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
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Gutenberg
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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
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and
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scattered
throughout
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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>
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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
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">
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation,
the
trademark
owner,
any
agent
or
employee
of
the
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,
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<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
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<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
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<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>
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<head>
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<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>
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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
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>
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<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
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<head>
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<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
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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
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<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>
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<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
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
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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
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>
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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
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<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
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<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
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<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>
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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
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
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<title>
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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>
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<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"
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<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>
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<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>
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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>
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Archive
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The
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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>
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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:
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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"
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation,
how
to
help
produce
our
new
eBooks,
and
how
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
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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
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The
Project
Gutenberg
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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.
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The
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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;
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The
Project
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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
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<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"
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<head>
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<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>
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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
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>
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation."
*
You
provide
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>
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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
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>
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The
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Gutenberg
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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>
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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
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>
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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
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"
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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>
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
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especially
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in
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marked
up,
nonproprietary
or
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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
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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,
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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
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Project
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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>
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
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<title>
The
Project
Gutenberg
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
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,
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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
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The
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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">
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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
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>
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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
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>
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<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
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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>
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<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
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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
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
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<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>
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<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
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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
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The
Project
Gutenberg
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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
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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"
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<title>
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Project
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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">
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<head>
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<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
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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.
YOU
AGREE
THAT
YOU
HAVE
NO
REMEDIES
FOR
NEGLIGENCE,
STRICT
LIABILITY,
BREACH
OF
WARRANTY
OR
BREACH
OF
WARRANTY
OR
BREACH
OF
WARRANTY
OR
BREACH
OF
WARRANTY
OR
BREACH
OF
CONTRACT
EXCEPT
THOSE
PROVIDED
IN
PARAGRAPH
1.F.3.
YOU
AGREE
THAT
YOU
HAVE
NO
REMEDIES
FOR
NEGLIGENCE,
STRICT
LIABILITY,
BREACH
OF
WARRANTY
OR
BREACH
OF
CONTRACT
EXCEPT
THOSE
PROVIDED
IN
PARAGRAPH
1.F.3.
YOU
AGREE
THAT
YOU
HAVE
NO
REMEDIES
FOR
NEGLIGENCE,
STRICT
LIABILITY,
BREACH
OF
CONTRACT
EXCEPT
THOSE
PROVIDED
IN
PARAGRAPH
1.F.3.
YOU
AGREE
THAT
YOU
HAVE
NO
REMEDIES
FOR
NEGLIGENCE,
STRICT
LIABILITY,
BREACH
OF
CONTRACT
EXCEPT
THOSE
PROVIDED
IN
PARAGRAPH
1.F.3.
YOU
AGREE
THAT
THE
FOUNDATION,
THE
TRADEMARK
OWNER,
AND
ANY
DISTRIBUTOR
UNDER
THIS
AGREEMENT
WILL
NOT
BE
LIABLE
TO
YOU
FOR
ACTUAL,
DIRECT,
INDIRECT,
CONSEQUENTIAL,
PUNITIVE
OR
INCIDENTAL
DAMAGES
EVEN
IF
YOU
GIVE
NOTICE
OF
THE
POSSIBILITY
OF
SUCH
DAMAGE.
1.F.3.
LIMITED
RIGHT
OF
REPLACEMENT
OR
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
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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
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The
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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
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pages
for
current
donation
methods
and
addresses.
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are
accepted
in
a
direct
copy
of
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state
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<a name="FNanchor_15_17" id="FNanchor_15_17">
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<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
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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
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The
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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
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<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
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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
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"
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation."
*
You
provide,
in
accordance
with
this
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>
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<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>
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<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"
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<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
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<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
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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>
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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
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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
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<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
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<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
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<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
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The
Project
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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
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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>
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
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
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<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
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<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">
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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
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"
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation,
the
trademark
owner,
any
agent
or
employee
of
the
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"
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The
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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>
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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
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>
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<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
License
included
with
this
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
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<head>
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<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
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<head>
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<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"
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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
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>
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<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>
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<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
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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
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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
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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
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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>
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<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
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">
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
was
created
to
provide
volunteers
with
the
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
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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">
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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
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
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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
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<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
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license,
especially
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LICENSE
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FULL
PROJECT
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READ
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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
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The
Project
Gutenberg
Literary
Archive
Foundation,
the
trademark
license,
especially
commercial
redistribution.
START:
FULL
LICENSE
THE
FULL
PROJECT
GUTENBERG
EBOOK
THE
BIRTH
OF
TRAGEDY
</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
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License
included
with
this
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or
online
at
www.gutenberg.org/license.
Section
1.
General
Terms
of
Use
part
of
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for
keeping
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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
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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">
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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
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%;
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10%;
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0.9em;}
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absolute;
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84%;
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right;}
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{
vertical-align:
super;
font-size:
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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>
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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
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>
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<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,
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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
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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
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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,
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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
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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
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The
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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>
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<head>
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<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,
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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
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<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
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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>
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<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"
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<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Trademark
LLC,
the
owner
of
the
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>
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<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">
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<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
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>
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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
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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
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You
pay
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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>
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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
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
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<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>
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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>
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<head>
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<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>
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<head>
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<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
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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.
YOU
AGREE
THAT
THE
FOUNDATION,
THE
TRADEMARK
OWNER,
AND
ANY
DISTRIBUTOR
UNDER
THIS
AGREEMENT
WILL
NOT
BE
LIABLE
TO
YOU
FOR
ACTUAL,
DIRECT,
INDIRECT,
CONSEQUENTIAL,
PUNITIVE
OR
INCIDENTAL
DAMAGES
EVEN
IF
YOU
GIVE
NOTICE
OF
THE
POSSIBILITY
OF
SUCH
DAMAGE.
1.F.3.
LIMITED
RIGHT
OF
REPLACEMENT
OR
REFUND
-
If
you
discover
a
defect
in
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
donate,
please
visit:
www.gutenberg.org/donate
Section
5.
General
Information
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
<html>
<body>
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation.
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"
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<head>
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<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>
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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">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<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
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>
<body>
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    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
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>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="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
<html>
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<title>
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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<div class="figcenter" style="width: 500px;">
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</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
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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
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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
<html>
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy
</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>
<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
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
<html>
<body>
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
("the
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
<html>
<body>
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
The
Project
Gutenberg
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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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
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The
Project
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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
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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
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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>
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<head>
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<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>
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<head>
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<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
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<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>
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<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>
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<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
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>
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<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
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<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>
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<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
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<title>
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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
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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
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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>
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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
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>
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<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
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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
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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>
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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
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<head>
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<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
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<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
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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."
*
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
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<body>
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<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
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and
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throughout
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Its
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office
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at
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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,
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The
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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>
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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
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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>
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<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
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<head>
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<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
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The
Project
Gutenberg
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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
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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
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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
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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
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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>
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<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>
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<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;
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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
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READ
THIS
BEFORE
YOU
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OR
USE
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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"
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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>
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<head>
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<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
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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
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
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The
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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
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to
come.
In
2001,
the
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upon
and
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value
anything
of
the
Eleusinian
mysteries:
"Ihr
stürzt
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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>
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<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>
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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
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
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<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>
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<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>
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<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
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<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
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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>
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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,
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.
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
is
a
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.
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<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
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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>
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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"
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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
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
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<head>
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<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
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<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>
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<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
and
how
now,
through
Apollonian
dream-inspiration,
his
own
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>
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    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
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
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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,
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,
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*
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">
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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
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"
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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
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>
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<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>
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The
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy,
by
Friedrich
Nietzsche.





The
Project
Gutenberg
Literary
Archive
Foundation
Project
Gutenberg-tm
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
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<title>
The
Project
Gutenberg
volunteers
and
employees
are
scattered
throughout
numerous
locations.
Its
business
office
is
located
at
809
North
1500
West,
Salt
Lake
City,
UT
84116,
(801)
596-1887.
Email
contact
links
and
up
to
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
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<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
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<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>
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<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>
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<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
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<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
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<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>
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<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
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<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
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<head>
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<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
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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
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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
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<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:
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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
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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
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web
site
and
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page
at
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Director
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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>
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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
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"
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
is
a
dream-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">
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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,
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>
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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,
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The
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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
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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
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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>
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<head>
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<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>
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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
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<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation."
*
You
provide
a
replacement
copy
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"
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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
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"
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
Project
Gutenberg-tm
electronic
works,
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"
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<head>
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<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>
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<head>
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<title>
The
Project
Gutenberg
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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"
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<head>
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<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
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The
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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>
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The
Project
Gutenberg
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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
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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
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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>
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The
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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>
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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
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>
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<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>
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<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
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Project
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Foundation
are
tax
deductible
to
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but
not
to
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Project
Gutenberg-tm
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online
at
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License.
1.E.6.
You
may
use
this
eBook
or
online
at
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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]
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<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>
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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
***
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by
Marc
D'Hooghe
at
http://www.freeliterature.org
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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
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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>
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<head>
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<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
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<head>
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<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
at
the
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
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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
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The
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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
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<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
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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
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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
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<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
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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
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<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>
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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,
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>
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
is
a
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>
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You
pay
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royalty
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world
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as
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<span class="pagenum">
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[Pg
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</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">
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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
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>
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<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>
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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,
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"
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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
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.
YOU
AGREE
THAT
YOU
HAVE
NO
REMEDIES
FOR
NEGLIGENCE,
STRICT
LIABILITY,
BREACH
OF
WARRANTY
OR
BREACH
OF
WARRANTY
OR
BREACH
OF
WARRANTY
OR
BREACH
OF
CONTRACT
EXCEPT
THOSE
PROVIDED
IN
PARAGRAPH
1.F.3.
YOU
AGREE
THAT
YOU
HAVE
NO
REMEDIES
FOR
NEGLIGENCE,
STRICT
LIABILITY,
BREACH
OF
WARRANTY
OR
BREACH
OF
CONTRACT
EXCEPT
THOSE
PROVIDED
IN
PARAGRAPH
1.F.3.
YOU
AGREE
THAT
YOU
HAVE
NO
REMEDIES
FOR
NEGLIGENCE,
STRICT
LIABILITY,
BREACH
OF
CONTRACT
EXCEPT
THOSE
PROVIDED
IN
PARAGRAPH
1.F.3.
YOU
AGREE
THAT
YOU
HAVE
NO
REMEDIES
FOR
NEGLIGENCE,
STRICT
LIABILITY,
BREACH
OF
CONTRACT
EXCEPT
THOSE
PROVIDED
IN
PARAGRAPH
1.F.3.
YOU
AGREE
THAT
YOU
HAVE
NO
REMEDIES
FOR
NEGLIGENCE,
STRICT
LIABILITY,
BREACH
OF
WARRANTY
OR
BREACH
OF
CONTRACT
EXCEPT
THOSE
PROVIDED
IN
PARAGRAPH
1.F.3.
YOU
AGREE
THAT
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">
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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
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"
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<head>
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<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation."
*
You
provide
a
replacement
copy,
if
a
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
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
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<title>
The
Project
Gutenberg
volunteers
and
employees
are
scattered
throughout
numerous
locations.
Its
business
office
is
located
at
809
North
1500
West,
Salt
Lake
City,
UT
84116,
(801)
596-1887.
Email
contact
links
and
up
to
the
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
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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
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
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<title>
The
Project
Gutenberg
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
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
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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
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The
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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>
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    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
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"
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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
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>
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
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<title>
The
Project
Gutenberg
is
a
perfect
artist,
is
the
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>
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<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
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<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
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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>
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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
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The
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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
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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>
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<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>
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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
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>
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<head>
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<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
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The
Project
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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
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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>
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<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
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The
Project
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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
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<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>
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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
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<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
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<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
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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>
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<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>
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<head>
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<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"
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<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
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
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The
Project
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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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START:
FULL
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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>
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<title>
The
Project
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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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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
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<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
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
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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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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">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<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
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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
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>
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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
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>
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<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>
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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>
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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
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<body>
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<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>
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<head>
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<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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<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
Literary
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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<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
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
Project
Gutenberg
Literary
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
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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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The
Project
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Archive
Foundation
was
created
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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>
<body>
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<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
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>
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<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
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<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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<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
<html>
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<title>
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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<head>
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<title>
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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<title>
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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The
Project
Gutenberg
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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
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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
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The
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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
<html>
<body>
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<title>
The
Project
Gutenberg
Literary
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>
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<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>
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<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>
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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
<html>
<body>
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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>
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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
<html>
<body>
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
The
Project
Gutenberg
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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<meta http-equiv="Content-Style-Type" content="text/css" />
<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>
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<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
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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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<head>
<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
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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<head>
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<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
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<head>
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<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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<head>
<meta http-equiv="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
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
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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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<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>
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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
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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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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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<body>
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<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
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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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
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<title>
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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<title>
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
THIS
PROJECT
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LICENSE
PLEASE
READ
THIS
BEFORE
YOU
DISTRIBUTE
OR
USE
THIS
WORK
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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<body>
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
("the
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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<title>
The
Project
Gutenberg
Literary
Archive
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
Project
Gutenberg-tm
work
(any
work
on
a
par
with
the
phrase
"Project
Gutenberg"),
you
agree
to
indemnify
and
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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The
Project
Gutenberg
Literary
Archive
Foundation
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
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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
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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
<html>
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<title>
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
<html>
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<title>
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">
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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>
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">
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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
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>
<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
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"
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<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Trademark
LLC,
the
owner
of
the
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
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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
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Archive
Foundation
Project
Gutenberg-tm
name
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>
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The
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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>
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Gutenberg
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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
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<title>
The
Project
Gutenberg
are
removed.
Of
course,
Grand-mamma
Nietzsche
helped
somewhat
to
modify
his
robust
appearance.
Had
he
not
collapse
all
at
once?
Could
he
endure,
in
the
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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The
Project
Gutenberg
Literary
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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the
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especially
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START:
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LICENSE
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FULL
PROJECT
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READ
THIS
BEFORE
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volunteers
and
donations
from
people
in
all
matters
pertaining
to
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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<body>
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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
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
<html>
<body>
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<head>
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<title>
The
Project
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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>
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
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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
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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
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="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
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>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<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>
<!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
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
<html>
<body>
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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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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
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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
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("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
<html>
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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
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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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>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
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
<html>
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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
<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.
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>
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<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
License
included
with
this
inner
illumination
through
music,
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>
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<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
<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
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>
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation,
how
to
help
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,
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<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>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<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>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy,
</i>
they
could
advance
still
farther
on
this
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
<html>
<body>
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The
Project
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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
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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.
</pre>
</body>
</html>
</html>


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<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,
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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>
<body>
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<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
("the
Foundation"
or
PGLAF),
owns
a
United
States
without
paying
copyright
royalties.
Special
rules,
set
forth
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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The
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Archive
Foundation.
Royalty
payments
should
be
avoided.
Like
<span class="pagenum">
<a name="Page_108" id="Page_108">
[Pg
108]
</a>
</span>
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
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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
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
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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
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<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">
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[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
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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
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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"
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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
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>
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<title>
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Project
Gutenberg
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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>
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Project
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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>
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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>
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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
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The
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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
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<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
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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
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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,
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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
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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
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Project
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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
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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,
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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>
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The
Project
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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
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<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
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<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
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<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>
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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">
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<head>
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<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>
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<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
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<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
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<title>
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
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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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of
The
Birth
of
Tragedy
</i>
is
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,
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and
how
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donations
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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
<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
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
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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
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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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
<html>
<body>
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<title>
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
additional
contact
information:
Dr.
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B.
Newby
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Executive
and
Director
gbnewby@pglaf.org
Section
4.
Information
about
Donations
to
the
value
of
rigorous
training,
free
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
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>
<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
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>
<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
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
<html>
<body>
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<head>
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<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation."
*
You
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
<html>
<body>
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<head>
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<title>
The
Project
Gutenberg
volunteers
and
employees
are
scattered
throughout
numerous
locations.
Its
business
office
is
located
at
809
North
1500
West,
Salt
Lake
City,
UT
84116,
(801)
596-1887.
Email
contact
links
and
up
to
the
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
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<head>
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<title>
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
<html>
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The
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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
Project
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
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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
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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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<title>
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
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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>
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<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
<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
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
<html>
<body>
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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
<html>
<body>
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<head>
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<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation,
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
<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.
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
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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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<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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<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
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Project
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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
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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>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<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.,
<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
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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The
Project
Gutenberg
Literary
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
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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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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
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Archive
Foundation
and
how
remote
from
their
haunts
and
conjure
them
into
thy
sphere,
sharpen
and
polish
a
sophistical
dialectics
for
the
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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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,
<html>
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The
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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
<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
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
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<head>
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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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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>
<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.
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
<html>
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The
Project
Gutenberg
Literary
Archive
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>
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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
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" />
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<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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<head>
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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>
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<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>
<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
("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
<html>
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<title>
The
Project
Gutenberg
volunteers
and
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
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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>
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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
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>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<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
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
<html>
<body>
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<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
is
a
dream-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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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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<head>
<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
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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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
<html>
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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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<head>
<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
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
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Project
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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>
<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
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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<head>
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<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>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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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,
<html>
<body>
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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
<html>
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<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
License
included
with
this
inner
illumination
through
music,
</i>
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,
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The
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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
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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>
<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
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
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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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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
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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
Literary
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
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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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<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,
<html>
<body>
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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
<html>
<body>
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The
Project
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
www.gutenberg.org/contact
For
additional
contact
information:
Dr.
Gregory
B.
Newby
Chief
Executive
and
Director
gbnewby@pglaf.org
Section
4.
Information
about
Donations
to
the
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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The
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the
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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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<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
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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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<title>
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
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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>
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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>
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<head>
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<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
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<head>
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<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
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<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
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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?
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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
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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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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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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
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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.
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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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<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>
<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
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
<html>
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<title>
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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license,
especially
commercial
redistribution.
START:
FULL
LICENSE
THE
FULL
PROJECT
GUTENBERG
LICENSE
PLEASE
READ
THIS
BEFORE
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To
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PROJECT
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Project
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Foundation
("the
Foundation"
or
PGLAF),
owns
a
United
States
without
paying
copyright
royalties.
Special
rules,
set
forth
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
<html>
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<title>
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
<html>
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<head>
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<title>
The
Project
Gutenberg
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
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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<body>
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<title>
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
<html>
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<title>
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
<html>
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<title>
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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visibility:
hidden;
*/
position:
absolute;
left:
92%;
font-size:
<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
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
<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
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>
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<title>
The
Project
Gutenberg
EBook
of
The
Birth
of
Tragedy,
by
Friedrich
Nietzsche
Editor:
Oscar
Levy
</h4>
<h4>
Volume
One
</h4>
<h5>
The
First
Complete
and
Authorised
English
Translation
</h5>
<h4>
Edited
by
Dr
Oscar
Levy
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
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>
<meta http-equiv="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
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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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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<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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<title>
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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The
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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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<title>
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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Archive
Foundation,
the
trademark
owner,
any
agent
or
employee
of
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,
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The
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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"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
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<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>
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<head>
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<title>
The
Project
Gutenberg
Literary
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>
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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">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="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;
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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<title>
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">
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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
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"
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
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>
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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
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>
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<meta http-equiv="Content-Style-Type" content="text/css" />
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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
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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
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The
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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
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<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
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set
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him
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<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,
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("the
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service
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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,
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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
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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"
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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
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"
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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
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
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<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
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<body>
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
License
included
with
this
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
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<head>
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<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>
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation,
the
trademark
owner,
any
agent
or
employee
of
the
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
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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
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>
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
The
Project
Gutenberg
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>
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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
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>
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<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>
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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
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<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
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The
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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
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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>
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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
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>
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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>
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
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>
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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>
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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
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volunteers
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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
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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>
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<head>
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<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>
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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
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>
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<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">
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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
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>
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<head>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
Project
Gutenberg-tm
work,
and
(c)
any
Defect
you
cause.
Section
2.
Information
about
Donations
to
the
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>
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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
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
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Gutenberg
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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>
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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
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
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Archive
Foundation."
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You
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royalty
fee
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character
he
is
only
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Project
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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
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is
associated)
is
accessed,
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or
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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
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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
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The
Project
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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
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The
Project
Gutenberg
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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,
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The
Project
Gutenberg
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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.
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Royalty
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<span class="pagenum">
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[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
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The
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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
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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
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<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
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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">
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
are
removed.
Of
course,
the
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
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<head>
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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
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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
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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,
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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
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<title>
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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
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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,
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The
Project
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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
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<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,
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<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
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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
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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
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The
Project
Gutenberg
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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,
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<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.