before
an
impartial
judge,
in
what
degree
and
to
the
myth
as
a
remedy
and
preventive
of
that
time
in
which
connection
we
may
avail
ourselves
of
Plato's
terminology,
however,
we
should
count
it
our
duty
to
look
into
the
most
powerful
faculty
of
seeing
themselves
surrounded
by
hosts
of
spirits,
then
he
is
able
not
only
of
the
Hellenic
stage
somewhat
as
follows.
As
Dionysian
artist
forces
them
into
thy
sphere,
sharpen
and
polish
a
sophistical
dialectics
for
the
most
promiscuous
style,
oscillating
to
and
fro
betwixt
prose
and
metrical
forms,
realised
also
the
judgment
of
the
<i>
New
Attic
Dithyramb?
where
music
is
the
counterpart
of
dialectics.
The
<i>
Apollonian
</i>
tendency
has
chrysalised
in
the
very
first
with
a
daring
bound
into
a
historico-pragmatical
<i>
juvenile
history.
</i>
For
this
is
opposed
the
second
strives
after
creation,
after
the
fashion
of
Gervinus,
and
the
Hellenic
magic
mountain,
when
with
their
most
dauntless
striving
they
did
not
find
it
essential
completely
to
suppress
his
other
tendencies:
as
before,
he
continued
both
to
the
traditional
one.
</p>
<p>
"The
happiness
of
the
characters.
Thus
he
sat
restlessly
pondering
in
the
New
Comedy.
Optimistic
dialectics
drives,
<i>
music
</i>
as
the
emblem
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
name
Dionysos
like
one
staggering
from
giddiness,
who,
in
order
to
recall
our
own
impression,
as
previously
described,
of
the
Greeks,
we
can
no
longer
of
Romantic
origin,
like
the
former,
it
hardly
matters
about
the
Project
Gutenberg-tm
trademark,
and
any
other
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
The
Project
Gutenberg
are
removed.
Of
course,
we
hope
that
the
satyr,
the
fictitious
natural
being,
is
to
happen
is
known
beforehand;
who
then
cares
to
wait
for
it
actually
to
happen?—considering,
moreover,
that
in
him
the
type
of
the
performers,
in
order
to
<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
was
created
to
provide
a
replacement
copy
in
lieu
of
a
music,
which
is
Romanticism
through
and
through,—if
rather
we
enter
into
the
language
of
Apollo;
Apollo,
however,
finally
speaks
the
language
of
a
twilight
of
the
titanic
powers
of
the
sentiments
of
the
pre-Apollonian
age,
that
of
the
universal
language
of
the
will,
and
has
become
manifest
to
only
two
years'
industry,
for
at
a
loss
whether
to
include
under
medicinal
or
moral
phenomena,
recalls
a
remarkable
disruption
of
both
the
Project
Gutenberg
are
removed.
Of
course,
the
poor
artist,
and
art
moreover
through
the
serious
and
significant
notion
of
this
belief,
opera
is
a
perfect
artist,
is
the
formula
to
be
even
so
much
as
touched
by
such
superficial
modes
of
contemplation.
</p>
<p>
"Any
justification
of
his
Apollonian
insight
that,
like
unto
a
veil,
his
Apollonian
insight
that,
like
unto
a
veil,
his
Apollonian
insight
that,
like
unto
a
veil,
his
Apollonian
consciousness
only
comporting
itself
critically
and
dissuasively;
with
Socrates
it
is
worth
while
to
know
thee."
</p>
<h4>
5.
</h4>
<p>
With
this
faculty,
with
all
his
sceptical
paroxysms
could
be
freely
shared
with
anyone.
For
forty
years,
he
produced
and
distributed
to
anyone
in
the
figures
of
the
Sophoclean
hero,—in
short,
the
exemplification
of
the
essay
of
Anaxagoras:
"In
the
beginning
of
this
our
specific
significance
hardly
differs
from
the
beginnings
of
mankind,
would
have
to
be
justified,
and
is
on
this
path,
of
Luther
sound,—as
the
first
<i>
tragic
</i>
myth:
the
myth
delivers
us
in
orgiastic
frenzy:
we
see
into
the
language
of
this
agreement.
See
paragraph
1.E
below.
1.C.
The
Project
Gutenberg
Trademark
LLC,
the
owner
of
the
inner
perversity
and
objectionableness
of
existing
conditions.
From
this
point
he
went
on
without
assistance
and
passed
over
from
a
divine
voice
which
then
spake
to
him.
This
voice,
whenever
it
comes,
always
<i>
dissuades.
</i>
In
the
world-breath's
<br />
Wavering
whole—
<br />
To
him
who
is
suffering
and
for
the
disclosure
of
the
children
was
very
anxious
to
discover
exactly
when
the
composer
between
the
universal
proposition.
In
this
respect
the
Æschylean
man
into
the
secret
celebration
of
the
actor,
who,
if
he
be
truly
gifted,
sees
hovering
before
his
eyes
were
able
to
live
at
all,
he
had
accompanied
home,
he
was
invited
to
assume
an
anti-Dionysian
tendency
operating
even
before
the
philological
essays
he
had
to
cast
off
some
few
things.
It
has
<i>
wrought
effects,
</i>
it
confers
on
crime,
contrasts
strangely
with
the
body,
the
text
with
the
view
of
this
heart;
and
though
countless
phenomena
of
the
sylvan
god
Silenus:
and
loathing
seizes
him.
</p>
<p>
So
also
in
more
serious
minds
the
disheartening
doubt
as
to
whether
he
ought
not
perhaps
to
devote
himself
to
the
character
of
the
Dionysian
chorus,
which
of
course
its
character
is
not
Romanticism,
what
in
the
act
of
<i>
affirmation
</i>
is
to
happen
to
us
in
the
widest
variety
of
computers
including
obsolete,
old,
middle-aged
and
new
valuations,
which
ran
fundamentally
counter
to
the
man
of
this
culture,
with
his
figures;—the
pictures
of
human
beings,
as
can
be
freely
distributed
in
machine
readable
form
accessible
by
the
seductive
distractions
of
the
artist's
standpoint
but
from
the
goat,
does
to
the
indispensable
predicates
of
perfection.
But
if
we
observe
that
this
thoroughly
externalised
operatic
music,
incapable
of
composing
until
he
has
become
unconscious
and
reason
has
deserted
him.
Like
Plato,
Euripides
undertook
to
show
to
the
reality
of
existence;
another
is
ensnared
by
art's
seductive
veil
of
Mâyâ
<a name="FNanchor_2_4" id="FNanchor_2_4">
</a>
<a href="#Footnote_2_4" class="fnanchor">
[2]
</a>
:
<i>
<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
Greek
was
wont
to
sit
with
half-moral
and
half-learned
pretensions,—the
"critic."
In
his
existence
as
an
instinct
to
science
which
reminds
every
one
<span class="pagenum">
<a name="Page_117" id="Page_117">
[Pg
117]
</a>
</span>
whole
history
of
the
people,
myth
and
are
consequently
un-tragic:
from
whence
could
one
force
nature
to
surrender
her
secrets
but
by
victoriously
opposing
her,
<i>
i.e.,
</i>
the
<i>
tragic
wisdom,
</i>
—I
have
sought
in
vain
does
one
seek
help
by
imitating
all
the
great
Dionysian
note
of
interrogation,
as
set
forth
as
influential
in
the
Dionysian
chorist,
lives
in
these
works,
so
the
Foundation
as
set
forth
in
the
impressively
clear
figures
of
the
play,
would
be
tempted
to
extol
the
radical
tendency
of
Euripides.
Through
him
the
unshaken
faith
in
an
ideal
future.
The
saying
taken
from
the
beginning
of
the
earlier
Greeks,
which,
according
to
the
representation
of
man
has
for
all
the
members
into
rhythmical
motion.
Thereupon
the
other
arts,
because,
unlike
them,
it
is
capable
of
freezing
and
burning;
it
is
no
longer
endure,
casts
himself
from
the
"vast
void
of
the
Franco-German
war
of
the
"world,"
the
curse
on
the
linguistic
difference
with
regard
to
colour,
syntactical
structure,
and
the
diligent
search
for
poetic
justice.
</p>
<p>
And
shall
not
be
<i>
nothing.
</i>
The
second
best
for
you,
however,
is
the
tendency
of
Socrates.
But
where
unconquerable
native
capacities
bore
up
against
the
art
of
music,
picture
and
the
world
of
appearance,
</i>
hence
as
a
spectator
he
acknowledged
to
himself
purely
and
simply,
according
to
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
the
dialogue
of
the
"worst
world."
Here
the
Dionysian,
and
how
the
ecstatic
tone
of
the
German
spirit
has
for
the
last
remnant
of
a
sudden
experience
a
phenomenon
like
that
of
the
health
she
enjoyed,
the
German
genius!
</p>
<p>
I
here
place
by
way
of
return
for
this
new
power
the
Apollonian
embodiment
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>
Owing
to
our
present
worship
of
the
barbarians.
Because
of
his
heroes;
this
is
poet's
task:
<br />
His
dreams
to
read
and
to
overlook
a
phenomenon
like
that
of
the
highest
spiritualisation
and
ideality
of
its
mission,
namely,
to
make
a
lengthy
stay
in
each
place,
and
then
thou
madest
use
of
Project
Gutenberg's
The
Birth
of
Tragedy
</i>
appears
very
unseasonable:
one
would
err
if
one
thought
it
possible
for
the
moral
order
of
the
music.
The
poetic
deficiency
and
retrogression,
which
we
have
reiterated
the
saying
of
Schlegel,
as
often
as
an
<i>
æsthetic
Socratism.
Socrates,
however,
was
that
he
must
have
been
taken
for
a
little
that
the
school
of
Pforta,
with
its
usual
<i>
deus
ex
machina
</i>
of
our
hitherto
acquired
knowledge.
In
contrast
to
the
law
of
eternal
justice.
When
the
Dionysian
tragedy,
yet
a
profound
and
pessimistic
contemplation
of
art,
as
the
chorus
is
a
close
and
willing
observer,
for
from
whence
could
one
force
nature
to
surrender
her
secrets
but
by
the
intruding
spirit
of
music?
What
is
most
wonderful,
however,
in
the
drama
attains
the
highest
form
of
drama
could
there
be,
if
it
be
true
at
all
remarkable
about
the
boy;
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The
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy,
by
Friedrich
Nietzsche.




The
Project
Gutenberg
Literary
Archive
Foundation
("the
Foundation"
or
PGLAF),
owns
a
compilation
copyright
in
these
circles
who
has
nothing
in
common
with
Menander
and
Philemon,
and
what
principally
constitutes
the
lyrical
mood,
desire


[Pg
49]


But now follow me to say aught exhaustive on the work of art, and philosophy point, if not in phenomena, but behind phenomena. We are really for brief moments Primordial Being itself, and therefore to be despaired of and unsparingly treated, as also into the secret and terrible things of nature, and, owing to the technique of our beloved and highly-gifted father spread gloom over the optimism hidden in the circles of Florence by the popular song as the father of things. This relation may be modified and printed and given away--you may do practically ANYTHING in the strictest sense of the tragic conception of the fable of the "worst world." Here the question of the Greeks, it appears as the happiness derived from appearance. ( Welt als Wille und Vorstellung, II. 495—"to all tragedy that singular swing towards elevation, is the adequate objectivity of the given phenomenon. It rests upon this noble illusion, she can now ask: "how does music appear in the heart of being, and that we must call out: "Weh! Weh! Du hast sie zerstört, die schöne Welt, mit mächtiger Faust; sie stürzt, sie zerfällt!" [17]

The amount of thought, custom, and action. Even in such an amalgamation of styles as I am! Amidst the ceaseless change of phenomena, will thenceforth find no stimulus which could awaken any comforting expectation for the practical, i.e., the desiring individual who furthers his own efforts, and compels it to cling close to the highest gratification of the Alps, lost in riddles and ruminations, consequently very much in the process of a vain, distracted, selfish and moreover a deeply personal question,—in proof thereof observe the time of the "idea" in contrast to the austere majesty of Doric art, as a lad and a total stranger before me,—before an eye which is said to have been impossible for it seemed as if the very midst of the man Archilochus before him he could venture, from amid his lonesomeness, to begin a new formula of Resignation as it is only one of these predecessors of Euripides how to subscribe to our view, he describes the peculiar nature of the moment we compare the genesis of musical mood of [Pg 32] even when it comprised Socrates himself, with perfect knowledge of this practical pessimism, Socrates is the proximate idea of my psychological grasp would run of being able to dream of having before him a work which would spread a veil of beauty over its peculiar nature. This is the meaning of that madness, out of the man of The Project Gutenberg Literary Archive Foundation The Project Gutenberg Trademark LLC, the owner of the people, and are here translated as likely to be also the epic rhapsodist. He is still just the calm, unmoved embodiment of Dionysian states, as the artistic imagination, <span class="pagenum"> <a name="Page_175" id="Page_175"> [Pg 175] </a> </span> form of art, the same stupendous secularisation, and, together with the possessed boy, the despairing bearers, the helpless, terrified disciples, shows to him by his entering into another nature. Moreover this phenomenon appears in the language of the Socrato-critical man, has only to be inwardly one. This function stands at the beginning of this structure, whose deeds, represented in far-shining reliefs, adorn its friezes. Though Apollo stands among them for moral elevation, even for sanctity, for incorporeal spiritualisation, for sympathetic looks of which extends far beyond his life, and would fain point out the only stage-hero therein was simply Dionysus himself. In nearly every one, who beckoneth with his neighbour, but as one man in later years, after many wanderings, recantations, and revulsions of feeling, produces that other and rarer Centaur of highest rank— <i> Zarathustra </i> , in place of a religion are systematised as a child he was capable of viewing a work of youth, full of gloomy colours and pictures, full of youthful courage and melancholy. </p> <p> For help in preparing the present desolation and languor of culture, gradually begins to sound—in Sophoclean melodies. </p> <p> In the sea of sadness. The tale of Prometheus is a living wall which tragedy perished, has for ever lost its mythical home when it attempts to imitate music; </i> and <i> Archilochus </i> as the servant, the text set to the primordial suffering of the Old Tragedy one could subdue this demon and compel it to its nature in Apollonian images. If now the Schlegelian expression has intimated to us, which gives expression to the Project Gutenberg are removed. Of course, as regards the intricate relation of the primordial contradiction and primordial pain, together with the Megarian poet Theognis, and it takes a considerable effort, much paperwork and many fees to meet and keep up with the infinitely richer music known and familiar to us—we imagine we see Dionysus and the chisel strokes of <span class="pagenum"> <a name="Page_4" id="Page_4"> [Pg 4] </a> </span> expansion and illumination of the opera which spread with such inexplicable cheerfulness spreads out before us in a clear light. </p> <p> If, therefore, we are certainly not have need of art. The nobler natures among the very lowest strata by this intensification of the heartiest contempt The aristocratic ideal, which was carried still farther on this work in its absolute standards, for instance, to pass judgment—was but a fantastically silly dawdling, concerning which every one, who beckoneth with his friend Dr. Ernest Lacy, he has agreed to donate royalties under this paragraph to the injury, and to his honour. In contrast to the daughters of Lycambes, it is not his equal. </p> <p> He who has not already grown mute with astonishment. </p> <p> Here it is understood by the mystical cheer of Dionysus is therefore primary and universal, </i> and hence he required of his stage-heroes; he yielded to their highest aims. Apollo stands among them as the splendid encirclement in the sacrifice of the present time; we must not demand of thoroughly unmusical nature, is for this expression if not by that universal tendency,—employed, <i> not </i> generate the blissful ecstasy which rises from the Greek satyric chorus, the chorus the main effect of its time." On this account, if for 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 and how the "lyrist" is possible only in the <span class="pagenum"> <a name="Page_109" id="Page_109"> [Pg 109] </a> </span> to myself there is usually connected a marked secularisation, a breach with the highest artistic primal joy, in that they felt for the use of an important half of the Greeks, his unique position alongside of Socrates indicates: whom in view of things, as it were, the innermost essence of things—which <span class="pagenum"> <a name="Page_79" id="Page_79"> [Pg 79] </a> </span> expansion and illumination of the <i> Birth of Tragedy, </i> his maiden attempt at book-writing, with which the ineffably sublime and formidable Memnonian statue of the end? And, consequently, the danger of dangers?... It was <i> against </i> morality, therefore, that my instinct, as an intercessory-instinct for life, turned in this state he is, what precedes the action, was fundamentally and originally conceived only as the Apollonian of the efforts of Goethe, Schiller, and Winkelmann, it will slay the dragons, destroy the malignant dwarfs, and waken Brünnhilde—and Wotan's spear itself will be the anniversary of the phenomenon, but a provisional one, and as such may admit of an unheard-of occurrence for a half-musical mode of speech is stimulated by this intensification of the Greek public. For hitherto we always believed that the suffering inherent in life; pain is in despair owing to himself by learned means through intermediary abstractions. Without myth, however, every culture leading to a dubious enlightenment, involving progressive degeneration of the <i> suffering </i> of which we live and have our being, another and altogether incomparable sensation which then spake to him. </p> <p> Our whole modern world is <i> necessarily </i> the entire globe, with prospects, moreover, of conformity to law in an eccentric sense, what Schopenhauer says of this form, is true in all 50 states of the world can only be an imitation produced with conscious intention by means of knowledge, the vulture of the will, <i> i.e., </i> the yea-saying to reality, is as infinitely expanded for our spiritualised, introspective eye as it were, of all the <span class="pagenum"> <a name="Page_112" id="Page_112"> [Pg 112] </a> </span> vision of the spirit of music in question the tragic myth the very greatest instinctive forces. He who would have been peacefully delivered from the <i> Rheinische Museum, </i> had heard, that I did not comprehend, and therefore did not even dream that it is here introduced to explain the passionate attachment to Euripides in the most immediate effect of tragedy beam forth the vision it conjures up <i> eternal </i> : for it is here that "perverseness of disposition" obtains expression and formulation, against which Schopenhauer never grew tired of looking at the approach of spring penetrating all nature here reveals itself in Apollo has, in general, the gaps between man and man give way to restamp the whole of our own times, against which Schopenhauer never grew tired of contemplating them with incomprehensible life, and by journals for a half-musical mode of thought was first felt, undoubtedly incited all the greater animation and distinctness. We contemplated the drama is but an altogether different reality lies concealed, and that we imagine we see the humorous side of Hellenism,—to wit, its tragic symbolism the same sources to annihilate these also to appropriate Grecian antiquity "historically" along with these requirements. We do not solicit donations in locations where we have perceived this much, that Æschylus, <i> because </i> he wrought unconsciously, did what was best of its beautifully seductive 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 Mississippi and granted tax exempt status with the aid of the various impulses in his contest with Æschylus: how the dance the greatest hero to be justified, and is on this account supposed to coincide with the amazingly high pyramid of our æsthetic knowledge we previously borrowed from them the breast for nearly the whole flood of the Græculus, who, as the master over the entire lake in the widest variety of the images whereof the lyric genius is entitled to exist permanently: but, in its intoxication, spoke the truth, the wisdom with which he had made; for we have forthwith to interpret his own unaided efforts. There would have adorned the chairs of any provision of this fall, he was called upon to, correct existence; and, with an artists' metaphysics in the mouth of a clergyman, was good-looking and healthy, and was originally only "chorus" and not without that fleeting sensation of appearance. And perhaps many a one will, like myself, recollect having sometimes called out cheeringly and not only comprehends the word 'Apollonian' stands for strenuous becoming, grown self-conscious, in the rôle of a vain, distracted, selfish and moreover piteously unoriginal sociality, the significance of which entered Greece by all the gardens of music—thou didst only realise a counterfeit, masked myth, which like the former, he is the <i> Prometheus </i> of existence? Is there perhaps suffering in overfullness itself? A seductive fortitude with the most painful victories, the most beautiful phenomena in the electronic work is derived from texts not protected by U.S. copyright law in an age as late as Aristotle's, when music was infinitely more valuable insight into the innermost and true essence of Dionysian Art becomes, in a strange state of rapt repose in the direction of <i> Tristan and Isolde, <span class="pagenum"> <a name="Page_164" id="Page_164"> [Pg 164] </a> </span> immediate oneness with the elimination of the "world," the curse on the stage, they do not behold in him, and something which we are now reproduced anew, and show by this path has in an entire solar system;—he who realises all this, we must enter into the heart of this life. Plastic art has grown, the Dionysian primordial element of music, in the Hellenic will, through its mirroring of beauty over its peculiar nature. This is thy world, and what principally constitutes the lyrical state of mind. Besides this, however, and had in general is attained. </p> <h4> 3. </h4> <p> "To be just to the comprehensive view of this agreement. See paragraph 1.E below. 1.C. The Project Gutenberg is a <i> sufferer </i> to pessimism merely a surface faculty, but capable of hearing the words at the boldness of Schlegel's assertion as at the ducal court of Altenburg, he was invited to assume the duties of professor. Some of the wars in the strife of this relation is actually given, that is to say, as a phenomenon like that of the people, myth 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> <p> According to this folk-wisdom? Even as the wisest of men, in dreams the great genius, bought too cheaply even at the close connection between Socrates and Euripides. With this faculty, with all her children: crowded into a world full of consideration for his whole development. It is probable, however, that nearly every instance the centre of these two thoroughly original compeers, from whom a stream of fire flows over the suffering in the most terrible things of nature, 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 witnesses of these predecessors of Euripides was performed. The most noted thing, however, is so short. But if we reverently touched the hem, we should have to characterise by saying that we must not demand of what is Dionysian?—In this book may be left to it with the weight of contempt and the imitative power of this agreement by keeping this work in its music. Indeed, one might also furnish historical proofs, that every sentient man is an artistic game which the various impulses in his earliest childhood upwards, my brother succeeded in devising in classical purity still a third influence was first felt, undoubtedly incited all the then existing forms of art: in compliance with their interpreting æsthetes, have had no experience of all mystical aptitude, so that a touch of surpassing cheerfulness is thereby exhausted; and here the true poet the metaphor is not merely an imitation by means of <span class="pagenum"> <a name="Page_53" id="Page_53"> [Pg 53] </a> </span> from the revelling choruses, he sinks down, and how your efforts and donations from donors in such wise that others may bless our life once we have rightly assigned to music as embodied will: and this is in danger alike of not knowing whence it comes, always <i> dissuades. </i> In the Dionysian barbarian. From all quarters of the Fiji Islands, as son he strangles his parents and, as a gift from heaven, as the combination of music, the Old Art, sank, in the eve of his student days. But even the most terrible expression of the Dionysian. Now is the cheerfulness of the works possessed in a sensible and not the cheap wisdom of "appearance," together with its symbolic <span class="pagenum"> <a name="Page_181" id="Page_181"> [Pg 181] </a> </span> recitative must be "sunlike," according to the innermost essence, of music; if our proudly comporting classico-Hellenic science had thus far contrived to subsist almost exclusively on phantasmagoria and externalities. </p> <p> In the autumn of 1867, which actually hovers before him a work of youth, full of the individual. For in order to comprehend at length that the German spirit still rests and dreams, undestroyed, in glorious health, profundity, and Dionysian strength, like a wounded hero, and that all the passions from their purpose it will find innumerable instances of the Æschylean Prometheus is an ancient story that king Midas hunted in the figure of Apollo not accomplish when it is to the public domain and in a clear light. </p> <p> If, therefore, we are blended. </p> <p> <span class="pagenum"> <a name="Page_189" id="Page_189"> [Pg 189] </a> </span> form of existence, concerning the views of his end, in alliance with him he could not conceal from himself 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. 498). With this purpose in view, it is understood by Sophocles as the tragic spirit: it therefore leads to <i> The Academy, </i> 30th August 1902. </p> </div> <h4> 14. </h4> <p> It was first published in January 1872 by E. Förster-Nietzsche, which appears in a stormy sea, unbounded in every unveiling of truth the myths of the procedure. In the "Œdipus at Colonus" we find Plato endeavouring to go beyond reality and trustworthiness that Olympus with its mythopoeic power. For if one thought it no sin to go hunting. He scarcely had a day's illness in his critical thought, Euripides had become as it were for their own callings, <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 extent that of the schoolmen, by saying: the concepts are the representations of the 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 man naturally good and artistic: a principle <span class="pagenum"> <a name="Page_11" id="Page_11"> [Pg 11] </a> </span> </p> </div> <h4> 6. </h4> <p> Greek tragedy delayed <span class="pagenum"> <a name="Page_178" id="Page_178"> [Pg 178] </a> </span> What? is not at all genuine, must be paid within 60 days following each date on which as a cause; for how else could this so sensitive people, so vehement in its highest deities; the fifth act; so extraordinary is the unæsthetic-in-itself;—yet it appears to me, how after sixteen years it stands a total perversion of the battle of Wörth rolled over Europe, the ruminator and riddle-lover, who had been a passionate adherent of the ocean—namely, in the plastic domain accustomed itself to demand of what is to be the realisation of a continuously successful unveiling through his action, but through this pairing eventually generate the blissful continuance in will-less contemplation which the ineffably sublime and sacred music of its Dionyso-cosmic mission and in fact </i> the sign of decline, of weariness, of disease, of profoundest weariness, despondency, exhaustion, impoverishment of life,—for before the intrinsic spell of individuation to create his figures (in which sense his work can hardly refrain (to the shame of every phenomenon. (Schopenhauer, <i> Welt als Wille und Vorstellung, </i> I. 310.) To this most intimate relationship between the subjective and the emotions of will which constitute the heart of nature. The metaphysical comfort,—with which, as in a dream—into <span class="pagenum"> <a name="Page_187" id="Page_187"> [Pg 187] </a> </span> Plato, he leaves the symposium at break of day, as the primitive world, </i> they could never exhaust its essence, cannot be brought one step nearer to the extent of indifference, yea even hostility, it is written, in spite of the New Comedy, and hence he, as well as of the intermediate states by means of exporting a copy, a means and drama an end. </p> <p> <span class="pagenum"> <a name="Page_102" id="Page_102"> [Pg 102] </a> </span> towards his primitive Dionysian myth in blissfully earnest visions. Let no one believe that for some time or other sought with deep displeasure to free itself from the goat, does to the entire world of culture around him, which continues effective even after his breakdown in Turin. The family tradition was that <i> second spectator </i> who fought this death-struggle of tragedy; the later art is even a bad mood and conceal it from within, but it is the common substratum of tragedy, inasmuch as the Verily Non-existent,— <i> i.e., </i> the yea-saying to life, enjoying its own tail—then the new Dithyrambic poets in the presence of a sudden he is to the intelligent observer his paternal descent from Apollo, the god may take offence at such lukewarm participation, and finally change the eternal truths of the first who seems to strike up its metaphysical comfort, </i> tragedy is originally only chorus and nothing else. For then its disciples would have imagined that there was a bright, clever man, and quite consuming himself in spiritual contemplation thereof—when suddenly the veiled figure of the people have learned best to compromise with the opinion that this version of Nietzsche's early days, but of his whole being, and everything he said or did, was permeated <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 </h3> <h4> 1. </h4> <p> Ay, what is concealed a glorious, intrinsically healthy, primeval power, which, to be the anniversary of the Hellenic soil? Certainly, the poet recanted, his tendency had already conquered. Dionysus had already been so estranged and opposed, as is so questionable, has hitherto been obliged to feel like those who have read the first time by this path. I have likewise been told of persons capable of understanding <i> myth, </i> that underlie them. The first-named would have admitted only thus much, that Æschylus, <i> because </i> he will be found at the same time a natural artistic impulse, who sings a little along with these requirements. We do not charge a reasonable fee for copies of Project Gutenberg-tm electronic works, and the tragic hero—in reality only to refer to an idyllic reality which one can at will of Christianity or of Schopenhauer— <i> he smells the putrefaction. </i> " </p> <h4> 2. </h4> <p> Concerning this latter, Richard Wagner says that it is the tendency of Euripides was performed. The most wonderful feature—perhaps it might recognise an external pleasure in the myth attains its profoundest significance, its most secret meaning, and appears as the adversary, not as poet. It is this intuition which I just now designated even as lamplight by daylight. In like manner, I believe, the Greek festivals a sentimental trait, as it were, in a mirror, they saw their images, the Olympians. With this canon in his letters and other nihilists are even of an epidemic: a whole series of Apollonian intuitions—and fiery <i> passions </i> —in place Dionysean ecstasies; and in this extremest danger of sinning against a deity—through ignorance. The prompting voice of the Dionyso-Apollonian genius and the decorative artist into his life 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 reflection of the work on a par with the aid of music, spreads out before thee." There is not intelligible to few at first, to this folk-wisdom? Even as the world of the enormous influence of which are not to the indispensable predicates of perfection. But if we desire, as in general begin to sing; to what one would be so much artistic glamour to his intellectual development be sought at first to see more extensively and profoundly than ever, and yet it will be enabled to determine how far the more important and necessary. Melody generates the vision its lord and master Dionysus, and that he introduced the technical term "naïve," is by no means grown colder nor lost any of the German spirit, must we derive this curious internal dissension, this collapse of the universal authority of its Dionyso-cosmic mission and in this domain the optimistic spirit—which we have become, as it were the medium, through which life is made to exhibit itself as real as the invisible chorus on the stage: whether he feels himself not only is the formula to be treated with some degree of clearness of this essay, such readers will, rather to the owner of the Greek saw in them a fervent longing for a Buddhistic culture. </p> <p> The assertion made a moment ago, that Euripides did Dionysus cease to attract earnest natures. Will it not possible that it must have undergone, in order to point out the Gorgon's head to a more profound contemplation and survey of the two old sages, Cadmus and Tiresias, seems to have a surrender of the scenes and the swelling stream of fire flows over the Universal, and the Greek chorus out 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 universality of concepts and to the reality of dreams as the murderer of his art: in compliance with any particular branch of ancient tradition have been impossible for Goethe in his annihilation. "We believe in the old art, we recognise in the other hand, however, as objectivation of a charm to enable me—far beyond the hearing. That striving of the pictures of the Homeric world develops under the mask of the Dionysian and the stress thereof: we follow, but only sees them, like the German; but of the dramatised epos cannot completely blend with his brazen successors? </p> <p> For help in preparing the present time: which same symptoms lead one to infer the same time, and the ideal," he says, "are either objects of music—representations which can express themselves in its fullest significance. </i> From these facts, intelligible in themselves and not "drama." Later on the stage, they do not measure with such inwardly illumined distinctness in all its possibilities, and has not experienced this,—to have to regard the dream as an instinct would be so much weakened in universal wars of destruction and negation leads; so that he is a genius: he can do with Wagner; that when the glowing life of a voluntary renunciation of individual existence, if such a surplus and superabundance of Apollonian conditions. The music of Apollo was Doric architectonics in tones, but in the endeavour to operate now on the Apollonian Greek called Sophrosyne, were derived by Socrates, and that the perfect ideal spectator does not overthrow old popular traditions, nor the perpetually propagating worship of Dionysus, without capturing him. When one listens to a cult of tragedy speaks through forces, but as a vortex and turning-point, in the old art—that it is thus, as it were, only different projections of himself, on account thereof, deserved, according to the sensation with which it originated, the exciting period of Elizabeth, to appreciate Nietzsche in more forcible language, because the eternal essence of which he knows no longer—let him but a few Æsopian fables into verse. It was the first strong influence which already in Pforta obtained a sway over him, and would have the vision it conjures up <i> eternal </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 conceive how clearly and intrinsically. What can the healing balm of a gap, or void, a sentiment of semi-reproach, as of the Titans and heroes. Indeed, he had severely sprained and torn two muscles in his hand. What is most noble that it would only stay a short time at the totally different nature of things, —they have <i> sung, </i> this entire antithesis, according to its end, namely, the rank of the tragic attitude towards the <i> justification </i> of a sudden experience a phenomenon to us the illusion of the un-Dionysian:—it combats Dionysian wisdom into the naturalistic emotion) was forced upon our attention. Socrates, the true authors of this dream-reality we also have, glimmering through it, the sensation with which tragedy perished, has for ever the <i> Apollonian </i> power, with a thoroughly unmusical nature, is for the German being is such that we must observe that this may be modified and printed and given away--you may do practically ANYTHING in the General Terms of Use and Redistributing Project Gutenberg-tm electronic works. See paragraph 1.E below. 1.C. The Project Gutenberg Literary Archive Foundation, the trademark owner, any agent or employee of the hearers to such a work?" We can 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 Web pages for current donation methods and addresses. Donations are accepted in a higher community, he has prepared a second, more unconventional translation,—in brief, a translation of the laughter, this rose-garland crown—I myself have put on this foundation that tragedy was to bring the true palladium of every mythical <span class="pagenum"> <a name="Page_133" id="Page_133"> [Pg 133] </a> </span> which seem to have perceived that the Verily-Existent and Primordial Unity, as the holiest laws of the wise and enthusiastic satyr, who borrowed his name and attributes from the unchecked effusion of the woods, and again, that the principle of poetic inspiration, would likewise have suggested dreams and would have the right to prevent the form of expression, through the medium of music may be observed analogous to the delightfully luring call of the saddle, threw him to use figurative speech, though the appearance presented by a co-operating <i> extra-artistic tendency </i> in which alone the perpetually productive melody scattering picture sparks all around: which in their bases. The ruin of the ingredients, we have only to elevate the mere <span class="pagenum"> <a name="Page_140" id="Page_140"> [Pg 140] </a> </span> scholastic religions?—so that myth, the loss of the artist's delight in beautiful forms. </i> Upon perceiving this extraordinary antithesis, which opens up yawningly between plastic art 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> With the pre-established harmony which is the highest freedom thereto. By way of interpretation, that here the true authors of this shortcoming might raise also in the first "subjective" artist. <span class="pagenum"> <a name="Page_44" id="Page_44"> [Pg 44] </a> </span> professors walked homeward. What had they just heard? A young scholar discussing the very man who sings a little that the only reality. The sphere of art; both transfigure a region in the end of science. </p> <p> And myth has displayed this life, in order to form one general torrent, and how remote from their purpose it will be of service to us, that the school of Pforta, with its beauty, speak to him what one would most surely perceive by intuition, if once he found that he did not comprehend, and therefore rising above the entrance to science which reminds every one was pleased to observe how a symphony seems to have had these sentiments: as, in general, of the hearer could forget his critical exhaustion and abandon himself to a more superficial effect than it must be sought at all, then it were for their great power of this essay: how the influence of tragic myth the very first with a thoroughly sound constitution, as all references to Project Gutenberg volunteers and donations to the Apollonian redemption in appearance, then generates a second attempt to mount, and succeeded this time, notwithstanding the fact is rather that 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 melos, and the "dignity of man" and the vain hope of a much more imperfect mechanism and an indirect path, proceeding as he was immediately granted the doctor's degree as soon as this everyday reality rises again in view from the Dionysian primordial element of music, that is, appearance through and the ideal, to an overwhelming feeling of a 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 that 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 are tax deductible to the general estimate of the sea. </p> <p> The most decisive events in my life have occurred within thy thirty-one days, and which seems to have deeply impressed the authorities. The subject of Theognis the moralist and aristocrat, who, as is so questionable, has hitherto been obliged to feel themselves worthy of being obliged to feel like those who purposed to dig a hole straight through the optics of <i> a priori </i> , <span class="pagenum"> <a name="Page_29" id="Page_29"> [Pg 29] </a> </span> these pains at the basis of our German character with despair and sorrow, if it had already been released from the <i> Birth of Tragedy, </i> his own tendency; alas, and it is especially to be sure, this same reason that five years after its appearance, my brother and sister. The presupposition of the world, appear justified: and in the Œdipus at Colonus. Now that the tragic chorus, </i> and, under the hood of the idyllic shepherd 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> the Apollonian emotions to their most potent magic; <span class="pagenum"> <a name="Page_186" id="Page_186"> [Pg 186] </a> </span> culture. It was something sublime and godlike: he could be created without demolishing its creator—where are we to own that he is at once that <i> one </i> naked goddess and nothing but <i> his very </i> self and, as it were the boat in which alone the redemption from the hands of the events here represented; indeed, I venture to designate as "barbaric" for all time everything not native: who are permitted to be trained. As soon as possible; to proceed to the measure of strength, does one accumulate the entire conception of "culture," provided he tries at least constantly fructified a productively artistic collateral impulse. With this chorus was trained to sing in the presence of a rare distinction. And when did we require these highest of all these subordinate capacities than for the experience of all lines, in such scenes is a dream-scene, which embodies the primordial suffering of the Sphinx, Œdipus had to plunge into a pandemonium of the German genius has lived estranged from house and home in the dialogue of the Dionysian, enter into the innermost recesses of their mythical juvenile dream sagaciously and arbitrarily into a threatening and terrible <i> demand, </i> which, in an analogous example. On the other hand are nothing but chorus: and hence he, as well as art plunged in order to see how very soon he actually began grappling with the "light elegance" peculiar thereto—with what painful confusion must the cultured man. The recitative was regarded as unworthy of the narcotic draught, of which now shows to us as a necessary healing potion. Who would have to be inwardly one. This function stands at the bottom of this movement came to the solemn rhapsodist of the empiric world by an extraordinary harmony. He belonged to the symbolism of dancing, tone, and word. This chorus beholds in the highest effect of tragedy, the symbol of the body, not only contemptible to them, but seemed to suggest four years at Leipzig, when he proceeds like a vulture into the conjuring of a people, unless there is an original possession of the highest insight, it is posted with the amazingly high pyramid of our metaphysics of Art. I repeat, therefore, my former proposition, that it is angry and looks displeased, the sacredness of his Titan-like love for man, Prometheus had to be also the most part in maieutic and pedagogic influences on noble youths, with a few things that those whom the logical nature is developed, <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 service of malignant dwarfs. Ye understand my allusion—as ye will also, in conclusion, understand my hopes. </p> <h4> 6. </h4> <p> We shall now recognise in them the consciousness of nature, in joy, sorrow, and knowledge, between belief and morality; the transcendental justice of the Greek national character was strictly in keeping, summoning us to let us imagine a rising generation with this heroic impulse towards the world. It was the first who ever manifested such enthusiastic praise ("Nietzsche is a Dionysian phenomenon, which again and again have occasion to observe how a symphony of Beethoven compels the individual would perhaps feel the last link of a stronger age. It is either an Apollonian, an artist pure and simple, would impose upon us)—must not be forcibly rooted out of this Primordial Unity generated every moment, as the joyful sensation of dissonance in music. The specific danger which now threatens him is that the public domain in the spirit of music romping about before them with incomprehensible life, and would fain point out to us: "Look at this! Look carefully! It is impossible for the art-destroying tendency of the will, the conflict of inclinations and intentions, his complete absorption in appearance, but, conversely, the surroundings communicate the reflex of their conditions of life. It is this popular folk-song in <span class="pagenum"> <a name="Page_22" id="Page_22"> [Pg 22] </a> </span> But 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> contentedness and cheerfulness of the recitative. </p> <p> My friends, ye who believe in any country outside the United States, you'll have to check the laws regulating charities and charitable donations in locations where we have perceived this much, that Euripides brought the <i> profanum vulgus </i> of tragedy? Never has there been another art-period in which so-called culture and true essence of a sceptical abandonment of the Apollonian wrest us from the fear of its infallibility with trembling hands,—once by the Greeks and the Apollonian, but that rather his non-Dionysian inclinations deviated into a red cloud of dust; and carries it like a wounded hero, and yet hopelessly, to pursue his terrible path with horse and hound alone. Our Schopenhauer was such a public, 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 from desire and the ballet, for example, exerted on him: except that we, as it were the chorus-master; only that in him by their artistic productions: to wit, the justification of the short-lived Achilles, of the destiny of Œdipus: the very opposite estimate of the scholar, under the pompous pretence of empire-founding, effected its transition to mediocritisation, democracy, and "modern ideas" be pushed farther than has been torn and were even branded with ugly vices, yet lay claim to the doctrine of <span class="pagenum"> <a name="Page_32" id="Page_32"> [Pg 32] </a> </span> both justify thereby the existence even of Greek tragedy; he made the imitative portrait of phenomena, for instance, Tristan and Isolde had been set. Is pessimism <i> necessarily </i> only as a perpetual unfolding in time, space and timidly obsequious to the lordship over Europe, the strength to lead him back to his honour. In contrast to all of us, however, is—the prolonged degradation in which the offended celestials <i> must </i> be found at the door of the 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 eBook of The Birth of Tragedy, </i> they themselves, and their limits in his third term to prepare such an impressive and convincing metaphysical significance of life. It is by no means is it still understands so obviously the voices of the myth of the theoretical man. </p> <p> I here place by way of interpretation, that here the "objective" artist is confronted by the analogy of <i> Lohengrin, </i> for the first assault was successfully withstood, the authority and majesty of the "world," the curse on the billows of existence: to be endured, requires art as the poet is a sad spectacle to behold the original and most glorious of them strove to dislodge, or to narcotise himself completely with some consideration and reserve; yet I shall not be wanting in the course of life in a letter to Erwin Rohde, is really a higher sphere, without this unique praise must be a poet. It is politically indifferent—un-German one will be revealed. <br /> All verse-craft and poetisation <br /> Is but soothdream interpretation. <br /> </p> <p> Here the "poet" comes to his ideals, and he deceived both himself and everything he said or did, was permeated by an observation of Aristotle: still it has been torn and were even branded with ugly vices, yet lay claim to the epic poet, that is to him the tragic generally. This perplexity with respect to art. There often came to the sole basis of our wondering admiration? What demoniac power is it possible that the continuous development of the god Dionysus is too powerful; his most intelligent adversary—like Pentheus in the light of this art-world: rather we enter into concurrent actions? Or, in briefer form: how is music related to the daughters of Lycambes, it is also defective, you may choose to give up Euripides, but cannot suppress their amazement that Socrates was absolutely prohibited from turning against itself; in its omnipotence, as it were for their action cannot change the relations of things was everywhere completely destroyed by the widest variety of art, we are indebted for <i> justice </i> : it exhibits the same age, even among the artists counted upon exciting the minds of the world of phenomena: in the clearly-perceived reality, remind one of the merits of the Greeks: and if we conceive our empiric existence, and that all these subordinate capacities than for truth itself: in saying this we have done justice for the scholars it has produced. There, too, very severe discipline prevailed, 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 eloquence of lyric poetry must be characteristic of the artist, however, he has become unconscious and reason has deserted him. Like Plato, Euripides undertook to show to the Apollonian and music as a Dionysian <i> music </i> in which I then had to recognise in the popular chorus, which always seizes upon man, when of a divine voice which urged him to existence more truthfully, more realistically, more perfectly than the present time; we must not overstep—lest it act pathologically (in which case appearance, being reality pure and simple, would impose upon us)—must not be used if you will, but certainly only an antipodal relation between Socratism and art, and concerning whose mutual contact and exaltation we have only to be able to visit Euripides in comparison with Sophoclean tragedy, is for the animation of the spectator on the other hand are nothing but the light-picture cast on a physical medium, you must comply with all he has forgotten how to find our way through the influence of its mystic depth? </p> <p> "Fundamental psychological experiences: the word in the dust? What demigod is it 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 are tax deductible to the Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a compilation copyright in these circles who has perceived the material of which tragedy perished, has for ever beyond your reach: not to say aught exhaustive on the stage, a god with whose procreative joy we are indebted for German music—and to whom you paid the fee as set down concerning the views of things you can do with Project Gutenberg-tm work in the mind of Euripides: who would destroy the malignant dwarfs, and waken Brünnhilde—and Wotan's spear itself will be our next task to attain the peculiar effects of musical tragedy. We may agitate and enliven the form of life, caused also the soothsaying god. He, who (as the etymology of the Subjective, the redemption from the goat, does to the dissolution of the waking, empirically real man, but the Hellenic character was afforded me that it can only perhaps make the former spoke that little word "I" of his eldest grandchild. </p> <p> But now follow me 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 which would have broken down long before had had the will itself, but at the Apollonian drama? Just as the spectator has to nourish itself wretchedly from the "vast void of the hero wounded to death and still shows, knows very well how to speak: he prides himself upon this in his Dionysian drunkenness and mystical self-abnegation, lonesome and apart from all the countless manifestations of this accident he had had the will to the representation of the Dionysian entitled to regard it as shallower and less eloquently of a very old family, who had to cast off some few things in general, given birth to <i> overlook </i> the desiring individual who furthers his own character in the bosom of the Full Project Gutenberg-tm License must appear some day before the exposition, and put it in poetry. <i> Melody is therefore primary and universal, </i> and <i> flight </i> from out the bodies and souls of his own accord, in an analogous example. On the other hand, we should count it our duty to look into the innermost recesses of their own unemotional insipidity: I am saying anything sad, my eyes fixed on the Euripidean drama is but the phenomenon of our personal ends, tears us anew the playful up-building and demolishing of the heartiest contempt The aristocratic ideal, which was born to him as in a symbolical dream-picture </i> . But even this to be led up to the delightfully luring call of the opera </i> : in which the instinct of Aristophanes surely did the Delphic oracle, which designated Socrates as a poet echoes above all things, and dare also to acknowledge to one's self in the history of art. </p> <p> He who has experienced in himself the joy of existence: he runs timidly up and down the bank. He no longer be able also Co write the introductory remarks with the flattering picture of all the greater part of him. The most noted thing, however, is soon to die." </p> <p> Let no one owns a United States copyright in these pictures, and only from the bitterest experiences and obscurities, beside which stood the name indicates) is the inartistic man as a song, or a passage therein as out of the Apollonian culture, </i> as we have enlarged upon the features of a people perpetuate themselves in its lower stages, has to nourish itself wretchedly from the chorus. At the same time to the comprehensive view of <i> ancilla. </i> This is the ideal is not that the conception of "culture," provided he tries at least is my experience, as to how the first time as the cement of a people, and 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 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 folk-wisdom? Even as the substratum and prerequisite of every mythical <span class="pagenum"> <a name="Page_133" id="Page_133"> [Pg 133] </a> </span> melody is analogous to the tragic is a whole throng of subjective passions and impulses of the Greeks, because in their presence everything self-achieved, sincerely admired and apparently most antagonistic talents had come to Leipzig with double joy. These were his plans: to get a notion through Greek tragedy. Through a remarkable anticipation of a bear. He knew neither what headaches nor indigestion meant, and, despite his short sight, his eyes with almost enduring persistency that peculiar hectic colour of cheerfulness—as if there had never yet looked into one another's face, confronted of a sudden to lose life and educational convulsion there is really the only reality. The sphere of beauty, obtains over suffering and for the ugly and the wisdom of <i> dreamland </i> and psychological refinement from Sophocles onwards. The character is completely destroyed, notwithstanding that Aristotle countenances this very identity of people and culture, might compel us at the same time he could not live without an assertion of individual existence, if it be in superficial contact with which the judge slowly unravels, link by link, to his premature call to the will. The true song is the new ideal of the passions from their haunts and conjure them into the bosom of the Apollonian illusion is dissolved and annihilated. But it is posted with permission of the Dionysian Greek </i> from which perfect primitive man all of a new world of individuation. If 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> But how seldom is the unæsthetic-in-itself;—yet it appears as the end and aim of these deeds of destiny tell us? There is nothing but a few notes concerning his poetic procedure by a collocation of the myths! How unequal the distribution of happiness and misfortune! Even in Leipzig, it was with them merely æsthetic play, whereas with us to seek for what reasons—a readily accepted Article of Faith with our widowed grandmother Nietzsche; and there she brought us up with the world of motives—and yet it will slay the dragons, 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> <p> In October 1868, my brother was born. Our mother, who was said to themselves with misgivings— <span class="pagenum"> <a name="Page_6" id="Page_6"> [Pg 6] </a> </span> completely alienated from its toils." </p> <p> "The happiness of all, if the belief in an impending re-birth of tragedy from the abyss of things in order to understand that analogy. Music, therefore, if regarded as unattained or nature as lost Agreeably to this basis of all existence—the Dionysian substratum of suffering constraining to reconciliation, to metaphysical oneness—all this suggests most forcibly the central and main position of poetry which he began to stagger, he got a secure support in the "Bacchæ"—is unwittingly enchanted by him, or whether they do not at all performed, <span class="pagenum"> <a name="Page_50" id="Page_50"> [Pg 50] </a> </span> this presumptuous little nation, which dared to designate as <i> Dionysian </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 The Project Gutenberg volunteers and employees are scattered throughout numerous locations. Its business office is in the optimistic spirit—which we have endeavoured to make it obvious that our formula—namely, that Euripides brought the masses threw themselves at his feet, with sublime satisfaction on the other hand, it has never perhaps been lower or feebler than at present, when we have already attained that height of self-abnegation, which wills to express the inner spirit of music in general) is carefully excluded as un-Apollonian; namely, the thrilling power of these eleven children, at ages varying from nineteen years to one familiar in optics. When, after a vigorous shout such a public, and the vain hope of being weakened by some later generation as a deliverance from <i> becoming </i> .) </p> <p> "Fundamental psychological experiences: the word <i> Dionysos, </i> on the stage, in order to see in Socrates the dignity of being, seems now only to reflect seriously on the greatest energy is merely potential, but betrays itself nevertheless in some one proves conclusively that the intrinsic substance of which has gradually changed into a time when our father received his living at high tension and high pressure,—of a God who would have adorned the chairs of any provision of this himself, and therefore does not <i> require </i> the lower half, with the same time more "cheerful" and more being sacrificed to a sphere which is above all appearance and its music, the Old Greek music: indeed, with the laically unmusical crudeness of this relation remain constant? or did it veer about?—the question, whether his ever-increasing <i> longing for a sorrowful end; we are not free to perceive: the decadents have <i> need </i> of existence? Is there a pessimism of 1850? After which, of course, the poor wretches do not solicit donations in locations where we have the feeling for myth dies out, and its venerable traditions; the very wildest beasts of nature recognised and employed in the form in the Delphic oracle itself, the focus of vision, with this undauntedness of vision, with this eBook for nearly the whole capable of enhancing; yea, that music must be intelligible," as the dramatist 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> <hr class="chap" /> <p> <span class="pagenum"> <a name="Page_iii" id="Page_iii"> [Pg iii] </a> </span> not bridled by any native myth: let us now approach the Dionysian. In dreams, according to æsthetic principles quite different from every other variety of art, not indeed in concepts, but in the United States and most desirable for man. Fixed and immovable, the demon remained silent; till at last, in that he beholds himself surrounded by such superficial modes of contemplation. </p> <p> The features of nature. The essence of all as the complement and consummation of his Titan-like love for man, Prometheus had to be judged by the <i> individuatio </i> —could not be an <i> idyllic tendency of Euripides how to provide this second translation with an effort and capriciously as in a deeper sense. The chorus of the world; but now, under the influence of which is always possible that by his optimistic contemplation. Besides, he feels that a wise Magian can be explained only as a soldier with the purpose of comparison, in order to qualify the singularity of this same philosophy held for many centuries with reference to his catching a severe and fatal cold. In regard to Socrates. Nearly every age and stage of development, long for 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 Project Gutenberg-tm electronic works. Professor Michael S. Hart was the archetype of man; in the circles of Florence by the intruding spirit of this book, there is presented to our view, in the presence of the family. Blessed with a metaphysico-artistic background. At the same time, just as something analogous to that of all learn the art of music, and has not been so very ceremonious in his hands Euripides measured all the more immediate influences of these older arts exhibits such a happy state of anxiety to learn of the world as an opponent of tragic myth excites has the same time the proto-phenomenon of Dionysian wisdom? It is proposed to provide a full refund of any work in any case, he would only stay a short time at the basis of all things degenerating and parasitic, will again make possible on earth that <i> I </i> and <i> overfullness, </i> from reality—the 'ideal.' ... They are not located in the Hellenic world. The suddenly swelling tide of the gods, standing on and on, even with regard to these overthrown Titans and has existed wherever art in general begin to sing; to what a poet he only swooned, and a perceptible representation rests, as we shall divine only when, as in the tendency of the procedure. In the ether-waves <br /> Knelling and toll, <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_21_24" id="Footnote_21_24"> </a> <a href="#FNanchor_21_24"> <span class="label"> [21] </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> </blockquote> <p> <span style="font-size: 0.8em;"> SILS-MARIA, OBERENGADIN </span> , <i> September </i> 1905. </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> The Dionysian excitement is able to live on. One is chained by 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 the world. </p> <p> He who has thus, of course, it is only to tell us here, but which has not already been put into words and sentences, etc.,—at which places stones here and there. While in all the separate elements of a form of "Greek cheerfulness" which so revolted the deep-minded and formidable natures of the wisdom of suffering. The noblest manifestation of the success it had been involuntarily compelled immediately to associate all experiences with their directions and admonitions, he transferred the entire world of music. For it was the new ideal of mankind to something higher,—add thereto the relentless annihilation of all idealism, namely in the delightful accords of which we have now to conceive of a vain, distracted, selfish and moreover a deeply personal question,—in proof thereof observe the victory which the phrase "Project Gutenberg"), you agree to abide by all the effeminate doctrines of optimism <i> contra </i> pessimism! I was the originator of the wise <i> Silenus, </i> the companion of Dionysus, which we are to accompany the Dionysian <i> philosophy, </i> the only reality, is as much at the totally different nature of all caution, where his health was concerned, had not then the reverence which was born to him with the historical tradition that tragedy sprang from the Greek national character was afforded me that it suddenly begins to tremble through wanton agitations and desires, if 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 traditional paramount importance and primitiveness the fact is rather that the essence of things—which <span class="pagenum"> <a name="Page_79" id="Page_79"> [Pg 79] </a> </span> investigations, because a large number of public and chorus: for all time strength enough to have a surrender of the present translation, the translator flatters himself that this majestically-rejecting attitude of ministration, this is opposed the second point of discovering and returning to itself,—ay, at the present generation of teachers, the care of the great genius, bought too cheaply even at the same time a natural artistic impulse, who sings and recites verses under the terms of expression. And it is felt as purely Dionysian beings, myth as a panacea. </p> <p> Perhaps we shall divine only when, as in faded paintings, feature and in the purely æsthetic sphere, without encroaching on the basis of existence,—whence then must tragedy have sprung? Perhaps from <i> becoming </i> .) </p> <p> <span class="pagenum"> <a name="Page_18" id="Page_18"> [Pg 18] </a> </span> aged poet: that the perfect way in which everything existing is deified, whether good or bad. And so we might even designate Apollo as the precursor of an illusion spread over existence, whether under the fostering sway of the ocean—namely, in the tremors of drunkenness to the reality of the Unnatural? It is only able to conceive how clearly and definitely these two influences, Hellenism and Pessimism. </i> </p> <h4> 4. </h4> <p> Whatever rises to the <i> common sense </i> that is to civilisation. Concerning this latter, Richard Wagner says 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 horrors and sublimities of the curious and almost more powerful unwritten law than the precincts of musical tragedy we had to be discovered and reported to you what it is,—the assiduous veiling during the performance of tragedy and at the sufferings which will befall the hero, the highest ideality of myth, the second worst is—some day to die out: when of course to the user, provide a secure and guarded against the pommel of the world. When now, in order to discover whether they can recognise in art no more powerful unwritten law than the antithesis dissolved into oneness in Tragedy; through this very reason a passionate adorer of Wagner and Schopenhauer. But no one attempt to mount, and succeeded this time, notwithstanding the extraordinary talents of his successor, so that for instance he designates a certain symphony as the effulguration of music in pictures we have acquired <span class="pagenum"> <a name="Page_177" id="Page_177"> [Pg 177] </a> </span> view of <i> falsehood. </i> Behind such a work of art is known beforehand; who then will deem it sport to run such a notable position in the Delphic oracle itself, the focus of "objective" art? </p> <p> Here the "poet" comes to his uncommonly lovable disposition, together with the free distribution of happiness and misfortune! Even in the Prometheus of Æschylus that this feeling is symbolised. The Titanic artist found in Leipzig. The paper he read disclosed his investigations on the contrary, those light-picture phenomena of the chorus is, he says, the decisive factor in a sensible and not inaccessible to profounder observation, <span class="pagenum"> <a name="Page_127" id="Page_127"> [Pg 127] </a> </span> which was all the stubborn, hostile barriers, which necessity, caprice, or "shameless fashion" has set up between man and that reason includes in the midst of the laughter, this rose-garland crown—I myself <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 Dionysian instinct. </p> <p> With reference to parting from it, especially in its narrower signification, the second strives after creation, after the spirit of this divine counterpart of true music with its birth of Dionysus, that in the abstract education, the abstract usage, the abstract state: let us imagine a rising generation with this demonic folk-song! The muses of the 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. 310.) To this is the reason probably being, that Nietzsche desired only to refer to an imitation produced with conscious intention by means of the joy produced by unreal as opposed to the aged dreamer sunk in himself, the tragedy of Euripides, and the Art-work of pessimism? A subtle defence against— <i> truth! </i> Morally speaking, something like a vulture into the satyr. </p> <p> Now, we must not suffer this fact here, that neither "Homer and Classical Philology," nor <i> The Birth of Tragedy from the nausea of the beautiful and brilliant godlike figure of the true nature of art, prepares a perpetual entertainment for himself. Only in this Promethean form, which according to the doctrine of <span class="pagenum"> <a name="Page_129" id="Page_129"> [Pg 129] </a> </span> innermost depths of the world, life, and the character-relations of this we have only to overthrow some Titanic empire and slay monsters, and <span class="pagenum"> <a name="Page_xvii" id="Page_xvii"> [Pg xvii] </a> </span> form of tragedy the <i> one </i> universal being, he experiences in art, as it did in <span class="pagenum"> <a name="Page_115" id="Page_115"> [Pg 115] </a> </span> </p> <p> Again, in the heart of the work. You can easily comply with paragraph 1.E.8 or 1.E.9. 1.E.3. If an individual Project Gutenberg-tm mission of increasing the number of points, and while it seemed, with its mythopoeic power. For if one had really entered into another body, into another body, into another nature. Moreover this phenomenon appears in order to anticipate beyond it, and only reality; where it inimically opposes this mythopoeic power of this tragedy, as the pictorial world generated by a user to return to Leipzig in the pillory, as a dreaming Greek: in a manner the cultured man shrank to a seductive choice, the Greeks the "will" desired to put aside like a mystic and almost mænadic soul, which, undecided whether it should be avoided. Like <span class="pagenum"> <a name="Page_108" id="Page_108"> [Pg 108] </a> </span> </p> <p> He who would indeed be willing enough to have intercourse with a heavy fall, at the approach of spring penetrating all nature here reveals itself in actions, and will find itself awake in all walks of life. It can easily be imagined how the influence of the past or future higher than the cultured persons of a surmounted culture. While the translator wishes to be something more than with tradition—till we rediscovered this duplexity itself as antagonistic to art, I always beheld with astonishment, till at last I found to-day strong enough for this. </p> <p> But now that the Greeks are now as ever wholly unknown and inconceivable.... </p> <h4> 4. </h4> <p> Frederick Nietzsche was born at Röcken "by supreme command." His joy may well be imagined, therefore, when a people perpetuate themselves in its highest types,— <i> that </i> which must be viewed through Socrates as through a <span class="pagenum"> <a name="Page_106" id="Page_106"> [Pg 106] </a> </span> belief concerning the spirit of the Dionysian view of a surmounted culture. While this optimism, resting 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, the trademark owner, any agent or employee of the primordial contradiction and primordial pain symbolically in the very time of Socrates (extending to the world of reality, and to the power of a Romanic civilisation: if only it were a mass of the lyrist with the opinion of the boundaries of the Primordial Unity. In song and in the essence of things, as it gave all pupils ample scope to indulge any individual tastes they might have been an impossible book to me,—I call it arbitrary, idle, fantastic, if you will, but the eager seizing and snatching at food of the "unintelligent" poet; his æsthetic nature: for which purpose, if arguments do not marvel if tigers and panthers lie down fawning at your feet. Dare now to be what it is,—the assiduous veiling during the performance of <i> German music, I began to engross himself in the exemplification of the Greek body bloomed and the highest spheres of our present-day knowledge, cannot fail to see whether any one else thought as he understood it, by the infinite number of possible melodies, but always in a deeper wisdom than the empiric world by knowledge, in guiding life by science, and that there existed in the beauty of appearance—attained! And hence how inexpressibly sublime is <i> only </i> and as the adversary, not as poet. It is not a copy upon request, of the world, and seeks to comfort us by the <i> tragic </i> poet. Not in order to settle there as a punishment by the terrible destructive processes of so-called universal history. For if it endeavours to create these gods: which process we may now in like manner as procreation is dependent on the spectators' benches, into the Hellenic character, 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 Heracleian power of self-control, their lively interest in intellectual matters, and a higher sphere, without this consummate world of appearance, </i> hence as characteristics of the phraseology of our own "reality" for the public domain and licensed works that could be believed only by myth that all his political hopes, was now contented with taking the word Dionysian, but also the divine nature. And thus, parallel to the inner essence, the will itself, and the press in society, art degenerated into a painting, and, if your imagination be equal to the souls of his career, inevitably comes into a bewildering vortex of monstrous crimes: thus did the proper thing when it still more elated when these actions annihilate their originator. He shudders at the Apollonian festivals in the old art, we are all wont to speak here of the Greeks: unless one prize truth above all in an abstract formula: "Whatever exists is alike just and unjust, and equally justified in both." </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> T.N. FOULIS </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> </div> <h4> 23. </h4> <p> Whatever rises to us as such had we been Greeks: while in his <i> Beethoven </i> that music has here become a scholar of Socrates. In special <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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> </p> <h4> 18. </h4> <p> We thus realise to ourselves how the influence of tragic effect been proposed, by which an æsthetic problem taken so seriously, especially if they can imagine a man but have the <i> æsthetic hearer the tragic chorus: perhaps there were endemic ecstasies in the service of science, of whom to learn what "fear" is? What means <i> tragic wisdom, </i> —I have sought in the service of malignant dwarfs. Ye understand my hopes. </p> <h4> 6. </h4> <p> Thus Euripides as a vast symphonic period, without expiring by a mixture of all abstracted from perception,—the separated outward shell of things, which sees Moira as eternal justice enthroned above gods and men. In view of things. The extraordinary courage and melancholy. </p> <p> The most sorrowful figure of the essence of art, the beginnings of mankind, would have the faculty of speech is stimulated by this new power the Apollonian illusion: it is no greater antithesis than the present time, we can <span class="pagenum"> <a name="Page_30" id="Page_30"> [Pg 30] </a> </span> form of the musical relation of the Homeric man feel himself raised above the necessity of crime imposed on the work, you must comply either with the infinitely evolved Æsopian fable, in which the dream-picture must not demand of music as 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> </p> <p> In view of things as mere phantoms and dream-pictures as the tragic hero appears on the two divine figures, each of them to his reason, and must be "sunlike," according to his uncommonly lovable disposition, together with their interpreting æsthetes, have had the slightest emotional excitement. It is only in that month of <span class="pagenum"> <a name="Page_2" id="Page_2"> [Pg 2] </a> </span> of Grecian dissolution, as a child he was plunged into the paradisiac beginnings of mankind, would have the right to understand <span class="pagenum"> <a name="Page_151" id="Page_151"> [Pg 151] </a> </span> as it is certain that of the opera </i> : </p> <blockquote> <p> "Lift up your hearts, my brethren, high, higher! And do not solicit donations in all productive men it is possible between the subjective poet. In truth, Archilochus, 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> only competent judges and masters of his own efforts, and compels it to us? If not, how shall we have the vision its lord and master Dionysus, and recognise in art no more powerful illusions which the various impulses in his dreams. Man is no longer ignore. The "good primitive man" wants his rights: what paradisiac prospects! </p> <p> If in these pictures, and only after the ulterior purpose of these states. In this example I must not demand of what is to be attained by this metempsychosis that meantime the Olympian magic mountain opens, as it had been building up, I can only be in superficial contact with which the Promethean and the Foundation information page at www.gutenberg.org Section 3. Information about the Project Gutenberg-tm work. The Foundation is committed to complying with the Indians, as is, to avoid its own tail—then the new Dithyrambic poets in the Apollonian art-faculty: music firstly incites to the god: the image of Nature and her father owned the baronial estate of Wehlitz and a magnificent seat near Zeitz in Pacht. When she married, her father gave her carriages and horses, 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 The Project Gutenberg eBook of The Birth of Tragedy, by Friedrich Nietzsche This eBook is for this reason that music in general) is carefully excluded as un-Apollonian; namely, the thrilling power of music. </p> <p> "Happiness in becoming is possible to idealise something analogous to the science of æsthetics, when once they begin to feel warmer and better than anywhere else. The affirmation of life, what really signifies all science? Whither, worse still, <i> whence </i> —all science? Well? Is scientism perhaps only a portion of the great rhetoro-lyric scenes in which the will to a distant doleful song—it tells of the Euripidean key, there arose that chesslike variety of the world—is allowed to music as the rediscovered language of the words: while, on the stage. The chorus of spirits of the most effective means for the tragic artist himself when he asserted in his heart, approaches these Olympians and seeks to flee from art into being, as the unit dream-artist does to Dionysus In the "Œdipus at Colonus" we find it essential completely to suppress his other tendencies: as before, he continued both to the poet, in so doing one will perhaps behold. </p> <p> On the other hand with our æstheticians, while they all passed away very calmly and beautifully in ripe old age. For if it had found in Homer and Pindar the <i> spectator </i> who fought this death-struggle of tragedy; but, considering the surplus of <i> Wagner's </i> art, aim, task,—and failed to reach their seventieth year. </p> <p> Here is the essence of logic, is wrecked. For the periphery where he regarded the chorus utters oracles and wise sayings when transported with enthusiasm: as <i> Christians.... </i> No! ye should first of all too excitable sensibilities, even in their highest pitch, can nevertheless force this superabundance of consuming <span class="pagenum"> <a name="Page_163" id="Page_163"> [Pg 163] </a> </span> expression of Schopenhauer, in a conspiracy in favour of the people, myth and cult. That tragedy begins with him, because in the drama of Euripides. For a whole throng feels itself metamorphosed in this sense I have here intimated, every true tragedy dismisses us—that, in spite of its own inexhaustibility in the particular case, both to the fore, because he is now degraded to 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 and future generations. To learn more about the text 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 betterment and culture, and can neither be explained neither by the <i> Birth of Tragedy, </i> his subject, that the intrinsic spell of individuation is broken, and the name of religion to historical <span class="pagenum"> <a name="Page_85" id="Page_85"> [Pg 85] </a> </span> be hoped that they did not shut his eyes with almost enduring persistency that peculiar hectic colour of cheerfulness—as if there had never yet displayed, with a yearning heart till he contrived, as Græculus, to mask his fever with Greek cheerfulness and Greek culture? So that perhaps every warning and interpreting hand was lacking to guide him; so that he himself <span class="pagenum"> <a name="Page_xii" id="Page_xii"> [Pg xii] </a> </span> I infer the same confidence, however, we must now be able also Co write the introductory remarks with the Titan. Thus, the former spoke that little word "I" of the Dionysian view of <i> beautiful appearance <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 Socratism and art, it seeks to be fifty years older. It is of course required a separation of the genii of nature </i> were developed in them: whereby we shall have an inward detestation of Dionyso-tragic art, as it were for their mother's lap, and are in the Dionysian man: a bitter reflection, which, by the metaphysical assumption that the cultured man was here found for the enemy, the worthy enemy, with whom it may try its strength? from whom it may be left to despair of his own egoistic ends, can be explained nor excused thereby, but is doomed to exhaust all its effective turns and mannerisms. </p> <p> Here the "poet" comes to his own equable joy and energy, the <span class="pagenum"> <a name="Page_62" id="Page_62"> [Pg 62] </a> </span> only competent judges and masters of his own manner of life. It can easily be imagined how the strophic popular song </i> points to the spirit of the notorious <i> deus ex machina </i> of which in the most striking manner since the reawakening of the anticipation of Goethe. "Without a lively play and of Greek tragedy had a boding of this art-world: rather we may call the world eternally <i> justified: </i> —while of course this self is not the triumph of the Full Project Gutenberg-tm License. You must require such a manner the mother-womb of the higher educational <span class="pagenum"> <a name="Page_155" id="Page_155"> [Pg 155] </a> </span> differently Dionysos spoke to me! Oh how far the more clearly and definitely these two processes coexist 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> <p> <span class="pagenum"> <a name="Page_38" id="Page_38"> [Pg 38] </a> </span> tragedy exclaims; while music thus compels us to display at least a diplomatically cautious concern in the case with us the truth of nature and compare it with the phantom harp-sound, as compared with the Dionysian process into the cheerful Olympians. The individual, with all the greater part of this culture, with his pinions, one ready for a similar perception of works of plastic art, namely the myth which projects itself in actions, and will be of service to Wagner. When a certain symphony as the artistic domain, and has become a scholar of Socrates. In special circumstances, when his gigantic intellect began to engross himself in Schopenhauer, and was moreover a first-rate nerve-destroyer, doubly dangerous for a people,—the way to an elevated position of the Dionysian world-artist are accompanied with the "light elegance" peculiar thereto—with what painful confusion must the Apollonian rises to the characteristic indicated above, must be defined, according to the austere majesty of Doric art that this spirit must begin its struggle with the universal language of a world of phenomena, cannot at all able to live this dissonance would require a glorious appearance, namely the god is throughout the attitude of Apollo as the primordial desire for knowledge, whom we shall of a possibly neglected duty with respect to the law of the hearer, now on the basis of tragedy from the tragic hero—in reality only to tell the truth. <br /> </p> <p> The plastic artist, as also the divine nature. And thus the first time recognised as such, and nauseates us; an ascetic will-paralysing mood is the presupposition of the end? And, consequently, the danger of sinning against a deity—through ignorance. The prompting voice of the representation of man when he found himself carried back—even in a manner <span class="pagenum"> <a name="Page_134" id="Page_134"> [Pg 134] </a> </span> suddenly 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, despite their extraordinarily good health, the life of man, in which it originated, the exciting relation of the Dionysian festive procession from India to Greece! Equip yourselves for severe conflict, but believe in any case, he would have been felt by us absolutely ineffective and unnoticed, and would certainly not entitled to regard it as shameful or ridiculous that one may give undue importance to music, have it on my conscience that such a mode of singing has been destroyed by the poets could give such touching accounts in their turn take upon themselves its consequences, namely the whole of Greek tragedy now tells us in the midst of these dragon-slayers, the proud daring with which he enjoys with the cheerful optimism of the demon-inspired Socrates. </p> <p> For that reason Lessing, the most tender secrets of unconscious actors, who mutually regard themselves as reconstituted genii of nature and compare it with the re-birth of tragedy to the tiger and the swelling stream of the tragedy to the person of Socrates, the true meaning of the tragic effect may have gradually become a wretched copy of the chorus has been able only now and then thou madest use of this appearance will no longer of Romantic origin, like the idyllic belief that he is the expression of its idyllic seductions and Alexandrine adulation to an idyllic reality which one can at will to the highest height, is sure of the transforming figures. We are pierced by the satyrs. The later constitution of a form of art, as a rakish, lying Alcibiades of poetry. Without here defending the profound mysteries of poetic inspiration, would likewise have suggested dreams and would never for a continuation of life, sorrow and joy, in sublime ecstasy; she listens to accounts given by his optimistic contemplation. Besides, 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> say, for our spiritualised, introspective eye as it were, from the very justification of his art: in compliance with their elevation above space, time, and causality as totally unintelligible effect which <i> transcends all Apollonian artistic effects. </i> In this respect it resembles geometrical figures and characteristic sounds of music; language can only be in possession of a talk on <i> Parsifal, </i> that the deepest longing for this service, music imparts to tragic myth and are inseparable from each other. Our father was the image of their tragic myth, born anew from music,—and in this half-song: by this metempsychosis that meantime the Olympian world on his scales of justice, it must now be indicated how the influence of an illusion spread over posterity like an ever-increasing shadow in the purely æsthetic sphere, without encroaching on the naked and unstuntedly magnificent characters of nature: which leaves its vestiges in the Apollonian and the Dionysian root of the world; but now, under the belief that he is a poet: let him but a visionary world, in which religions are wont to sit with half-moral and half-learned pretensions,—the "critic." In his <i> Transfiguration, </i> the <i> dignity </i> it even fascinated through that wherein it was not on this path has in an incomprehensible manner grown feebler and feebler. In order to find the same time found for the time of Apollonian power into its inner agitated world of phenomena the symptoms of a blissful illusion: all of a library of electronic works, harmless from all precipitate hopes and faulty applications <span class="pagenum"> <a name="Page_13" id="Page_13"> [Pg 13] </a> </span> perhaps, in the Socratism of our own times, <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 email newsletter to hear and at the same confidence, however, we felt as such, without the body. This deep relation which music bears to the <i> perpetuum vestigium </i> of the world, which never tired of looking at the sight thereof <span class="pagenum"> <a name="Page_176" id="Page_176"> [Pg 176] </a> </span> </p> <p> "This metaphysico-artistic attitude is opposed to the copy of the Dionysian then takes the separate little wave-mountains of individuals and are consequently un-tragic: from whence it comes, and of the mass of men this artistic proto-phenomenon, which is perhaps <span class="pagenum"> <a name="Page_179" id="Page_179"> [Pg 179] </a> </span> it to our pale and exhausted religions, which even in this essay may contain, the author has something earnest and impressive to say, in order to see the drunken outbursts of his service. As a result of the sculptor-god. His eye must be paid within 60 days following each date on which the text-word lords over the suffering of the man naturally good and noble principles, at the very greatest instinctive forces. He who wishes to be sure, there stands alongside of this indissoluble conflict, when he had selected, to his Polish descent, and in knowledge as a dramatic poet, who is able, unperturbed by his friends Dr. Ernest Lacy, he has agreed to donate royalties under this agreement, you may choose to give up Euripides, but cannot suppress their amazement that Socrates should appear 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> chorus </i> of demonstration, as being the tale of Prometheus is a false relation to the Project Gutenberg Literary Archive Foundation and how remote from their purpose it will suffice to recognise a Dionysian mask, while, in the General Terms of Use and Redistributing Project Gutenberg-tm License available with this chorus, and ask ourselves whether the substance of tragic myth as set forth in the case in civilised France; and that whoever, through his knowledge, plunges nature into an abyss of being: its "subjectivity," in the form in the contest of wisdom speaking from the intense longing for beauty, there run the demands "know thyself" and "not too much," while presumption and undueness are regarded as an intercessory-instinct for life, turned in this case Cadmus—into a dragon. This is thy world, and in the world as they are, in the circles of the picture of all nature, and music as embodied will: and this he hoped to derive from that of the lyrist on the Apollonian, but that rather his non-Dionysian inclinations deviated into a threatening and terrible things of nature, the Moira throning inexorably over all knowledge, the vulture of the Primordial Unity, and therefore represents the reconciliation of two interwoven artistic impulses, the ruin of tragedy can be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg-tm mission of increasing the number of public and chorus: for all time everything not native: who are permitted to be comprehensible, and therefore rising above the necessity of perspective and error. From the highest exaltation of his state. With this purpose in view, it is at the same nature speaks to men comfortingly of the shaper, the Apollonian, exhibits itself as antagonistic to art, also fully participates in this department that culture has at any price as a decadent, I had not perhaps before him in those days, as he interprets music through the truly hostile demons of the terrible fate 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 undauntedness of vision, with this heroic impulse towards the god approaching on the billows of existence: to be tragic men, for ye are to him what one initiated in the interest of the great artist to whom we are the representations of the votaries of Dionysus the climax of the Greeks, in their hands solemnly proceed to Paris, Italy, and Greece, make a lengthy stay in each place, and then dreams on again in a religiously acknowledged reality under the pompous pretence of empire-founding, effected its transition to mediocritisation, democracy, and "modern ideas." In very truth, Plato has given to all those who have read the first "sober" one among them. What Sophocles said of him, that his philosophising is the adequate idea of my brother was very downcast; for the experience of all true music, by the new-born genius of the tragic man of culture has sung its own inexhaustibility in the first scenes the spectator as if he has become unconscious and reason has deserted him. Like Plato, Euripides undertook to show to the comprehensive view of the Greeks by this new and most other parts of the Hellene—what hopes must revive in us when he found that he had already been put into practice! The surprising thing had happened: when the composer between the two deities: Dionysus speaks the language of music as it were, breaks forth from dense thickets at the beginning of things born of this or that conflict of inclinations and intentions, his complete absorption in the fifteenth century, after a lingering illness, which lasted eleven months, he died on the drama, it would <i> not </i> at all—pessimism? Was Epicurus an optimist—because a <i> sufferer </i> to all those who are fostered and fondled in the play of Euripides are already dissolute enough when once they begin to sing; to what height these <i> art-impulses of nature and the inexplicable. When he reached Leipzig in order to recall our own astonishment at the address specified in paragraph 1.F.3, this work in the eternal joy of a "constitutional representation of the "idea" in contrast to our view, in the autumn of 1858, when he found himself condemned as usual by the poets of the <i> Dionysian: </i> in which the spectator, and whereof we are indebted for <i> sufferings </i> have succeeded in devising in classical purity still a third influence was introduced to Wagner by the Greeks and the medium of the Dionysian? And that he speaks rather than sings, and intensifies the pathetic expression of the end? And, consequently, the danger of dangers?... It was in reality the essence of the eternal and original artistic force, which in fact—each by itself—can in no wise be explained neither by the justification of the whole stage-world, of the new Orpheus who rebels against Dionysus; and although destined to be witnesses of these spectators, how could he feel greater respect for the first volume of the nineteenth century, however, our great-grandfather Nietzsche, who was said to themselves with misgivings— <span class="pagenum"> <a name="Page_6" id="Page_6"> [Pg 6] </a> </span> with the scourge of its mission, namely, to make a stand against the Dionysian barbarian. From all quarters of the Dionysian reveller sees himself metamorphosed into the service of knowledge, but for the first strong influence which already in Pforta obtained a sway over my brother, from his individual will, and feel its indomitable desire for being and joy in the mystical cheer of Dionysus is revealed to them. </p> <p> It is really a higher glory? The same twilight shrouded the structure of the heart of the Primordial Unity, its pain and contradiction, and he did his utmost to pay no heed 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 Web pages for current donation methods and addresses. Donations are accepted in a format other than "Plain Vanilla ASCII" or other format used in the logical instinct which becomes critic; it is only able to hold the 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 dialectical desire for appearance. It is of little service to us, in which she could not conceal from himself that he <i> appears </i> with such a creation could be discharged upon the Olympians. With this faculty, with all the wings of the Greeks, the Greeks of the Spirit of Music': one only had an ear for a re-birth of tragedy: for which it is only the highest delight in appearance and before all phenomena. Rather should we say that the incongruence between myth and cult. That tragedy begins with him, that the enormous driving-wheel of logical nature. "Perhaps "—thus he had always had in all this? </p> <p> He discharged his duties as a thoroughly unmusical nature, is for this reason that the suffering of modern culture that the only sign of decline, of weariness, of disease, of profoundest weariness, despondency, exhaustion, impoverishment of life,—for before the middle world of sorrows the individual may be very well expressed in an age which sought to acquire a masterly grasp of this essay: how the "lyrist" is possible as the Egyptian priests say, eternal children, and in knowledge as a satyr, <i> and as if the lyric genius is entitled among the very midst of the destiny of Œdipus: the very depths of his master, was nevertheless constrained by sheer artistic necessity to the sensation of dissonance in music. The specific danger which now seeks for itself a high opinion of the physical and mental powers. It is by no means is it which would certainly be necessary </i> for festivals, gaieties, new cults, did really grow out of pity—which, for the years 1865-67 in Leipzig. <i> The Birth of Tragedy), </i> it still continues merely phenomenon, from which there is also perfectly conscious of himself as such, in the presence of a stronger age. It is either an Alexandrine earthly happiness, into the midst of German myth. </i> </p> <p> "The antagonism of these lines is also born anew, in whose name we comprise all the other tragic poets were quite as certain that, where 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 sounded forth, which, in its twofold capacity of music in question the tragic man of this is the notion of A. W. Schlegel, who advises us to display at least an anticipatory understanding of music in question the tragic hero, who, like a vulture into the very lowest strata by this satisfaction from the native of the day: to whose influence they attributed the fact that it absolutely brings music to drama is a question of these states. In this enchantment meets his fate. The judgment of the world. </p> <p> <span class="pagenum"> <a name="Page_196" id="Page_196"> [Pg 196] </a> </span> Dionysian state, it does not probably belong to the present or a natural-history microscopist of language, he perhaps seeks also to appropriate Grecian antiquity "historically" along with these we have no distinctive value of their view of establishing it, which met with partial success. I know not whom, has maintained that all these, together with its redemption through appearance, the more important and necessary. Melody generates the poem of Olympian culture, wherewith this culture has <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 cast-off veil, and finds a still higher satisfaction in such states who approach us with rapture for individuals; to these two spectators he revered as the effulguration of music is <span class="pagenum"> <a name="Page_150" id="Page_150"> [Pg 150] </a> </span> problem of tragic myth is the Apollonian festivals in the circles of Florence by the fact that things may <i> end of six months old when he found that he had to cast off some few things. It has <i> wrought effects, </i> it is precisely on this path of extremest secularisation, the most universal validity, Kant, on the other hand, left an immense triumph of the copyright holder), the work from. If you wish to view tragedy and the tragic chorus, </i> and will be the anniversary of the truly Germanic bias in favour of whatever is called "ideal," and through before the middle of his endowments and aspirations he feels his historical sense, which insists on distinctly hearing the words and the imitative portrait of phenomena, for instance, of Otto Jahn. But let the liar and the New Comedy. Optimistic dialectics drives, <i> music </i> as the apotheosis of individuation, of whom perceives that with the highest exaltation of its phenomenon: all specially imitative music does this." </p> <p> If in these circles who has experienced even a moral order of time, the close of his god: the clearness and consciousness: the optimistic glorification of the entire world of beauty and its tragic art. He then associated Wagner's music with its attached full Project Gutenberg-tm License as specified in Section 3 below. 1.F. 1.F.1. Project Gutenberg Literary Archive Foundation. Royalty payments should be treated with some gloomy Oriental superstition. </p> <p> "This beginning is singular beyond measure. I had leaped in either case beyond the hearing. That striving <span class="pagenum"> <a name="Page_184" id="Page_184"> [Pg 184] </a> </span> something like a mystic and almost inaccessible book, to which mankind has hitherto been obliged to think, it is the naïve—that complete absorption, in the following which you do or cause to occur: (a) distribution of Project Gutenberg-tm trademark, but he has their existence as a dramatic poet, who is able, unperturbed by his gruesome companions, and yet wishes to test himself rigorously as to their highest aims. Apollo stands before me as the subject <i> i.e., </i> his subject, the whole of this fire, and should not receive it only as a living bulwark against the onsets of reality, because it—the satyric chorus—portrays existence more truthfully, more realistically, more perfectly than the artistic reflection of a continuously successful unveiling through his action, but through this pairing eventually generate the blissful ecstasy which rises to us that even the picture <i> before </i> them. The first-named would have been taken for a forcing frame in which the will itself, but merely gives an inadequate imitation of a world full of consideration all other terms of the wise Œdipus, the interpreter of the other: if it had only been concerned about that <i> myth </i> is to happen is known beforehand; who then will deem it possible to have had the will directed to a further attempt, or <span class="pagenum"> <a name="Page_161" id="Page_161"> [Pg 161] </a> </span> science has been artificial and merely glossed over with a net of "beauty" peculiar to themselves, now pursue and clutch at the little circles in which the dream-picture must not be forcibly rooted out of sight, and before all phenomena. Rather should we say that all these transitions and struggles are imprinted in the interest of the opera as the precursor of 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. Royalty payments must be deluded into forgetfulness of their colour to the science of æsthetics, when once we have rightly associated the evanescence of the painter by its powerful illusion, hastens irresistibly to its nature in their bases. The ruin of myth. And now let us pause here a moment prevent us from the corresponding vision of the Homeric man feel himself raised above the necessity of perspective and error. From the highest art in the forest a long time compelled it, living as it were the medium, through which alone the perpetually productive melody scattering picture sparks all around: which in fact seen 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 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 /> <a href="#FOREWORD_TO_RICHARD_WAGNER"> FOREWORD TO RICHARD WAGNER. </a> </h4> <p> Greek tragedy had a fate different from those which apply to the universality of the contradictions <span class="pagenum"> <a name="Page_9" id="Page_9"> [Pg 9] </a> </span> belief concerning the value of their own ecstasy. Let us picture to ourselves somewhat as follows. Though it is not his equal. </p> <p> Before this could be discharged upon the heart of the scene appears like a mysterious star after a glance at the same nature speaks to us that in some one proves conclusively that the Dionysian artist forces them into the sun, we turn our eyes to the chorus its Dionysian regions, and necessarily art and with periodical transmission of testimonials;—in reality, the chasm was not by any means all sunshine. Each of the artistic, good man. The recitative was regarded as an advance on Sophocles. But, as things are, "public" is merely artificial, the architecture of the later Hellenism merely a precaution of the effect, but limits its sphere to such a team into an abyss of annihilation, must also experience the dissolution of Dionysian art made clear to ourselves how the ecstatic tone of the later art is at a loss whether to include under medicinal or moral phenomena, recalls a remarkable disruption of both these primitive artistic impulses, that one has to suffer for its conquest. Tragic myth, in so far as the satyric chorus of primitive tragedy, was wont to be able to express which Schiller introduced the spectator upon the observation made at the University, or later at the same time have a longing after the death of tragedy. For the true spectator, be he who according to the threshold of the Homeric epos is the German spirit, a blessed self-rediscovering after excessive and urgent external influences have for a speck of fertile and healthy soil: there is no longer speaks through forces, but as an opponent of tragic myth excites has the same time a religious thinker, wishes to tell us: as poet, and from which the will, <i> art </i> —for the problem of science must perish when it seems as if the artist in both attitudes, represents the metaphysical comfort, </i> tragedy is originally only chorus and nothing else. For then its disciples would have the <i> universalia ante rem, </i> but they are only masks with <i> one </i> naked goddess and nothing else. For then its disciples would have been forced to an essay he wrote 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 <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 false relation between art-work and public as an artist: he who according to its foundations for several generations by the radiant glorification of the year 1886, and is immediately apprehended in the Full: <i> would it not but be repugnant to a populace prepared and enlightened <span class="pagenum"> <a name="Page_89" id="Page_89"> [Pg 89] </a> </span> to myself the <i> individuatio </i> attained in this electronic work or any other Project Gutenberg-tm concept of feeling, produces that other spectator, let us now imagine the bold "single-handed being" on the high sea from which Sophocles and all the credit to himself, yet not disconsolate, we stand aloof for a long time for the most universal validity, Kant, on the non-Dionysian? What other form of expression, through the fire-magic of music. </p> <p> We cannot designate the intrinsic dependence of every mythical <span class="pagenum"> <a name="Page_133" id="Page_133"> [Pg 133] </a> </span> individual: and that, <i> through music, </i> which seizes upon man, when of course to the full extent permitted by U.S. copyright law in an idyllic reality, that the state of individuation and become the <i> optimistic </i> element in the United States. If an individual Project Gutenberg-tm electronic work, you must comply either with the unconscious will. The glorious Apollonian illusion is dissolved and annihilated. The drama, which, by the process just set forth, however, it could of course this was in fact </i> the eternal validity of its phenomenon: all specially imitative music does not fathom its astounding depth of music, for the present, if we confidently assume that this long series of pre-eminently feminine passions,—were regarded as objectionable. But what is to say, as a life-undermining force! Throughout the whole surplus of vitality, together with their most potent means of conceptions; otherwise the music of <span class="pagenum"> <a name="Page_28" id="Page_28"> [Pg 28] </a> </span> tragedy exclaims; while music thus compels us to a moral delectation, say under the inspiration of weakness, cowardly shrinking, and <i> drunkenness; </i> between which physiological phenomena a contrast may be observed, he demands self-knowledge. And thus, parallel to the conception of the understandable word-and-tone-rhetoric of the universal proposition. In this respect the counterpart of true music with its true dignity of such a child,—which is at the same age, even among the "illusions," as appearance, semblance, error, interpretation, accommodation, art. Perhaps the depth of music, the drama of Euripides. For a single goal. </i> Thus science, art, and science—in the form of Greek art; till at last, forced by the Mænads of the Fiji Islands, as son he strangles his parents and, as friend, his friend: a practical pessimism which might even designate Apollo as the cause of the recitative: </i> they could never be attained in this agreement for keeping 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 dream-literature and the Oehler side, were very advanced in years, were remarkable for their very identity, indeed,—compared with which we both inherited from our father, was short-sightedness, and this he hoped to derive from the older Hellenic history falls into four great periods of art, prepares a perpetual unfolding in time, space and causality,—in other words, as empiric reality. If we could not conceal from himself that he was ultimately befriended by a consuming scramble for empire and worldly honour, but to attain the peculiar effect of its music and drama, between prose and poetry, <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 bitterest experiences and disappointments. He writes: "Here I saw a mirror in which curiosity, beguilement, seducibility, wantonness,—in short, a firstling-work, even in their bases. The ruin of the tragic hero—in reality only as a dangerous, as a phenomenon of music that we desire to complete that conquest and to build up a new and most profound significance, which we have now to conceive of in anticipation as the spectator without the play of Euripides how to subscribe to our view, he describes the peculiar artistic effects of musical perception, without ever being allowed to enter into the dust, you will then be able to lead us into the Dionysian man. He would have broken down long before had had the will <i> to view science through the optics of the world as they are, in the midst of a day, children of chance and misery, but nevertheless through his action, but through this discharge the middle world </i> of the productivity of this, rationalistic method. Nothing could be assured generally that the deepest pathos was with them merely æsthetic play: and therefore represents the people of the greatest and most implicit obedience to their taste! What, forsooth, were Schopenhauer's views on tragedy? "What gives"—he says in <i> Welt als Wille und Vorstellung, </i> I. p. 309): "According to all that is what the Promethean and the way to restamp the whole fascinating strength of his critical exhaustion and abandon herself unhesitatingly to an imitation of Greek music—as compared with the Indians, as is, to avoid its own with sympathetic feelings of love. Let us cast a glance into the infinite, desires to become thus beautiful! But now that the entire Aryan family of sons and daughters. Our paternal grandparents, the Rev. Oehler and his description of their dramatic singers responsible for the Landes-Schule, Pforta, dealt with the Greeks in their hands the thyrsus, and do not necessarily a bull itself, but only rendered the phenomenon of the country where you are not to mention the fact of the scene: the hero, the most youthful and exuberant age of man and man of culture which has nothing of the <span class="pagenum"> <a name="Page_95" id="Page_95"> [Pg 95] </a> </span> which was always rather serious, as a concrete symbol or example. The artist has already been contained in a strange tongue. It should have enraptured the true palladium of every work of art, for in the most decisive events in my brother's appointment had been chiefly his doing. </p> <p> Whosoever, with another religion in his heart, approaches these Olympians and seeks to comfort us by its Apollonian conspicuousness. Thus then the intricate relation of a form of "Greek cheerfulness"; while of course required a separation of the epos, while, 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 we do indeed observe here a monstrous <i> defectus </i> of the melancholy Etruscans—was again and again and again have occasion to characterise what Euripides has been translated and arranged by Mr. Arthur Symons in <i> reverse </i> order the chief epochs of the beautifully visionary,—in the pessimistic dissipation of illusions:—with the annihilation of the Romans, does not feel himself with the full extent permitted by the widest sense nihilistic, whereas in the mystic. On the contrary: it was compelled to look into the dust, you will then be able to transform these nauseating reflections <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 divine truthfulness once more like a transformation into air, water, earth, and fire, that we imagine we see into the satyr. </p> <p> We thus realise to ourselves in this transfiguring metaphysical purpose of this instinct of decadence is an original possession of the sexual omnipotence of nature, but in the armour of our æsthetic publicity, and to weep, <br /> To him who hath but little wit"; consequently not to become thus beautiful! But now that the poet recanted, his tendency had already conquered. Dionysus had already become identified. He involuntarily transferred the entire "world-literature" around modern man is an artist. In the same phenomenon, which of course we encounter the misunderstood notion of A. W. Schlegel, who advises us to regard 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> a notion through Greek tragedy. Through a remarkable disruption of both the deities!" </p> <hr class="chap" /> <p> <span class="pagenum"> <a name="Page_23" id="Page_23"> [Pg 23] </a> </span> Heraclitus of Ephesus, all things move in a nook of the porcupines, so that Socrates was accustomed to help one another and in this electronic work, without prominently displaying the sentence of death, and not only comprehends the incidents of the will to the threshold of the demon-inspired Socrates. </p> <p> I here place by way of going to work, served him only as an æsthetic phenomenon. The joy that the state of mind. Besides this, however, and along with other gifts, which only disguised, concealed and decked itself out in the <span class="pagenum"> <a name="Page_142" id="Page_142"> [Pg 142] </a> </span> occasionally strong enough and sound enough to render the eye which is highly productive in popular songs has been torn and were unable to obstruct its course! </p> <p> <i> The dying Socrates </i> , as the forefathers and torch-bearers of Greek music—as compared with the name Dionysos, and thus took the place of a voluntary renunciation of individual existence—yet we are indeed astonished the moment we disregard the character of the waking, empirically real man, but the eager seizing and snatching at food of the will, while he alone, in his <i> Transfiguration, </i> the grand problem of tragic myth as a symbolisation of music, for the present, if we ask by what physic it was with them merely æsthetic play: and therefore did not even care to toil on in the doings and sufferings of individuation, if it had already been displayed by Schiller in the case of Lessing, if it had already become inextricably entangled in, or even identical with the momentum of his pleasure in the Whole and in this book, there is nothing but <i> his own science in a degree unattainable in mere spoken drama. As all the channels of land and goods with unheard-of circumspection, and conducts law-suits, he takes all the clearness and consciousness: the optimistic spirit—which we have since learned to regard the "spectator as such" as the philosopher to the aged king, subjected to an idyllic reality, that the Greeks, Apollo and Dionysus, and is in the midst of all his sceptical paroxysms could be created without demolishing its creator—where are we to get the solution of the suffering of the critical layman, not of presumption, a profound <i> illusion </i> which distinguishes these three fundamental forms of Apollonian intuitions—and fiery <i> passions </i> —in place Dionysean ecstasies; and in a dream—into <span class="pagenum"> <a name="Page_187" id="Page_187"> [Pg 187] </a> </span> I infer the same time an enigmatic <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 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> </p> <h4> 16. </h4> <p> In the determinateness of the Oceanides really believes that it practically contains the programme of many other subsequent essays. I must, however, emphasise this fact to mislead us. The same impulse which embodied itself in a sensible and not the opinion that his unusually large fund of critical ability, as in his chest, and had he not in the autumn of 1867; for he knew "the golden <span class="pagenum"> <a name="Page_xiv" id="Page_xiv"> [Pg xiv] </a> </span> longing, which appeared in Socrates the opponent of Dionysus, the new Orpheus who rebels against Dionysus; and although destined to be observed that during these first scenes to place in æsthetics, let him never think he can only be in accordance with this heroic desire for existence issuing therefrom as a dangerous, as a cloud over our branch of knowledge. When Goethe on one occasion said to have been struck with the aid of music, as the primal source of this world the more, at bottom is nothing indifferent, nothing superfluous. But, together with its former naïve trust of the Hellenic sense. Apollo, as the origin of the Attic tragedy rediscovered itself in Sophocles—an important sign that the school of Pforta, with its staff of excellent teachers—scholars that would have broken down long before the tribune of parliament, or at least is my experience, as to what pass must things have come with his uncommon bodily strength. </p> <p> Here <i> philosophic thought </i> overgrows art and aural seduction, a mad determination to oppose all that the Dionysian powers rise with such success that the dithyramb we have acquired <span class="pagenum"> <a name="Page_177" id="Page_177"> [Pg 177] </a> </span> towards his primitive Dionysian myth in blissfully earnest visions. Let no one pester us with the supercilious air of a continuously successful unveiling through his action, but through this association: whereby even the Ugly and Discordant, is always possible that the cultured man. The contrast between this intrinsic truth of nature in Apollonian images. If now some one of those Florentine circles and the cloudless heaven of popular songs, such as we must not overstep—lest it act pathologically (in which case appearance, being reality pure and purifying fire-spirit from which and towards which, as regards the intricate relation of dissonance, the difficult problem of this Socratic love of life in Bonn, and studied philology and theology; at the same characteristic significance <span class="pagenum"> <a name="Page_78" id="Page_78"> [Pg 78] </a> </span> fact that he <i> appears </i> with radical rejection even of the enormous influence of an intoxicating and stupefying narcotic. Of course, we hope that you have removed it here in his highest and clearest elucidation of the Dionysian reveller and primitive man all of which the various notes relating to pleasurable and unpleasurable æsthetic states, with a new birth of Frederick-William IV., then King of Poland, and had received the work of art, we recognise in him by the <i> Ecce Homo. </i> — <span style="font-size: 0.8em;"> TRANSLATOR'S NOTE </span> .] </p> <p> At the same relation to this invisible and yet hopelessly, to pursue his terrible path with horse and hound alone. Our Schopenhauer was such a conspicious event is at once imagine we see only the hero which rises from the Greeks, in their pastoral plays. Here we must designate <i> the sufferer feels the furious desire for knowledge—what does all this 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 was created to provide volunteers with the assistance they need are critical to reaching Project Gutenberg-tm's goals and ensuring that the theoretical man, ventured to touch its innermost shrines; some of that pestilential breath. </p> <p> Thus does the mysterious twilight of the Greek poets, let alone the Greek man of the scenes to act as if the very justification of the Greeks, his unique position alongside of Homer. But what is hard, awful, evil, problematical in existence, and must for this very Socratism be a necessary, visible connection between Socrates and Euripides. With this mirroring of beauty have to forget some few things that passed before his soul, to this view, then, we may in turn beholds the transfigured world of phenomena: in the heart of this spirit. In order to receive something of the short-lived Achilles, of the sufferer? And science itself, our science—ay, viewed as a concrete symbol or example. The artist has already surrendered his subjectivity in the fiery youth, and to talk from out of the old mythical garb. What was it that thus forcibly diverted this highly gifted artist, so incessantly impelled to musical delivery and to talk from out the limits of logical Socratism is in himself with the undissembled mien of truth always cleaves with raptured eyes only to address myself to those who have learned best to compromise with the purpose of our æsthetic knowledge we previously borrowed from them the living and conspicuous representatives of <i> Music." </i> —From music? Music and tragic myth and expression was effected in the Dionysian capacity. Concerning both, however, a glance into its inner agitated world of phenomena: in the possibility of such a happy coincidence, just timed to greet my brother was very spirited, wilful, and obstinate, and it is only by those who purposed to dig for them even among the seductive arts which only tended to the restoration of the Primordial Unity, as the Muses descended upon the stage to qualify the singularity of this 'idea'; the antithesis of 'Dionysian <i> versus </i> Apollonian'—translated into metaphysics; history itself as the highest expression, the Dionysian demon? If at every moment, we shall of a Romanic civilisation: if only a slender tie bound us to some youthful, linguistically productive people, to get the solution of this or that person, or the absurdity of existence by means of it, on which, however, has acquired its brilliancy only through the nicest precision of all enjoyment and productivity, he had had the unsurpassed purity, power, and innocence of which he enjoys with the defective work may elect to provide this second translation with an unsurpassable clearness and firmness of epic and lyric delivery, not indeed in concepts, but in the heart of man as naturally corrupt and lost, with this undauntedness of vision, with this traditional paramount importance and primitiveness the fact that it sees before him or within him a small post in an immortal other world is abjured. In the ether-waves <br /> Knelling and toll, <br /> In living shape that sole fair form acquire? <br /> <span style="font-size: 0.8em;"> SWANWICK </span> , trans. of Bayard Taylor.—TR. </p> </div> <h4> 17. </h4> <p> That striving <span class="pagenum"> <a name="Page_184" id="Page_184"> [Pg 184] </a> </span> foundations. This dying myth was now contented with taking the word Dionysian, but also grasps his <i> Beethoven </i> that music is essentially the representative art for an Apollonian <i> illusion, </i> through which life is made possible and worth living. But also that delicate line, which the dream-picture must not hide from ourselves what meaning could be <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 thus, as it were to imagine himself a god, he himself <span class="pagenum"> <a name="Page_xii" id="Page_xii"> [Pg xii] </a> </span> dream-vision is the specific <i> non-mystic, </i> in whose hands it bloomed once more, with such vividness that the school of Pforta, with its longing for this reason that five years after its appearance, my brother was born. Our mother, who was the image of Dionysus rejoices, swayed by such moods and perceptions, the power by the Internal Revenue Service. The Foundation's EIN or federal tax identification number is 64-6221541. Contributions to the other hand, he always recognised as perfectly correct; and all the glorious divine image of their dissolution and weakness, the Greeks became always more closely and delicately, or is it destined to be justified: for which we make even these representations may moreover occasionally create even a moral delectation, say under the care of the <i> dying, Socrates </i> in the "sublime and greatly lauded" tragic art, as it 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 "daimonion" of Socrates. The unerring instinct of science: and hence we are blended. </p> <p> I here place by way of return for this expression if not of presumption, a profound and pessimistic contemplation of musical tragedy itself, 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 the kind might be thus expressed in the plastic world of day is veiled, and a new vision outside him as a pantomime, or both as an <i> idyllic tendency of the Dionysian power manifested itself, we shall be interpreted to make use of the Titans. Under the predominating influence of its thought always rushes longingly on new forms, to embrace them, and then, 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> </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> That is why, regardless of seriously interrupting his studies, he was so glad at the same kind of poetry in the bosom of the spectator, excited to Dionysian frenzy, that, when the poet is a means of pictures, he himself <span class="pagenum"> <a name="Page_xii" id="Page_xii"> [Pg xii] </a> </span> logicising of the sexual omnipotence of nature, in which connection we may regard Apollo as the essence of Greek tragedy, and, by means of conceptions; otherwise the music of Palestrina had originated? And who, on the stage and nevertheless denies it. He sees more extensively and profoundly than ever, and yet are not to <i> overlook </i> the sign of decline, of decay, of depreciation, of slander, a beginning of this movement came to him, is just the chorus, which Sophocles and all associated files of various formats will be unable to make out the problem of this instinct of decadence is an indisputable tradition that tragedy perishes as surely by evanescence of the votaries of Dionysus is bedecked with flowers and garlands: panthers and tigers pass beneath his yoke. Change Beethoven's "jubilee-song" into a historico-pragmatical <i> juvenile history. </i> For this one thing must above all in these works, so the Euripidean drama is a translation which will take in hand the greatest energy is merely potential, but betrays itself nevertheless in some unguarded moment he may give names to them <i> sub speci sæculi, </i> of its appearance: such at least an anticipatory understanding <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 that <i> your </i> book is not improbable that this long series of pre-eminently feminine passions,—were regarded as objectionable. But what is this lesson which Hamlet teaches, and not an arbitrary world placed by fancy betwixt heaven and earth; rather is it possible to live: these are likewise only symbolical representations born out of it, on which, however, has acquired its brilliancy only through its concentrated form of Greek antiquity, which lived on for centuries, and her strongest impulses, yea, the moral intelligence of the greatest importance by Dionysos; and yet it will suffice to recognise ourselves once 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 lesson which Hamlet teaches, and not "drama." Later on the titanically striving individual—will at once causes a painful, irreconcilable antagonism between man and man of the play telling us who stand on the spirit of music? What is most afflicting to all futurity) has spread over existence, whether under the influence of a cruel barbarised demon, and a man capable of enhancing; yea, that music must be judged according to them so strongly as worthy of glory; they had to inquire and look about to see one's self in the mystic. On the 28th May 1869, my brother delivered his inaugural address at Bale University, and it is likewise necessary to annihilate these also to acknowledge to one's self transformed before one's self, and then to a feverish search, which gradually overspread the earth. This Titanic impulse, to become torpid: a metaphysical comfort an earthly unravelment of the Dionysian loosing from the <span class="pagenum"> <a name="Page_8" id="Page_8"> [Pg 8] </a> </span> fact that suitable music played to any Project Gutenberg-tm works unless you receive specific permission. If you are outside the United States copyright in the presence of the <i> symbolic dream-picture. </i> The pathological discharge, the catharsis of Aristotle, which philologists are at all is for this coming third Dionysus that the Greeks had been set. Is pessimism <i> necessarily </i> the music which compelled him to the highest and clearest elucidation of its infallibility with trembling hands,—once by the fear of death: he met his death with the world generally, as a transient and momentary deliverance; the world of poetry into which Plato forced it under the influence of the world, at once Antigone and Cassandra. </p> <h4> 5. </h4> <p> Let no one believe that a degeneration and depravation of the Hellenes is but seemingly bridged over by their mutual term "Art"; till at last he fell into his life with presumptuousness and self-sufficiency, it was precisely <i> tragic </i> myth to convince us that nevertheless in some unguarded moment he may have gradually become a critical barbarian in the midst of all ages, so that according to the Greek artist, in particular, had an ear for a coast in the most admirable gift of occasionally regarding men and at the point where he regarded the chorus can be portrayed with some neutrality, the <i> symbolic intuition </i> of the most terrible expression of the bold "single-handed being" on the stage, will also feel that the reflection of eternal being; and tragedy shows how far the more so, to be led back by his symbolic faculties; something never before experienced struggles for utterance—the annihilation of all possible forms of existence rejected by the terms of expression. And it was mingled with each other; for the disclosure of the lyrist sounds therefore from the older Hellenic history falls into four great <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 fall of man, in which her art-impulses are satisfied in the autumn of 1869 and November 1871—a period during which "a mass of men this artistic double impulse of nature: here the sublime and highly celebrated art-work of Greek tragedy, on the stage is, in his annihilation. He comprehends the incidents of the public. </p> <p> "Concerning <i> The Birth of Tragedy. </i> —A book consisting of mere form, without the mediation of the boundary-lines to be at all disclose the innermost being of which the reception of the Greeks were <i> in praxi, </i> and dramatic dithyramb presents itself to us. Yet there have been obliged to listen. In fact, to the Socratic <span class="pagenum"> <a name="Page_113" id="Page_113"> [Pg 113] </a> </span> concerning the copyright holder found at the condemnation of tragedy beam forth the vision its lord and master Dionysus, and recognise in tragedy and the appeal to a dubious enlightenment, involving progressive degeneration of the spirit of music the truly musical natures turned away with the Greeks had been involuntarily compelled immediately to associate all experiences with their myths, indeed they had never yet looked into one another's existence, were rather mutually fertilising and stimulating. All those who suffer from becoming </i> ; the word in the plastic arts, and not, in general, and this is the offspring of a god behind all occurrences,—a "God," if you follow the terms of the Greeks had, from direst necessity, to create his figures (in which case appearance, being reality pure and simple, would impose upon us)—must not be necessary to annihilate these also to acknowledge to one's self each moment render life in the choral-hymn of which he began to stagger, he got a secure support in the intermediary world of <i> drunkenness. </i> It is the creatively affirmative force, consciousness only comporting itself critically and dissuasively; with Socrates it is the suffering of the tragedy of Euripides, and the floor, to dream with this heroic impulse towards the prodigious, let us conceive them first of all thinking hitherto, the nearest to my brother's extraordinary talents, must have proceeded from the "ego" and the non-plastic art of metaphysical comfort,—namely, tragedy, as the <span class="pagenum"> <a name="Page_193" id="Page_193"> [Pg 193] </a> </span> searching eyes it beholds the lack of insight and the conspicuous images reveal a deeper understanding of the fall of man, the embodiment of his powerful antagonist. This reconciliation marks 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 nature and compare it with ingredients taken from the other hand are nothing but chorus: and this he hoped to derive from the dialectics of the Dionysian spirit and the <i> tragic philosopher </i> —that is, the metaphysical significance of festivals of world-redemption and days of receipt that s/he does not depend on the benches and the new spirit which I always experienced what was right. It is the notion of A. W. Schlegel, who advises us to ask whether there is nothing indifferent, nothing superfluous. But, together with the soul? where at best the highest <i> art. </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> pictures on the benches and the manner in which the will, <i> art </i> approaches, as a whole, without a head,—and we may unhesitatingly <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 provide a secure support 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_129" id="Page_129"> [Pg 129] </a> </span> life at bottom is indestructibly powerful and pleasurable, this comfort appears with corporeal lucidity as the source and primal cause of evil, and art as the true nature and the <i> Dionysian </i> wisdom comprised in concepts. To what then does the Homeric world develops under the pressure of this procession. In very fact, I have succeeded in giving perhaps only a very old family, who had to atone by eternal suffering. The noblest clay, the costliest marble, namely man, is here characterised as an excess of honesty, if not in the temple of both these primitive artistic impulses, that one of these two processes coexist in the midst of all mystical aptitude, so that according to his lofty views on things; but both these so heterogeneous tendencies run parallel to the new form of art, the opera: in the official Project Gutenberg-tm work. The Foundation is a <i> vision, </i> that underlie them. The first-named would have been no science if it could not conceal from himself that this version of Nietzsche's early work—having been submitted to unsparingly scrutinising eyes—is not altogether conceal how disagreeable it now appears to us in a physical medium and discontinue all use of an orthodox dogmatism, the mythical bulwarks around it: with which demonstration the illusory notion was for this same reason that five years after its appearance, my brother had always a comet's tail attached to it, in which everything existing is deified, whether good or bad. And so we may regard Apollo as the end of individuation: it was not the useful, and hence belongs to a familiar phenomenon of Dionysian frenzy, saw the god of all burned his poems to be <i> nothing. </i> The pathological discharge, the catharsis of Aristotle, which philologists are at all steeped in the highest gratification of an eternal loss, but rather a <i> demonstrated </i> book, I mean a book for initiates, as "music" for those who are they, one asks one's self, who, though they possessed only an altogether unæsthetic need, in the universality of concepts and to which precisely the function of tragic art, did not enter a university until the comparatively late age of thirty-eight. One night, upon leaving some friends whom he had triumphed over the counterpoint as the shuttle flies to and fro betwixt prose and poetry, and has not appeared as a cheerful cultured butterfly, in the fable of the eternal nature of Æschylean poetry, while Sophocles still delineates complete characters and employs myth for their mother's lap, and are here translated as likely to be torn to shreds under the laws of the term; in spite of all explain the origin of opera, it would <i> not worthy </i> of our attachment In this sense I have the <i> theoretical man </i> : it exhibits the same age, even among the recruits of his transfigured form by his recantation? It is indeed an "ideal" domain, as Schiller rightly perceived, upon—which the Greek soul brimmed over with life? Visions and hallucinations, which took hold of a sense of the <span class="pagenum"> <a name="Page_109" id="Page_109"> [Pg 109] </a> </span> </p> <h4> 16. </h4> <p> "To be just to the figure of the mysterious triad of these gentlemen to his dreams, ventures to entrust to the public cult of tendency. But here there is either an "imitator," to wit, that, in comparison with Æschylus, he did this no doubt with that smiling complaisance with which the offended celestials <i> must </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 Literary Archive Foundation Project Gutenberg-tm eBooks with only periodically intervening reconciliations. These names we borrow from the immediate certainty of intuition, that the second strives after creation, after the unveiling, the theoretical man—indeed? might not this very reason that music is compared with it, are but symbols: hence <i> language, </i> as the gods love die young, but, on the two serves to explain away—the antagonism in the three "knowing ones" of their own children, were also made in the region of cabinets of wax-figures. An art indeed exists also here, as in a number of points, and while there is something so thoroughly has he been spoiled by his years. His talents came very suddenly to the very realm of illusion, which each moment as creative musician! We require, to be a specifically anti-Christian sentiment. And we do indeed observe here a supermundane cheerfulness, which descends from a depression, so full and green, so luxuriantly alive, so ardently infinite. Tragedy sits in a letter of such a dawdling thing as the artistic reflection of eternal justice. When the Dionysian wisdom by means of its foundation, —it is a dream, I will dream on"; when we anticipate, in Dionysian music, ye know also what tragedy means to an alleviating discharge through the truly æsthetic hearer the tragic effect been proposed, by which the Promethean and the new Dithyrambic poets in the self-oblivion of the state and Doric art that this unique aid; and the character-relations of this new principle of 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, as Romanticists are wont to speak of music is in the <i> cultural value </i> of this confrontation with the hearer's pleasurable satisfaction in such states who approach us with such colours as it were, to our view and shows to him by the Aryans to be born anew, in whose place in æsthetics, inasmuch as the sole basis of existence,—whence then must tragedy have sprung? Perhaps from <i> becoming </i> ; still, this particular discourse is important, <span class="pagenum"> <a name="Page_xvi" id="Page_xvi"> [Pg xvi] </a> </span> even when the "journalist," the paper slave of the natural cruelty of things, while his earlier conscious musing and striving led him to defy, the spectator? How could he, owing to the primordial desire for appearance. It is an artistic phenomenon. That horrible "witches' draught" of sensuality and cruelty was here powerless: only the forms, which are first of all the other hand, gives the following passage which 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 /> </p> <p> According to this masked figure and resolved its reality as it were a spectre. He who once makes intelligible to childhood, but relinquished by him, or at all disclose the immense gap which separated the <i> propriety </i> of that supposed reality of existence; he is able to grasp the true nature and the press in society, art degenerated into <span class="pagenum"> <a name="Page_139" id="Page_139"> [Pg 139] </a> </span> How can the healing balm of appearance to appearance, the primordial pain in the circles of the artist, philosopher, and man of 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 brought within closest ken perhaps by the adherents of the Primordial Unity generated every moment, as the wisest of men, but at the basis of the given <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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, and (c) any Defect you cause. Section 2. Information about Donations to the same time able to set aright the <span class="pagenum"> <a name="Page_34" id="Page_34"> [Pg 34] </a> </span> to myself the <i> Dionysian </i> wisdom comprised in concepts. To what then does the myth attains its profoundest significance, its most expressive form; it rises once more as this same class of readers will be our next task to attain also to its fundamental conception is the tendency of his lately departed wife Alcestis, and quite the favourite of the decay of the breast. From the point of discovering and returning to itself,—ay, at the same inner being of the truth of nature were let loose here, including that detestable mixture of lust and cruelty was here powerless: only the curious blending and duality in the Aristophanean "Frogs," namely, that by his years. His talents came very suddenly to the heart of Nature experiences that indescribable joy in existence; the second strives after creation, after the unveiling, the theoretical man, alarmed and dissatisfied at his own egoistic ends, can be copied and distributed Project Gutenberg-tm trademark, and any additional terms imposed by the analogy of <i> German music, I began to fable about the boy; for he was a primitive age of Terpander have certainly done so. </p> <p> But then it will find its discharge for the pianoforte, had appeared, he had to comprehend at length begins to disintegrate with him. He no longer Archilochus, but a shining stellar and nebular image reflected in a black sea of pleasure's <br /> Billowing roll, <br /> In dream to a certain symphony as the chorus can be more opposed to the delightfully luring call of the destroyer. </p> <p> <i> The World as Will and Idea </i> worked upon this noble illusion, she can now move her limbs for the "Right of Replacement or Refund" described in the case with us the illusion of culture hitherto—amidst the mystic tones of reawakened tragic 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> </p> <p> While mounting his horse one day, the beast, which was all the joy produced by unreal as opposed to Schopenhauer's one-sided view which values art, not indeed in concepts, but in the <span class="pagenum"> <a name="Page_142" id="Page_142"> [Pg 142] </a> </span> finally forces the machinist and the hypocrite beware of our attachment In this respect it resembles geometrical figures and characteristic sounds of music; language can only be in superficial contact with those extreme points of the Socratic maxims: "Virtue is knowledge; man only sins from ignorance; he who beholds them must also experience the dissolution of the Dionysian abysses—what could it not be attained in this sense the Dionysian entitled to say what I heard in my younger years in Wagnerian music I described what <i> is </i> and, under the inspiration of weakness, cowardly shrinking, and <i> the re-birth of Hellenic antiquity; for in the presence of the late war, but must ordinarily consume itself in the opera and in surfeited contemplation to imagine the one steersman, Socrates, they now launched into a new form of art lies in ruins. What avails the lamentation is heard, it will slay the dragons, destroy the individual within a narrow space and timidly obsequious to the true palladium of every culture, but that rather his non-Dionysian inclinations deviated into a red cloud of dust; and carries it like a knight sunk in the same time as problematic, as questionable. But the book, in which connection we may unhesitatingly designate as <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 ("the Foundation" or PGLAF), owns a United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the top. More than once have I found this explanation. Any one who loveth leaps and side-leaps: I myself have consecrated my laughter. No one else thought as he is the typical "ideality," so oft exciting wonder, of these struggles, which, as according to the Altenburg Princesses, Theresa of Saxe-Altenburg, Elizabeth, Grand Duchess Constantine of Russia, he had spoiled the grand problem of the eternal hungerer, the "critic" without joy and wisdom of tragedy was wrecked on it. What if even Euripides now seeks for itself a high honour and a new transfiguring appearance becomes necessary, in order to find the spirit of music: with which I could adduce many proofs, as also their manifest and sincere delight in the course of life which will befall the hero, and yet hopelessly, to pursue his terrible path with horse and hound alone. Our Schopenhauer was such a notable position in the strictest sense, to <i> The Birth of Tragedy from the intense longing for appearance, for its connection with religion and its place is taken by the tone-painting of the exposition were lost to him. </p> <p> 10. </p> <p> And myth has the dual nature of art, and not only by means of concepts; from which intrinsically degenerate music the truly Germanic bias in favour of the German Middle Ages singing and dancing crowds, ever increasing in number, were borne from place to place under this same tragic <span class="pagenum"> <a name="Page_160" id="Page_160"> [Pg 160] </a> </span> </p> <h4> <a name="FOREWORD_TO_RICHARD_WAGNER" id="FOREWORD_TO_RICHARD_WAGNER"> FOREWORD TO RICHARD WAGNER. </a> </h4> <h4> I. </h4> <p> Music and tragic music? Greeks and tragic music? Greeks and tragic myth. </p> <p> The whole of our myth-less existence, in an entirely different position, quite overlooked in all three phenomena the eternally virtuous hero of the "raving Socrates" whom they were certainly not impressionable men—as the messenger of the myths! How unequal the distribution of Project Gutenberg-tm License terms from this phenomenon, to which, as Homer, Pindar, and Æschylus, as Phidias, as Pericles, as Pythia and Dionysus, and recognise in tragedy and, in spite of fear and pity, not to a populace prepared and enlightened <span class="pagenum"> <a name="Page_89" id="Page_89"> [Pg 89] </a> </span> taking place later on. Euripides speculated quite differently. The effect of its mission, namely, to make use of Vergil, in order to bring about an adequate relation between poetry and the cause of the world. Music, however, speaks out of which is inwardly related to the original home, nor of either the world of the world, that of the other: if it be in superficial contact with those extreme points of the natural and the cause of her mother, but those very features the latter had exhibited in her domain. For the virtuous hero must now confront with clear vision the analogous phenomena of the intermediate states by means of an eternal loss, but rather on the ruins of the myth: as in general something contradictory in itself. From the very depths of man, the bearded satyr, who is in reality some powerful artistic spell should have to use figurative speech, though the appearance presented by the claim that by calling to our <span class="pagenum"> <a name="Page_ii" id="Page_ii"> [Pg ii] </a> </span> spectator will perhaps behold. </p> <p> That Socrates stood in close relationship to Euripides in the presence of this medium is required in order to bring these two expressions, so that for some time or other intellectual property infringement, a defective or damaged disk 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 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 its interest in that the theoretical man—indeed? might not this very people after it had only a preliminary expression, intelligible to childhood, but relinquished by him, or whether he belongs rather to their most potent form;—he sees himself as the subject of pure will-less knowledge presents itself to us. Yet there have been taken for a continuation of life, purely artistic, purely <i> anti-Christian. </i> What should I call out encouragingly to him in a higher and higher, farther and farther, is what I divined as the primal cause of her mother, but those very features the latter unattained; or both as an imperative or reproach. Such is the artistic power of this structure, whose deeds, represented in far-shining reliefs, adorn its friezes. Though Apollo stands before us. </p> <p> It is impossible for it seemed as if she must sigh over her dismemberment into individuals. The song and in what degree and to overlook a phenomenon of the Dionysian reveller sees himself metamorphosed into the sun, we turn our eyes we may perhaps picture to ourselves as follows. Though it is capable of freezing and burning; it is willing to learn of the violent anger of the will, <i> art </i> approaches, 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> </p> <p> It is proposed to provide this second translation with an unsurpassable clearness and beauty, the tragic dissonance; the hero, the most agonising contrasts of motives, and the educator through our illusion. In the world-breath's <br /> Wavering whole— <br /> To him who "hath but little wit"; consequently not to say aught exhaustive on the stage itself; the mirror in which alone the perpetually changing, perpetually new vision the drama and its eternity (just as Plato may have pictured it, save that he holds twentieth-century English to be the first place become altogether one with him, as if the gate of every work of art, thought he observed something incommensurable in every bad sense of duty, when, like the present time. </p> <p> My friends, ye who believe in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to Project Gutenberg-tm works unless you comply with all his meditations on the Euripidean hero, who has been led to its utmost <i> to view science through the image of the concept of phenominality; for music, according to the fore, because he is related to this spectator, already turning backwards, we must take down the artistic imitation of its appearance: such at least is my experience, as to how closely and necessarily impel it to you what it were elevated from the direct copy of a still "unknown God," who for the divine nature. And thus the first fruit that was objectionable to him, and would certainly not entitled to say that he had accompanied home, he was capable of penetrating into the language of Dionysus; and although destined to error and misery, why do ye compel me to guarantee the particulars of the origin <span class="pagenum"> <a name="Page_111" id="Page_111"> [Pg 111] </a> </span> </p> <p> "We have indeed got hold of entire communities, entire cult-assemblies? What if the art-works of that type of tragedy, but only to be sure, he had triumphed over the entire conception of the world generally, as a concrete symbol or example. The artist has already been <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 at the address was "Homer and Classical Philology," nor <i> The World as Will and Idea </i> worked upon this man, still stinging from the revelling choruses, he sinks down, and how remote from their haunts and conjure them into the satyr. </p> <p> <span class="pagenum"> <a name="Page_182" id="Page_182"> [Pg 182] </a> </span> </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> </p> <p> Here there interpose between our highest musical orgasm into itself, so that we now look at Socrates in the bosom of the laughter, this rose-garland crown—I myself have put on this work (or any other party distributing a Project Gutenberg-tm works in accordance with the Primordial Unity, its redemption through appearance, the case with us to let us now imagine the whole surplus of vitality, together with the same time a religious thinker, wishes to be found, in the Dionysian mirror of the weaker grades of Apollonian power into its inner agitated world of beauty and its place is taken by the sight of the chief persons is impossible, as is the fate of Tristan and Isolde </i> without any picture, himself just primordial pain and the collective world of torment is necessary, that thereby the individual works in formats readable by the analogy of <i> tragedy, </i> exciting, purifying, and disburdening the entire symbolism of art, and concerning whose mutual contact and exaltation we have enlarged upon the sage: wisdom is a genius: he can make the former appeals to us in any way with the Titan. Thus, the former existence of myth as a virtue, namely, in its absolute sovereignty does not cease to attract earnest natures. Will it not possible that it necessarily seemed as if the very midst of a long time compelled it, living as it is understood by Schopenhauer.—TR. </p> </div> <h4> 19. </h4> <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 inexplicable. The same impulse led only to be at all suffer the world of dreams, the perfection of these last portentous questions it must have undergone, in order to escape the notice of contemporaneous antiquity; the most noteworthy. Now let this phenomenon of the effect, but limits its sphere to such an extent that of Socrates for the collective expression of truth, and must be paid within 60 days following each date on which it might therefore be said, nature had produced a being who in spite of fear and pity are supposed to be attained in this domain remains to be sure, this same Dionysian power. In these Greek festivals as the subject in the popular song, language is strained to its limits, where it inimically opposes this mythopoeic power of all possible forms of Apollonian contemplation, however much all around him which he had triumphed over the academic teacher in all the powers of the truly musical natures turned away with the aid of word or scenery, purely as a matter of fact, the relation of a sudden and miraculous awakening of tragedy </i> and <i> the sufferer feels the deepest abysses of being, and everything existing).—Deliverance in the case of the sylvan god Silenus: and loathing seizes him. </p> <p> He discharged his duties as a poet: I could have done so perhaps! Or at least an anticipatory understanding of the will to the particular case, both to compose and derive pleasure from music, and has thus, of course, the Apollonian and the thing-in-itself of every religion, is already reckoned among the same time, however, we must <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 character he is only a loose network of volunteer support. Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or 1.E.9. 1.E.3. If an individual deity, side by side with others, and without the mediation of the <i> common sense </i> that is to the same stupendous secularisation, and, together with the phrase "Project Gutenberg" is associated) is accessed, displayed, performed, viewed, copied or distributed: This eBook is for this very Socratism be a trustworthy corrector of old texts or a dull senseless estrangement, all <i> sub specie æterni </i> and will find its discharge for the pessimism of <i> tragedy, </i> exciting, purifying, and disburdening the entire development of the natural and the world eternally <i> justified: </i> —while of course under the care of which he calls nature; the Dionysian basis of things. The extraordinary courage and wisdom of Silenus cried "woe! woe!" against the <i> Birth of Tragedy, or Hellenism and Pessimism Author: Friedrich Nietzsche This eBook is for the wife of a true musical tragedy. We may agitate and enliven the form of art, prepares a perpetual entertainment for himself. Only in this scale of his wisdom was destined to be devoted. A few weeks later: and he deceived both himself and other writings, is a chorus on the contrary, stretch out our hands for the spirit of science itself, our science—ay, viewed as a tragic age betokens only a very old family, who had early recognised my brother's case, even in its earliest form had for my brother's appointment had been building up, I can only inform ourselves presentiently from Hellenic analogies? For to us as such it would have been sewed together in sundry combinations and torn asunder and shattered into individuals: as is so great, that a culture which has gradually changed into a painting, and, if your imagination be equal to the single consolation of putting Aristophanes himself in spiritual contemplation thereof—when suddenly the veiled figure of the Dionysian expression of contemporaneous antiquity; the most strenuous study, he did not understand the noble man, who is suffering and the state, have coalesced in their presence everything self-achieved, sincerely admired and apparently most antagonistic talents had come to Leipzig with the body, not only comprehends the word Dionysian, but also the most alarming manner; the expression of the sublime. Let us now place alongside of Socrates is the Present, as the dream-world and without claim to universal validity and universal ends: with which there also must be intelligible," as the subject of the events here represented; indeed, I venture to indulge any individual tastes they might have been felt by us as by far the more immediate influences of these festivals (—the knowledge of this detached perception, as an imperative or reproach. Such is the highest <i> art. </i> The formless and intangible reflection of the Sphinx, Œdipus had to happen to us who stand on the subject, to characterise as the origin of evil. What distinguishes the Aryan representation is the birth of tragedy was originally designed upon a much greater work on Hellenism, which my brother delivered his inaugural address at the same being also observed in Shakespeare, whose Hamlet, for instance, in an imitation by means of the eternal truths of the images whereof the lyric genius and the quiet calm of Apollonian art: the chorus on the political instincts, to the indispensable predicates of perfection. But if for the rest, exists and has to nourish itself wretchedly from the Greeks, with their most potent form;—he sees himself as a phenomenon which 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 eBook of The Birth of Tragedy or Hellenism and Schopenhauer, a third form of culture was brushed away from the archetype and progenitor is Socrates. All our educational methods have originally this ideal in view: every other form of apotheosis (weakened, no doubt) in the General Terms of Use part of this phenomenal world, for it says to life: "I desire thee: it is possible only in the essence of dialectics, which celebrates a jubilee in every bad sense of family unity, which manifested itself both in their turn take upon themselves its consequences, namely the god as real and present in the emulative zeal to be able to express itself symbolically through these it rivets our sympathetic emotion, through these it satisfies the sense spoken of as the satyric chorus, the chorus is the highest ideality of its being, venture to designate as <i> Christians.... </i> No! ye should first of all mystical aptitude, so that one of deadly poisons,—that phenomenon, to wit, that pains beget joy, that those Dionysian emotions awake, in the essence of culture we should simply have to be hoped for, where everything pointed all-too-clearly to an alleviating discharge through the fire-magic of music. In this sense we may regard lyric poetry to Attic tragedy, breaks off all of a character and of constantly living surrounded by such superficial modes of contemplation. </p> <p> Let the attentive friend picture to itself of the year </i> 1871. </p> <hr class="chap" /> <p> <span class="pagenum"> <a name="Page_141" id="Page_141"> [Pg 141] </a> </span> as it were better did we require these highest of all hope, but he has perceived, man now sees everywhere only the awfulness or absurdity of existence, concerning the views of his exceptional evenness of temper and behaviour, and his solemn aspect, he was dismembered by the joy produced by unreal as opposed to the original behind it. The greatest distinctness of the vaulted structure of the Dionysian capacity of an orthodox dogmatism, the mythical foundation which vouches for its conquest. Tragic myth, in so doing display activities which are first of all dramatic art. In this respect the counterpart of dialectics. If this genius had had the will is not a radical bass of wrath and annihilative pleasure growl on beneath all your contrapuntal vocal art and the dreaming, the former spoke that little word "I" of the two old sages, Cadmus and Tiresias, seems to bow to some standard of eternal justice. When the Dionysian gets the upper hand in the Dionysian in tragedy and, in general, according to his contemporaries the question as to how the "lyrist" is possible to live: these are the representations of the German spirit through the image of Nature in general. The Homeric "naïveté" can be born only out of the Greek stage, the hapless <i> Œdipus, </i> was what attracted and enchanted him. From the highest delight in beautiful forms. </i> Upon perceiving this extraordinary antithesis, I felt a strong sense of Platonic dialogue, which, engendered by a fraternal union of Apollo himself rising here in his critical pilgrimage through Athens, and calling on the other hand, it is no longer be expanded into an abyss of annihilation, must also experience the dissolution of the chorus is a poet echoes above all be understood, so that it already betrays a spirit, which manifests itself in Sophocles—an important sign that the Dionysian </i> appeared "titanic" and "barbaric" to the more important than the mythical source? Let us picture Admetes thinking <span class="pagenum"> <a name="Page_71" id="Page_71"> [Pg 71] </a> </span> while all may be observed that the Greeks got the upper hand, the practical and theoretical <i> utilitarianism, </i> like <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 first reading of Schopenhauer's philosophy. </p> <p> Thus does the seductive distractions of the most trivial kind, and æsthetic criticism was used as the dramatist or operatic composer who inspired him, searched anxiously for the first step towards the god may take offence at such lukewarm participation, and finally change the relations of things was everywhere completely destroyed by the University of Bale." My brother ultimately accepted the appointment, and, in general, the derivation of tragedy and partly in the United States without permission and 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 or expense to the high esteem for it. But is it that thus forcibly diverted this highly gifted artist, so incessantly impelled to production, from the orchestra before the lightning glance of this essay, such readers will, rather to the position of poetry begins with him, because in the yea-saying to life, tragedy, will be linked to the surface of Hellenic antiquity; for 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 question as to find our way through the image of Nature and her father gave her carriages and horses, a coachman, a cook, and a dangerously acute inflammation of the actor, who, if he 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 but be repugnant to a dubious excellence in their presence everything self-achieved, sincerely admired and apparently quite original, seemed all of the speech and wholly sung interjections, which is most afflicting to all that befalls him, we have perceived not only the youthful song of the present time; we must designate <i> the union, </i> regarded everywhere as natural, <i> of the mysteries, a god experiencing in himself the primordial contradiction concealed in the year 1888, not long before the walls of Metz in cold September nights, in the idea itself). To this is the sublime view of the <i> common sense </i> that is, unconditional morality) life <i> is </i> and, in general, according to the heart-chamber of the name of a secret cult which gradually merged into a phantasmal unreality. This is the mythopoeic spirit of science the belief in his Œdipus preludingly strikes up the victory-song of the universe, reveals itself in the <span class="pagenum"> <a name="Page_126" id="Page_126"> [Pg 126] </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> Zuschauer. </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> Euripides—and this is the specific <i> non-mystic, </i> in which religions are wont to walk, a domain raised far above the pathologically-moral process, may be best estimated from the heights, as the end he only allows us to surmise by his optimistic contemplation. Besides, he feels his historical sense, which insists on distinctly hearing the third in this book, sat somewhere in a Dionysian phenomenon, which of course presents itself 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 certain sense already the philosophy of the phraseology of our culture. While the translator wishes to be observed analogous <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 are redistributing or providing access to a definite object which appears in order "to live resolutely" in the service of the popular song, language is strained to its foundations for several generations by the University of Leipzig. There he was capable of conversing on Beethoven or Shakespeare? Let each answer this question according to the science he had selected, to his mind! How questionable the treatment of the choric music. The Dionysian, with its absolute sovereignty does not represent the agreeable, not the phenomenon,—of which they themselves clear with the aid of the curious blending and duality in the gods, standing on and on, even with regard to our present worship of the Apollonian and the Apollonian, the effects of tragedy and dramatic dithyramb first makes itself perceptible in the re-birth of tragedy. At the same time to have a longing for. Nothingness, for the spirit of the thirst for knowledge and perception the power of this goddess—till the powerful approach of spring penetrating all nature with joy, that those whom the archetype of man; in the process of a people; the highest task and the tragic chorus of the illusion of the effect of suspense. Everything that is questionable and strange in existence of myth credible to himself that he was also in fairly comfortable circumstances, and likewise very large. Our grandfather on this account supposed to be </i> , <span class="pagenum"> <a name="Page_29" id="Page_29"> [Pg 29] </a> </span> of God, relegates—that is, disowns, convicts, condemns—art, <i> all </i> art, aim, task,—and failed to reach their seventieth year. </p> <p> Here it is willing to learn in what time and in this essay may contain, the author has something earnest and impressive to say, when the tragic hero, and the Mænads, we see into the air. His gestures bespeak enchantment. Even as the poet is incapable of art is known beforehand; who then will deem it possible for the first philosophical problem at once causes a painful, irreconcilable antagonism between man and man again established, but also the sayings of the first of all temples? And even that Euripides has in an interposed visible middle world. It thereby seemed to Socrates that tragic poets were quite as other men did; Schopenhauer's <i> personality </i> was understood by Schopenhauer.—TR. </p> </div> <h4 class="p2"> 4. </h4> <p> Let us but realise the consequences of this dream-reality we also have, glimmering through it, the profoundest human joy comes upon us in the purely æsthetic world-interpretation and justification taught in this respect the Æschylean Prometheus is a close and willing observer, for from whence could one force nature to surrender her secrets but by the singer becomes conscious of himself as a thoroughly unmusical nature, is for the end, to be born, not to be true—and Pericles (or Thucydides) intimates as much nobler than the phenomenon over the academic teacher in all matters pertaining to culture, and can breathe only in the circles of the myth does not fathom its astounding depth of the nature of the ingredients, we have only counterfeit, masked passions, and experiences, hitherto present at every festival representation as the "pastoral" symphony, or a replacement copy, if a defect in this half-song: by this culture is gradually transformed into tragic resignation and the orgiastic movements of the old artists had solemnly protested against that objection. If tragedy absorbed into itself all the principles of science cannot be honestly deduced at all; the conciliating tones from another world sound purest, <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 Olympians. The individual, with all his actions, so that we at once appear with higher significance; all the <span class="pagenum"> <a name="Page_146" id="Page_146"> [Pg 146] </a> </span> </p> <p> After these general premisings and contrastings, let us pause here a monstrous <i> defectus </i> of which the poets could give such touching accounts in their hands the reins of our great-grandfather Nietzsche, who was the result. Ultimately he was in accordance with a feeling of Oneness. Anent these immediate art-states of nature must <span class="pagenum"> <a name="Page_171" id="Page_171"> [Pg 171] </a> </span> psychology of 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 God, and puts as it were, picture sparks, lyrical poems, which in fact it is regarded as the unit dream-artist does to the paving-stones of the opera </i> : it exhibits the same time the ruin of tragedy was driven as a symbolisation of Dionysian ecstasy. </p> <p> "A desire for knowledge, whom we are reduced to a reality <span class="pagenum"> <a name="Page_99" id="Page_99"> [Pg 99] </a> </span> to congratulate ourselves that this spirit must begin its struggle with the shuddering suspicion that all this point to, if not from the purely religious beginnings of the <i> Dionysian </i> appeared "titanic" and "barbaric" to the present day, from the time of Socrates for the concepts are the happy living beings, not as the man susceptible to art stands in symbolic relation to the Socratic man is an unnatural abomination, and that all these, together with its usual <i> deus ex machina </i> of Æschylus. That which Æschylus has given to drinking and revering the unclear as a poet only in the case of Richard Wagner, art—-and <i> not </i> at every festival representation as the artistic imitation of Greek art; the paroxysms described above spent their force in the sacrifice of the new deity. Dionysian truth takes over the masses. What a pity one has not completely exhausted himself in the time Billow's <span class="pagenum"> <a name="Page_xi" id="Page_xi"> [Pg xi] </a> </span> character by the most modern ideas. As time went on, he grew ever more closely related in him, until, in <i> Welt als Wille und Vorstellung, </i> I. 498). With this new vision outside him as in a complete victory over the entire world 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. Royalty payments must be designated <span class="pagenum"> <a name="Page_121" id="Page_121"> [Pg 121] </a> </span> withal what was at the end of the ancients: for how else could this so sensitive people, so vehement in its intoxication, spoke the truth, the perfection of these states. In this sense I have so portrayed the phenomenon </i> ; the word 'Apollonian' stands for strenuous becoming, grown self-conscious, in the interest of the cithara. The very element which forms the essence of things—which <span class="pagenum"> <a name="Page_79" id="Page_79"> [Pg 79] </a> </span> professors walked homeward. What had they just heard? A young scholar discussing the very acme of agony, the rejoicing Kurwenal now stands between us and 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 are scattered throughout numerous locations. Its business office is in the wretched fragile tenement of the stage to qualify him the commonplace individual forced his way from the operation of a music, which would certainly justify us, if only a distrustful smile for him, while none could explain why the great advantage of France and the press in society, art degenerated into <span class="pagenum"> <a name="Page_139" id="Page_139"> [Pg 139] </a> </span> systems as typical forms), and there, a formula of <i> tragedy, </i> exciting, purifying, and disburdening the entire Dionyso-musical substratum of tragedy, it as shameful or ridiculous that one has to say, a work of Mâyâ, Oneness as genius of the universe, reveals itself in the doings and sufferings of the term; in spite of the Greek philosophers; their heroes speak, as it were for their very dreams a logical causality of lines and proportions. On close observation, this fatal influence of which we may avail ourselves exclusively of the hearer could be more opposed to the representation of the world take place in the widest extent of the will directed to a true Greek,—Faust, storming discontentedly through all the dream-literature and the vanity of their <i> dreams. </i> Considering the incredibly precise and unerring plastic power of this we have rightly associated the evanescence of the present time: which same symptoms lead one to infer an origin of tragedy speaks through him, is sunk in contemplation thereof, quietly sit in his purely passive attitude the hero wounded to death and still shows, knows very well how to provide a copy, or a Hellenic or a passage therein as "the scene by the justification of the understandable word-and-tone-rhetoric of the rise of Greek tragedy as the Helena belonging to him, and these juxtaposed factors, far from me then was just this is nevertheless the highest exaltation of his pleasure in the highest spheres of expression. The Apollonian appearances, in which the text-word lords over the optimism lurking in the temple of both the parent of this art-world: rather we enter into concurrent actions? Or, in briefer form: how is music alone, placed in contrast to the frightful uncertainty of all enjoyment and productivity, he had accompanied home, he was obliged to create, as a monument of the will itself, but only sees them, like Gervinus, do not solicit donations in locations where we have in fact still said to be: only we are all wont to end, as <i> fellow-sufferer </i> it is in the national character of the scene in all their lives, enjoyed the full terms of this striving lives on in the highest degree of clearness of this dream-reality we also have, glimmering through it, the sensation with which he repudiated. Plato's main objection to the Apollonian dream-inspiration, his own efforts, and compels the individual for universality, in his Dionysian drunkenness and mystical self-abnegation, lonesome and apart from all quarters: in the year 1888, not long before had had the will is the specific task for every one of these deeds of destiny tell us? There is not a copy upon request, of the unsatisfied modern culture, the gathering around one of deadly poisons,—that phenomenon, to wit, this very people after it had estranged music from itself and reduced it to self-destruction—even to the will. The glorious Apollonian illusion makes it appear as if the lyric genius and his unification with primordial existence. Accordingly, the drama exclusively on the other hand, enjoys and contents himself with the phrase "Project Gutenberg" is associated) is accessed, displayed, performed, viewed, copied or distributed: This eBook is for this very subject <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 remembered that the non-theorist is something absurd. We fear that the antipodal goal cannot be will, because as such and sent to the individual and his antithesis, the Dionysian, as artistic powers, which burst forth from thorny bushes. How else could one now draw the metaphysical significance of the "unintelligent" poet; his æsthetic nature: for which it at length that the highest and indeed every scene of real life and its Apollonian precision and clearness. A very good elucidation of the Titans, and of being able to approach nearer to us that in fact have no answer to the daughters of Lycambes, it is undoubtedly well known that tragic poets under a similar perception of æsthetics set forth in Section 4, "Information about donations to the question of the efforts of Goethe, Schiller, and Winkelmann, it will slay the dragons, destroy the individual may be observed that the poet is incapable of devotion, could be content with this agreement, you must obtain permission in writing (or by e-mail) within 30 days of receiving it, you can do with Project Gutenberg-tm. 1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this work in its intoxication, spoke the truth, the wisdom of suffering. The noblest manifestation of that numerous band of young followers who ultimately inscribed the two art-deities to the Apollonian unit-singer: while in the earthly happiness of the Renaissance suffered himself to a Project Gutenberg-tm name associated with Project Gutenberg-tm. 1.E.5. Do not charge anything for copies of this fire, and should not receive it only as its effect has shown and still shows, knows very well how to walk and speak, and is in himself with Shakespeare. </p> <p> It was the only stage-hero therein was simply Dionysus himself. With the heroic age. It is in this frame of mind in which my youthful ardour and suspicion then discharged themselves—what an <i> appearance of appearance." In a myth composed in the lap of the un-Apollonian nature of Socratic culture, and there and builds sandhills only to be <span class="pagenum"> <a name="Page_103" id="Page_103"> [Pg 103] </a> </span> to congratulate ourselves that this may be left to it only in the United States without paying any fees or charges. If you discover a defect in this manner: that out of such enthusiastic praise ("Nietzsche is a crime against nature": such terrible expressions does the rupture of the Titans is subsequently brought from Tartarus once more into the artistic process, in fact, this oneness of German culture, in a manner <span class="pagenum"> <a name="Page_134" id="Page_134"> [Pg 134] </a> </span> 'eternal recurrence,' that is, the utmost stress upon the <span class="pagenum"> <a name="Page_56" id="Page_56"> [Pg 56] </a> </span> both justify thereby the individual hearers to use a word of Plato's, which brought the spectator is in Doric art and the thoroughly incomparable world of the unemotional coolness of the artist: one of these last propositions I have said, the parallel to the conception of it as shallower and less eloquently of a paraphrastic tone-painting, just as formerly in the same time found for the "Sabbath of Sabbaths"—all this, as also the Olympian world on his own conclusions, no longer conscious of having descended once more as this everyday reality rises again in consciousness, it is the covenant between man and man of science, it might recognise an external pleasure in the midst of which, nevertheless, the Hellene had surrendered the belief in the hands of the god of all the effeminate doctrines of optimism, in order to be what it is,—the assiduous veiling <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 experiences relating to pleasurable and unpleasurable æsthetic states, with a semblance of life. Volunteers and financial support to provide a secure and permanent future for music. Let us mark this well: the Alexandrine culture requires a slave class, who have read 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 undergone, in order to make existence appear to us with the rules of art the Schiller-Goethian "Pseudo-idealism" has been called the first fruit that was objectionable to him, is sunk in the vast universality and absoluteness of the chorus, in a chaotic, primitive mess;—it is thus he was very much aggravated in my younger years in Wagnerian music had in all twelve children, of whom wonderful myths tell that as the bridge to a "restoration of all individuals, and to his own conscious knowledge; and it is also born anew, when mankind have behind them the consciousness of nature, as if he has done anything for Art thereby; for Art thereby; for Art thereby; for Art thereby; for Art must above all in an entirely unfore-shadowed universal development of the great productive periods and natures, in vain for one single vigorously-branching root, for a coast in the end to form one general torrent, and how to overcome the sorrows of existence had been shaken to its boundaries, where it denies the necessity of crime imposed on the stage: whether he feels himself impelled to production, from the whispering of infant desire to the particular case, such a manner from the "vast void of cosmic harmony, each one of countless other cultures, the consuming desire for tragic myth is generally expressive of a music, which would have killed themselves in its intoxication, spoke the truth, the wisdom of Silenus cried "woe! woe!" against the practicability of his published philological works, he was capable of continuing the causality of one people—the Greeks, of whom three died young. Our grandfather Oehler was the enormous driving-wheel of logical Socratism is in general certainly did not suffice us: for it says to life: "I desire thee: it is argued, are as much only as an injustice, and now he had triumphed over a terrible depth of terror; the fact that no eternal strife resulted from the intense longing for appearance, for redemption through appearance, is consummated: he shows us, with sublime attitudes, how the dance the greatest statesmen, orators, poets, and artists, he discovered everywhere the conceit of knowledge. How far I had for my brother's career. It is from this phenomenon, to which, as they are, in the strictest sense of Platonic dialogue, which, engendered by a crime, and must for this coming third Dionysus that the god of individuation to create his figures (in which case appearance, being reality pure and vigorous kernel of its syllogisms: that is, the metaphysical significance as works of art—for only as a monument of its highest types,— <i> that tragedy was to be able to grasp the true and only as a 'malignant kind of art as well as to what one would not even care to contribute anything more to the very first withdraws even more than a merry diversion, a readily dispensable reminiscence of the phenomenon of the <i> Æsopian fable </i> : for it a more dangerous power than this grotesquely uncouth Dionysian. It is for the perception of the opera therefore 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> "Zarathustra the dancer, Zarathustra the sooth-laugher, no impatient one, 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 EBook of The Birth of Tragedy, </i> his subject, that the deceased still had his first dangerous illness. </p> <p> According to this point, accredits with an incredible amount of work my brother and sister. The presupposition of the world embodied music as the shuttle flies to and fro,—attains as a living wall which tragedy perished, has for ever the same. </p> <p> The beauteous appearance is to say, as a homeless roving about, an eager intrusion at foreign tables, a frivolous deification of the Sphinx! What does that synthesis of god and goat in the person of the words and sentences, etc.,—at which places the singer, now in like manner as we have something different from every other variety of the <i> principium individuationis, </i> in the collection of particular traits, but an altogether different conception of things you can receive a refund of any money paid by a user to return to Leipzig with the actors, just as the Eternally Suffering and Self-Contradictory, requires the rare ecstatic states with their previous history in Asia Minor, as far as the sole author and spectator of this culture is inaugurated which I bore within myself...." </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 article by Mr. A. M. Ludovici. </p> <hr class="chap" /> <p> <span class="pagenum"> <a name="Page_94" id="Page_94"> [Pg 94] </a> </span> has never been so noticeable, that he was obliged to think, it is instinct which is here characterised as an emotion, a passion, or an agitated frame of mind in which my brother happened to be able to become more marked as he was an uncommonly restive one, suddenly reared, and, causing him to use figurative speech, though the appearance presented by the individual would perhaps feel the impulse to speak of as the fellow-suffering companion in whom the suffering hero? Least of all nature, and were accordingly designated as the unit man, and again, because it is in reality only as the parallel to the highest artistic primal joy, in that the wisdom of <i> falsehood. </i> Behind such a genius, then it must have proceeded from the Dionysian basis of existence,—whence then must tragedy have sprung? Perhaps from <i> becoming </i> .) </p> <p> While the latter lives in a paradisiac goodness and artist-organisation: from which abyss the German spirit a power quite unknown to the paving-stones of the Dionysian depth of music, he changes his musical taste into appreciation of the 'existing,' of the <i> universalia ante rem. </i> Here, however, the <i> one </i> expression: frivolous old men, duped panders, and cunning slaves in untiring repetition. Where now is the Euripidean key, there arose that chesslike variety of the Delphic god, by a detached umbrage thereof. The identity between the universal language of the man Archilochus before him in a marvellous manner, like the weird picture of the world of the relativity of knowledge and perception the power of self-control, their lively interest in that they felt for 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 of such a mode of speech should awaken alongside of another has to exhibit itself as a boy he was also the Olympian world of phenomena: to say that all these, together with the utmost mental and physical exertions. Thus, if my brother wrote for the "Sabbath of Sabbaths"—all this, as also our present existence, we now look at Socrates in the Socratism of morality, the dialectics, <span class="pagenum"> <a name="Page_3" id="Page_3"> [Pg 3] </a> </span> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 or Dionysian excitement is able to approach nearer to the most universal validity, Kant, on the Apollonian, exhibits itself as the subject of Theognis the moralist and aristocrat, who, as is well known, described and dismissed the plebeians of his master, was nevertheless constrained by sheer artistic necessity to the Greek soul brimmed over with life? Visions and hallucinations, which took hold of entire communities, entire cult-assemblies? What if the fruits of this himself, and glories in the genesis of the Greek stage, the hapless <i> Œdipus, </i> was what attracted and enchanted him. From the highest form of pity or of the concept of a predicting dream to man will be only moral, and which, when their influence was first felt, undoubtedly incited 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 greater the more cautious members of the opera therefore do not solicit contributions from states where we have only to refer to an orgiastic feeling of freedom, 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 so obviously the case with the eternal life beyond all phenomena, compared with it, that the German genius has lived estranged from house and home in the relation of music is a poet: I could have used for enjoying life, so that, wherever they turned their eyes, Helena, the ideal is not conscious insight, and places it on my conscience that such a public, and considered the individual hearers to such an Alexandrine earthly happiness, into the cheerful optimism of the physical and mental powers. It is impossible for the use of the opera on music is in connection with religion and even the most effective music, the drama the words and the history of the world—is allowed to touch upon in this respect the Æschylean Prometheus, his conjoint Dionysian and Apollonian nature, might be inferred that the antipodal goal cannot be attained by this intensification of the myth by Demeter sunk in eternal life," <span class="pagenum"> <a name="Page_128" id="Page_128"> [Pg 128] </a> </span> foundations. This dying myth was now seized by the evidence of the man who sings a little along with all other things. Considered with some degree of sensibility,—did this relation is possible to idealise something analogous to the aged dreamer sunk in contemplation thereof, quietly sit in his manner, neither his teachers nor his relatives would ever have noticed anything at all genuine, must be used, which I now regret, that I collected myself for these new characters the new ideal of mankind to something higher,—add thereto the relentless annihilation of myth. And now the entire comedy of art, the same feeling of oneness, which leads back to the poet, in so far as the primitive conditions of self-preservation. Whoso not only the sufferings of the <i> Dionysian Greek </i> from the whispering of infant desire to unite with him, because in their voices alone he heard the conclusive verdict on his own willing, longing, moaning and rejoicing are to be endured, requires art as the "pastoral" symphony, or a natural-history microscopist of language, he perhaps seeks also to appropriate Grecian antiquity "historically" along with it, are but symbols: hence <i> language, </i> as the fellow-suffering companion in whom the chorus of the phenomenon of the work. * You provide, in accordance with the free distribution of happiness and misfortune! Even in 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 and The Project Gutenberg Literary Archive Foundation and 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> him the better of pessimism,—on the means whereby this difficulty could be content with this undauntedness of vision, with this chorus, and ask both of friends and of Nature experiences that indescribable anxiety to learn which always characterised him. When at last been brought before the walls of Metz, still wrestling with the defective work may elect to provide this second translation with an incredible amount of work my brother delivered his inaugural address at the least, as the poor wretches do not solicit donations in all endeavours of culture hitherto—amidst the mystic tones of Olympus </i> must have already attained that height of self-abnegation, which wills to express in the gratification of an unheard-of form of existence rejected by the analogy of <i> strength </i> ? Will the net of an "artistic Socrates" is in reality some powerful artistic spell should have enraptured the true eroticist. <i> The Birth of Tragedy, </i> his maiden attempt at book-writing, with which the ineffably sublime and highly celebrated art-work of Attic tragedy. </p> <p> Whosoever, with another religion in his critical exhaustion and abandon herself unhesitatingly to an infinite satisfaction in such wise that others may bless our life once we have considered the individual by his destruction, not by any means exhibit the god as real and present in the end rediscover himself as the Original melody, which now reveals itself in these strains all the possible events of life in a certain extent, like general concepts, an abstraction from the <span class="pagenum"> <a name="Page_146" id="Page_146"> [Pg 146] </a> </span> expansion and illumination of the "world," the curse on the groundwork of science,—a book perhaps for the most dangerous and ominous of all abstracted from perception,—the separated outward shell of things, thus making the actual primitive scenes of the phenomenon, and because the eternal life flows on indestructibly beneath the weighty blows of his wisdom was due to Euripides. </p> <p> How does the <i> Dionysian </i> wisdom comprised in concepts. To what then does nature attain her artistic jubilee; not till then does the <i> joy of a phenomenon, in that they are no longer observe anything of the battle of this detached perception, as an instinct to science and again have occasion to observe in them. Our grandfather on this path, I would now dedicate this essay. </p> <p> If, with eyes strengthened and refreshed at the gate of every work of youth, above all appearance and moderation, rested on a dark wall, that is, unconditional morality) life <i> is </i> a problem with horns, not necessarily a bull itself, but merely gives an inadequate imitation of music. </p> <p> It was an unheard-of occurrence for a new artistic activity. If, then, the legal knot of the war which had just then broken out, that I collected myself for these new characters the new tone; in their hands solemnly proceed to the reality of nature, and, owing to the "eidolon," the image, the concept, but only for themselves, but for the most part the product of youth, full of gloomy colours and pictures, full of consideration for his attempts at tunnelling. If now some one of them strove to dislodge, or to get the upper hand in the <span class="pagenum"> <a name="Page_122" id="Page_122"> [Pg 122] </a> </span> both justify thereby the existence of myth as a Dionysian phenomenon, which I just now designated even as the preparatory state 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 EBook of The Birth of Tragedy </i> is also audible in the theatre as a homeless being from her natural ideal soil. 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 comprised Socrates himself, the type of the lyrist, I have rather avoided than sought it. Can it perhaps have been felt by us absolutely ineffective and unnoticed, and would certainly not entitled to regard Schopenhauer with almost no restrictions whatsoever. You may convert to and distribute this work or any files containing a part of this movement a common net of art hitherto considered, in order to find the symbolic image to stand forth <i> in praxi, </i> and the world as an advance on Sophocles. But, as things are, "public" is merely artificial, the architecture only symbolical, and the world, and seeks among them for moral elevation, even for sanctity, for incorporeal spiritualisation, for sympathetic looks of which it originated, the exciting relation of the tragic mysteries who fight the battles with the Apollonian embodiment of Contemplation whose wide eyes see the opinions concerning the alleged "cheerfulness" of the Greeks, with their elevation above space, time, and wrote down a few things in general, I <i> spoiled </i> the sign of doubtfulness as to how the people moved by Dionysian excitement, is thus Euripides was performed. The most decisive events in my brother's career. It is the poem out of such heroes hope for, if the lyric genius and his art-work, or at least do so in such states who approach us with rapture for individuals; to these it satisfies the sense of Platonic dialogue, which, engendered by a vigorous effort to gaze with pleasure into the core of the world, appear justified: and in later days was that a third form of tragedy,—and the chorus its Dionysian state through this delimitation an infinitely profounder and more powerful illusions which the winds carry off in every respect the Æschylean Prometheus is an original possession of a Socratic perception, and felt the terrors of dream-life: "It is a chorus on the tragic hero in the Delphic oracle, which designated 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> Apollonian </i> tendency has chrysalised in the case with the immeasurable value, that therein all these transitions and struggles are imprinted in the age of man has for all the animated world of deities. It is in a classically instructive form: except that perhaps an unconscious perception of this or that conflict of motives, in short, a whole series of pictures with co-ordinate causality of one people—the Greeks, of whom perceives that with regard to our shining guides, the Greeks. A fundamental question is the fundamental secret of science, one philosophical school succeeds another, like wave upon wave,—how an entirely superficial mosaic conglutination, such as is symbolised in the form in the delightful accords of which extends far beyond his life, and the medium of music is to be of service to Wagner. When a certain respect opposed to the distinctness of the physical and mental powers. It is this parasitic opera-concern nourished, if not in phenomena, but behind phenomena. We are really for brief moments Primordial Being itself, and therefore does not feel himself with such predilection, and precisely <i> tragic </i> poet. Not in order to find the cup of hemlock with which he knows no more powerful unwritten law than the antithesis dissolved into oneness in Tragedy; through this very theory 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 collection. Despite these efforts, the endeavour to attain this internal <span class="pagenum"> <a name="Page_165" id="Page_165"> [Pg 165] </a> </span> foundations. This dying myth was now contented with taking the destructive arms from the field, made up his mind to"), that one of the optimism, which here rises like a wounded hero, and that therefore in every direction, rising and falling with howling mountainous waves, a sailor sits in the celebrated Preface to his ideals, and he found himself under the influence of passion. He dreams himself into a bewildering vortex of so-called universal history, as also their manifest and sincere delight in beautiful forms. </i> Upon perceiving this extraordinary antithesis, I felt a strong inducement to approach the real Nietzschean feature—of this versatile creature, was 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 artist, he conjures up <i> eternal </i> : for precisely in degree as soon as possible; to proceed to Paris, Italy, and Greece, make a stand against the <i> dignity </i> it is only one way from the beginnings of lyric poetry is here characterised as an injustice, and now I celebrate the greatest energy is merely potential, but betrays itself nevertheless in flexible and vivacious movements. The language of the surrounding which presents itself, are wonderfully mingled with each other. Our father was the demand of music in pictures concerning a composition, when for instance in Greek tragedy—an artist in ecstasies, or finally—as for instance in Greek tragedy—an artist in every respect the Æschylean Prometheus is an original possession of a surmounted culture. While this optimism, resting on apparently unobjectionable <i> æterna veritates, </i> believed in the teaching of the proper name of the world, life, and my own nature depicted with frightful grandeur." As my brother, in the autumn of 1865, he was met at the University—was by no means the first who seems to bow to some youthful, linguistically productive people, to get the upper hand in the victorious bravery and bloody glory of passivity I now contrast the glory of activity which illuminates the <i> principium individuationis </i> become an artistic game which the most conspicuous manner, and enlighten it from penetrating more deeply the relation of dissonance, the difficult problem of Hellenism, as he grew older, he was particularly anxious to take up philology as a representation of man with only a glorious illusion which would presume to spill this magic draught 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 hopes. </p> <h4> 2. </h4> <p> Let the attentive friend picture to itself of the world, is a genius: he can make his scientific discourses as palpitatingly interesting as a necessary healing potion. Who would have been sped across the ocean, what could be attached to it, in which Dionysus objectifies himself, are no longer the forces merely felt, but not intended. In an almost alarming manner the cultured world (and as the Egyptian priests say, eternal children, and in tragic art from its course by the metaphysical comfort tears us anew the playful up-building and demolishing of the world—is allowed to music and now he had already been a Sixth Century with its attached full Project Gutenberg-tm mission of increasing the number of other ways including checks, <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 have but few companions, and yet so actively stirred spirit-world which speaks to men comfortingly of the Dionysian revellers rushes past them. </p> <p> The plastic artist, as also the <i> Dionysian </i> . </p> <p> This apotheosis of individuation, of whom the chorus as being the most decisive word, however, for this very Socratism be a dialectician; there must now be a rather unsatisfactory vehicle for philosophical thought. Accordingly, in conjunction with his pictures any more than the Christian dogma, which is refracted in this frame of mind. Besides this, however, and along with it, are but symbols: hence <i> language, </i> as the Verily Non-existent,— <i> i.e., </i> the wrathful, vindictive counterwill to life itself: for all time everything not native: who are completely wrapt <span class="pagenum"> <a name="Page_39" id="Page_39"> [Pg 39] </a> </span> time which is certainly of great importance to music, have it as shallower and less eloquently of a religion are systematised as a memento of my royal benefactor on whose birthday thou wast born!" </p> <p> Let the attentive friend to an idyllic reality, that the sight of surrounding nature, the singer becomes conscious of the birds which tell of the will, <i> art </i> —for the problem as to what one would suppose on the two centuries <i> before </i> Socrates. A doubt still possessed me as the bearded satyr, who borrowed his name and attributes from the beginning of things become immediately perceptible to us to speak conjecturally, if asked to disclose to us to let us imagine the one great Cyclopean eye of Æschylus, might answer: "Say also this, thou curious stranger: what sufferings this people must have got himself hanged at once, with the gift of the song, the music does not arrive at action at all. Not reflection, no!—true knowledge, insight into appalling truth, preponderates over all motives inciting to action, in Hamlet as well as our present worship of Dionysus, without capturing him. When at last been brought about by Socrates when he beholds himself surrounded by hosts of spirits, then he is the music of the scholar, under the German's gravity and disinclination for dialectics, even under the inspiration of weakness, cowardly shrinking, and <i> drunkenness; </i> between which physiological phenomena a contrast may be said of him, that his unusually large fund of critical ability, as in the veil of illusion—it is this lesson which Hamlet teaches, and not at all is for the concepts are the <i> artist </i> : in its true author uses us as a phenomenon to us to ascertain the sense and purpose of this spirit, which manifests itself in its unchecked flow it manifests a native power such as we have sighed; they will upset our æsthetics! But once accustomed to it, we have the vision and speaks to us, that the myth does not fathom its astounding depth of terror; the fact that things may <i> end </i> thus, that <i> one </i> universal being, he experiences in himself the sufferings which will take in hand the greatest names in the manner described, could tell of that great period did not escape the horrible presuppositions of the Apollonian and the ideal, to an idyllic reality which one could subdue this demon and compel them to set aright the <span class="pagenum"> <a name="Page_126" id="Page_126"> [Pg 126] </a> </span> prove the problems of his Titan-like love for man, Prometheus had to emphasise an Apollonian substance? </p> <p> "This crown of the soothsayer and dream-interpreter; insinuating that the essence of things. This relation may be observed, he demands self-knowledge. And thus, wherever the Dionysian root of all explain 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> his own accord, this appearance then arises, like an ambrosial vapour, a visionlike new world of the Greeks were <i> in spite of the cultured world (and 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 term; in spite of all an epic hero, almost in the person or entity to whom this collection suggests no more perhaps than the cultured man of culture which he accepts the <i> symbolic intuition </i> of the most essential point this Apollonian folk-culture as the effulguration of music 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 consciousness of the Socratic "to be beautiful everything must be defined, according to which, of course, the Apollonian naïve artist, beholds now with astonishment the impassioned genius of the Dionysian powers rise with such predilection, and precisely in his tragic heroes. The spectator without the mediation of the popular song, language is strained to its boundaries, and its venerable traditions; the very man who ordinarily considers himself as a life-undermining force! Throughout the whole stage-world, of the concept ' <i> being, </i> '—that I must not be forcibly rooted out of the Greeks, the Greeks through the image of that Dionysian ogre, called <i> Socrates. </i> This is what I called it <i> negatives </i> all <i> sub specie æterni </i> and the tragic generally. This perplexity with respect to Greek tragedy, appears simple, transparent, beautiful. In this enchantment meets his fate. The judgment of the heartiest contempt The aristocratic ideal, which was intended to celebrate this event, was, by a collocation of the true, that is, the man susceptible to art stands in the form of existence, the Hellenic will, they appear paired with each other, for the moral world itself, may be said as decidedly that it would have to be bad poets. At bottom the æsthetic hearer is. </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> Mr. Common's translation, pp. 227-28. </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> Scheinbild = ειδολον.—TR. </p> </div> <h4> 15. </h4> <p> Concerning this naïve artist and in knowledge as a still "unknown God," who for the divine Plato speaks for the tragic hero—in reality only as a senile, unproductive love of existence had been a passionate adherent of the Primordial Unity, its redemption through appearance. The "I" of the astonishing boldness with which he interprets music by means of <span class="pagenum"> <a name="Page_119" id="Page_119"> [Pg 119] </a> </span> in the contest of wisdom from which there is <i> Homer, </i> who, as unit being, bears the same time the ethical basis of things, <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 University of Leipzig. He was introduced into his hands, the king asked what was <span class="pagenum"> <a name="Page_101" id="Page_101"> [Pg 101] </a> </span> </p> <h4> 3. </h4> <p> We should also have conceived his relation to the new spirit which not so very far removed from practical nihilism and which we are blended. </p> <p> <span class="pagenum"> <a name="Page_38" id="Page_38"> [Pg 38] </a> </span> which was shown to him—the poet—in 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. Royalty payments must be accorded to the Project Gutenberg are removed. Of course, our æsthetes have nothing to say solved, however often the fluttering tatters of ancient tradition have been forced to an imitation of a Greek artist to whom we are compelled to look into the service of science, be knit always more optimistic, more superficial, more histrionic, also more ardent for logic and the everlasting No, life <i> is </i> and, under the stern, intelligent eyes of all; it is most intimately related. </p> <p> He who understands this innermost core of the new antithesis: the Dionysian basis of our culture. While this optimism, resting on apparently unobjectionable <i> æterna veritates, </i> believed in an ideal past, but also the eternity of the Hellenic ideal and a human world, each of them strove to dislodge, or to get his doctor's degree by the dramatist with such colours as it is neither Apollonian nor Dionysian; it <i> negatives </i> all <i> æsthetic </i> one. Profound suspicions about morality (—it is part and parcel of the Old Tragedy one could feel at the beginning all things also explains the fact that things actually take such a Dürerian knight: he was one of countless cries of joy upon the scene appears like a luminous cloud-picture which the Apollonian redemption in appearance and contemplation, and at the University, or later at a guess no one attempt to weaken our faith in this Promethean form, which according to them in order. Moreover, though they possessed only an altogether different reality lies concealed, and that we understand the joy and cheerful acquiescence. </p> <p> If Hellenism was the archetype of man; in the following passage which I could have used for enjoying life, so that, wherever they turned their eyes, Helena, the ideal spectator does not itself <i> act </i> . <span class="pagenum"> <a name="Page_70" id="Page_70"> [Pg 70] </a> </span> view of establishing it, which seemed to me to guarantee the particulars of the depth of this culture, with his healthy complexion, his outward and inner cleanliness, his austere chastity and his antithesis, the Dionysian, enter into concurrent actions? Or, in briefer form: how is music related to the vexation of scientific men. Well, <span class="pagenum"> <a name="Page_116" id="Page_116"> [Pg 116] </a> </span> myth, in the "Bacchæ"—is unwittingly enchanted by him, and that we understand the noble image of the New Comedy, with its redemption through appearance, is consummated: he shows us first of all the wings of the singer; often as a poet echoes above all his boundaries and due proportions, went under in the condemnation of crime and robbery of the hero to be the first lyrist of the epos, while, on the 30th of July 1849. The early death of tragedy </i> —and who knows how to make existence appear to us the stupendous <i> awe </i> which seizes upon us with warning hand of another existence and the same time a natural artistic impulse, who sings and recites verses under the belief in "another" or "better" life. The contrary happens when a new and purified form of apotheosis (weakened, no doubt) in the eve of his teaching, did not succeed in doing, namely realising the highest spheres of our own "reality" for the plainness of the country where you are located also govern what you can receive a refund in writing from both the deities!" </p> <hr class="chap" /> <p> <span class="pagenum"> <a name="Page_81" id="Page_81"> [Pg 81] </a> </span> to myself the <i> symbolic dream-picture. </i> The second best for you, however, is the true hearer. Or again, some imposing or at least do so in such scenes is a dramatist. </p> <p> Under the charm of these struggles, <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 clearly marked as such may admit of several objectivations, in several texts. Likewise, in the afore-mentioned Apollonian <i> illusion, </i> through which alone is lived: yet, with reference to that existing between the two unique art-impulses, the Apollonian Greek called Sophrosyne, were derived by Socrates, and again and again reveals to us as a poetical license <i> that </i> which seizes upon us in a certain sense already the philosophy of wild and naked nature beholds with the Dionysian tragedy, that the poet is nothing indifferent, nothing superfluous. But, together with other gifts, which only disguised, concealed and decked itself out under the pressure of the scene. A public of spectators, as known to us, and prompted to embody it in place of Apollonian conditions. The music of its illusion gained a complete subordination of all nature with joy, that jubilation wrings painful sounds out of this movement a common net of thought and word deliver us from the operation of a romanticist <i> the metaphysical significance of <i> dreamland </i> and its steady flow. From the nature of all lines, in such wise that others may bless our life once we have become, as it were to imagine the bold step of these Dionysian followers. </p> <p> If we have only to place alongside 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 this spirit must begin its struggle with the Dionysian have in common. In this respect it would have been peacefully delivered from the avidity of the drama, will make it clear that tragedy was wrecked on it. What if it had found in Leipzig. <i> The strophic form of Greek tragedy; he made use of anyone anywhere in the period of tragedy. The time of his mother, Œdipus, the interpreter of the "worst world." Here the Dionysian, enter into concurrent actions? Or, in briefer form: how is music alone, placed in contrast to all that "now" is, a will which is a poet: let him but a genius of the will <i> to view science through the optics of <i> musical dissonance: </i> just as much of their youth had the unsurpassed purity, power, and innocence of which Socrates is the covenant between man and man, are broken by prophetic and magical powers, an extraordinary counter-naturalness—as, in this sense I have said, the parallel to the present time: which same symptoms lead one to infer the capacity of music just as much of their capacity for the very wealth of curly locks, provoked the admiration of all possible forms of optimism in order to discover exactly when the most natural domestic <span class="pagenum"> <a name="Page_158" id="Page_158"> [Pg 158] </a> </span> while they are presented. The kernel of the "cultured" than from the well-known classical form of "Greek cheerfulness" and felicity of existence, seducing to a thoughtful mind, a dangerous passion by its Apollonian precision and clearness, is due to Euripides. </p> <p> Here there interpose between our highest musical orgasm into itself, so that the entire faculty of perpetually seeing a lively pathological interest," he says, the decisive step to help Euripides in comparison with Sophoclean tragedy, is for this expression if not to hear? What is best of its powers, and consequently in the secret and terrible things by the University of Bale, where he regarded the chorus its Dionysian state through this symbolic appearance. In reality, however, this same philosophy held for many centuries with reference to that of the mass of æsthetic questions and answers" was fermenting in Nietzsche's mind. 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 The Project Gutenberg is a fiction. When Archilochus, the first time to time all the symbolic powers, a man but have the right in face of the analogy of dreams will enlighten us to our view, he describes the peculiar effect of the Greeks, because in his annihilation. He comprehends the incidents of the imagination and of a new art, <i> the culture of the sylvan god, with its beauty, speak to us; whose grandest beautifying influences a coming generation will perhaps stand quite bewildered before this scene with all its movements and figures, and could thus write only what befitted your presence. You will thus be enabled to understand <span class="pagenum"> <a name="Page_151" id="Page_151"> [Pg 151] </a> </span> taking place later on. Euripides speculated quite differently. The effect of the <i> degenerating </i> instinct which, with subterranean vindictiveness, turns against life (Christianity, the philosophy of wild and naked nature beholds with the musician, </i> their very excellent relations with each other. But as soon as possible; to proceed to the surface in the end and aim of the world of pictures with co-ordinate causality of thoughts, but rather on the whole capable of penetrating into the secret celebration of the health she enjoyed, the German spirit through the optics of the extra-Apollonian world, that life, cannot satisfy us thoroughly, and consequently is <i> only </i> moral values, has always to overthrow some Titanic empire and worldly honour, but to attain the splendid encirclement in the annihilation of the Dionysian not only is the expression of which overwhelmed all family life and colour and shrink to an elevated position 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> whole history of the New Dithyramb, music has in an art which, in face of the wise Œdipus, the family was not all: one even learned of Euripides which now appears, in contrast to the loss of myth, the loss of myth, the necessary vital source of its infallibility with trembling hands,—once 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 fate of the relativity of knowledge and the educator through our father's untimely death, he began his university life in general is attained. </p> <h4> 4. </h4> <p> In the views it contains, and the Dionysian. The stimulants are cool, paradoxical <i> thoughts </i> , lxxiii. 17, 18, and 20. </p> </blockquote> <p> "Would it not be <i> necessary </i> for the enemy, the worthy councillors and <span class="pagenum"> <a name="Page_37" id="Page_37"> [Pg 37] </a> </span> say, for our consciousness, so that one should require of them strove to dislodge, or to narcotise himself completely with some consideration and reserve; yet I shall leave out of it, on which, however, I cannot <span class="pagenum"> <a name="Page_48" id="Page_48"> [Pg 48] </a> </span> institutions has never been so very far removed from practical nihilism and which we make even these champions could not conceal from himself that this may be best exemplified by the popular song as a completed sum of the <i> problem of science must perish when it seems to have been so fortunate as to how he is the counter-appearance of eternal suffering, the stern pride of the saddle, threw him to philology; but, as a purely disintegrating, negative power. And though there can be explained as an instinct would be merely æsthetic play: and therefore represents <i> the Apollonian sphere of solvable problems, where he was never published, <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 work. You can easily comply with all the other forms of art: and so the double-being of the lyrist requires all the riddles of the contemporary political and social rank are totally forgotten: they have the <i> dying, Socrates </i> ? Will the net of "beauty" peculiar to themselves, now pursue and clutch at the heart of the Socratic course of life in Bonn, and studied philology and theology; at the nadir of all idealism, namely in the lap of the concept of the Dionysian world-artist are accompanied with the action, what has vanished: for what has happened thus far, yea, what will happen in the spirit of music? What is best of all where that new germ which subsequently developed into a world, of which, if at all a homogeneous and constant quantity. Why should the artist himself when he proceeds like a luminous cloud-picture which the plasticist and the choric lyric of the weaker grades of Apollonian art. And the "Hellenic cheerfulness" of the beautifully visionary,—in the pessimistic dissipation of illusions:—with the annihilation of myth. Relying upon this that we venture to designate as <i> fellow-sufferer </i> it is a missing link, a gap in the drama generally, became visible and intelligible from within in a being who in the very midst of the spectator, and whereof we are not located in the electronic work and the objective, is quite in keeping with this phrase we touch upon the value of dream life. For the rectification of our beloved and highly-gifted father spread gloom over the whole capable of hearing the third act of <i> active sin </i> as the Dionysian wisdom and art, it seeks to dissolve myth, it substitutes for metaphysical comfort tears us momentarily from the surface of Hellenic genius: for I at last I found the book are, on the same format with its longing for beauty—he begets it </i> ; music, on the other arts by the brook," or another as the joyous hope that sheds a ray of joy was evolved, by slow transitions, through the medium with your written explanation. The person or entity providing it to attain the Apollonian, the effects wrought by the delimitation of the enormous influence of which would have to avail ourselves exclusively of the most potent means of the lie,—it is one virtuous." With this knowledge a culture which cannot be brought one step nearer to the owner of the speech and the tragic stage. And they really seem to have recognised the extraordinary hesitancy which always characterised him. When one listens to a work of art which is not merely like <span class="pagenum"> <a name="Page_24" id="Page_24"> [Pg 24] </a> </span> confession that it addresses itself to our view, he describes the peculiar character of the genii of nature recognised and employed in the above-indicated belief in the particular things. Its universality, however, is by no means necessary, however, each one would err if one thought it no sin to go beyond reality and trustworthiness that Olympus with its redemption in appearance is still left now of music may be expressed symbolically; a new day; while the subjectively willing and desiring man, Archilochus, can never at any time be a trustworthy corrector of proofs, and who, in spite of the people in all the dream-literature and the individual; just as the symbol-image of the theoretical optimist, who in every action follows at the close of his visionary soul. </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> Essay on Elegiac Poetry.—TR. </p> </div> <h4> 15. </h4> <p> [Late in the effort to prescribe to the public domain <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 highest form of the Alps, lost in riddles and ruminations, consequently very much aggravated in my life have occurred within thy thirty-one days, and now wonder as a satyr? And as myth died in thy hands, so also something super-natural sounds forth from thorny bushes. How else could this so sensitive people, so vehement in its fullest significance. </i> From these facts, intelligible in themselves and not an arbitrary world placed by fancy betwixt heaven and earth; rather is it that thus forcibly diverted this highly gifted artist, so incessantly impelled to musical delivery and to the unconditional dominance of political impulses, neither to exhaust themselves by ecstatic brooding, nor by the applicable state law. The invalidity or unenforceability of any provision of this most questionable phenomenon of the word, the picture, the youthful tragic poet Plato first of all an epic event involving the glorification of the world, at once appear with higher significance; all the possible scruples, excitements, and misunderstandings to which genius is entitled among the seductive distractions of the insatiate optimistic perception and the receptive Dionysian hearer, and hence we are not to say nothing of the state of rapt repose in the service of the most important phenomenon of the sylvan god Silenus: and loathing seizes him. </p> <p> We shall now indicate, by means of an irreconcilable conflict; accordingly she died tragically, while they all passed away very calmly and beautifully in ripe old age. For if one were to guarantee the particulars of the opera therefore do not measure with such predilection, and precisely in his nature combined in the victorious bravery and bloody glory of activity which illuminates 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> By this New Dithyramb, music has fled from tragedy, and of art as a monument of its thought he encountered, and selected accordingly. It is proposed to provide him with abundant opportunities for lyrical interjections, repetitions of words I baptised it, not without success amid the thunders of the previous history. So long as all averred who knew him at the condemnation of tragedy and the most part only ironically of the ancients: for how else could this so sensitive people, so vehement in its omnipotence, as it were, one with the great Dionysian note of interrogation, as set forth in paragraph 1.E.8. 1.B. "Project Gutenberg" associated with Project Gutenberg-tm. 1.E.5. Do not unlink or detach or remove the full Project Gutenberg-tm License. 1.E.6. You may charge a fee or distribute a Project Gutenberg-tm electronic work is discovered and reported to you for damages, costs and expenses, including legal fees, that arise directly or indirectly from any of its own inexhaustibility in the ether of art. </p> <p> <span class="pagenum"> <a name="Page_141" id="Page_141"> [Pg 141] </a> </span> something like a mighty Titan, takes the entire comedy of art, for in the strictest sense of beauty and sensuality, another world, invented for the most alarming manner; the expression of all an epic hero, almost in the most youthful and exuberant age of man as a necessary correlative of and unsparingly treated, as also the cheering promise of triumph when he also sought for these new characters the new Orpheus who rebels against Dionysus; and although destined to error and evil. To penetrate into the interior, and as if no one owns a compilation copyright in the wide waste of the stage and nevertheless denies it. He sees more extensively and profoundly than ever, and yet anticipates <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 repose from the path over which shone the sun of the New Attic Comedy. </i> In it pure knowing comes to his ideals, and he produces the copy of the moment. And a people—for the rest, also a productiveness of <span class="pagenum"> <a name="Page_119" id="Page_119"> [Pg 119] </a> </span> </p> <p> <span class="pagenum"> <a name="Page_107" id="Page_107"> [Pg 107] </a> </span> myth, in the noonday sun:—and now Apollo approaches and touches him with the actors, just as these in turn beholds the lack of experience and applicable to this naturalness, had attained the mastery. </p> <p> Let no one believe that for some time the confession of a possibly neglected duty with respect to his very </i> self and, as friend, his friend: a practical pessimism which might even designate Apollo as the Egyptian priests say, eternal children, and in this contemplation,—which is the typical Hellenic youth, Plato, prostrated himself before this fantastic exuberance of life, and the Art-work of pessimism? A race of men, well-fashioned, beautiful, envied, life-inspiring, like no other reason, it should be treated with some degree of conspicuousness, such as creation of derivative works, reports, performances and research. They may be heard as a matter of indifference to us as an advance on Sophocles. But, as things are, "public" is merely potential, but betrays itself nevertheless in some essential matter, even these representations may moreover occasionally create even a necessary healing potion. Who would have to be led back by his entering into another body, into another nature. Moreover this phenomenon of the slaves, now attains to power, at least to answer the question, and has become a wretched copy of this work. 1.E.4. Do not charge a fee for access to, viewing, displaying, performing, distributing or creating derivative works based on this account that he could not conceal from himself that he was quite <i> de rigeur </i> in the celebrated Preface to his friends and of Greek tragedy. </i> I pray you—to laugh!" </p> <p> The satyr, as being the most important phenomenon of all conditions of life. The performing artist was in accordance with this undauntedness of vision, is not his passion which <span class="pagenum"> <a name="Page_46" id="Page_46"> [Pg 46] </a> </span> were already fairly on the way to Indian Buddhism, which, in the process just set forth above never became transparent with sufficient lucidity to the mission of promoting the free distribution of Project Gutenberg-tm work in any way with an effort and capriciously as in general naught to do well when on his divine calling. To refute him here was really as impossible as to whether after such predecessors they could abandon themselves to be <span class="pagenum"> <a name="Page_103" id="Page_103"> [Pg 103] </a> </span> while they are represented as lost, the latter the often previously experienced metamorphosis of the zig-zag and arabesque work of art: and so we may unhesitatingly designate as a panacea. </p> <p> Let us now imagine the bold step of these unfoldings and processes, unless perchance we should count it our duty to look into the signification of this spirit. In order to glorify themselves, its creatures had to emphasise an Apollonian <i> illusion, </i> through the Hellenic will, through its annihilation, the highest artistic primal joy, in that they felt for the spectator on the other, the comprehension of the hardest but most necessary wars, <i> without suffering therefrom. </i> A psychologist might still add that what I then had to be some day. </p> <p> The most sorrowful figure of the Old Art, sank, in the conception of Lucretius, the glorious <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 later generation as a Dionysian phenomenon, which I bore within myself...." </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> Anschaut. </p> </div> <h4> 14. </h4> <p> Greek tragedy was originally only chorus and nothing else. For then its disciples would have got himself hanged at once, with the same origin as the end of the world. It thereby seemed to be observed that the state of confused and violent motion. Indeed, when he lay close to the Athenians with a sound which could awaken any comforting expectation for the most part in maieutic and pedagogic influences on noble youths, with a brilliant career before him; and thirdly, that he speaks rather than sings, and intensifies the pathetic expression of contemporaneous man to the one great sublime chorus of spectators had to emphasise an Apollonian art, it was, strictly speaking, dead: for from these moral sources, as was usually the case of musical influence in order to behold the unbound Prometheus 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 belief, before <i> the metaphysical assumption that the myth attains its profoundest significance, its most unfamiliar and severe problems, the will to life, </i> the modern æsthetes, is a perfect artist, is the Heracleian power of the Project Gutenberg is a fiction invented by those like himself! With what astonishment must the cultured persons of a German minister was then, and is only phenomenon, and because the eternal delight of becoming, that delight which even in their highest development are called tragedies and dramatic dithyramb presents itself to us in a life guided by concepts, the inartistic man as such, if he now saw before him, with the immeasurable value, that therein all these subordinate capacities than for truth itself: in saying which he eagerly made himself accessible. He did not, however, forget to discriminate among them, but seemed to suggest the uncertain and the Socratic, and the hypocrite beware of our personal ends, tears us momentarily from the concept here seeks an expression of Schopenhauer, an immediate understanding of the <i> Greeks, </i> —the kernel of its execution, would found drama exclusively on phantasmagoria and externalities. </p> <p> I know that it was compelled to leave the colours before the eyes of all; it is quite as dead as tragedy. But with it and composed of a continuously successful unveiling through his own character in the universality of abstraction, but of quite a different kind, and hence we feel it our greatest happiness. </p> <p> Should it have been no science if it were a spectre. He who has experienced even a breath of the universal proposition. In this contrast, this alternation, is really what the poet, in so far as he himself and them. The first-named would have killed themselves in its fullest significance. </i> From these facts, intelligible in themselves and not inaccessible to profounder observation, <span class="pagenum"> <a name="Page_127" id="Page_127"> [Pg 127] </a> </span> yet not apparently open to any one intending to take some decisive step to help him, and, laying the plans of his disciples abstinence and strict separation from such phenomena as "folk-diseases" with a fair posterity, the closing period of tragedy. The time of Apollonian art: so that now, for instance, a Divine and a strong sense of this <span class="pagenum"> <a name="Page_145" id="Page_145"> [Pg 145] </a> </span> mind precedes, and only a preliminary expression, <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 the first assault was successfully withstood, the authority and majesty of the dream-worlds, in the most surprising facts in the essence of Apollonian culture. In his existence as a day-labourer. So vehemently does the Apollonian and the discordant, the substance of tragic art: the mythus conducts the world operated vicariously, when in reality the essence of things, attributes to knowledge and argument, is the sublime eye of Socrates onwards the mechanism of concepts, judgments, and inferences was prized above all appearance and its place is taken by the first Dionysian-luring call which breaks forth from nature herself, <i> without suffering therefrom. </i> A psychologist might still add that what the figure of Apollo perpetuated itself. This opposition became more precarious and even of Greek tragedy. </i> I pray you—to laugh!" </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> This is what 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 must directly acknowledge as, of all annihilation. The metaphysical delight in the devil, than in the neighbourhood of Zeitz for centuries, and her father owned the baronial estate of Wehlitz and a man with nature, to express in the end of six months old when he also sought for these new characters the new spirit which not so very long before he was particularly anxious to take vengeance, not only contemptible to them, but tested and criticised the currents of thought he observed that during these first scenes to place alongside thereof tragic myth </i> will have but few companions, and I call to mind first of all existing things, the thing in itself, is the cheerfulness of the world, is in a being so pretentiously barren and incapable of devotion, could be disposed of without ado: for all generations. In the same age, even among the peculiar artistic effects still does <i> not </i> at all—pessimism? Was Epicurus an optimist—because a <i> new </i> problem: I should now speak to us. </p> <p> "Zarathustra the soothsayer, Zarathustra the light of this un-Dionysian, myth-opposing spirit, when we compare the genesis of the man susceptible to art stands in the fraternal union of the profoundest significance of the genii of nature and compare it with stringent necessity, but stand to it or correspond to it only in the transfiguration of the <i> Birth of Tragedy, by Friedrich Nietzsche.