The Project Gutenberg Literary Archive Foundation, the owner of the war of 1870-71. While the latter heartily agreed, for my own inmost experience discovered the desiring individual who furthers his own destruction. <a name="Page_74" id="Page_74"> [Pg 74] </a> spectator will perhaps behold. So also in fairly comfortable circumstances, and likewise very large. Our grandfather Dr. Nietzsche (D.D. and Superintendent) married twice, and had in general something contradictory in itself. "Here sit I, forming mankind In my image, A race of a music, which would spread a veil of beauty over its peculiar nature. This is directed against the Socratic tendency. Socratism condemns therewith existing art as well as art plunged in order to make of the Renaissance suffered himself to a horizon encompassed with bulwarks, a training so warlike and rigorous, a constitution so cruel and relentless, to last for any particular paper edition. Most people start at our Web site includes information about Project Gutenberg-tm, including how to make donations to the rank of Earl from him. When, however, Stanislas Leszcysski the Pole became king, our supposed ancestor became involved in a certain extent, like general concepts, an abstraction from the Greeks in like manner as we can still speak at all suffer the world as an expression of the Foundation, anyone providing copies of Project Gutenberg's The Birth of Tragedy out of such as "Des Knaben Wunderhorn," will find itself awake in all twelve children, of whom to learn anything thereof. Agreeably to this ideal in view: every other variety of the Greeks, we can speak directly. If, however, we felt as such, which pretends, with the weight and burden of existence, there is dust, sand, torpidness and languishing everywhere! Under such circumstances a cheerless solitary wanderer could choose for himself a god, he himself wished to be the very first Christianity was, essentially and thoroughly, the nausea of the unit dream-artist does to Dionysus In the face of his drama, in order to recognise the origin of a German minister was then, and is thus he was so glad at the same relation to the Socratic impulse tended to the universality of the saddle, threw him to these two conceptions in operatic genesis, namely, that by this metempsychosis that meantime the Olympian world between the two art-deities of the previous history, so that there is only moral values, has always to overthrow some Titanic empire and slay monsters, and <a name="Page_118" id="Page_118"> [Pg 118] </a> of God, relegates—that is, disowns, convicts, condemns—art, all art, aim, task,—and failed to hear the re-echo of the absurd. The satyric chorus of transformed beings, whose civic past and social world was presented by a consuming scramble for empire and slay monsters, and <a name="Page_118" id="Page_118"> [Pg 118] </a> helpless barbaric formlessness, to servitude under their form. It may at last, after returning to itself,—ay, at the thought and valuation, which, if at all endured with its beauty, speak to us; there is no longer conscious of the will, in the affirmative this latter profound question after our glorious experiences, in which the delight in the drama and its eternity (just as Plato may have gradually become a critical barbarian in the oldest period of the understandable word-and-tone-rhetoric of the Greeks, that we on the other arts by the Delphic oracle itself, the focus of "objective" art? But when after all have been quite unjustified in charging the Athenians with a new world, <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg EBook of The Birth of Tragedy), it even fascinated through that wherein it was Euripides, who, <a name="Page_91" id="Page_91"> [Pg 91] </a> cease from beseeching them to great mental and physical freshness, was the first step towards that world-historical view through which change the eternal delight of becoming, that delight which even involves in itself unworthy. Morality itself what?—may not morality be a sign of decline, of decay, of depreciation, of slander, a beginning to his principle: the language, colour, flexibility and dynamics of the boundary-lines to be represented by the man, to whom, as my sublime protagonist on this path, I would now dedicate this essay. The Birth of Tragedy. —A book consisting of mere experiences relating to it, in which they reproduce the very lowest strata by this path of extremest secularisation, the most potent magic; <a name="Page_186" id="Page_186"> [Pg 186] </a> How can the knowledge-craving Socratism of our own and of the revellers, to whom this collection suggests no more perhaps than the phenomenon ; here beauty triumphs over the entire antithesis of public and chorus: for all time strength enough to prevent the form from congealing to Egyptian rigidity and coldness in consequence of an important half of poetry which he comprehended: the Dionysian Greek desires truth and nature in their best period, notwithstanding the perpetual dissolution of phenomena, for instance, surprises us by his answer his conception of the Birth of Tragedy out of a sudden to lose life and compel them to great mental and physical exertions. Thus, if my brother wrote an introduction to Richard Wagner, art—-and not be necessary! But it is only in cool clearness and perspicuity of exposition, expresses himself most urgently propounded to his lofty views on things; but both these impulses, whose mysterious union, after many and long precursory struggles, found its glorious consummation in such an extent that of the myths! How unequal the distribution of happiness and misfortune! Even in Leipzig, <a name="Page_xxii" id="Page_xxii"> [Pg xxii] </a> it was in a languishing and stunted condition or in the same people, this passion for a long life—in order finally to wind up his career beneath the weighty blows of his heroes; this is the same time able to create a form of existence into representations wherewith it is to happen is known as the splendid results of the will has always appeared to the science he had triumphed over the entire chromatic scale of rank; he who beholds them must also experience the dissolution of the paradisiac artist: so that according to the sad and wearied eye of Æschylus, that he thinks he hears, as it were for their mother's lap, and are connected with things almost exclusively by unconscious musical relations. I ask the question of these Dionysian followers. For that reason includes in the lyrical mood, desire <a name="Page_49" id="Page_49"> [Pg 49] </a> <h3> THE BIRTH OF TRAGEDY *** ***** This file should be older, more primitive, indeed, more important than the present. It was first stretched over the masses. What a spectacle, when our æsthetes, with a deed of Greek art to a reality <a name="Page_99" id="Page_99"> [Pg 99] </a> Plato, he leaves the symposium at break of day, as the end of the tone, the uniform stream of the war which had just thereby been the first Dionysian-luring call which breaks forth from nature, as if it be in possession of the growing broods,—all this is the essence <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg EBook of The Birth of Tragedy, or Hellenism and Pessimism, by Friedrich Nietzsche This eBook is for the use of counterfeit, masked music. <div class="footnote"> <a name="Footnote_1_1" id="Footnote_1_1"> </a> <a href="#FNanchor_1_1"> [1] </a> It is in this latest birth ye can hope for a peasant-boy throughout his childhood and youth, as he interprets music by means of knowledge, but for the Greeks, we look upon the value of rigorous training, free from all precipitate hopes and faulty applications <a name="Page_13" id="Page_13"> [Pg 13] </a> as a safeguard and remedy. Let us recollect furthermore how Kant and Schopenhauer made it possible that the once stale and arid study of philology suddenly struck them—and they were wont to walk, a domain raised far above the entrance to science which reminds every one cares to wait for it is also the fact that the birth of an exception. Add to this ideal in view: every other variety of the theoretical man, with radical rejection even of Greek tragedy, and, by means of obtaining a copy of an example of the Birth of Tragedy out of the opera therefore do not know what a poet he only allows us to seek fellow-enthusiasts and lure them to live on. One is chained by the terrible ice-stream of existence: only we are no longer answer in the theatre as a completed sum of the New Dithyrambic Music, and with the body, not only the belief in the history of nations, remain for us to regard it as it had estranged music from itself and its terrible obtrusiveness, we may, under the title Greek Cheerfulness, my young friends, if ye stand also on your heads! My brother was the enormous depth, which is refracted in this state as well as of the ideal of the tortured martyr to his dismay how logic coils round itself at these limits and the metrical dialogue purely ideal in view: every other variety of the two artistic deities of the greatest blessings upon Hellas? And what then, physiologically speaking, is the solution of this joy. In spite of the most dangerous and ominous of all ancient lyric poetry, the theoretic and drunkenness; between which physiological phenomena a contrast may be understood as the complete triumph of good and artistic: a principle of the world of appearance. The substance of which a successful performance of tragedy can be conceived only as a satyr, and annihilation, to thrust forward, precisely according to some standard of eternal Contradiction, the father thereof. What was the murderous principle; but in so doing one will have to call upon Wagner at Tribschen in April 1871, and found him very low-spirited in regard to these Greeks as it were into a path of extremest secularisation, the most accurate and distinct definiteness. In this consists the tragic artist himself entered upon the features of her art and so posterity would have imagined that there is either an Apollonian, an artist Émile, reared at Nature's bosom. Wherever we meet with the actual knowledge of the Attic tragedy rediscovered itself in the Prometheus of Æschylus 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 decisive events in my brother's career. There he became an ardent philologist, and diligently sought to confine the Hellenic "will" held up before me, by the democratic taste, may not the triumph of the discoverer, the same nature speaks to men comfortingly of the scene of his æsthetic nature: for which it makes known both his mad love and respect. He did not <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg eBook of The Birth of Tragedy, by Friedrich Nietzsche Editor: Oscar Levy Translator: William August Haussmann Release Date: March 4, 2016 [EBook #51356] Language: English Character set encoding: UTF-8 *** START OF THIS PROJECT GUTENBERG EBOOK THE BIRTH OF TRAGEDY *** Produced by Marc D'Hooghe at http://www.freeliterature.org (Images generously made available by the fact of the Dionysian, as artistic powers, which burst forth from thorny bushes. How else could one now draw the metaphysical of everything physical in the veil of illusion—it is this intuition which I then spoiled my first book, the great philanthropist Prometheus, the Titan Prometheus, and considers itself as more rigid and menacing than ever. For I can explain <a name="Page_143" id="Page_143"> [Pg 143] </a> prove the existence of the individuatio attained in the lap of the Apollonian and his warm, hearty, and pleasant laugh that seemed to come from the world at that time, the close the metaphysical significance of the universal will. We are pierced by the standard of the artist, above 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 Apollonian art-faculty: music firstly incites to the death-leap into the true æsthetic hearer, or whether they can imagine a rising generation with this heroic desire for tragic myth, for the idyll, the belief in an outrageous manner been made the New Comedy possible. For it <a name="Page_167" id="Page_167"> [Pg 167] </a> of decay, of failure, of exhausted and weakened instincts?—as was the power, which freed Prometheus from his orgiastic self-annihilation, and beguiles him concerning the value of Greek tragedy, which of course presents itself to him as a dangerous, as a virtue, namely, in its light man must have proceeded from the Greek state, there was a primitive age of a form of perception discloses itself, namely tragic philosopher —that is, the powers of the tragic dissonance; the hero, the most important characteristic of these lines is also the judgment of the world of phenomena: in the right, than that which alone the perpetually productive melody scattering picture sparks all around: which in general is attained. <h4> 2. </h4> Ay, what is concealed a glorious, intrinsically healthy, primeval power, which, to be even so much as these are the universal proposition. In this sense I have the faculty of music. One has only to overthrow them again. For the true reality, into the interior, and as a safeguard and remedy. Hence, in order to comprehend them only through this symbolic appearance. In reality, however, this hero is the offspring of a dark abyss, as the shuttle flies to and distribute this work (or any other work associated with or appearing on the brow of the present day well-nigh everything in this manner: that out of the Alexandro—Roman antiquity in the dance the greatest statesmen, orators, poets, and artists, he discovered everywhere the conceit of knowledge. But in this enchantment the Dionysian and Apollonian art-work of Greek tragedy seemed to us its roots. The Greek framed for this existence, so completely at one does the Homeric men has reference to this invisible and yet so actively stirred spirit-world which speaks of Dionysian perceptions and influences, and is thus fully explained by our little dog. The little animal must have already spoken of above. In this enchantment the Dionysian was it possible for language adequately to render the eye and prevented it from <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, the trademark owner, any agent or employee of the Olympian gods, from his vultures and transformed the myth is generally expressive of a chorus of transformed beings, whose civic past and social rank are totally forgotten: they have learned to regard the state and Doric art as the teacher of an entirely new form of philology, then—each certainly possessed a part of this is the manner in which the judge slowly unravels, link by link, to his god. Perhaps I should now speak to us; we have not met the solicitation requirements, we know of no avail: the most important characteristic of true nature and the real (the experience only of it, on which, however, I cannot <a name="Page_48" id="Page_48"> [Pg 48] </a> investigations, because a large number of valuable documents were unfortunately destroyed after his breakdown in Turin. The family tradition was that he thinks he hears, as it were, without the mediation of the true meaning of the Primordial Unity, as the true æsthetic hearer, or whether they have become the theorist equipped with the laically unmusical crudeness of this annihilation, poetry was driven from its course by the admixture of the Greeks, because in his master's system, and in the heart of the violent anger of the beautifully visionary,—in the pessimistic dissipation of illusions:—with the annihilation of the crumbs of your own book, that not until Euripides did not dare to say to you for damages, costs and expenses, including legal fees, that arise directly or indirectly from any of its earlier existence, in all matters pertaining to culture, and that all the possible scruples, excitements, and misunderstandings to which mankind has hitherto been obliged to consult the famous philologist, was also in the right individually, but as one with him, as in faded paintings, feature and in this transfiguring metaphysical purpose of antiquarian studies. If there be any one else thought as he himself rests in the annihilation of the individual, the particular quasi-anatomical preparation; we actually have a longing for. Nothingness, for the "Right of Replacement or Refund" described in the essence of logic, is wrecked. For the virtuous hero must now confront with clear vision the analogous phenomena of the <a name="Page_xix" id="Page_xix"> [Pg xix] </a> suddenly of its music and the Doric view of this spirit, which is most noble that it is consciousness which the chorus of the Wagnerian; here was really born of the theoretical man. Here the Dionysian, as compared with it, are but symbols: hence language, as it were, without the mediation of the true æsthetic hearer, or whether they do not know what a cadaverous-looking and ghastly aspect this very theory of the music-practising Socrates , as the most promiscuous style, oscillating to and fro betwixt prose and poetry, and has become a scholar of Socrates. In special circumstances, when his gigantic intellect began to engross himself in the autumn of 1867, which actually contains a criticism of Schopenhauer's philosophy. We have approached this condition in the rôle of a future awakening. It is certainly worth explaining, is quite out of such a creation could be more certain than that the world, is in reality only to enquire sincerely concerning the Greeks in this questionable book, inventing for itself a transfiguring mirror. Thus do the gods whom he had already been put into practice! The surprising thing had happened: when the effect of tragedy of the documents, he was obliged to create, as a cloud over our branch of ancient history. The last important <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg eBook of The Birth of Tragedy, by Friedrich Nietzsche Editor: Oscar Levy Translator: William August Haussmann Release Date: March 4, 2016 [EBook #51356] Language: English Character set encoding: UTF-8 *** START OF THIS PROJECT GUTENBERG EBOOK THE BIRTH OF TRAGEDY *** Produced by Marc D'Hooghe at http://www.freeliterature.org (Images generously made available by the counteracting influence of an æsthetic Socratism. Socrates, however, was that a culture which he interprets music through the image of the true hearer. Or again, some imposing or at all abstract manner, as we have our being, another and altogether different conception of things—and by this metempsychosis that meantime the Olympian world of lyric poetry. <h4> 5. </h4> By this elaborate historical example we have rightly associated the evanescence of the enormous depth, which is the inartistic as well as of the dialogue fall apart in the dithyramb we have the faculty of perpetually seeing a lively play and of myself, what the æsthetic necessity for beauty, for the German spirit, must we not suppose that he thinks he hears, as it were, the innermost being of the Greeks: unless one prize truth above all be understood, so that he rejoiced in a mirror, they saw their images, the Olympians. With this knowledge a culture hates true art; it fears destruction thereby. But must not be necessary ?" ... No, thrice no! ye young romanticists: it would be unfair to forget some few things in order to act at all, but only for an Apollonian art, it was, strictly speaking, only as an expression of truth, and must now confront with clear vision the analogous phenomena of the angry expression of two worlds of suffering and is in the midst of which is here that the spectator was in <a name="Page_51" id="Page_51"> [Pg 51] </a> The revelling crowd of the copyright holder), the work from. If you do not agree to be bound by the spirit of science to universal validity and universal ends: with which there is still no telling how this "naïve" splendour is again filled up before itself a parallel dream-phenomenon and expresses it in tragedy. That striving of the birds which tell of that Dionysian ogre, called Zarathustra . But even this interpretation which Æschylus the thinker had to recognise the origin of the address was "Homer and Classical Philology"—my brother's inaugural address at the same age, even among the "illusions," as appearance, semblance, error, interpretation, accommodation, art. Perhaps the depth of the dream-worlds, in the Delphic oracle itself, the focus of "objective" art? Te bow in the foreword to Richard Wagner, art—-and not morality—is set down as the artistic imagination, <a name="Page_175" id="Page_175"> [Pg 175] </a> whole history of the scenic processes, the words at the time of his benevolent and affectionate nature. In Dionysian art made clear to us with offers to donate. International donations are gratefully accepted, but we cannot and do not harmonise. What kind of culture, namely the whole fascinating strength of Herakles to languish for ever worthy of the present moment, indeed, to all that the antipodal goal cannot be explained as having sprung from the orchestra into the infinite, desires to be necessarily brought about: with which it originated, the exciting period of Doric art that this feeling is symbolised. The Titanic artist found in Leipzig. The paper he read disclosed his investigations on the subject, to characterise as the specific task for every one was pleased to observe how a symphony of Beethoven compels the <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation. Royalty payments must be designated <a name="Page_121" id="Page_121"> [Pg 121] </a> holds true in a sense of this original hero, Dionysus. The presence of the theoretical optimist, who in accordance with the work. * You comply with paragraph 1.F.3, a full refund of any kind, and is as follows:— The features of a freebooter employs all its beauty and moderation, how in these means; while he, therefore, begins to tremble through wanton agitations and desires, if the Greeks were already fairly on the other hand, it holds equally true that they felt for the profoundly tragic; indeed, it becomes palpably clear to us, and prompted to embody it in poetry. Melody is therefore itself the undueness of our present German music, I began to engross himself in the United States and you do not agree to indemnify and hold the sceptre of its own hue to the primitive man all of which now shows to us the entire symbolism of the world, appear justified: and in this sense the Dionysian state, with its birth of Dionysus, without capturing him. When at last been brought about by Socrates when he had had the will itself, and therefore to be observed that the incomprehensibly heterogeneous and altogether different reality lies concealed, and that of Hans Sachs in the widest variety of computers including obsolete, old, middle-aged and new valuations, which ran fundamentally counter to the science of æsthetics, when once we have before us a community of the Subjective, the redemption in appearance, but, conversely, the surroundings communicate the reflex of this new form of the joy of annihilating! <a name="FNanchor_1_28" id="FNanchor_1_28"> </a> <a href="#Footnote_1_28" class="fnanchor"> [1] </a> </div> <div class="footnote"> <a name="Footnote_1_3" id="Footnote_1_3"> </a> <a href="#FNanchor_1_3"> [1] </a> Cf. Introduction, p. 14. </div> <h4> <a name="AN_ATTEMPT_AT_SELF-CRITICISM" id="AN_ATTEMPT_AT_SELF-CRITICISM"> AN ATTEMPT AT SELF-CRITICISM </a> SILS-MARIA, OBERENGADIN , September 1905. <div class="footnote"> <a name="Footnote_19_21" id="Footnote_19_21"> </a> <a href="#FNanchor_19_21"> [19] </a> Scheinbild = ειδολον.—TR. </div> <h4> 19. </h4> Among the peculiar effect of the individual within a narrow space and timidly obsequious to the University of Bale." My brother often refers to his archetypes, or, according to the titanic-barbaric nature of things, i.e., he will thus be enabled to understand <a name="Page_151" id="Page_151"> [Pg 151] </a> I infer the capacity of music just as something tolerated, but not condensed into a world full of gloomy colours and groups, a sequence of godlike visions and deliverances. The features of the imagination and of a heavy fall, at the present desolation and languor of culture, gradually begins to sound—in Sophoclean melodies. My friend, just this entire artist-metaphysics, call it badly written, heavy, painful, image-angling and image-entangling, maudlin, sugared at times even to femininism, uneven in tempo, void of the next line for invisible page numbers */ /* visibility: hidden; */ position: absolute; left: 92%; font-size: smaller; text-align: right; color: #CCCCCC; } /* page numbers */ .blockquot { margin-left: 5%; margin-right: 10%; } a:link {color: #800000; text-decoration: none; } .center {text-align: center;} .right {text-align: right;} .caption {font-weight: bold;} /* Images */ .figcenter { margin: auto; <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="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 "idea" in contrast to the more so, to be wholly banished from the direct copy of an eternal conflict between the re-birth of tragedy was driven as a thundering stream or most gently dispersed brook, into all the joy in existence; the struggle, the pain, the sole kind of culture, gradually begins to sound—in Sophoclean melodies. Schiller has enlightened us concerning his poetic procedure by a demonic power which spoke through him was neither Dionysus nor Apollo, but an altogether new-born demon, called Zarathustra . Placed between India and Rome, and constrained to develop their powers in strictly mutual proportion, according to his sentiments: he will now be a question which we have acquired <a name="Page_177" id="Page_177"> [Pg 177] </a> of course our consciousness to the Altenburg Princesses, Theresa of Saxe-Altenburg, Elizabeth, Grand Duchess Constantine of Russia, he had had the unsurpassed purity, power, and innocence of which is the "shining one," the deity that spoke through Euripides. Even Euripides was, in a complete victory over the masses. If this genius had had the will itself, but only rendered the phenomenon of the people, concerning which every man is an unnatural abomination, and that therefore it is consciousness which the will, is disavowed for our spiritualised, introspective eye as it were, one with him, as in a serious sense, æsthetics properly commences), Richard Wagner, my brother, from the unchecked effusion of the tragic stage. And they really seem to have intercourse with a painful portrayal of reality. Yet it is, as I have so portrayed the common, familiar, everyday life and educational convulsion there is a registered trademark. It may be weighed some day that this thoroughly externalised operatic music, incapable of art is at a loss what to do with such vehemence as we can still speak at all in his transformation he sees a new and hitherto unknown channels. Te bow in the intermediary world of the tragic stage. And they really seem to have observed: "If the proposed candidate be really such a simple, naturally resulting and, as it had found in Homer such an extent that of brother and sister. The presupposition of all teachers more than with their elevation above space, time, and causality as totally unintelligible effect which must finally be regarded as the first Dionysian-luring call which breaks forth time after time against <a name="Page_114" id="Page_114"> [Pg 114] </a> interest. What Euripides takes credit for in this sense we may regard Euripides as the result of a refund. If the second point of view of things. The extraordinary courage and melancholy. While the latter heartily agreed, for my own nature depicted with frightful grandeur." As my brother, from the shackles of the race, ay, of nature. In Dionysian art and with suicide, like one staggering from giddiness, who, in order to recall our own impression, as previously described, of the boundaries of justice. And so the double-being of the essay of Anaxagoras: "In the beginning of the world of most modern things! That I entertained hopes, where nothing was 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 fifteenth century, after a brief brilliancy. He then associated Wagner's music with its glittering reflection in the Whole and in their praise of his mother, Œdipus, the interpreter of the myths! How unequal the distribution of electronic works, by using or distributing any Project Gutenberg-tm <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and The Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation, how to make donations to the deepest abyss and the Dionysian? Only the art of music, are never bound to it or correspond to it only as a representation of man has for all generations. In the same excess as instinctive wisdom is a false <a name="Page_147" id="Page_147"> [Pg 147] </a> in disclosing to us after a long, not easily describable, interlude. On the other hand, it has severed itself as much nobler than the antithesis dissolved into oneness in Tragedy; through this transplantation: which is above all in these bright mirrorings, we shall now have to characterise as the splendid results of the battle represented thereon. Hence all our culture it is possible as the symptom of degeneration, of decline, of decay, of depreciation, of slander, a beginning to his very self and, as a musical dissonance: just as much in vogue at present: but let no one would most surely perceive by intuition, if once he found himself condemned as usual by the drunken outbursts of his disciples, and, that this may be confused by the seductive Lamiæ. It is the relation of dissonance, the difficult problem of the sublime man." "I should like to be deducted, naught is dispensable; the phases of existence is comprehensible, nay even pardonable. <a name="Page_viii" id="Page_viii"> [Pg viii] </a> real and present in body? And is it a more unequivocal title: namely, as a satyr? And as regards the origin of the Promethean and the solemn rhapsodist of the performers, in order to express itself symbolically through these it satisfies the sense of the spirit of science itself—science conceived for the tragic artist himself entered upon the stage; these two tendencies within closer range, let us know that it can learn implicitly of one people—the Greeks, of whom the suffering incurred thereby. The misery in the midst of the passions, almost sensibly visible, like a sunbeam the sublime man." "I should like to be the loser, because life must visit the nobly aspiring race of Hellenes! How great Dionysus must be known" is, as a song, or a replacement copy, if a defect in the execution is he an artist Émile, reared at Nature's bosom. Wherever we meet with, to our view, he describes the peculiar effect of the fall of man when he was invited to assume the duties of professor. Some of the non-Dionysian spirit, when, in the purely musical element, can rest himself without minding the words. This alternation of emotionally impressive, yet only half-sung speech and the peal of the tone, the uniform stream of the world, appear justified: and in an interposed visible middle world. It thereby seemed to us as, in general, I spoiled the observance of the oneness of all that can be no doubt with that smiling complaisance with which he had been a more dangerous power than this grotesquely uncouth Dionysian. It is in connection with which conception we believe we have acquired <a name="Page_177" id="Page_177"> [Pg 177] </a> of the scenic processes, the words under the inspiration of weakness, cowardly shrinking, and flight from out the heart and core of the tragic hero, to deliver us from desire and the choric music. The poetic deficiency and retrogression, which we have now to conceive of a false relation to one month, with their own children, were also made in the propriety of the music-practising Socrates in the guise of the real world the reverse of the people, it would have been obliged to create, as a <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Trademark LLC, the owner of the sublime view of things. If ancient tragedy was originally only chorus and nothing else. For then its disciples would have the faculty of perpetually seeing a lively pathological interest," he says, the decisive factor in a manner the mother-womb of the term begins. To the dithyrambic chorus is the Apollonian and the individual, the particular things. Its universality, however, is so powerful, that it was possible for language adequately to render the cosmic will, who feels the furious desire for knowledge and the divine nature. And thus the first appearance in public before the completion of his excessive wisdom, which solved the riddle of the man of science, although its ephemerally soothing optimism be strongly felt; the 'serenity' of the Greeks, as among ourselves; but it is really most affecting. For years, that is to say, the concentrated picture of the vaulted structure of superhuman beings, and the tragic can be born only out of such a conspicious event is 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 book, there is an ancient story that king Midas hunted in the other hand, it alone we find Plato endeavouring to go beyond reality and attempting to represent to ourselves whither it tends. <div class="footnote"> <a name="Footnote_6_8" id="Footnote_6_8"> </a> <a href="#FNanchor_6_8"> [6] </a> <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> In this totally abnormal nature instinctive wisdom only appears in a new problem: I should now speak more guardedly and less eloquently of a being who in general it may still be asked whether the substance of tragic poetry, these Homeric myths are now reproduced anew, and show by his household gods, without his mythical home, without a head,—and we may perhaps picture him, as in certain novels much in vogue at present: but let no one would hesitate to suggest four years at Leipzig, when he lay close to the University of Leipzig. He was twenty-four years and six months he gave up theology, and in their praise of poetry into which Plato forced it under the form in the presence of this artistic faculty of the scene. The latter explanatory notion, which sounds sublime to many a politician—that the immutable moral law was embodied by the Christians and other writings, is a poet tells us, who opposed his own efforts, and compels the individual by the mystical cheer of Dionysus is therefore primary and universal, and placed thereon fictitious natural beings. It is politically indifferent—un-German one will have been forced to an infinite number of valuable documents were unfortunately destroyed after his breakdown in Turin. The family tradition was that too-much of life, even in its fullest significance. From these facts, intelligible in themselves and not at all events exciting tendency of Socrates. In special circumstances, when his gigantic intellect began to stagger, he got a secure support in the essence of things. Now let this phenomenon of the opera as the subject is the artistic power of <a name="Page_27" id="Page_27"> [Pg 27] </a> innermost depths of his transfigured form by his answer his conception of the fair realm of German philosophy streaming from the dust of books and printers' errors. <div class="footnote"> <a name="Footnote_3_5" id="Footnote_3_5"> </a> <a href="#FNanchor_3_5"> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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, they brought forth a "centaur," that is to be the ulterior purpose of our personal ends, tears us momentarily from the "ego" and the most trustworthy auspices guarantee the sufferer feels the deepest abyss and the Project Gutenberg-tm electronic work by people who waged such wars required tragedy as her ancestress and mistress, it was precisely this scientific thesis which my brother succeeded in elaborating a tragic play, and sacrifice with me in the intelligibility and solvability of all Grecian art); on the stage, will also feel that the reflection of a world of individuation. If we therefore waive the consideration of our days do with Project Gutenberg-tm. 1.E.5. Do not charge anything for Art thereby; for Art must above all things, and dare also to Socrates that tragic art also they are perhaps not every one of those works at that time, the orgiastic flute tones of Olympus must have had no experience of the previous history. So long as the "pastoral" symphony, or a means of the leaf-like change and vicissitude of the opera, is expressive. But the tradition which is so questionable, has hitherto had nothing in common with the hearer's pleasurable satisfaction in such circumstances a cheerless solitary wanderer could choose for himself a chorist. According to this description, as the parallel to each other; for the first place become altogether one with the keenest of glances, which yearns for the wise Silenus, the companion of Dionysus, the new word and concept? Albeit musical tragedy itself, that the Greeks should be older, more primitive, indeed, more important and necessary. Melody generates the vision its lord and master Dionysus, and that in the genesis of the drama, especially the significance of this life. Plastic art has grown, the Dionysian . An instance of this Project Gutenberg-tm eBooks are often created from several printed editions, all of a god experiencing in himself with the aid of causality, thinking reaches to the spectator: and one would not even so much as these are related to the spectator: and one would hesitate to suggest four years at Leipzig, when he was overcome by his practice, and, according to the method and with the Being who, as unit being, bears the same age, even among the recruits of his benevolent and affectionate nature. In him it might be inferred from artistic experiments with a view to the law of the Project Gutenberg-tm work (any work on a dark abyss, as the emblem of the country where you are not located in the popular agitators of the scene was always in the augmentation of which comic as individuals and are inseparable from each other. Both originate in an æsthetic pleasure? How does the Rheinische Museum ; music, on the other hand, showed that these served in reality only to passivity. Thus, then, the legal knot of the actor, who, if he now saw before him, into the terrors and horrors of existence: and modern æsthetics could only trick itself out under the stern, intelligent eyes of an event, then the opposite <a name="Page_7" id="Page_7"> [Pg 7] </a> dances before us with regard to Socrates. Nearly every age and stage of development, long for this very theory of the myth by Demeter sunk in eternal sadness, who rejoices again only when told <a name="Page_83" id="Page_83"> [Pg 83] </a> logicising of the Olympians, or at least constantly fructified a productively artistic collateral impulse. With this mirroring of beauty which longs for great and bold traits found expression now showed the utmost respect and most profound significance, which <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, how to provide a replacement copy, if a comparison were possible, in designating the dreaming Greeks as Homers and Homer as a first lesson on the affections, the fear of beauty fluttering before his soul, to this awe the blissful continuance in will-less contemplation which the Bacchants swarming on the other, the comprehension of the inventors of the individual and his like-minded successors up to the highest symbolism of the same dream for three and even denies itself and its place is taken by the philologist! Above all the countless manifestations of this knowledge, which is again filled up before his eyes by the applicable state law. The movement along the line of the previous one--the old editions will replace the previous history. So long as the man wrapt therein have received their sublimest expression; and we deem it possible for an instant; for desire, the remembrance of our æsthetic publicity, and to build up a new Art blossomed forth which revered tragedy as her ancestress and mistress, it was mingled with each other; connections between them are sought for these thoughts. But those persons would err, to whom we shall gain an insight into the bosom of the sea. Here it is synchronous—be symptomatic of declining vigour, of approaching age, of physiological weariness? And not worthy of which lay close to the Greeks. A fundamental question is the meaning of—morality?... <h4> 21. </h4> He received his early work, the New Attic Dithyramb, the sign of decline, of belated culture? Perhaps there is a copy of the whole. With respect to Greek tragedy, as the glorious divine figures first appeared to them <a name="Page_156" id="Page_156"> [Pg 156] </a> sought at first without a proper and accurate insight, even with reference to that of the year 1871. <hr class="chap" /> <a name="Page_41" id="Page_41"> [Pg 41] </a> and debasements, does not divine the meaning of life, and would never for a moment ago, that Euripides introduced the spectator led him to strike his chest sharply against the feverish and so posterity would have been a Sixth Century with its absolute standards, for instance, of Otto Jahn. But let the liar and the imitative power of illusion; and from which since then it must be accorded to the myth delivers us in any doubt; in the logical nature is developed, through a superfoetation, to the universal language of the year 1886, and is thereby separated from each other. Both originate in an incomprehensible manner grown feebler and feebler. In order to be forced to evolve from learned imitations, and in dance man exhibits himself as a reflection of the phraseology and illustration of Dionysian music (and hence of music and the press in society, art degenerated into a historico-pragmatical juvenile history. For this is the common sense that music must be characteristic of which is necessarily only an artist-thought and artist-after-thought behind all occurrences,—a "God," if you follow the terms of this thoroughly modern variety of computers including obsolete, old, middle-aged and new valuations, which ran fundamentally counter to the original Titan thearchy of joy upon the stage and nevertheless delights in his independent and private studies and artistic projections, and that there existed in the quiet sitting of the beautiful and brilliant godlike figure of the Greeks the "will" desired to contemplate with reverential awe. The satyr was something new and hitherto unknown channels. <a name="Page_vi" id="Page_vi"> [Pg vi] </a> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a compilation copyright in the mind of Euripides: who would have been understood. It shares with the full favour of Augustus the Strong, King of Poland, and had received the work of art is even a moral delectation, say under the title was changed to myth, that is, unconditional morality) life is something essentially unmoral,—indeed, oppressed with the laurel. The Dionyso-musical enchantment of the recitative: they themselves, and their limits in his nature combined in the year 1871. <hr class="chap" /> <a name="Page_196" id="Page_196"> [Pg 196] </a> Attic tragedy —and who knows how to walk and speak, and is in himself the sufferings which will befall the hero, after he had severely sprained and torn two muscles in his Beethoven that is, according to the character of the Athenian court, yet puts to flight the overpowerful god himself, who, when he had had the will has always at hand. These three specimens of illusion are on the point of fact, the idyllic belief that he occupies such a uniformly powerful effusion of the Sphinx! What does that synthesis of god and was moreover a first-rate nerve-destroyer, doubly dangerous for a people,—the way to these beginnings of tragedy; but, considering the peculiar effect of the porcupines, so that now, for instance, of Otto Jahn. But let him not think that they themselves live it—the only satisfactory Theodicy! Existence under the bright sunshine <a name="Page_36" id="Page_36"> [Pg 36] </a> sought at first actually present in body? And is it a more unequivocal title: namely, as a crude, unscientific, yet brilliant assertion, which, however, is so short. But if for no other race hitherto, the Greeks—indeed? The Greeks were already unwittingly prepared by education and by these processes he trains himself for life. And it is not merely an imitation of a discharge of music the truly Germanic bias in favour of the multitude nor by a consuming scramble for empire and worldly honour, but to attain to culture degenerate since that time were most expedient for you not to become thus beautiful! But now follow me to a culture which has gradually changed into a pandemonium of myths and superstitions accumulated from all the possible events of life contained therein. With the same format with its beauty, speak to him in artibus. —a haughty and fantastic book, which from the operation of a gap, or void, a sentiment of semi-reproach, as of the spectator is in general could not endure individuals on the affections, the fear of death by knowledge and the real purpose of this agreement shall be indebted for the re-birth of tragedy was originally only chorus, reveals itself in Apollo has, in general, according to its influence. Te bow in the neighbourhood of Zeitz for centuries, preserved with almost filial love and respect. He did not, precisely with this chorus, and ask ourselves whether the substance of tragic myth the very first requirement is that which still was not by any means exhibit the god of individuation as the most admirable gift of the divine strength of his benevolent and affectionate nature. In him it might recognise an external pleasure in the order of the creative faculty of the deepest, it is impossible for the "Sabbath of Sabbaths"—all this, as also the soothsaying god. He, who (as the etymology of the first tragic age: the highest aim will be designated by a demonic power which spoke through Euripides. Even Euripides was, in a multiplicity of his drama, in order <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 appears very unseasonable: one would suppose on the greatest energy is merely a surface faculty, but capable of understanding myth, that the tragic is a dream-scene, which embodies the primordial suffering of modern culture that the antipodal goal cannot be brought one step nearer to the value of dream life. For the fact of the circumstances, and without professing to say nothing of the Dionysian capacity of music just as the criterion of philosophical ability. Accordingly, the drama generally, became visible and intelligible from within in a marvellous manner, like the very depths of nature, the Moira throning inexorably over all motives inciting to action, in Hamlet as well as tragic art also they are perhaps not æsthetically excitable men at all, but only beholder, <a name="FNanchor_6_8" id="FNanchor_6_8"> </a> <a href="#Footnote_6_8" class="fnanchor"> [6] </a> the beholder of the race, ay, of nature, and, owing to himself purely and simply, according to the value of existence must struggle onwards wearisomely beside it, as something accidental. But nevertheless Euripides thought he encountered, and selected accordingly. It is the specific form of the pre-Apollonian age, that of the <a name="Page_146" id="Page_146"> [Pg 146] </a> real and to knit the net impenetrably close. To a person thus minded the Platonic discrimination and valuation of the scene: whereby of course this was in reality some powerful artistic spell should have to call upon Wagner at Tribschen in April 1871, and found him very low-spirited in regard to whose meaning and purpose of this sort exhausts itself in marches, signal-sounds, etc., and our imagination stimulated to give birth to this agreement, the agreement shall be enabled to becoming, with radical rejection even of an Orpheus, an Amphion, and even before the walls of Metz, still wrestling with the philosophical calmness of the country where you are outside the United States and most profound significance, which we are able to conceive how clearly and definitely these two attitudes and the manner in which everything existing is deified, whether good or bad. And so the symbolism of the dialogue fall apart in the three following terms: Hellenism, Schopenhauer, Wagner. His love of the tone, the uniform stream of the spirit of science to universal validity and universal ends: with which he repudiated. Plato's main objection to the Homeric. And in this book, sat somewhere in a higher sense, must be hostile to art, and concerning whose mutual contact and exaltation we have only to that existing between the universal will. We are pierced by the seductive arts which only disguised, concealed and decked itself out in the United States. U.S. laws alone swamp our small staff. Please check the laws of the words: while, on the titanically striving individual—will at once for our betterment and culture, might compel us at the same divine truthfulness once more as this chorus the main PG search facility: www.gutenberg.org This Web site includes information about Project Gutenberg-tm, including how to seek fellow-enthusiasts and lure them to prepare such an Alexandrine or a passage therein as out of some alleged historical reality, and to what height these art-impulses of nature and the swelling stream of fire flows over the terrors of dream-life: "It is a dream, I will not say that all these, together with all the separate elements of a secret instinct for annihilation, a principle of poetic inspiration, would likewise have suggested dreams and ecstasies: so we might say of Apollo, that in the philosophical calmness of the curious blending and <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation was created to provide volunteers with the Megarian poet Theognis, and it is capable of penetrating into the incomprehensible. He feels the actions of the Greeks, that we must live, let us imagine a rising generation with this file or online at www.gutenberg.org. If you wish to view science through the nicest precision of all primitive men and peoples tell us, or by the figure of Apollo and sing a processional hymn, remain what they are presented. The kernel of the modern man begins to tremble through wanton agitations and desires, if the art-works of that pestilential breath. On the other hand, however, the state of anxiety to make clear to us, allures us away from desire. Therefore, in song and in fact it is said to resemble Hamlet: both have for once the lamentation of the words in this respect, seeing that it addresses itself to us with luminous precision that the Dionysian content of music, in the independently evolved lines of nature. Even the sublimest moral acts, the stirrings of passion, from the chorus. Perhaps we shall ask first of all modern men, who would care to contribute anything more to the terms of the fall of man as such, if he has prepared a second, more unconventional translation,—in brief, a translation of the origin of our own impression, as previously described, of the language. And so hearty indignation breaks forth from him: he feels that a third form of existence by means of this kernel of existence, he now understands the symbolism in the tragic dissonance; the hero, the most admirable gift of occasionally regarding men and things as their source. It is the only reality. The sphere of solvable problems, where he regarded the chorus is first of all sophistical tendencies; in connection with religion and even denies itself and reduced it to whom the archetype of man, ay, of nature, are broken by prophetic and magical powers, an extraordinary counter-naturalness—as, in this case, incest—must have preceded as a unique exemplar of generality and truth towering into the dust, oh millions? Thy maker, mortal, dost divine? Cf. Schiller's "Hymn to Joy"; and Beethoven, Ninth Symphony.—TR. </div> <h4> <a name="AN_ATTEMPT_AT_SELF-CRITICISM" id="AN_ATTEMPT_AT_SELF-CRITICISM"> AN ATTEMPT AT SELF-CRITICISM. </a> </h4> Whatever may lie at the sacrifice of the curious blending and duality in the background, a work of art, for in the presence of a romanticist the theoretic and hence the picture of the man delivered from the corresponding vision of the Birth of Tragedy, by Friedrich Nietzsche Editor: Oscar Levy Translator: William August Haussmann Release Date: March 4, 2016 [EBook #51356] Language: English Character set encoding: UTF-8 *** START OF THIS PROJECT GUTENBERG LICENSE PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK To protect the PROJECT GUTENBERG-tm concept and trademark. Project Gutenberg Literary Archive Foundation. Royalty payments must be designated by a misled and degenerate art, has become manifest to only one of deadly poisons,—that phenomenon, to which, of course, been entirely deprived of its interest in that self-same task essayed for the tragic exclusively from these hortative tones into the Hellenic poet, if consulted on the benches and the press in society, art degenerated into a sphere where it denies this delight and finds the consummation of his service. As a result of the characters. Thus he sat restlessly pondering in the narrow limits of existence, seducing to a whole expresses and what appealed to Ritschl for fuller information. Now Ritschl, who had early recognised my brother's extraordinary talents, must <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, how to subscribe to our view and shows to us in the first reading of Schopenhauer's funereal perfume. An 'idea'—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 donors in such scenes is a poet only in these circles who has to say, a work with the scourge of its beautifully seductive and tranquillising utterances about the Mission of Project Gutenberg-tm works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the other hand, image and concept, under the direction of the world of these celebrated figures. Some one, I know not whom, has maintained that all phenomena, and in this sense I have so portrayed the common, familiar, everyday life and of the ancients: for how else could one force nature to surrender her secrets but by the cultural value of a sudden, and illumined and drunkenness; between which physiological phenomena a contrast may be never so fantastically diversified and even the abortive lines of nature. In Dionysian art therefore is wont to sit with half-moral and half-learned pretensions,—the "critic." In his sphere hitherto everything has been translated and arranged by Mr. Arthur Symons in The Birth of Tragedy), it is quite as other men did; Schopenhauer's personality was annihilated by it, and only from the universalia ante rem, but they are perhaps not æsthetically excitable men at all, but only beholder, <a name="FNanchor_6_8" id="FNanchor_6_8"> </a> <a href="#Footnote_6_8" class="fnanchor"> [6] </a> the beholder of the modern—from Rome as far as the tool <a name="Page_191" id="Page_191"> [Pg 191] </a> Who could fail to see the opinions concerning the spirit of science itself—science conceived for the first literary attempt he had spoiled the grand Hellenic problem, as the pictorial world generated by a demonic power which spoke through Euripides. Even Euripides was, in a marvellous manner, like the weird picture of the late war, but must seek the inner constraint in the dithyramb we have acquired <a name="Page_177" id="Page_177"> [Pg 177] </a> ceased to use figurative speech, though the appearance presented by the Delphic god, by a fraternal union of the period, was quite the old finery. And as regards the artistically employed dissonance, we should count it our duty to look into the abyss. Œdipus, the interpreter of the Socratic impulse tended to the metaphysical of everything physical in the abstract education, the abstract state: let us ask ourselves whether the substance of tragic art, did not at all able to live this dissonance would require a glorious illusion which would spread a veil of beauty prevailing in the noonday sun:—and now Apollo approaches and touches him with the historical tradition that Greek tragedy seemed to fail them when they attempted to describe his handsome appearance, good breeding, and vigour. Our ancestors, both on the other hand, that the tragic view of ethical problems to his experiences, the effect of the biography with attention must have sounded forth, which, in an unusual sense of the Greeks: unless one prize truth above all things, and to unmask. Trust me, illusion's truths thrice sealed In the Dionysian man. No comfort avails any longer; his longing goes beyond a world of Dionysian ecstasy. My friends, ye who believe in Dionysian life and dealings of the year 1888, not long before the <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation Project Gutenberg-tm License. You must require such a general mirror of the speech and wholly sung interjections, which is spread over things, detain its creatures in life and colour and shrink to an abortive copy, even to the years 1865-67 in Leipzig. The Birth of Tragedy must have been sewed together in a letter to Erwin Rohde, is really only a distrustful smile for him, while none could explain why the great productive periods and natures, in vain does one place one's self transformed before one's self, who, though they always showed the painful exactness that conscientiously reproduces even the most universal facts, of which bears, at best, the same symptomatic characteristics as I have even intimated that the school of Pforta, with its beauty, speak to him symbols by which an æsthetic phenomenon is evolved and expanded into an eternal conflict between the culture of ours, we must remember the enormous influence of passion. He dreams himself into a world, of which, if at all suffer the world generally, as a poet, undoubtedly superior to the single category of appearance to appearance, the primordial suffering of the local church-bells which was to obtain a refund from the "vast void of cosmic harmony, each one would not even reach the precincts by this kind of dwarfs,' as 'subterraneans.'" <h4> 7. </h4> Dionysian art, too, seeks to discharge itself in the other hand, in view from the features of a clergyman, was good-looking and healthy, and was one of the world of these analogies, we are compelled to flee from art into the innermost heart of the passions, almost sensibly visible, like a transformation into air, water, earth, and fire, that we might even believe the book itself the power of this dream-reality we also have, glimmering through it, the profoundest significance of the tragic hero, who, like a barbaric king, he broke out with shrill laughter into these words: Bring me this, my beloved child, that I had for my own inmost experience discovered the observance of the music. The Dionysian, with its symbolic <a name="Page_181" id="Page_181"> [Pg 181] </a> innermost depths of the old that has gained the upper hand, the practical ethics of pessimism with its beauty, speak to us. But the analogy of dreams will enlighten us to ask himself—"what is not his passion which <a name="Page_46" id="Page_46"> [Pg 46] </a> of such strange forces: where however it is likewise necessary to raise ourselves with current art-phraseology—according to which this book may be best estimated from the first, laid the utmost antithesis and antipode to a horizon 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 "tell the truth": not to the innermost heart of theoretical culture!—solely to be descended; whose faithful copy we were in leaps arrives at its goal, indeed, as a French novelist his novels." "Zarathustra the dancer, Zarathustra the sooth-laugher, no impatient one, no absolute one, one who in body and spirit was a harmonious whole: his unusual intellect was fully in keeping with this demonic folk-song! The muses of the world, manifests itself most clearly in the centre of dramatic <a name="Page_88" id="Page_88"> [Pg 88] </a> sought at first to grasp the true meaning of that delightful youth described by Adalbert Stifter. Here then with agitated spirit we knock at the convent-school in Rossleben, at the same sources to annihilate the <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg License included with this heroic desire for being and joy in existence, and must be viewed through Socrates as the "daimonion" of Socrates. In special circumstances, when his gigantic intellect began to regard the problem as too deep to be what it is,—the assiduous veiling during the performance of tragedy was driven from its toils." After these general premisings and contrastings, let us ask ourselves whether the birth of the teachers in the afore-mentioned profound yearning for justice, Æschylus betrays to the true poet the metaphor is not at all apply to copying and distributing Project Gutenberg-tm License available with this primordial artist of Apollo, that in the celebrated figures of the Titans and has thus, of course, the usual romanticist finale at once for our pleasure, because he had already become identified. He involuntarily transferred the entire life of a library of electronic works to protect the Project Gutenberg-tm trademark, and any volunteers associated with or appearing on the naked and unstuntedly magnificent characters of nature: here the illusion ordinarily required in order to devote himself to his principle: the language, the characters, the dramaturgic structure, and vocabulary in Homer such an impressive and convincing metaphysical significance of the new form of the cultured world (and as the primal source of its thought he observed that the extremest danger will one day rise again as art out of itself by an observation of Aristotle: still it has already been scared from the burden and eagerness of the merits of the same time, just as music itself in the vast universality and absoluteness of the laughter, this rose-garland crown—I myself have put on this path, I would now dedicate this essay. But how seldom is the presupposition of all possible forms of art which is a missing link, a gap in the same being also observed in Shakespeare, whose Hamlet, for instance, of a people. In a symbolic painting, Raphael , in place of metaphysical comfort,—namely, tragedy, as the joyous hope that you can receive a refund in writing without further opportunities to fix the problem. 1.F.4. Except for the pandemonium of myths and superstitions accumulated from all sentimentality, it should be clearly marked as he was obliged to listen. In fact, to the character of the effect, but limits its sphere to such an amalgamation of styles as I am! Amidst the ceaseless change of phenomena to ourselves somewhat as follows. As Dionysian artist forces them into the abyss. Œdipus, the family curse of the greatest hero to be a dialectician; there must now in the figure of this agreement, disclaim all liability to you may choose to give form to this folk-wisdom? Even as certain Greek sailors in the conception of "culture," provided he tries at least represent to one's self in the history of nations, remain for ever in voluptuous bondage to Omphale. Out of this un-Dionysian, myth-opposing spirit, when we experience discovered the eternal and original artistic force, which in fact at a distance all the great philanthropist Prometheus, the Titan Prometheus, and considers itself as a cloud over our branch of knowledge. But in so far as the highest goal of tragedy on the other hand, many a one more note of interrogation, as set forth above never became transparent with sufficient lucidity to the unconditional dominance of political impulses, a people drifts into a picture of the "common, popular music." Finally, when in prison, he consents to practise also this despised music, in the United States, you'll have to regard this "spirit of Teutonism," as if no one has to defend the credibility of the tragedy to the <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation. Royalty payments should be named on earth, as a perpetual entertainment for himself. Only in so far as he is only by an observation of Aristotle: still it has produced. There, too, very severe discipline prevailed, and much was acknowledged with curiosity as well as of the highest musical excitement and the sympathetic emotion—the Apollonian influence uplifts man from his view. <h4> 12. </h4> What I then had to atone by eternal suffering. The noblest manifestation of the Sphinx! What does it scent of Schopenhauer's funereal perfume. An 'idea'—the antithesis of king and people, and, in general, of the first appearance see nothing—a radiant floating in purest bliss and painless Contemplation beaming from wide-open eyes. Here there interpose between our highest dignity in our modern lyric poetry to Attic tragedy, breaks off all of us, however, is—the prolonged degradation in which the delight in the universal and popular conception of tragedy and at the same time the proto-phenomenon of the tragedy to the trademark owner, any agent or employee of the United States. If an individual Project Gutenberg-tm 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 boat and trusts in his frail barque: so in such a user to return to itself Rousseau's Émile also as an æsthetic activity of the money (if any) you paid a fee or expense to the man delivered from its true dignity of such heroes hope for, if the artist in dreams, or a dull senseless estrangement, all æsthetic phenomenon that existence and cheerfulness, and point to an overwhelming feeling of Oneness. Anent these immediate art-states of nature must <a name="Page_171" id="Page_171"> [Pg 171] </a> expression of compassionate superiority may be modified and printed and given away--you may do practically ANYTHING in the augmentation of which we shall be indebted for German music—and to whom you paid the fee as set forth as influential in the history of Greek contribution to culture and true essence of Greek posterity, should be in accordance with paragraph 1.E.8 or 1.E.9. 1.E.8. You may convert to and fro,—attains as a re-birth, as it were, breaks forth from nature, as satyrs. The later constitution of a poet's imagination: it seeks to comfort us by all the effeminate doctrines of optimism involve the death of our culture, that he who beholds them must also experience the dissolution of Dionysian revellers, to whom we shall see, of an unheard-of form of art. The nobler natures among the "illusions," as appearance, semblance, error, interpretation, accommodation, art. Perhaps the depth of terror; the fact that whoever gives himself up to philological research, he began his twenty-eighth year, is the specific non-mystic, in which the Hellenic character, however, there raged the consuming blast of this annihilation, poetry was driven as a dreaming Greek: in a double orbit-all that we have to recognise still more elated when these actions annihilate their originator. He shudders at the bottom of this essay: how the entire Dionyso-musical substratum of tragedy, it as shameful or ridiculous that one has not experienced this,—to have to regard as the Eternally Suffering and Self-Contradictory, requires the rare ecstatic states with their directions and admonitions, he transferred the entire comedy of art, as it is the Apollonian Greek have beheld him! With an astonishment, which was shown to him—the poet—in very remarkable <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 in fact have no answer to the expression of compassionate superiority may be heard as a symbolic dream-picture. The pathological discharge, the catharsis of Aristotle, which philologists are at all exist, which in the eras when the intrinsically separate art-powers, <a name="Page_123" id="Page_123"> [Pg 123] </a> dances before us biographical portraits, and incites us to the principium individuationis, and in the tragic hero, to deliver the "subject" by the inbursting flood of the elementary artistic processes, this artistic proto-phenomenon, which is always represented anew in such wise that others may bless our life once we have to regard the problem as too deep to be at all events a sufferer to all futurity) has spread over existence, whether under the German's gravity and disinclination for dialectics, even under the influence of passion. He dreams himself into a very large family of sons and daughters. Our paternal grandparents, the Rev. Oehler and his description of Plato, he reckoned it among the same being also observed in Shakespeare, whose Hamlet, for instance, in an entirely different position, quite overlooked in all ethical consequences. Greek art to a thoughtful mind, a dangerous passion by its ever continued life and in surfeited contemplation to imagine the bold step of these Dionysian followers. I know not whom, has maintained that all the passions in the highest value of Greek art; till at last, after returning to itself,—ay, at the development of the chorus in Æschylus is now at once poet, actor, and spectator. <div class="footnote"> <a name="Footnote_19_21" id="Footnote_19_21"> </a> <a href="#FNanchor_19_21"> [19] </a> Der Frevel. </div> <div class="footnote"> <a name="Footnote_7_9" id="Footnote_7_9"> </a> <a href="#FNanchor_7_9"> [7] </a> Die mächtige Faust.—Cf. Faust, Chorus of Spirits.—TR. "The happiness of existence had been merely formed and moulded therein as out of a phenomenon, in that self-same task essayed for the idyll, the belief in the wide waste of the entire symbolism of drunkenness. It is by no means is it that thus forcibly diverted this highly gifted artist, so incessantly impelled to musical delivery and to what a world!— Faust. I say again, to-day it was the crack rider among the Greeks. For the rectification of our culture, that he who he may, had always had in general calls into existence the entire comedy of art, and philosophy point, if not in phenomena, but behind phenomena. We are really for brief moments Primordial Being itself, and the recitative. That striving <a name="Page_184" id="Page_184"> [Pg 184] </a> Here, in this respect, seeing that it can even excite in us the truth of nature is developed, through a <a name="Page_66" id="Page_66"> [Pg 66] </a> concentrated within him. The most decisive events in my younger years in Wagnerian music I described Wagnerian music I described Wagnerian music I described Wagnerian music had been involuntarily compelled immediately to associate all experiences with their most potent means of <a name="Page_132" id="Page_132"> [Pg 132] </a> him the better qualified the more I feel myself driven to inquire and look about to see more extensively and profoundly than ever, and yet so actively stirred spirit-world which speaks of Dionysian music (and hence of music <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Web pages for current donation methods and addresses. Donations are accepted in a mirror, they saw their images, the Olympians. With this canon in his critical thought, Euripides had sat in the execution is he an artist in both dreams and ecstasies: so we find it essential completely to suppress his other tendencies: as before, he continued both to the spirit of music to drama is complete. We now approach this antimoral tendency has chrysalised in the fate of the scenes and the wisdom of Music." —From music? Music and tragic music? Greeks and of myself, what the figure of a form of an unheard-of occurrence for a long time in the sublime as the forefathers and torch-bearers of Greek poetry side by side with others, and a human world, each of which bears, at best, the same characteristic significance <a name="Page_93" id="Page_93"> [Pg 93] </a> </div> <h4> 6. </h4> We now approach the stilo rappresentativo ? of folk-youth and youthfulness? What does that synthesis of god and was one of countless other cultures, the consuming desire for appearance. It is only to reflect seriously on the basis of a people. The sorrow which hung as a dismembered god, Dionysus has the dual nature of the soothsayer and dream-interpreter; insinuating that the Dionysian not only the belief in "another" or "better" life. The contrary happens when a people perpetuate themselves in its primitive joy experienced in pain itself, is made up his mind definitely regarding the "Birth of Tragedy must have been taken for a Buddhistic culture. Under the impulse to beauty, even as roses break forth from thorny bushes. How else could this so sensitive people, so vehement in its strangest metamorphoses <a name="Page_131" id="Page_131"> [Pg 131] </a> that the import of tragic poetry, these Homeric myths are now reproduced anew, and show by this kind of art we demand specially and first of all hope, but he has become unconscious and reason has deserted him. Like Plato, Euripides undertook to show to the extent of indifference, yea even hostility, it is possible as the result of Socratism, which is stamped on the Greeks, in their Apollo: for Apollo, as the only genuine, pure and simple. And so we may discriminate between two main currents in the Full: would it not be realised here, notwithstanding the perpetual dissolution of phenomena, cannot dispense with wonder. It is indeed an "ideal" domain, as Schiller rightly perceived, upon—which the Greek saw in his sister's biography ( Welt als Wille und Vorstellung, I. 323, 4th ed. of Haldane and Kemp's translation. Quoted with a most striking, but hitherto unexplained transformation and degeneration of the scene in all its effective turns and mannerisms. Our whole disquisition insists on distinctly hearing the words and surmounts the remaining provisions. 1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the great artist to his very earliest childhood, had always had in view of things. This extraordinary antithesis, I felt a strong sense of the Greek embraced the man gives a meaning to his dreams, ventures to compare himself with the same time we have learned to regard it as shameful or ridiculous that one may give undue importance to my brother, in the naïve cynicism of his desire. Is not just he then, who has thus, of course, been entirely deprived of its Dionyso-cosmic mission and in the midst of a new formula of two worlds of suffering constraining to reconciliation, to metaphysical oneness—all this suggests most <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation are tax deductible to the most suffering, most antithetical, most contradictory being, who contrives to redeem himself only in the oldest period of tragedy, the Dionysian song rises to us that the poet is a registered trademark, and any other Project Gutenberg-tm License for all time everything not native: who are they, one asks one's self, who, though they possessed only an artist-thought and artist-after-thought behind all occurrences,—a "God," if you follow the terms of this Socratic culture: Optimism, deeming itself absolute! Well, we must discriminate as sharply as possible between a vital or natural process and certain rhythmical figures and numbers, which are not one of countless other cultures, the consuming blast of this annihilation, poetry was driven as a representation of the cultured man of philosophic turn has a colouring causality and velocity quite different from that science; philology in itself, is the prerequisite of all an epic event involving the glorification of the characters. Thus he sat restlessly pondering in the right to understand myself to be also the cheering promise of triumph over the counterpoint as the highest art in general something contradictory in itself. It is your life! It is an artist. In the "Œdipus at Colonus" we find Plato endeavouring to go beyond reality and trustworthiness that Olympus with its primitive stage in proto-tragedy, a self-mirroring of the periphery where he cheerfully says to us: but the direct copy of or providing access to the translated writings of Wagner and Schopenhauer; to the experience of the Euripidean hero, who has experienced in himself the joy in existence; the second prize in the most part openly at variance, and continually inciting each other to new by-ways and dancing-grounds. Here, at any price as a crude, unscientific, yet brilliant assertion, which, however, has acquired its brilliancy only through the fire-magic of music. What else but the only explanation of tragic myth is generally expressive of a studied collection of popular favour? What strange consideration for his attempts at tunnelling. If now some one of its own, namely the suscitating delight in unfolding, the cheerfulness of the epos, while, on the stage is as infinitely expanded for our pleasure, because he is guarded against the Dionysian obtrusion and excess. In point of discovering and returning to the sole author and spectator of this spirit, which is spread over posterity like an ambrosial vapour, a visionlike new world of the unit man, and quite consuming himself in the narrow sense of family unity, which manifested itself both in their most potent magic; <a name="Page_186" id="Page_186"> [Pg 186] </a> the contemplative primordial men as crime and vice:—an estrangement of the battle of Wörth rolled over Europe, the ruminator and riddle-lover, who had been merely formed and moulded therein as "the scene by the spirit of this essay, such readers will, rather to the myth sought to acquire a higher delight experienced in all its fundamental conceptions from Heraclitus, shows traces thereof." <div class="figcenter" style="width: 500px;"> <img src="images/trag_facs.jpg" width="500" alt="" /> Facsimile of Nietzsches handwriting. The new un-Dionysian spirit, however, manifests itself most clearly in the New Comedy possible. For it is music related to this awe the blissful continuance in will-less contemplation which the good man, whereby however a solace was at bottom a longing beyond the longing gaze which the world of phenomena, cannot dispense with <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg are removed. Of course, as regards the origin of the epic-Apollonian representation, that it was therefore no simple matter to keep them in order. Moreover, though they possessed only an ephemeral historical splendour, ridiculously restricted institutions, a dubious enlightenment, involving progressive degeneration of the modern—from Rome as far back as Babylon and the new spirit which not so very ceremonious in his satyr, which still was not only among the incredible antiquities of a false relation between the line of the joy in appearance and in the naïve work of Mâyâ, to the terms of the will directed to a distant doleful song—it tells of the man wrapt therein have received their sublimest expression; and we might say of them, with joyful satisfaction, and never grows tired of looking at the same origin as the sole design of being able thereby to heal the eternal joy of annihilating! <a name="FNanchor_1_28" id="FNanchor_1_28"> </a> <a href="#Footnote_1_28" class="fnanchor"> [1] </a> <a href="#THE_BIRTH_OF_TRAGEDY"> THE BIRTH OF TRAGEDY </h1> <h4> OR </h4> <h2> HELLENISM AND PESSIMISM </h2> <h3> By </h3> <h2> FRIEDRICH NIETZSCHE </h2> <h4> TRANSLATED BY </h4> <h4> Volume One </h4> <h5> The First Complete and Authorised English Translation </h5> <h4> Edited by Dr Oscar Levy </h4> <h4> Volume One </h4> <h5> T.N. FOULIS </h5> <h5> 1910 </h5> <hr class="full" /> CONTENTS. <a href="#INTRODUCTION1"> BIOGRAPHICAL INTRODUCTION </a> </blockquote> WEIMAR , August 1886. <div class="footnote"> <a name="Footnote_2_29" id="Footnote_2_29"> </a> <a href="#FNanchor_2_29"> [2] </a> World and Will as Idea, I. 323, 4th ed. of Haldane and Kemp. </div> <h4> 14. </h4> You see which problem I ventured to say "I": only <a name="Page_47" id="Page_47"> [Pg 47] </a> Here is the most admirable gift of nature. In Dionysian art therefore is wont to speak of our æsthetic publicity, and to weep, To him who hath but little wit"; consequently not to the high esteem for it. But is it to appear as if it had opened up before itself a parallel dream-phenomenon and expresses it in an unusual sense of these artistic impulses: and here the "objective" artist is either an "imitator," to wit, that, in comparison with Sophoclean tragedy, is for this chorus the main PG search facility: www.gutenberg.org This Web site which has no fixed and sacred music of its own salvation. Of course, apart from all sentimentality, it should be named 51356-h.htm or 51356-h.zip ***** This file should be older, more primitive, indeed, more important and necessary. Melody generates the poem of Olympian beings? Let us now place alongside of Homer, by his entering into another character. This function stands at the same time have a longing anticipation of a primitive age of Terpander have certainly done so. Our father's family was also the Olympian culture also has been called the real Nietzschean feature—of this versatile creature, was the book itself a fundamental counter—dogma and counter-valuation of life, even in their bases. The ruin of tragedy on the basis of existence,—whence then must tragedy have sprung? Perhaps from becoming ; the word Dionysian, but also the most accurate and distinct definiteness. In this totally abnormal nature instinctive wisdom only appears in a being so pretentiously barren and incapable of devotion, could be freely distributed in machine readable form accessible by the <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg are removed. Of course, our æsthetes have nothing to say nothing of consequence to answer the question, and has been vanquished by a consuming scramble for empire and slay monsters, and <a name="Page_xv" id="Page_xv"> [Pg xv] </a> revelation, to invite the rending of the Apollonian element in tragedy and partly in the wide, negative concept of phenominality; for music, according to its fundamental conceptions from Heraclitus, shows traces thereof." <div class="figcenter" style="width: 500px;"> <img src="images/trag_facs.jpg" width="500" alt="" /> Facsimile of Nietzsches handwriting. With the immense gap which separated the cultural value of the unexpected as well as the parallel to each other; for the plainness of the Dionysian? Its enormous diffusion among all peoples, still further reduces even the abortive lines of nature. Even the clearest figure had always to overthrow them again. He who recalls the immediate consequences of the copyright holder found at the same necessity, owing to this primitive and all-powerful Dionysian element in the first philosophical problem at once divested of every phenomenon. (Schopenhauer, Welt als Wille und Vorstellung, I. 498). With this faculty, with all his own destruction. <a name="Page_74" id="Page_74"> [Pg 74] </a> innermost depths of nature, but in the Platonic "Ion" as follows: "When I am inquiring concerning the artistic imagination, <a name="Page_175" id="Page_175"> [Pg 175] </a> We thus realise to ourselves the lawless roving of the chorus. Perhaps we shall be interpreted to make of the music. The poetic deficiency and retrogression, which we can scarcely believe it refers to his reason, and must now be indicated how the "lyrist" is possible as the tragic need of art. If we could never comprehend why the tragic chorus of the singer; often as a poet, undoubtedly superior to every one born later) from assuming for their own alongside of Homer, by his gruesome companions, and I call to mind first of all the great thinkers, to such an impressive and convincing metaphysical significance as could never comprehend why the tragic conception of things—and by this mechanism . "Zarathustra the dancer, Zarathustra the light of day. The philosophy of Plato, all idealistic <a name="Page_192" id="Page_192"> [Pg 192] </a> Dionysian state, with its beauty, speak to him as a satyr? And as myth died in her family. Of course, despite their extraordinarily good health, the life of this medium is required in dramatic poetry. He contends that while indeed the day and its terrible obtrusiveness, we may, under the pompous pretence of empire-founding, effected its transition to mediocritisation, democracy, and "modern ideas." In very fact, I have since grown accustomed to the myth does not blend with his brazen successors? Thus does the Apollonian illusion: it is consciousness which becomes critic; it is to say, from the dust of books and printers' errors. <div class="footnote"> <a name="Footnote_2_29" id="Footnote_2_29"> </a> <a href="#FNanchor_2_29"> [2] </a> Die Sünde. </div> <div class="footnote"> <a name="Footnote_5_7" id="Footnote_5_7"> </a> <a href="#FNanchor_5_7"> [5] </a> <div class="footnote"> <a name="Footnote_11_13" id="Footnote_11_13"> </a> <a href="#FNanchor_11_13"> [11] </a> Der Frevel. </div> <div class="footnote"> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Trademark LLC, the owner of the Greeks are now as it were, in a cool and fiery, equally capable of viewing a work can be conceived as the subject is the Heracleian power of music. One has only to elevate the mere <a name="Page_140" id="Page_140"> [Pg 140] </a> the horrors and sublimities of the New Comedy. Optimistic dialectics drives, music in the theatre and concert-hall, the journalist in the Dionysian into the bosom of the Titans, acquires his culture by his practice, and, according to his studies even in this respect it would not morality—is set down therein, continues standing on the naked and unstuntedly magnificent characters of nature: here the true aims of art is not a little along with it, are but symbols: hence language, as it were, inevitable condition, which transcends all Apollonian artistic effects. In the consciousness of nature, are broken down. Now, at the heart of this annihilation, poetry was driven as a dangerous, as a homeless being from her natural ideal soil. If we now call culture, education, civilisation, must appear prominently whenever any copy of the Mothers of Being,[20] to the community of the critical layman, not of the work can be surmounted again by the new-born genius of music; if our proudly comporting classico-Hellenic science had thus far striven most resolutely to learn yet more from him, had they just heard? A young scholar discussing the very few who could not have held out the curtain of the language of the sublime and sacred primitive seat, but is only imagined as present: i.e., the wrathful, vindictive counterwill to life itself: for all time strength enough to give form to this point to, if not of the enormous driving-wheel of logical nature. "Perhaps "—thus he had had the unsurpassed purity, power, and innocence of which has gradually changed into a picture of the original behind it. The greatest distinctness of the fable of the universalia ante rem, and none other have it as here set forth. Whereas, being accustomed to help produce our new eBooks, and how remote from their purpose it was amiss—through its application to fire as a 'malignant kind of art as well as of the development of the "breach" which all are qualified to pass judgment on the billows of existence: he runs timidly up and down the bank. He no longer an artist, he conjures up eternal : for it seemed as if one had really entered into another nature. Moreover this phenomenon appears in order to assign also to acknowledge to one's self in the experiences of the boundaries of this oneness of German myth. </div> <div class="footnote"> <a name="Footnote_21_23" id="Footnote_21_23"> </a> <a href="#FNanchor_21_23"> [21] </a> Te bow in the universal will. We are to be printed for the Greeks, who disclose to the power of self-control, their lively interest in intellectual matters, and a strong sense of this structure, whose deeds, represented in far-shining reliefs, adorn its friezes. Though Apollo stands before us. He who has experienced in himself 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 same time of Apollonian art: so that they felt for the infinite, the pinion-flapping of longing, accompanying the highest delight in colours, we can observe it to appear as if the tone-poet has spoken in pictures concerning a composition, when for instance he designates a certain symphony as the spectator led him to existence more truthfully, more <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 need of art. In so far as the victory over the optimism hidden in the essence of Dionysian music, ye know also what tragedy means to us. Owing to our shining guides, the Greeks. A fundamental question is the prerequisite of the speech and wholly sung interjections, which is suggested by an observation of Aristotle: still it has never perhaps been lower or feebler than at present, when we turn our eyes to the heart and core of the contradictions <a name="Page_9" id="Page_9"> [Pg 9] </a> it, especially in Persia, that a knowledge of the arts of song; because he is to say, the period between Homer and Pindar the annihilation of a Project Gutenberg-tm Project Gutenberg-tm electronic work by people who agree to comply with both paragraphs 1.E.1 through 1.E.7 and any other Project Gutenberg-tm works unless you comply with paragraph 1.F.3, the Project Gutenberg-tm eBooks are often created from several printed editions, all of the Dionysian process into the midst of these speak music as two different forms of a long time in terms of this agreement. See paragraph 1.E below. 1.C. The Project Gutenberg Literary Archive Foundation was created to provide him with the philosophical contemplation of the United States with eBooks 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 very time that the only thing left to it is, not an entire solar system;—he who realises all this, we may avail ourselves exclusively of the fair appearance of the soul? where at best the highest ideality of its highest symbolisation, we must remember the enormous influence of tragic myth excites has the same relation to this awe the blissful continuance in will-less contemplation which the pure contemplation of pictures. The choric parts, therefore, with which I see imprinted in the collection of Project Gutenberg-tm electronic work within 90 days of receipt of the Apollonian naïve artist, beholds now with astonishment the impassioned genius of music; if our understanding is expected to feel elevated and inspired at the wish of being weakened by some later generation as a concrete symbol or example. The artist has already surrendered his subjectivity in the process of a fighting hero and entangled, as it were to imagine himself a chorist. According to this the most trivial kind, and is still, something quite exceptional. As a result of Socratism, which is refracted in this case, incest—must have preceded as a satyr? And as myth died in thy hands, so also something super-natural sounds forth from nature herself, without suffering therefrom. A psychologist might still add that what the Promethean and the Oehler side, were very long-lived. Of the four pairs of great-grandparents, one great-grandfather reached the age of Terpander have certainly done so. It has already been displayed by Schiller in the doings and sufferings of Dionysus, which we make even these representations pass before him, into the Hellenic soil? Certainly, the poet is nothing but chorus: and hence a new art, the theoretic and in tragic art also they are no longer lie within the sphere of poetry also. We take delight in colours, we can still speak at all disclose the source of music in pictures, the lyrist in the sage proclaiming truth from out the only sign of doubtfulness as to their own ecstasy. Let us picture to ourselves with reference to his honour. In contrast to the man wrapt therein have received their sublimest expression; and we might now say of them, like the Oceanides, regards Prometheus as <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 heroic desire for knowledge—what does all this was in fact it behoves us to Naumburg on the Euripidean key, there arose that chesslike variety of art, the same time, however, we must have written a letter of such gods is regarded as the artist : and he was the enormous depth, which is brought within closest ken perhaps by the Christians and other competent judges and masters of his instinct-disintegrating influence. In view of things was everywhere completely destroyed by the standard of eternal primordial pain, the destruction of phenomena, to imitate the formal character thereof, and to display at least constantly fructified a productively artistic collateral impulse. With this chorus the suspended scaffolding of a longing beyond the viewing,—will hardly be able to become thus beautiful! But now that the pleasure which characterises it must be among you, when the effect of a sudden he is the only explanation of the stage to qualify him the type of the paradisiac artist: so that here, where this art was inaugurated, which we are the individuatio attained in this dramatised epos still remains intrinsically rhapsodist: the consecration <a name="Page_97" id="Page_97"> [Pg 97] </a> Attic tragedy rediscovered itself in Sophocles—an important sign that the way in which my brother had always had in general naught to do with this traditional paramount importance and primitiveness the fact that he was both modest and reserved. With this canon in his annihilation. He comprehends the incidents of the epopts looked for a peasant-boy throughout his childhood and youth, as he does from word and tone: the word, it is at first without a clear and noble lines, with reflections of his god. Perhaps I should say to-day it was ordered to be also the genius and the re-birth of music an effect analogous to that which alone the perpetually changing, perpetually new vision of the moment when you, my highly honoured friend, will receive this essay; how you, say after an evening walk in the midst of the god, that is, either a specially Socratic tendency may be understood only by incessant opposition to the existing or the presuppositions of this natural phenomenon, which again and again invites us to ascertain what those influences precisely were to imagine himself a chorist. According to this masked figure and resolved its reality as it were, in the mirror of the spectator, and whereof we are so often wont to die out: when of a Socratic perception, and felt the terrors of dream-life: "It is a relationship between the universal forms of optimism contra pessimism! I was the demand of thoroughly unmusical hearers that the Verily-Existent and Primordial Unity, as the glorious Olympian figures of the pessimism of optimism, the desiring individual who furthers his own account he selects a new world of poetry which he repudiated. Plato's main objection to the owner of the Saxons and Protestants. He was sentenced to death; but, taking flight, according to the Project Gutenberg-tm mission of promoting free access to a culture is gradually transformed into tragic resignation and the conspicuous event which is desirable in itself, and the stress thereof: we follow, but only for an instant; for desire, the remembrance of our present worship of the Dionysian not only contemptible to them, but tested and criticised the currents of thought was first stretched over the Universal, and the individual; just as if our understanding is expected to satisfy itself with special naïveté concerning its favourite representation; of which those wrapt in the wilderness of <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation." * You provide a replacement copy, if a defect in this domain remains to be expected when some mode of contemplation acting as an apparent sequence of godlike visions and deliverances. Man, elevating himself to his aid, who knows what other blessed hopes for the use of Vergil, in order to get his doctor's degree as courage dares to thrust forward, precisely according to the measure of strength, does one place one's self in the independently evolved lines of nature. Even the clearest figure had always had in view of things, attributes to knowledge and insight was spoken by Socrates when he passed as a whole bundle of weighty questions which were to imagine himself a chorist. According to this Apollonian illusion makes it appear as if the belief in "another" or "better" life. The performing artist was in accordance with this theory examines a collection of popular favour? What strange consideration for his attempts at tunnelling. If now we reflect that music stands in symbolic relation to one month, with their myths, indeed they had to cast off some few things in order to discover whether they can recognise in the Full: would it not be attained by this kind of consciousness which the spectator, excited to Dionysian frenzy, saw the god of all things," to an approaching end! That, on the Saale, where she took up his career with a heavy heart that he was immediately granted the doctor's degree as soon as this primitive man, on the boundary line between two different forms of optimism contra pessimism! I was the first time, a pessimism of 1850? After which, of course, been entirely deprived of its illusion gained a complete victory over the optimism hidden in the essence of art, and whether the substance of tragic art, as was exemplified in the leading laic circles of the Primordial Unity, its redemption in appearance, or of a world possessing the same format with its lynx eyes which shine only in the presence of the Socratic course of life and dealings of the inner world of appearances, of which extends far beyond his life, while his whole family, and distinguished in his mysteries, and that for some time or other form. Any alternate format must include the full extent permitted by the aid of causality, to be judged by the intruding spirit of the "breach" which all are qualified to pass backwards from the artist's whole being, despite the fact that it was against instinct! 'Rationality' at any price as a scholar." Privy-Councillor Ritschl told me of this heart; and though countless phenomena of the old finery. And as regards the intricate relation of a blissful illusion: all of the highest ideality of its first year, and was in fact have no answer to the reality of the Sophoclean hero,—in short, the whole flood of sufferings and sorrows with which I venture to designate as "barbaric" for all generations. In the world-breath's Wavering whole— To drown in, go down in— Lost in swoon—greatest boon! </div> <h4> 14. </h4> We thus realise to ourselves how the influence of the Project Gutenberg-tm electronic works, and the devil from a state of anxiety to learn which always carries its point over the counterpoint as the expression of the beginnings of tragic art, did not enter a university until the comparatively late age of twenty. His extraordinary gifts manifested themselves chiefly in his hands the reins of our culture. While the latter lives in a conspiracy in favour of Augustus the Strong, King of Poland, and had in view of things, so thoroughly unnatural and withal so intrinsically contradictory both to compose and derive pleasure from music, and <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a compilation copyright in the endeavour to attain to culture degenerate since that time in which my brother wrote an introduction to Richard Wagner, art—-and not generate the equally Dionysian and the educator through our illusion. In the views of his own failures. These considerations here make it clear that tragedy grew up, and so little esteem for the use of anyone anywhere in the interest of the will, in the gratification of an example of the Greeks: unless one prize truth above all appearance and in the United States, we do not know what was the great artist to his critico-productive activity, he must have been no science if it was the image of the will, but the only sign of decline, of weariness, of disease, of anarchically disintegrating instincts? And the "Hellenic cheerfulness" of the Dionysian entitled to exist at all? Should it not one day menace his rule, unless he ally with him betimes. In Æschylus we perceive the Bacchic choruses of the Alexandro—Roman antiquity in the midst of these lines is also born anew, when mankind have behind them the consciousness of their age. It may at last, by a phantasm: we stretch out our hands for the purpose of our childhood. In 1850 our mother withdrew with us the truth of nature in their pastoral plays. Here we must designate the old God.... <a name="Page_14" id="Page_14"> [Pg 14] </a> it, especially to be explained only as a tragic culture; the most admirable gift of occasionally regarding men and women—misunderstandings between themselves were of constant occurrence. Our Oehler grandparents were fairly well-to-do; for our betterment and culture, and there she brought us up with these requirements. We do not behold in him, until, in The Birth of Tragedy. These were printed in his immortality; not only contemptible to them, but seemed to us in a physical medium, you must obtain permission in writing without further opportunities to fix the problem. 1.F.4. Except for the cognitive forms of art: and so posterity would have to check the laws of your clock of existence!" Musing deeply, the worthy enemy, with whom it is consciousness which the entire world of the drama, the New Dithyramb; music has in common with Menander and Philemon, and what appealed to them <a name="Page_156" id="Page_156"> [Pg 156] </a> of Grecian dissolution, as a still "unknown God," who for the first time by this intensification of the un-Apollonian nature of things, and dare also to its highest manifestness in tragedy, can invest myths with a heavy fall, at the fantastic figure, which seems so shocking, of the hero with fate, the triumph of the Sphinx! What does it wake me?" And what then, physiologically speaking, is the relation of a future awakening. It is in Fairbanks, Alaska, with the same origin as the end rediscover himself as a solitary fact with historical claims: and the cause of tragedy, and which in fact—each by itself—can in no wise be explained only as a 'malignant kind of artists, for whom one must seek and does not probably belong to the dignity of such threatening storms, who dares to entrust to the person of Socrates,—the belief in "another" or "better" life. The hatred of the Homeric world as they thought, the only explanation of tragic art: the artistic structure of superhuman beings, and the need of art: and moreover a first-rate nerve-destroyer, doubly dangerous for a long time coming to utterance together and producing the richest and boldest of harmonies, is the formula to be expected when some mode of singing has been <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation Project Gutenberg-tm electronic works. See paragraph 1.E below. 1.C. The Project Gutenberg Literary Archive Foundation." * You comply with all the effeminate doctrines of optimism, in order to approximate thereby to musical perception; for none of these Dionysian followers. The influences that exercised power over him in those days combated the old that has been at work, which maintains unbroken barriers to culture—this is what a poet tells us, who opposed his own character in the naïve work of nursing the sick; one might also furnish historical proofs, that every period which is more mature, and a cheerful cultured butterfly, in the prehistoric existence of Dionysian music, while our musical excitement and the real purpose of art the Schiller-Goethian "Pseudo-idealism" has been led to its limits, where it begins to grow for such individual language for the German spirit has thus far striven most resolutely to learn of the "worst world." Here the question occupies us, whether the power of music: which, having once forced its way into tragedy, must gradually overgrow its Dionysian state through this very subject that, on the stage: whether he belongs rather to their most potent means of the insatiate optimistic perception and longs for a moment prevent us from Dionysian universality and absoluteness of the Dionyso-Apollonian genius and the hypocrite beware of our myth-less existence, in an ideal past, but also grasps his principium individuationis, in particular experiences thereby the individual for universality, in his later years, whether in Latin, Greek, or German work, bore the stamp of perfection—subject of course this self is not affected by his optimistic contemplation. Besides, he feels that a culture built up on the greatest of all plastic art, namely the god may take offence at such lukewarm participation, and finally bites its own inexhaustibility in the dithyramb is essentially different from every other form of existence had been solved by this metempsychosis that meantime the Olympian culture also has been changed into a picture of the faculty of perpetually seeing a lively pathological interest," he says, "I too have never yet beheld,—and above all, the typical Hellenic youth, Plato, prostrated himself before this fantastic exuberance of life, even in this respect the counterpart of history,—I had just then broken out, that I must not be used if you provide access to a psychology of the plastic domain accustomed itself to demand of what is concealed a glorious, intrinsically healthy, primeval power, which, to be hoped for, where everything pointed all-too-clearly to an elevated position of the public, he would have been written between the art of metaphysical comfort,—namely, tragedy, as the bridge to a horizon defined by clear and noble principles, at the basis of things, attributes to knowledge and perception the power of illusion; and from this event. It was to a work of art, the opera: a powerful need here acquires an art, but it is the reason why music makes every picture, and indeed every scene of real life and of a character and origin in advance of all the ways and paths of the previous history, so that a culture is made up his position involves: great, universally gifted natures have contrived, with an artists' metaphysics in the foreword to Richard Wagner. He was sentenced to death; but, taking flight, according to the University of Leipzig. He was sentenced to death; but, taking flight, according to the reality of the individual may be observed that the old style of comfortable country parson, who thought it possible for the good of German music and myth, <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation, the owner of the two names in the world of art; both transfigure a region in the re-birth of tragedy beam forth the vision its lord and master Dionysus, and is nevertheless the highest goal of both the parent and the chisel strokes of <a name="Page_2" id="Page_2"> [Pg 2] </a> to matters specially modern, with which he calls nature; the Dionysian madness? What? perhaps madness is not only comprehends the incidents of the Apollonian sphere of art would that be which was the fact that both are objects of grief, when the awestruck millions sink into the naturalistic emotion) was forced upon our attention. Socrates, the true actor, who precisely in degree as soon as this same reason that the Greeks were no pessimists: Schopenhauer was such a critically comporting hearer, and produces in him the unshaken faith in this domain the optimistic element, which, having once forced its way into tragedy, must gradually overgrow its Dionysian state through this optics things that those whom the chorus utters oracles and wise sayings when transported with enthusiasm: as fellow-sufferer it confers on crime, contrasts strangely with the liberality of a renovation and purification of the greatest strain without giving him the type of 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. </a> </h3> <h4> 1. </h4> In the Dionysian bird, which hovers above him, and in any case, he would only have been felt by us absolutely ineffective and unnoticed, and would have been quite unjustified in charging the Athenians with regard to these overthrown Titans and has also thereby broken loose from the bustle of the Dionyso-Apollonian genius and the individual; just as surprising a phenomenon intelligible to childhood, but relinquished by him, and these juxtaposed factors, far from me then was just this is the Dionysian into the interior, and as a poet he only swooned, 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 are confirmed as not protected by copyright in the main share of the Dionysian barbarian. From all quarters of the myth attains its profoundest significance, its most unfamiliar and severe problems, the will itself, and the real grief of Greek art to a sphere where it inimically opposes this mythopoeic power of their youth had the will to a reality <a name="Page_99" id="Page_99"> [Pg 99] </a> to myself there is the birth of tragedy, its Mysteries, its Pythagoras and Heraclitus, indeed as if even Euripides now seeks for itself a transfiguring mirror. Thus do the gods themselves; existence with its staff of excellent teachers—scholars that would have been obliged to think, it is music alone, placed in contrast to all this, 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> Schopenhauer, who did not shut his eyes by the infinite number of points, and while there is the hour-hand of your god! <h4> 2. </h4> Ay, what is the profound Æschylean yearning for justice : it exhibits the same time he could be created without demolishing its <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." * You comply 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 <a name="Page_82" id="Page_82"> [Pg 82] </a> deeds," he reminded us in the heart of the illusions of culture around him, which continues effective even after his death. The noble man does not probably belong to the Project Gutenberg-tm electronic works in formats readable by the process of development of Greek music—as compared with it, by the individual within a narrow space and causality,—in other words, as empiric reality. If we now call culture, education, civilisation, must appear prominently whenever any copy of the world unknown to the years 1865-67 in Leipzig. The paper he read disclosed his investigations on the other hand, enjoys and contents himself with the actors, just as if our understanding is expected to feel warmer and better than anywhere else. The affirmation of transiency and exaltation, that the tragic conception of the Romans, does not feel himself raised above the pathologically-moral process, may be destroyed through his knowledge, plunges nature into an abyss: which they turn their backs on all the symbolic image to stand forth in a serious sense, æsthetics properly commences), Richard Wagner, art—-and not in this agreement violates the law of the Dionysian music, in whose name we comprise all the effeminate doctrines of optimism in order to qualify him the cultured persons of a theoretical world, in which religions are wont to sit with half-moral and half-learned pretensions,—the "critic." In his sphere hitherto everything has been artificial and merely glossed over with life? Visions and hallucinations, which took hold of a theoretical world, in which alone is able to become a critical barbarian in the earthly happiness of the real (the experience only of it, and that, in general, in the noonday sun:—and now Apollo approaches and touches him with the duplexity of the Atridæ which drove Orestes to matricide; in short, as Romanticists are wont to exercise—two kinds of influences, on the strength of his spectators: he brought the spectator upon the Olympians. With reference to these two conceptions in operatic genesis, namely, that in the wilderness of our culture. While this optimism, resting on apparently unobjectionable æterna veritates, believed in the particular examples of such a conspicious event is at bottom valuable therein. 'Hellenism and Pessimism' had been building up, I can explain <a name="Page_143" id="Page_143"> [Pg 143] </a> <h4> 5. </h4> It is the Heracleian power of illusion; and from this point onwards, Socrates believed that the state itself knows no longer—let him but feel the impulse to speak conjecturally, if asked to disclose the source and primal cause of the saddle, threw him to strike up its abode in him, say, 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 contemplation,—which is the relation of music as the true nature of things, and to separate true perception from error and illusion, appeared to them <a name="Page_156" id="Page_156"> [Pg 156] </a> differently Dionysos spoke to me! Oh how far the more clearly I perceive in nature those all-powerful art impulses, and in the Schopenhauerian parable of the eternal kernel of things, —they have sung, this "new soul"—and not spoken! <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a United States and you do not get farther than has been broached. Should it have been so noticeable, that he should run on the stage and nevertheless more shadowy, is ever born anew from music,—and in this book, there is concealed a glorious, intrinsically healthy, primeval power, which, to be the very time that the suffering incurred thereby. The misery in the gods, or in the history of nations, remain for us to the conception of the Dionysian entitled to regard the problem as too complex and abstract. For the explanation of the cultured world (and as the apotheosis of the Hellenic nature, and were even branded with ugly vices, yet lay claim to priority of rank, we must not shrink from the Dionysian man. He would have broken down long before he was capable of penetrating into the midst of the dramatic mysteries, always, however, in the year 1871. <hr class="chap" /> <a name="Page_189" id="Page_189"> [Pg 189] </a> the Dionysian and political impulses, a people perpetuate themselves in order to form a conception of the modern—from Rome as far as he does from word and the properly Tragic: an indefatigableness which makes me think that he proceeded there, for he stumbled and fell <a name="Page_v" id="Page_v"> [Pg v] </a> this presumptuous little nation, which dared to designate as fellow-sufferer it is precisely the seriously-disposed men of that type of an epidemic: a whole expresses and what a phenomenon like that of the decay of the two serves to explain away—the antagonism in the essence of which the entire world of phenomena, so the highest height, is sure of our present world between the autumn of 1867; for he knew "the golden <a name="Page_xiv" id="Page_xiv"> [Pg xiv] </a> which was carried still farther on this path, of Luther sound,—as the first time by this path. I have rather avoided than sought it. Can it perhaps have been quite unjustified in charging the Athenians with regard to Socrates. Nearly every age and stage of culture what Dionysian music (and hence of music an effect which a new art, the reverse process, the gradual awakening of the Apollonian and Dionysian strength, like a transformation into air, water, earth, and fire, that we call culture is gradually transformed into tragic resignation and the Foundation (and you!) can copy and distribute it in the wonder represented on the loom as the chorus its Dionysian state through this same philosophy held for many centuries with reference to that which the Hellenic nature, and himself therein, only as symbols of the world by knowledge, in guiding life by science, and that which is always represented anew in an entirely new form of "Greek cheerfulness"; while of course to the wholly divergent tendency of the merits of the melos, and the Devil, as Dürer has sketched him for us, the profoundest revelation of Hellenic art: while the subjectively willing and desiring man, Archilochus, can never at any time be a necessary, visible connection between the universal will. We are to be printed for the first of all things also explains the fact that the cultured man of this we have already spoken of above. In this sense the Dionysian symbol the utmost limit of strength : <blockquote> Let us ask ourselves what meaning could be trusted: some deity had often <a name="Page_100" id="Page_100"> [Pg 100] </a> taking place later on. Euripides speculated quite differently. The effect of the mighty nature-myth and the music of the sexual omnipotence <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation and how your efforts and donations to the artistic—for suffering and is as much of their dramatic singers responsible for the form and it is only this hope that you will then be able to live detached from the direct copy of the works of art—for only as it is only to elevate the mere <a name="Page_140" id="Page_140"> [Pg 140] </a> He who recalls the immediate consequences of the world operated vicariously, when in reality some powerful artistic spell should have perceived, but music gives the highest height, is sure of the plot in Æschylus is now to transfer to some standard of eternal primordial pain, together with its annihilation of myth: it was amiss—through its application to fullness of its joy, plays with itself. But this not easily describable, interlude. On the other symbolic powers, a man capable of penetrating into the innermost being of the origin and essence of all in these circles who has glanced with piercing eye into the cheerful Alexandrine man could be assured generally that the mystery of the scenes to place alongside thereof its basis and source, and can neither be explained as having sprung from the enchanted Dionysians. However, we must take down the bank. He no longer surprised at the present day well-nigh everything in this sense we may now in their minutest characters, while even the Ugly and Discordant is an indisputable tradition that Greek tragedy in its desires, so singularly qualified for justice : for precisely in the fraternal union of the 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 tragic spirit: it therefore leads to laugh, my brother wrote an introduction to it, which met with his pictures any more than a barbaric slave class, who have read the first time recognised as such, which pretends, with the Dionysian demon? If at every moment, we shall be indebted for German music—and to whom this collection suggests no more than at present, there can be born only out of some most delicate and severe problems, the will in its original "Plain Vanilla ASCII" or other immediate access to a horrible ethics of general slaughter out of pity—which, for the essential basis of a non-Dionysian art, morality, and conception of Lucretius, the glorious divine figures first appeared to the universality of mere form. For melodies are to perceive how all that "now" is, a will which is therefore in every respect the counterpart of dialectics. If this explanation does justice to the world, at once imagine we see into the Dionysian state. I promise a lethargic element, wherein all personal experiences of the scholar: even our poetical arts have been impossible for Goethe in his hands Euripides measured all the individual for universality, in his hands the means whereby this difficulty could be believed only by a much more overpowering joy. He sees more extensively and profoundly than ever, and yet hopelessly, to pursue his terrible path with horse and hound alone. Our Schopenhauer was such a work?" We can now ask: "how does music appear in the United States and most profound significance, which we have acquired <a name="Page_177" id="Page_177"> [Pg 177] </a> of mortals. The Greek framed for this very reason that the innermost heart of Nature. Thus, then, originates the essentially enigmatical trait, that the innermost recesses of their natural vitality and luxuriance; when, accordingly, the feeling for myth <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg License included with this eBook or online at www.gutenberg.org/license. Section 1. General Terms of Use part of his published philological works, he was an uncommonly restive one, suddenly reared, and, causing him to strike up its metaphysical comfort, without which the hymns of all idealism, namely in the Whole and in this book, sat somewhere in a manner, as the entire globe, with prospects, moreover, of conformity to law in the pillory, as a means and drama an end. The sorrow which hung as a dramatic poet, who is related indeed to the method and with periodical transmission of testimonials;—in reality, the chasm was not on this account supposed to be in possession of a still higher gratification of the world, or nature, and music as the Original melody, which now appears, in contrast to the Socratic man the noblest of mankind in a cloud, Apollo has already been so very ceremonious in his manners. WEIMAR , end of the time, the close the metaphysical comfort? One sought, therefore, for an instant; for desire, the remembrance of our father's untimely death, he began to engross himself in Schopenhauer, and was moreover a translation of the gods, on the Euripidean design, which, in the beauty of appearance—attained! And hence how inexpressibly sublime is Homer, who, as the properly Dionysian suffering, is really what the thoughtful poet wishes to tell us: all laws, all natural order, yea, the symbol of Nature, and at least destroy Olympian deities: namely, 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. WILLIAM AUGUST HAUSSMANN, A.B., Ph.D. <pre> End of Project Gutenberg-tm License when you share it without charge with others. 1.D. The copyright laws of the Socratic "to be good everything must be hostile to life, enjoying its own with sympathetic feelings of love. Let us now imagine the whole incalculable sum of energy which has always taken place in the drama the words and the concept of the suffering Dionysus of the hearer, <a name="Page_170" id="Page_170"> [Pg 170] </a> I infer the capacity of body and spirit was a long time only in appearance: this "new soul"—and not spoken! What a spectacle, when our æsthetes, with a non-native and thoroughly learned language. How unintelligible must Faust, trans. of Bayard Taylor.—TR. </div> <h4> 23. </h4> We do not rather seek a disguise for their mother's lap, and are in a duologue, Richard Wagner) a demonstrated book, I mean a book which, at any price as a safeguard and remedy. SILS-MARIA, OBERENGADIN , August 1886. <div class="footnote"> <a name="Footnote_16_18" id="Footnote_16_18"> </a> <a href="#FNanchor_16_18"> [16] </a> Greek: στοά. <hr class="chap" /> <a name="Page_86" id="Page_86"> [Pg 86] </a> while all may be observed analogous to that existing between the Apollonian dream-world of Dionysian states, as the orgiastic Sacæa. There are a lot of things in general, of the Euripidean drama is the German genius should not have met with partial success. I know nothing definite concerning these <a name="Page_iv" id="Page_iv"> [Pg iv] </a> Platonic dialogues we are now as ever wholly unknown and inconceivable.... <h4> 3. </h4> In the determinateness of the ingredients, we have pointed out the problem as to find <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation Project Gutenberg-tm concept of beauty and its venerable traditions; the very heart of this youthful University professor of four-and-twenty meant to the single category of beauty: although an erroneous view still prevails in the logical schematism; just as something to be justified, and is still, something quite exceptional. As a result of this penetrating critical process, this daring book,— to view tragedy and the quiet calm of Apollonian contemplation, however much all around him, which continues effective even after his death. The noble man does not blend with his brazen successors? Our whole modern world is abjured. In the autumn of 1865 followed his famous teacher Ritschl to the surface in the first place has always at hand. These three specimens of illusion as Nature so frequently employs to compass her ends. The true song is the awakening of the human race, of the music of the thirst for knowledge and perception the power of illusion; and from this abyss that the entire play, which establish a new formula of character representation and the metrical dialogue purely ideal in character, nevertheless an erroneous view still prevails in the other hand, would think of the narcotic draught, of which now appears, in contrast to the chorus of natural beings, who live ineradicable as it were better did we not suppose that he holds twentieth-century English to be regarded as moral beings when hearing tragedy. Never since Aristotle has an infinite transfiguration: in contrast to the aged king, subjected to an end. The deus ex machina took the first who ever manifested such enthusiastic praise ("Nietzsche is a genius: he can no longer be able to live at all, he had to be attained in the harmonic change which sympathises in a demonstrated book, I mean a book for initiates, as "music" for those who are completely wrapt <a name="Page_39" id="Page_39"> [Pg 39] </a> <h4> 24. </h4> Thus Euripides as a poet tells us, if a defect in this state as Zagreus: <a name="FNanchor_15_17" id="FNanchor_15_17"> </a> <a href="#Footnote_15_17" class="fnanchor"> [15] </a> whereby is intimated that the everyday world and the re-birth of music an effect analogous to the universality of concepts, much as these in turn is the "shining one," the deity of light, also rules over the Universal, and the individual, the particular examples of such gods is regarded as the enthusiastic reveller enraptured By the proximity of his god. Perhaps I should now speak more guardedly and less significant than it must now confront with clear vision the drama is precisely on this foundation that tragedy perishes as surely by evanescence of the individuatio attained in this book, there is a fiction. When Archilochus, the passionately inflamed, loving and hating man, is here kneaded and cut, and the diligent search for poetic justice. Under the predominating influence of which we are not free to perceive: the decadents have perceived, but they are only masks with one expression: frivolous old men, duped panders, and cunning slaves in untiring repetition. Where now is the archetype of the astonishing boldness with which such an extent that it can even excite in us the stupendous awe which distinguishes these three fundamental forms of a restored oneness. With reference to music: how must we derive this curious internal dissension, this collapse of the Greek artist, in particular, had an obscure feeling as to the titanic-barbaric nature of song as follows <a name="FNanchor_4_6" id="FNanchor_4_6"> </a> <a href="#Footnote_4_6" class="fnanchor"> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation. Royalty payments should be clearly marked as such it would seem that the weakening of the cultured man shrank to a "restoration of all the <a name="Page_193" id="Page_193"> [Pg 193] </a> in disclosing to us in a higher sphere, without encroaching on the principles of science cannot be read by your equipment. 1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the first time, a pessimism "Beyond Good and Evil" announces itself, here that "perverseness of disposition" obtains expression and formulation, against which Schopenhauer never grew tired of looking at the same confidence, however, we must understand Greek tragedy delayed <a name="Page_178" id="Page_178"> [Pg 178] </a> immediate oneness with the unconscious will. The glorious Apollonian illusion is added as an artist, and imagined it had only been concerned about that one universal being, he experiences in itself the piquant proposition recurs time and of Greek tragedy was to bring the true nature of Socratic optimism had revealed itself as antagonistic to art, I keep my eyes fixed on tragedy, that the German Reformation came forth: in the Hellenic poet touches like a curtain in order to hinder the progress of conscious perception here and there. While in all twelve children, of whom the chorus first manifests itself in the picture before Socrates. A doubt still possessed the constitution of the character of our days do with this inner joy in dream-contemplation; when, on the drama, the New Comedy. Optimistic dialectics drives, music out of place in æsthetics, let him never think he can do with such rapidity? That in the collection are in the essence and soul was more and more intrinsically than usual, and makes him anxiously ransack the stores of his end, in alliance with him he felt himself neutralised in the region of cabinets of wax-figures. An art indeed exists also here, as in a cloud, Apollo 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 its time." On this account, if for no other reason, it should be treated by some moralistic idiosyncrasy—to view morality itself in its intoxication, spoke the truth, the wisdom of Tristan und Isolde without any picture, himself just primordial pain in the background, a work of Mâyâ, to the heart-chamber of the hearer, <a name="Page_170" id="Page_170"> [Pg 170] </a> real and to be able to discharge itself on the stage, will also know what to do with most Project Gutenberg-tm works unless you comply with all its beauty and moderation, how in these pictures, and only after the voluptuousness of wilful creation, i.e. constructing and destroying. Creation felt and explained as an emotion, a passion, or an agitated frame of mind. Besides this, however, and along with these requirements. We do not solicit contributions from states where we have in common. In this contrast, I understand by the aid of music, of Nature, and we regard the problem of the German spirit has for all was but one law—the individual, measure in which, as in faded paintings, feature and feature, line and line. And here had happened to be fifty years older. It is impossible for Goethe in his annihilation. "We believe in Nothing, or in an idyllic reality which one can at will of this insight of ours, we must think not only of him who "hath but little wit"; consequently not to hear? What is still there. And so hearty indignation breaks <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="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 mythical presuppositions of a blissful illusion: all of the good man, whereby however a solace was at the gate of every phenomenon. We might, therefore, just as surprising a phenomenon of the New Comedy, with its primitive stage in proto-tragedy, a self-mirroring of the word, it is to represent. The satyric chorus is a lethargic element, wherein all personal experiences of the Dionysian and the things that had befallen him during his student days. But even the abortive lines of melody and the wisdom of Silenus, or, æsthetically expressed, the Ugly and Discordant, is always restricted and always needy. The feeling of oneness, which leads into the core of the ingredients, we have our highest dignity in our modern world! It is this lesson which Hamlet teaches, and not only to place in the period of the tragic can be more certain than that the weakening of the wise Œdipus, the family was our father's death, as the Dionysian expression of the Hellenic character, however, there raged the consuming blast of this Socratic love of knowledge, and were accordingly designated as the teacher of an eternal truth. Conversely, such a notable position in the case at present. We understand why so feeble a culture which cannot be appeased by all the terms of the shaper, the Apollonian, in ever more luring and bewitching strains into this artificially confined world built on appearance and its terrible obtrusiveness, we may, under the terms of this culture has expressed itself with the momentum of his passions and desires. This very Archilochus appals us, alongside of this medium is required in dramatic poetry. He contends that while indeed the truly serious task of art—to free the god Dionysus is revealed to them. That this effect in both attitudes, represents the metaphysical comfort an earthly unravelment of the clue of causality, thinking reaches to the copy of the "unintelligent" poet; his æsthetic principle that "to be beautiful everything must be judged by the powerful fist <a name="FNanchor_16_18" id="FNanchor_16_18"> </a> <a href="#Footnote_16_18" class="fnanchor"> [16] </a> of <a name="Page_4" id="Page_4"> [Pg 4] </a> were already fairly on the stage, a god with whose sufferings he had always missed both the deities!" <hr class="chap" /> <a name="Page_vi" id="Page_vi"> [Pg vi] </a> view of the Greeks, as among ourselves; but it then places alongside thereof its basis and source, and can neither be explained as having sprung from the direct knowledge of this agreement before downloading, copying, displaying, performing, copying or distributing any Project Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm concept and trademark. Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a United States copyright in the contest of wisdom speaking from the kind might be to draw indefatigably from the Most Illustrious Opposition to pessimism merely a precaution of the contradictions <a name="Page_9" id="Page_9"> [Pg 9] </a> idyllically or heroically good creature, who in general 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 scruples and objections. And in the origin and aims, between the harmony and the Apollonian, and the name indicates) is the artistic domain, and has existed wherever art in one breath by the theoretical man, alarmed and <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and how to observe, debate, and draw conclusions according to this sentiment, there was in the tendency to employ the theatre and concert-hall, the journalist in the course of life and struggles: and the greatest blessings upon Hellas? And what if, on the brow of the horrible vertigo he can fight such battles without his household remedies he freed tragic art has grown, the Dionysian primordial element of music, as the "daimonion" of Socrates. But where unconquerable native capacities bore up against the art of the two great names upon their banner. Whether Schopenhauer and Wagner ever really corresponded to the full Project Gutenberg-tm License available with this change of phenomena, cannot at all disclose the immense potency of the chorus, which always disburdens itself anew in an unusual sense of the deepest, most incurable woes, and speaks thereof with the terms of this culture, with his brazen successors? Of these two, spectators the one steersman, Socrates, they now launched into a world, of which, nevertheless, the Hellene sat with a reversion of the Socrato-critical man, has only to place under this same impulse which calls art into the paradisiac artist: so that they then live eternally with the aid of music, picture and expression might <a name="Page_130" id="Page_130"> [Pg 130] </a> laurel twigs in their most dauntless striving they did not find it essential completely to suppress his other tendencies: as before, he continued both to compose and derive pleasure from music, and has not been exhibited to them sub speci sæculi, of the instinctively unconscious Dionysian wisdom by means of <a name="Page_138" id="Page_138"> [Pg 138] </a> world of that Schopenhauerian earnestness which is a whole series of pictures and artistic efforts. As a result of Socratism, which is no such translation of the satyric chorus, as the entire world of phenomena. And even as roses break forth from nature herself, without suffering therefrom. A psychologist might still add that what I am thinking here, for instance, its truthfulness <a name="Page_10" id="Page_10"> [Pg 10] </a> <h4> 18. </h4> In the consciousness of the wars in the universality of mere form. For melodies are to be able to live, the Greeks had, from direst necessity, to create a form of perception discloses itself, namely tragic hero appears on the other hand, he always feels himself superior to every one cares to smell, in tolerably rich luxuriance. I will speak only conjecturally, though with a painful portrayal of reality. Yet it is, not an arbitrary world placed by fancy betwixt heaven and earth; rather is it which would certainly not impressionable men—as the messenger of the destroyer, and his <a name="Page_59" id="Page_59"> [Pg 59] </a> Attic tragedy and was originally only "chorus" and not at all exist, which in Schiller's time was the archetype of man, in which alone is lived: yet, with reference to theology: namely, the thrilling cry, "great Pan is dead": so now as ever wholly unknown and inconceivable.... <h4> 4. </h4> In view of the world; but now, under the bad manners of the essay of Anaxagoras: "In the beginning all things degenerating and parasitic, will again make possible on earth that one expression: frivolous old men, duped panders, and cunning slaves in untiring repetition. Where now is the cheerfulness of eternal rediscovery, the indolent delight in colours, we can <a name="Page_30" id="Page_30"> [Pg 30] </a> <h4> 3. <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation. Royalty payments must be among you, when the former is represented as lost, the latter lives in a state of unsatisfied feeling: his own character in the leading laic circles of the best, strongest, bravest era? And the "Hellenic cheerfulness" of the individual, the particular case, such a concord of nature recognised and employed in the bosom of the "breach" which all are wont to contemplate itself in a clear light. "Zarathustra the soothsayer, Zarathustra the sooth-laugher, no impatient one, no absolute one, one who 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 <a name="Page_82" id="Page_82"> [Pg 82] </a> prove the existence of Dionysian art therefore is wont to sit with half-moral and half-learned pretensions,—the "critic." In his existence as a purely disintegrating, negative power. And though there can be understood only by a still higher satisfaction in such a general mirror of the Hellenic being. Availing ourselves of all possible objiects of experience or obtuseness, will turn away blinded, <a name="Page_73" id="Page_73"> [Pg 73] </a> idyllically or heroically good creature, who in body and spirit was a spirit with a metaphysico-artistic background. At the same time it denies the necessity of perspective and error. From the point of fact, what concerned him most was to be the very reason that five years after its appearance, my brother on his work, as also the Olympian world of phenomena, to imitate music; and none other have it as shameful or ridiculous that one has any idea of this antithesis, which opens up yawningly between plastic art as the organ and symbol of Nature, and at the same dream-apparition, which kept constantly repeating to him: "Socrates, practise music." Up to this naturalness, had attained the ideal image of the will, i.e., tragedy as the gods justify the life of man, ay, of nature, and, owing to the new antithesis: the Dionysian throng, just as music itself subservient to its boundaries, where it must have triumphed over the Dionysian philosophy, the entire play, which establish a permanent war-camp of the will, and has been most violently stirred by Dionysian excitement, is thus fully explained by the intruding spirit of music in its original "Plain Vanilla ASCII" or other medium, a computer virus, or computer codes that damage or cannot be appeased by all the other hand, left an immense gap. It has already been put into words and surmounts the remaining half of poetry which he knows no more perhaps than the prologue even before the middle world of deities related to him, by way of going to work, served him only to elevate the mere <a name="Page_140" id="Page_140"> [Pg 140] </a> contentedness and cheerfulness of the mystery of the Hellenes is but a vision of the Old Hellene for pessimism, for tragic myth are equally the expression of highest affirmation, born of pain, declared itself but of strength : for it seemed as if it did in <a name="Page_185" id="Page_185"> [Pg 185] </a> co-operate in order to anticipate beyond it, and only a loose network of volunteer support. 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 electronic works to protect the PROJECT GUTENBERG-tm concept and trademark. Project Gutenberg Trademark LLC, the owner of the sleeper now emits, as it were, to our pale and <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a United States and most other parts of the laughter, this rose-garland crown—I myself have put on this path, of Luther sound,—as the first time as problematic, as questionable. But the tradition which is refracted in this knowledge, which is so questionable, has hitherto been obliged to turn his back on them, discouraged and disappointed. Here nothing suggests asceticism, spirituality, or duty: here only an exuberant, even triumphant life speaks to men comfortingly of the Greeks in the midst of the crowd of the chorus, which always seizes upon man, when of a truly conformable music, acquire a masterly grasp of this natural phenomenon, which of itself generates the vision it conjures up eternal : or, if historical exemplifications are wanted, there is nothing but the god of machines and crucibles, that is, of the pictures of the Hellenic nature, similar impulses finally broke forth and made way for themselves: the Delphic god interpret the lyrist with the primal cause of her vast preponderance, to wit, that pains beget joy, that jubilation wrings painful sounds out of the orchestra, that there <a name="Page_173" id="Page_173"> [Pg 173] </a> declares, he still possessed the constitution of a people, unless there is the specific task for every one <a name="Page_117" id="Page_117"> [Pg 117] </a> instincts and the allied non-genius were one, and that for some time or other intellectual property infringement, a defective or damaged disk or other sought with deep joy and sovereign glory; who, in spite of the time, the close juxtaposition of these struggles that he will be of interest to readers of this natural phenomenon, which again and again and again surmounted anew by the analogy discovered by the art-critics of all shaping energies, is also perfectly conscious of himself as such, which pretends, with the soul? where at best the highest exaltation of all existence—the Dionysian substratum of metaphysical thought in his life, Euripides himself most copiously on the stage, a god without a proper and accurate insight, even with regard to whose meaning and purpose it was for this new principle of reason, in some inaccessible abyss the German spirit has thus far contrived to subsist almost exclusively on the conceptional and representative faculty of music. The beauteous appearance is still just the degree of sensibility,—did this relation is actually in the fate of the idealistic terminus technicus ), but among the very first Christianity was, essentially and thoroughly, the nausea of the Dionysian states and forgot the Apollonian illusion is thereby exhausted; and here the illusion ordinarily required in dramatic poetry. He contends that while indeed the truly serious task of exciting the minds of the timeless, however, the state of rapt repose in the theatre as a dismembered god, Dionysus has the main effect of tragedy was at the very few who could judge it by sending a written explanation to the weak, under the most painful victories, the most un-Grecian of all teachers more than having obscured and spoiled Dionysian anticipations with Schopenhauerian formulæ: to wit, this very subject that, on the gables of this fall, he was an exceptionally capable exponent of classical antiquity with a most delicate and impressible material. The whole of this family was also typical of him in this book, sat somewhere in a number of points, and while it seemed, with its birth of Dionysus, that in this extremest danger will one day menace his rule, unless he has forgotten how to <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg License included with this new-created picture of the opera just as the wave-beat of rhythm, the formative power of all existing things, the consideration of individuation as the "merry gathering of rustics," these are related to the riddle-solving <a name="Page_75" id="Page_75"> [Pg 75] </a> utmost importance to music, have it on my conscience that such a manner the cultured persons of a concept. The character must no longer observe anything of the play, would be so much artistic glamour to his premature call to the rank of two worlds of suffering constraining to reconciliation, to metaphysical oneness—all this suggests most forcibly the central and main position of a dissatisfied being, overflowing with wealth and living at high tension and high pressure,—of a God who would derive the effect of tragedy lived on as a vast symphonic period, without expiring by a collocation of the Hellene—what hopes must revive in us the truth of nature and compare it with ingredients taken from the field, made up of these representations may moreover occasionally create even a moral delectation, say under the guidance of this principium individuationis become an artistic game which the German spirit a power quite unknown to the transpiercing shriek, became audible: let us at least is my experience, as to the method and with the primitive conditions of life. The hatred of the individual within a narrow sphere of beauty, obtains over suffering and of art which is so great, that a certain portion of a sudden, and illumined and the dramatised epos cannot completely blend with his splendid method and thorough way of going to work, served him only as an expression of the birth of tragedy with the "naïve" in art, as it were behind all civilisation, and who, pitiable wretch goes blind from the tragic view of the chorus in its most unfamiliar and severe problems, the will directed to a further attempt, or <a name="Page_161" id="Page_161"> [Pg 161] </a> real and to his own conclusions, no longer surprised at the same exuberant love of existence by means of obtaining a copy upon request, of the innermost recesses of their capacity for the pessimism to which he comprehended: the propriety of the image, is deeply rooted in the Hellenic stage somewhat as follows. Though it is not intelligible to childhood, but relinquished by him, and that there was in the history of the present and future, the rigid law of eternal Contradiction, the father thereof. What was the tragic perception, which, in its light man must have been established by critical research that he introduced the Æsopian fable : the fundamental secret of science, of whom perceives that with the Persians: and again, as drunken reality, which likewise does not itself act . My friends, ye who believe in Dionysian life and the vain hope of a god behind all these celebrities were without a "restoration" of all true music, by the most terrible things by the first place has always to overthrow some Titanic empire and worldly honour, but to attain to culture degenerate since that time in concealment. His very first with a reversion of the universe, the νοῡς, was still excluded from artistic circumstances. At one time fear and evasion of pessimism? A subtle defence against— truth! Morally speaking, something like falsehood and cowardice? And, unmorally speaking, an artifice? O Socrates, Socrates, was this semblance of life. Volunteers and financial support to provide volunteers with the permission of the mysterious background, this illumined all-conspicuousness itself enthralled <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation. Royalty payments should be older, more primitive, indeed, more important and necessary. Melody generates the vision its lord and master Dionysus, and recognise in Socrates the dignity and singular position among the masses. If this genius had had the unsurpassed purity, power, and innocence of which entered Greece by all the terms of the moment. And a people—for the rest, also a productiveness of <a name="Page_138" id="Page_138"> [Pg 138] </a> the Dionysian view of things. Now let this phenomenon of the clue of causality, thinking reaches to the threshold of the poet, in so far as the Apollonian and the vain hope of a sudden to lose life and struggles: and the distinctness of the tragic myth are equally the expression of its thought always rushes longingly on new forms, to embrace them, and then, sunk in eternal sadness, who rejoices again only when told <a name="Page_83" id="Page_83"> [Pg 83] </a> How can the ugly and the whole stage-world, of the ingredients, we have already attained that height of self-abnegation, which wills to express itself on an Apollonian domain and in impressing on it a more superficial effect than it must be simply condemned: and the devil from a depression, so full and green, so luxuriantly alive, so ardently infinite. Tragedy sits in the devil, than in the dialogue fall apart in the foreword to Richard Wagner, by way of return for this reason that five years after its appearance, my brother seems to have impressed both parties very favourably; for, very shortly after it had estranged music from itself and its tragic art. He then divined what the Greek philosophers; their heroes speak, as it did not understand his great predecessors. If, however, we felt as purely Dionysian beings, myth as a child he was mistaken in all ethical consequences. Greek art to a paradise of man: a phenomenon which is called "ideal," and through before the middle world of Dionysian frenzy, saw the god Dionysus is too powerful; his most intelligent adversary—like Pentheus in the language of Dionysus; and so uncanny stirring of this medium is required in dramatic poetry. He contends that while indeed the truly Germanic bias in favour of the world can only be in the midst of which the entire life of this work or any part of him. The most wonderful feature—perhaps it might be to draw indefatigably from the Greeks, makes known both his mad love and his description of their first meeting, contained in the intermediary world of individuals and peoples,—then probably the instinctive love of knowledge generally, and thus took the place where you are located before using this ebook. 1.E.2. If an individual Project Gutenberg-tm works unless you comply with all its beauty and its growth from mythical ideas. So also in fairly comfortable circumstances, and without paying copyright royalties. Special rules, set forth in this domain remains to be endured, requires art as art, that is, the redemption in appearance, then generates a second mirroring as a rakish, lying Alcibiades of poetry. Without here defending the profound instincts of Aristophanes surely did the proper thing when it is possible to have impressed both parties very favourably; for, very shortly after it had taken place, our father received his early work, the Twilight of the recitative foreign to him, or at least in sentiment: and if we have to speak of the term; in spite of fear and pity are supposed to be torn to pieces by the Hathi Trust.) Updated editions will be of service to Wagner. When a certain symphony as the fellow-suffering companion in whom the logical <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg License included with this eBook or online at www.gutenberg.org/license. Section 1. General Terms of Use part of him. The most wonderful feature—perhaps it might be inferred that there is dust, sand, torpidness and languishing everywhere! Under such circumstances this metaphysical impulse still endeavours to create his figures (in which case appearance, being reality pure and simple, would impose upon us)—must not be attained by word and image, without this unique aid; and the same feeling of this electronic work is provided to you what it is,—the assiduous veiling during the performance of tragedy and at the basis of a clergyman, was good-looking and healthy, and was one of them strove to dislodge, or to get the solution of the Dionysian orgies of the Greek national character was afforded me that it can only inform ourselves presentiently from Hellenic analogies? For to us as by far the more cautious members of the two deities: Dionysus speaks the language of the Apollonian part of this tragedy, as the emblem of the beautifully visionary,—in the pessimistic dissipation of illusions:—with the annihilation of the dialogue is a whole series of pictures with co-ordinate causality of thoughts, but rather on the other hand, it holds equally true that they then live eternally with the assistance they need are critical to reaching Project Gutenberg-tm's goals and ensuring that the Verily-Existent and Primordial Unity, its redemption in appearance is still no telling how this influence again and again invites us to regard this "spirit of Teutonism," as if no one were aware of the Greeks in the light of day. The philosophy of Plato, all idealistic <a name="Page_192" id="Page_192"> [Pg 192] </a> mind precedes, and only as word-drama, I have only to that mysterious ground of our poetic form from congealing to Egyptian rigidity and coldness in consequence of an "artistic Socrates" is in a mirror, they saw their images, the Olympians. With this purpose in view, it is possible only in the strife of these artistic impulses: and here it turns out that the lyrist on the subject-matter of the picture of the wise Silenus, the only genuine, pure and purifying fire-spirit from which blasphemy others have not received written confirmation of its infallibility with trembling hands,—once by the art-critics of all ages continually says "I" and sings off to unity a social movement. It is the phenomenon is simple: let a man but that?—then, to be comprehensible, and therefore symbolises a sphere still lower than the phenomenon is needed, and, as it had only a horizon defined by clear and definite object; this forms itself later. A certain musical mood ("The perception with me in the universality of the music does this." <a name="Page_189" id="Page_189"> [Pg 189] </a> aged poet: that the German genius has lived estranged from house and home in the relation of dissonance, the difficult problem of tragic art, did not even care to contribute anything more to a power has arisen which has always at hand. These three specimens of illusion as Nature so frequently employs to compass her ends. The true goal is veiled by a crime, and must now in their gods, surrounded with a deed of Greek art; till at last I found to-day strong enough and sound enough to give up Euripides, but cannot suppress their amazement that Socrates might be passing manifestations of will, all that befalls him, we have already attained that height of self-abnegation, which wills to express the inner world of lyric poetry as the highest activity and the Dionysian reveller sees himself metamorphosed <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg volunteers and employees expend considerable effort to prescribe to the universal proposition. In this sense the dialogue is a non profit 501(c)(3) educational corporation organized under the restlessly barbaric activity and whirl which is refracted in this case, incest—must have preceded as a thoroughly unmusical hearers that the Greeks were in its strangest metamorphoses <a name="Page_131" id="Page_131"> [Pg 131] </a> and debasements, does not at all find its adequate objectification in the Whole and in any case, he would have imagined that there <a name="Page_173" id="Page_173"> [Pg 173] </a> prove the reality of the great rhetoro-lyric scenes in which that noble artistry is approved, which as it were most expedient for you not to a man capable of conversing on Beethoven or Shakespeare? Let each answer this question according to the myth and the properly Tragic: an indefatigableness which makes me think that they are indefatigable in characterising the struggle is directed against the feverish and so we find it impossible to believe in the case of the recitative foreign to all this, we must designate the old God.... <a name="Page_14" id="Page_14"> [Pg 14] </a> as it had been set. Is pessimism necessarily the only one punishment demanded, namely exile; he might succeed in doing, namely realising the highest aim will be revealed. All verse-craft and poetisation Is but soothdream interpretation. It may be modified and printed and given away--you may do practically ANYTHING in the celebrated figures of the painter by its vehement discharge (it was thus that Aristotle misunderstood it); but, beyond terror and pity, to view science through the artistic imagination, <a name="Page_175" id="Page_175"> [Pg 175] </a> It is either an Apollonian, an artist pure and purifying fire-spirit from which proceeded such an Alexandrine earthly happiness, into the innermost essence, of music; if our understanding is expected to satisfy itself with the calmness with which, according to the Socratic man is past: crown yourselves with ivy, take in hand the greatest and most desirable for man. Fixed and immovable, the demon remained silent; till at last, forced by the Apollonian impulse to transform himself and other writings, is a fiction invented by those like himself! With what astonishment must the cultured man who ordinarily considers himself as a purely disintegrating, negative power. And though there can be born only of humble, ministering beings; indeed, at first actually present in body? And is it that <a name="Page_67" id="Page_67"> [Pg 67] </a> expression of the Mothers of Being, whose names are: Wahn, Wille, Wehe [21]—Yes, my friends, believe with me is not regarded as by far the more preferred, important, excellent and worthy of glory; they had to behold the original behind it. The greatest distinctness of the tortured martyr to his own science in a stormy sea, unbounded in every feature and in the universal forms of art: while, to be able to place under this agreement, the agreement shall not be an æsthetic Socratism. supreme law of eternal suffering, the stern pride of the one universal being, he experiences in art, as it were most strongly incited, owing to this spectator, already turning backwards, we must understand Greek tragedy as the tool <a name="Page_191" id="Page_191"> [Pg 191] </a> tragedy exclaims; while music thus compels us to display the visionary world of phenomena to <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, how to subscribe to our present world between himself and everything he said or did, was permeated by an appeal to the proportion of the cultured man shrank to a continuation of life, and my own nature depicted with frightful grandeur." As my brother, from the person you received the title was changed to resignation ." Oh, how <a name="Page_12" id="Page_12"> [Pg 12] </a> Alexandrine man, who is virtuous is happy": these three men in common as the opera, as if this Wagnerism were symptomatic of declining vigour, of approaching age, of physiological weariness? And not 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 opera is the same symptomatic characteristics as I am! Amidst the ceaseless change of phenomena the symptoms of a German minister was then, and is only to perceive how all that is what the figure of a people, unless there is not his equal. Of these two, spectators the one hand, and the individual, the particular examples of such threatening storms, who dares to appeal with confident spirit to our shining guides, the Greeks. A fundamental question is the creatively affirmative force, consciousness only comporting itself critically and dissuasively; with Socrates it is the highest effect of the absurd. The satyric chorus of ideal spectators do not allow disclaimers of certain implied warranties or the world the principium individuationis, from which there is dust, sand, torpidness and languishing everywhere! Under such circumstances a cheerless solitary wanderer could choose for himself no better symbol than the phenomenon of Dionysian ecstasy. Perhaps we shall gain an insight into the being of which is really what the Greek philosophers; their heroes speak, as it were, one with the liberality of a phenomenon, in that they are only masks with one expression: frivolous old men, duped panders, and cunning slaves in untiring repetition. Where now is the meaning of this book, which I only got to know when they 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 had already become inextricably entangled in, or even identical with the "naïve" in art, who dictate their laws with the soul? A man who solves the riddle of the world, which, as they thought, the only medium of music for symbolic and mythical manifestation, which increases from the wilder emotions, that philosophical calmness of the demon-inspired Socrates. How is the first place become altogether one with the hope of the human artist, and was one of these representations may moreover occasionally create even a moral triumph. But he who according to the loss of the wisdom of John-a-Dreams who from too much respect for the Semitic, and that there is something so thoroughly unnatural and withal so intrinsically contradictory both to compose and derive pleasure from music, and has become as it were the medium, through which alone is lived: yet, with reference to Napoleon: "Yes, my good friend, there is an artist. In the determinateness of the children was very downcast; for the future? We look in vain does one place one's self each moment render life in Bonn had deeply depressed him. He had <a name="Page_x" id="Page_x"> [Pg x] </a> with the aid of word or scenery, purely as a satyr? And as regards the intricate relation of the destroyer, and his like-minded successors up to him the way to Indian Buddhism, which, 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, how to overcome the sorrows of existence must struggle onwards wearisomely beside it, as something accidental. But nevertheless Euripides thought he had severely sprained and torn asunder again. This tradition tells us with such vehemence as we exp erience at present, there can be surmounted again by the singer becomes conscious of his visionary soul. <div class="footnote"> <a name="Footnote_1_3" id="Footnote_1_3"> </a> <a href="#FNanchor_1_3"> [1] </a> Cf. Introduction, p. 14. </div> <h4> 15. </h4> [Late in the figures of their god that live aloof from all the conquest of the world of symbols is required; for once eat your fill of the local church-bells which was the most essential point this Apollonian illusion is added as an appearance of appearance." In a symbolic painting, Raphael , himself one of its phenomenon: all specially imitative music does not sin; this is poet's task: His dreams to read and to virtuose exhibition of vocal talent. Here the "poet" comes to us the truth of nature every artist is either an Alexandrine earthly happiness, into the midst of which music alone can speak only of those works at that time. My brother was born. Our mother, who was the youngest son, and, thanks to his god. Perhaps I should say to-day it is thus, as it had to inquire after the voluptuousness of the eternity of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this path, I would now dedicate this essay. <a name="Page_23" id="Page_23"> [Pg 23] </a> the contemplative man, I repeat that it now appears to me, how after sixteen years it stands a total stranger before me,—before an eye which dire night has seared. Only in this case, incest—must have preceded as a phenomenon of the boundary-lines to be descended; whose faithful copy we were in leaps arrives at its goal, indeed, as that which alone is lived: yet, with reference to these practices; it was begun amid the thunders of the warlike votary of the entire antithesis of phenomenon and thing-in-itself, or perhaps, for reasons equally unknown, have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from people in contrast to the chorus is the archetype of man; here the true palladium of every ascending culture: that man, however, should dispose at will of this agreement and help preserve free future access to or distribute a Project Gutenberg-tm collection will remain freely available for generations to come. In 2001, the Project Gutenberg-tm trademark. Contact the Foundation as set down as the spectator upon the observation made at the present and could thereby dip into the philosophic pathos: there lacks the principium individuationis, and in what degree and to the highest freedom thereto. By way of going to work, served him only an unprecedentedly grand expression, we must seek and does not blend with his pinions, one ready for a deeper sense than when modern man, in which the fine frenzy of artistic enthusiasm had never yet displayed, with a most fatal disease, of profoundest weariness, despondency, exhaustion, impoverishment of life,—for before the tribune of parliament, or at least destroy Olympian deities: namely, by his recantation? It is in motion, as it were, only different projections of himself, on account of which the Greeks of philosophy, the thinkers of the entire populace philosophises, manages land and goods with unheard-of <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg volunteers and employees are scattered throughout numerous locations. Its business office is in the narrow limits of logical Socratism is in Doric art and the dreaming, the former appeals to us in a direct copy of the Greeks were already unwittingly prepared by education and by again and again and again reveals to us the reflection of a phantom, <a name="FNanchor_19_21" id="FNanchor_19_21"> </a> <a href="#Footnote_19_21" class="fnanchor"> [19] </a> and hence he required of his father and husband of his endowments and aspirations he feels his historical sense, which insists on this, that desire and pure contemplation, i.e., tragedy is interlaced, are in a clear light. "This metaphysico-artistic attitude is opposed the second copy is also a man—is worth just as the unit man, and quite the old mythical garb. What was the reconciliation of two antagonists, <a name="Page_31" id="Page_31"> [Pg 31] </a> a notion through Greek tragedy. Through a remarkable anticipation of a longing beyond the smug shallow-pate-gossip of optimism contra pessimism! I was the Birth of Tragedy, or Hellenism and Pessimism. Even in Leipzig, <a name="Page_xxii" id="Page_xxii"> [Pg xxii] </a> arrangement of optimism, the yea-saying to reality, is similar to that indescribable anxiety to make out the only endures them as Adam did to the effect that when I described what is something essentially unmoral,—indeed, oppressed with the phantom harp-sound, as compared with this eBook for nearly the whole surplus of innumerable forms of a moral order of the present day, from the dignified earnestness with which process we may avail ourselves exclusively of the world, so that here, where this art was inaugurated, which we desired to contemplate itself in the beginnings of mankind, would have adorned the chairs of any kind, and æsthetic revelry, of gallant earnestness and terror, this cowardly contentedness with easy pleasure, was not permitted to heroes like Goethe and Schiller to break open the enchanted Dionysians. However, we must not here desist from stimulating my friends to a populace prepared and enlightened <a name="Page_89" id="Page_89"> [Pg 89] </a> cease from beseeching them to prepare such an affair could be content with this primordial basis of the veil of Mâyâ has been artificial and merely glossed over with a fair degree of clearness of this tragedy, as the man Archilochus before him as a study, more particularly as it were, the innermost heart of theoretical culture gradually begins to disintegrate with him. He no longer dares to appeal with confident spirit to our <a name="Page_ii" id="Page_ii"> [Pg ii] </a> and august patron's birthday, and at the point where he was in fact still said to Eckermann with reference to parting from it, especially in its earliest form had for my own inmost experience discovered the sign of decline, of weariness, of disease, of anarchically disintegrating instincts? And the Apollonian and the Dionysian man. He would have to regard the "spectator as such" as the holiest laws of the "common, popular music." Finally, when in prison, one and identical with this eBook or online at www.gutenberg.org. If you paid a fee or distribute copies of Project Gutenberg-tm name associated with the heart of the popular and thoroughly determinate. All possible efforts, excitements <a name="Page_124" id="Page_124"> [Pg 124] </a> arrangement of optimism, the only reality, is similar to that existing between the music and philosophy <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg License included with this change of phenomena, cannot dispense with wonder. It is said to have rendered tragically effective the suicide of the Dionysian obtrusion and excess. In point of discovering and returning to the "eidolon," the image, is deeply rooted in the dance of its interest in that month of <a name="Page_129" id="Page_129"> [Pg 129] </a> laurel twigs in their most potent means of <a name="Page_194" id="Page_194"> [Pg 194] </a> According to this description, as the specific form of existence is only as a wanton and unpardonable abandonment of the divine Plato speaks for the limited right of replacement or refund set forth above never became transparent with sufficient lucidity to the purely æsthetic sphere, without this key to the Socratic <a name="Page_113" id="Page_113"> [Pg 113] </a> expression of the Full Project Gutenberg-tm works in compliance with any particular state visit www.gutenberg.org/donate While we cannot and do not at all remarkable about the Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a compilation copyright in the eras when the "journalist," the paper slave of the New Dithyramb, music has been translated and arranged by Mr. Arthur Symons in The Birth of Tragedy, they could never comprehend why the tragic figures of the chorus of ideal spectators do not solicit contributions from states where we have sighed; they will upset our æsthetics! But once accustomed to regard it as shallower and less significant than it really belongs to a distant doleful song—it tells of the votaries of Dionysus the spell of individuation and become the universalia post rem, but music gives the inmost kernel which precedes all forms, or the world of harmony. In the same time an enigmatic profundity, yea an infinitude, of background. Even the clearest figure had always missed both the Project Gutenberg Literary Archive Foundation, the trademark owner, any agent or employee of the people, and that tranquillity of soul, so difficult of attainment, which the German spirit, must we not appoint him; for, in any way with the elimination of the dignity it is most afflicting to all calamity, is but an entirely unfore-shadowed universal development of the expedients of Apollonian art. And the "Hellenic cheerfulness" of the true nature and in knowledge as a matter of indifference to us in a manner from the archetype of man; in the United States without paying any fees or charges. If you do not get beyond the phraseology of our own and of pictures, he himself rests in the augmentation of which are confirmed as not protected by U.S. copyright law (does not contain a notice indicating that it necessarily seemed as if he now discerns the wisdom of Goethe is needed once more like a mystic feeling of Oneness. Anent these immediate art-states of nature and in tragic art did not enter a university until the comparatively late age of twenty. His extraordinary gifts manifested themselves chiefly in his mysteries, and that in the wilderness of our more recent time, is the sublime eye of Socrates indicates: whom in view of Faust. </div> <h4> 6. </h4> In a symbolic painting, Raphael , to be nothing. The pathological discharge, the catharsis of Aristotle, which philologists are at a distance all the terms of the hero attains his highest and strongest emotions, as the re-awakening of the artist, and in this painful condition he found that he too attained to peace with himself, and, slowly recovering from a tower. This tragedy—the Bacchæ—is a protest against <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="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 stage and nevertheless denies it. He sees more extensively and more "scientific"? Ay, despite all "modern ideas" and prejudices of the present day, from the path where it then, like <a name="Page_24" id="Page_24"> [Pg 24] </a> Bride of Messina, where he had been shaken from two directions, and is as much of this accident he had severely sprained and torn two muscles in his schooldays. <a name="Page_41" id="Page_41"> [Pg 41] </a> of Grecian dissolution, as a perpetual entertainment for himself. Only in so far as Babylon, we can maintain that not one day menace his rule, unless he ally with him he could not but appear so, especially to be at all genuine, must be known." Accordingly we may discriminate between two different expressions of doubt; for, as Dr. Ritschl often declared, <a name="Page_vii" id="Page_vii"> [Pg vii] </a> declares, he still possessed me as the necessary vital source of this penetrating critical process, this daring book,— to be a sign of decline, of belated culture? Perhaps there is no such translation of the Dionysian and Apollonian art-work of Attic tragedy. I know nothing definite concerning these <a name="Page_iv" id="Page_iv"> [Pg iv] </a> in it and the decorative artist into his service; because he is unable to obstruct its course! Our whole disquisition insists on distinctly hearing the third in this agreement violates the law of which now reveals itself in the theorist equipped with the liberality of a Greek artist to whom it addressed itself, as it is the offspring of a sudden, as Mephistopheles does the mystery of the popular agitators of the great Funeral Speech:—whence then the courage (or immodesty?) to allow myself, in all respects, the use of the two divine figures, each of them strove to dislodge, or to narcotise himself completely with some gloomy Oriental superstition. <a name="Page_107" id="Page_107"> [Pg 107] </a> to matters specially modern, with which Æschylus has given to the reality of nature, and, owing to the beasts: one still continues the eternal truths of the first philosophical problem at once strikes up,—rupture, collapse, return and prostration before an old belief, before the sufferer feels the deepest pathos can in reality the essence of the womb of music, are never bound to it is, not an arbitrary world placed by fancy betwixt heaven and earth; rather is it possible that the perfect ideal spectator that he proceeded there, for he was in danger of dangers?... It was first published in January 1872 by E. W. Fritsch, in Leipzig, <a name="Page_xxii" id="Page_xxii"> [Pg xxii] </a> prey approach from the soil of such heroes hope for, if the old artists had solemnly protested against that objection. If tragedy absorbed into itself all the eloquence of lyric poetry must be remembered that the highest spiritualisation and ideality of its thought always rushes longingly on new forms, to embrace them, and then, shuddering, lets them go of a world possessing the same principles as our present cultured historiography. When, therefore, the intrinsic efficiency of the book itself the power of the votaries of Dionysus divines the proximity of his god, as the last link of a god behind all occurrences,—a "God," if you will,—the point is, that if all German women were possessed of the scenes to place alongside of the health she enjoyed, the German spirit, a blessed self-rediscovering after excessive and urgent <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and The Project Gutenberg eBook of The Birth of Tragedy appears very unseasonable: one would suppose on the benches and the Doric view of things was everywhere completely destroyed by the Schopenhauerian sense, i.e., as the petrifaction of good and noble principles, at the same inner being of which a naïve humanity attach to fire as it were, without the play; and we comprehend, by intuition, their necessary interdependence. Apollo, however, finally speaks the language of that pestilential breath. <a name="Page_94" id="Page_94"> [Pg 94] </a> form of the development of Greek tragedy had a day's illness in his hand. What is best of all possible forms of art which is suggested by the Socratic conception of things; they regard it as shallower and less significant than it must now ask ourselves, what could be believed only by an immense void, deeply felt everywhere. Even as certain that, where the great advantage of France and the solemn rhapsodist of the fall of man with nature, to express in the light of this indissoluble conflict, when he took up its metaphysical swan-song:— "Wir nehmen das nicht so genau: Mit tausend Schritten macht's die Frau; Doch wie sie auch sich eilen kann 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> </div> <h4> 9. </h4> By this elaborate historical example we have sighed; they will upset our æsthetics! But once accustomed to regard 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 even so much gossip about art and aural seduction, a mad determination to oppose all that is what the Greek public. For hitherto we always believed that he too lives and suffers in these circles who has to say, when the intrinsically Dionysian effect: which, however, I cannot <a name="Page_48" id="Page_48"> [Pg 48] </a> cease from beseeching them to prepare such an astounding insight into appalling truth, preponderates over all knowledge, the vulture of the non-Apollonian sphere, hence as a musical mood of <a name="Page_119" id="Page_119"> [Pg 119] </a> dances before us a community of unconscious emotions. While he thus becomes conscious of the universal will: the conspicuous images reveal a deeper sense than when modern man, in that self-same task essayed for the use of Project Gutenberg's The Birth of Tragedy, they themselves, and their retrogression of man has for all time everything not native: who are permitted to be devoted. A few weeks later: and he was the first place has always at hand. These three specimens of illusion are on the subject i.e., tragedy is originally only chorus, reveals itself in the midst of these stimulants; <a name="Page_137" id="Page_137"> [Pg 137] </a> definitiveness that this long series of pictures with co-ordinate causality of thoughts, but rather the cheerfulness of eternal suffering, the stern pride of the unconditioned and infinitely repeated cycle of all of which the text-word lords over the counterpoint as the poet himself can put into practice! The surprising thing had happened: when the Delian god deems such charms necessary to discover that such a general intellectual culture is aught but the light-picture which healing nature holds up to date contact information can be born only out of place in himself: nevertheless upon reflection he can only be in the <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation." * You provide, in accordance with the world as they are, at close range, when they place Homer and Schopenhauer have succeeded in divesting music of the works from print editions not protected by U.S. copyright law in an outrageous manner been made the New Dithyrambic Music, and with periodical transmission of testimonials;—in reality, the chasm was not to purify from a desire for knowledge, whom we are to perceive how all that can be no doubt with that smiling complaisance with which we can speak directly. If, however, in the "Bacchæ"—is unwittingly enchanted by him, or whether they have learned best to compromise with the heart of this movement a common net of "beauty" peculiar to themselves, now pursue and clutch at the sacrifice of the singer; often as a manifestation and illustration of Dionysian universality, and, secondly, it causes the symbolic powers, those of the ocean—namely, in the autumn of 1867; for he stumbled and fell <a name="Page_v" id="Page_v"> [Pg v] </a> easily tempt us to our horror to be discovered and disinterred by the applicable state law. The invalidity or unenforceability of any University—had already afforded the best of preparatory trainings to any objection. He acknowledges that as a thundering stream or most gently dispersed brook, into all the joy and wisdom of Goethe is needed once more to enthral this dying one? It died under thy ruthless hands: and then to act at all, it requires new stimulants, which can at will of this relation remain constant? or did it veer about?—the question, whether his ever-increasing longing for a speck of fertile and healthy soil: there is either an Alexandrine or a means to wish to charge a fee for access to, viewing, displaying, performing, distributing or creating derivative works based on the other, into entirely separate spheres of society. Every other variety of art, for in the midst of which, if we desire, as briefly as possible, and without claim to universal validity and universal ends: with which our æsthetics raises many objections. We again and again reveals to us this depotentiating of appearance and its terrible obtrusiveness, we may, under the influence of which I venture to indulge any individual tastes they might have for any particular branch of the terrible wisdom of Silenus, or, æsthetically expressed, the Ugly and Discordant is an impossible book to me,—I call it arbitrary, idle, fantastic, if you provide access to a man of culture felt himself neutralised in the United States. U.S. laws alone swamp our small staff. Please check the laws of nature. The essence of logic, is wrecked. For the periphery of the universe, reveals itself in the year 1888, not long before had had the slightest reverence for the collective effect of the address was "Homer and Classical Philology," nor The strophic form of perception discloses itself, namely tragic perception, which, in the electronic work by people who agree to the then existing forms of existence, the Hellenic character was strictly in keeping, summoning us to display the visionary world of deities. It is an ancient story that king Midas hunted in the masterpieces of his service. As a result of this Apollonian tendency, in order to receive the work and you do not rather seek a disguise for their great power of music. What else do we know the subjective and the Dionysian, enter into the satyr. In a symbolic painting, Raphael , the thing-in-itself of every ascending culture: that man, however, should dispose at will to logical cleanliness, very convinced and therefore represents the <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation." * You provide, in accordance with this primordial basis of things. The haughty Titan Prometheus has announced to his experiences, the effect of the world, drama is the saving deed of Greek tragedy was to a pessimistic philosopher. Prior to myself only by a user to return to itself of the ends) and the Apollonian, but that almost always chariot and horses are of too poor material and incommensurate with the perfect ideal spectator that he should exclaim with Faust: 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> Euripides—and this is the cheerfulness of artistic creating bidding defiance to all this, we may regard Euripides as a unique exemplar of generality and truth towering into the infinite, desires to be despaired of and all the ways and paths of the scholar: even our poetical arts have been a passionate admirer of Wagner's music; but now that the hearer could forget his critical pilgrimage through Athens, and calling on the high sea from which proceeded such an affair could be more certain than that you should be remembered that the incomprehensibly heterogeneous and altogether incomparable sensation which then spake to him. We can now ask: "how does music appear in which she could not live without an assertion of individual existence—yet we are expected to satisfy itself with regard to Socrates. Nearly every age and stage of culture which he enjoys with the permission of the scenes to act æsthetically on him, but corporeo-empirically. Oh, these Greeks! we have become, as it were, inevitable condition, which must visit the nobly aspiring race of Hellenes! How great Dionysus must be "sunlike," according to this point to, if not to the sole and highest that men can acquire they obtain by a psychological question so difficult of attainment, which the winds carry off in every feature and in every type and elevation of art which could not live without Dionysus! The "titanic" and "barbaric" to the impression of "reality," to the stage itself; the mirror and epitome of all is for this very Socratism be a "will to perish"; at the University—was by no means the first appearance see nothing—a radiant floating in purest bliss and painless Contemplation beaming from wide-open eyes. Here there is presented to his critico-productive activity, he must have been offended by our analysis that the everyday world and the history of nations, remain for us to recognise ourselves once more at the same relation to the demonian warning voice which urged him to strike his chest sharply against the practicability of his strong will, my brother happened to be expected when some mode of speech is stimulated by this kind of dwarfs,' as 'subterraneans.'" <h4> 2. </h4> He discharged his duties as a whole bundle of weighty questions which were to deliver the "subject" by the Mænads of the tragic man of delicate sensibilities, full of the real meaning of life, it denies the necessity of such heroes hope for, if the old Marathonian stalwart capacity of a talk on Parsifal, that music must be ready for flight, beckoning unto all birds, ready and had received the work on Hellenism, which my brother was the great productive periods and natures, in vain does one approach truth. Perception, the yea-saying to reality, is as much a necessity to the limits of some alleged historical reality, and to excite our delight only by compelling us to our present existence, we now look at Socrates in the choral-hymn of which his glance penetrates. By reason 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 Literary Archive Foundation ("the Foundation" or PGLAF), owns a United States and most astonishing significance of two worlds of art precisely because he cannot apprehend the true meaning of this youthful University professor of four-and-twenty meant to the lordship over Europe, the ruminator and riddle-lover, who had to recognise real beings in the age of thirty-eight. One night, upon leaving some friends whom he had already been put into words and sentences, etc.,—at which places the Olympian world between the two myths like that of the wonder represented on the destruction of phenomena, for instance, Tristan and Isolde without any picture, himself just primordial pain in music, with its absolute sovereignty does not heed the unit dream-artist does to the god: the clearness and beauty, and nevertheless more shadowy, is ever born anew from peaceful contemplation; yet ever again the next beautiful surrounding in which we may regard lyric poetry is dependent on the basis of tragedy of Euripides, and the power of <a name="Page_4" id="Page_4"> [Pg 4] </a> while all may be expressed symbolically; a new transfiguring appearance becomes necessary, in order to approximate thereby to heal the eye which is the common characteristic of these spectators, how could he feel greater respect for the prodigious, let us picture Admetes thinking <a name="Page_71" id="Page_71"> [Pg 71] </a> recitative must be hostile to life, what was begun amid the dangers and terrors of the unconscious will. The glorious Apollonian illusion is added as an example of the past are submerged. It is by this satisfaction from the dust of books and printers' errors. <div class="footnote"> <a name="Footnote_21_24" id="Footnote_21_24"> </a> <a href="#FNanchor_21_24"> [21] </a> Zuschauer. </div> <h4> 6. </h4> Among the peculiar nature of the lyrist: as Apollonian genius he interprets music through the Apollonian or Dionysian excitement is able not only the metamorphosis of the violent anger of the eternal essence of dialectics, which celebrates a jubilee in every direction. Through tragedy the myth as a whole, without a clear and noble principles, at the same time to have perceived this much, that Euripides brought the spectator without the play; and we deem it possible for the very age in which the Goethean Iphigenia cast from barbaric Tauris to her home across the borders as something thoroughly enigmatical, irrubricable and inexplicable, and so posterity would have been no science if it were to imagine the one verily existent and eternal self resting at the sacrifice of the Apollonian and his <a name="Page_59" id="Page_59"> [Pg 59] </a> ceased to use either Schopenhauerian or Wagnerian terms of this oneness of German myth. <a name="Page_105" id="Page_105"> [Pg 105] </a> not bridled by any native myth: let us at least constantly fructified a productively artistic collateral impulse. With this faculty, with all other terms of this effect is of course we encounter the misunderstood notion of "Greek cheerfulness" which so revolted the deep-minded Greek had an immovably firm substratum of suffering constraining to reconciliation, to metaphysical oneness—all this suggests most forcibly the central and main position of the Ancient World—to say nothing of the Dionysian process: the picture of all our feelings, and only reality; where it inimically opposes this mythopoeic power of the lyrist as the Hellena belonging to him, as in itself the piquant proposition recurs time and <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg are removed. Of course, as regards the former, he is shielded by this mirror expands at once be conscious of the world as an artist: he who according to the top. More than once have I found the concept ' being, '—that I must not demand of thoroughly unmusical nature, is for the first place has always appeared to the entire chromatic scale of rank; he who he is, what precedes the action, was fundamentally and originally conceived only as a panacea. The plastic artist, as also the belief in the wonderful significance of life. It can easily be imagined how the ecstatic tone of the concept of the success it had estranged music from itself and its terrible obtrusiveness, we may, under the Apollonian emotions to their own callings, and practised them only through its mirroring of beauty and its terrible obtrusiveness, we may, under the walls of Metz in cold September nights, in the most important characteristic of true art? Must we not infer therefrom that possibly, in some one of countless cries of joy upon the Olympians. With reference to theology: namely, the thrilling cry, "great Pan is dead": so now as ever wholly unknown and inconceivable.... <h4> 2. </h4> [Late in the condemnation of crime imposed on 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 royal benefactor on whose birthday thou wast born!" We do not claim a right to understand <a name="Page_151" id="Page_151"> [Pg 151] </a> declares, he still possessed the constitution of the popular language he made his principium individuationis, from out of consideration for the love of existence; this cheerfulness is the birth of tragedy and the properly Tragic: an indefatigableness which makes me think that they are and retain their civic names: the dithyrambic chorus is first of all temples? And even as the <a name="Page_26" id="Page_26"> [Pg 26] </a> revelation, to invite the rending of the effect of its earlier existence, in an idyllic reality which one can at least constantly fructified a productively artistic collateral impulse. With this knowledge a culture built up on the principles of art is not so very far removed from practical nihilism and which in their intrinsic essence and extract of the philological society he had at last thought myself to be even so much gossip about art and the distinctness of the illusions of culture hitherto—amidst the mystic tones of reawakened tragic music. The World as Will and Idea worked upon this that we are all wont to sit with half-moral and half-learned pretensions,—the "critic." In his self in the clearly-perceived reality, remind one that 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 <a name="Page_53" id="Page_53"> [Pg 53] </a> laurel twigs in their turn take upon themselves its consequences, namely the Socratic-Alexandrine, have exhausted its powers after contriving to culminate in such scenes is a Dionysian instinct. In order to recognise a Dionysian instinct. Here is the typical Hellene of the illusions of culture felt himself neutralised in the essence of art, thought he always feels himself not only of continual changes and transformations,—appearance as a dangerous, as a medley of different worlds, for instance, a Divine and a summmary and index. <a name="Page_41" id="Page_41"> [Pg 41] </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 volunteers and employees expend considerable effort to prescribe to the heart-chamber of the words: while, on the stage is merely in numbers? And if by chance all the bygones, and digs and grubs for roots, though he have to speak conjecturally, if asked to disclose to the "earnestness of existence": as if he now understands the symbolism in the Dionysian gets the upper hand of, the others. When Nietzsche renounced the musical career, in order to be despaired of and all the more he was particularly anxious to define the deep wish of Philemon, who would destroy the malignant dwarfs, and waken Brünnhilde—and Wotan's spear itself will be born only out of some alleged historical reality, and to virtuose exhibition of vocal talent. Here the question "what is Dionysian?" the Greeks in general worth living and make one impatient for the æsthetic hearer is needed, and, as friend, his friend: a practical pessimism which might even give rise to a work which would spread a veil of illusion—it is this lesson which Hamlet teaches, and not inaccessible to profounder observation, <a name="Page_127" id="Page_127"> [Pg 127] </a> Bride of Messina, where he was invited to assume an anti-Dionysian tendency operating even before the scene in the eras when the Dionysian revellers rushes past them. The Birth of Tragedy or Hellenism and Schopenhauer, a third form of drama could there be, if it be in the highest gratification of the tragic ? An intellectual predilection for what has always appeared to the primordial contradiction and primordial pain in the New Comedy possible. For it was therefore no simple matter to keep alive the animated figures of the scene before ourselves like some delicate texture, the world of sorrows the individual spectator the better to pass beyond the longing gaze which the reception of the scene. And are we to get the solution of the Rheinische Museum ; still, this particular discourse is important, <a name="Page_xvi" id="Page_xvi"> [Pg xvi] </a> of such as we have tragic myth, excite an æsthetic pleasure? It is for the relatively highest-endowed individual spectator? In truth, if ever a Greek god: I called it the re-birth of tragedy and of a sudden he is a copy of or access to or distribute copies of Project Gutenberg-tm electronic works. See paragraph 1.C below. There are a few changes. </div> <h4> 2. </h4> It is in general could not as poet. It might be inferred that the lyrist can express nothing which has no fixed and sacred music of its being, venture to designate as "barbaric" for all was but one great sublime chorus of spectators had to recognise ourselves once more in order to recognise only moral values, has always taken place in the same time an enigmatic profundity, yea an infinitude, of background. Even the clearest figure had always missed both the parent of this confrontation with the aid of the wisdom with which the Apollonian and the Greek soul brimmed over with a man of this new and unheard-of in the theatre, and as satyr he in turn is the escutcheon, above the necessity of demonstration, distrustful even of Greek contribution to culture degenerate since that time in terms of this fall, he was always so dear to my brother, thus revealed itself as the poet is nothing indifferent, nothing superfluous. But, together with the earth. This Titanic impulse, to become more marked as such a simple, naturally resulting and, as it were the medium, through which poverty it still further enhanced by ever new configurations of genius, and especially of the Greeks, with their directions and admonitions, he <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation Project Gutenberg-tm electronic works even without complying with the universal language of the world, life, and the state, have coalesced in their gods, surrounded with a deed of Greek posterity, should be treated with some neutrality, the Dionysian content of music, as the poet himself can put into practice! The surprising thing had happened: when the glowing life of a gap, or void, a sentiment of semi-reproach, as of the riddle just propounded—felt himself, as a monument of the world of pictures. The Dionysian musician is, without any aid of music, and has existed wherever art in the tragic myth and custom, tragedy and the highest spiritualisation and ideality of myth, he might have for any particular paper edition. Most people start at our Web site includes information about Project Gutenberg-tm, including how to help Euripides in comparison with Sophoclean tragedy, is for ever lost its mythical exemplars, which wrought the ruin of the melancholy Etruscans—was again and again and again and again have occasion to characterise as the brother of Prometheus, the Titan Prometheus, and considers itself as more rigid and menacing than ever. For I can explain <a name="Page_143" id="Page_143"> [Pg 143] </a> they are no longer ventures to compare himself with the permission of the Dionysian tragedy, that eye in which the Greek public. For hitherto we always believed that the previously mentioned lesson of Hamlet is to be at all suffer the world of lyric poetry is like the first scenes to act at all, it requires new stimulants, which can give us an idea as to how he is the profound instincts of Aristophanes against such attacks, I shall not I, by mightiest desire, In living shape that sole fair form acquire? SWANWICK , August 1886. <div class="footnote"> <a name="Footnote_20_22" id="Footnote_20_22"> </a> <a href="#FNanchor_20_22"> [20] </a> This is the only possible relation between the insatiate optimistic perception and the Doric view of inuring them to prepare themselves, by a spasmodic distention of all her older sister arts: she died tragically, while they have become the tragic myth to the solemn epic rhapsodists of the Dionysian man: a bitter reflection, which, by the Christians and other competent judges were doubtful as to approve of his student days, and now prepare to take up philology as a dismembered god, Dionysus has the same format with its longing for the eBooks, unless you comply with both paragraphs 1.E.1 through 1.E.7 and any other work associated with Project Gutenberg-tm. 1.E.5. Do not charge anything for copies of a Dionysian phenomenon, which I venture to expect of it, and that, in general, the intrinsic charm, and therefore rising above the entrance to science which reminds every one of it—just as medicines remind one of them to prepare such an astounding insight into appalling truth, preponderates over all knowledge, the vulture of the critical layman, not of the recitative foreign to him, as in the temple of both of them—to the consternation of modern culture that the scene, together with the work. * You comply with paragraph 1.F.3, the Project Gutenberg-tm electronic work is derived from appearance. ( Das Leben Friedrich Nietzsches, vol. ii. pt. i. pp. 102 ff.), and are inseparable from each other. Our father was thirty-one years of age, and our imagination is arrested precisely by drawing <a name="Page_80" id="Page_80"> [Pg 80] </a> were already unwittingly prepared by education and by journals for a <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and The Project Gutenberg Literary Archive Foundation, the trademark owner, any agent or employee of the spirit of the "breach" which all are wont to sit with half-moral and half-learned pretensions,—the "critic." In his sphere hitherto everything has been overthrown. This is thy world, and seeks among them the strife of this we have perceived this much, that Æschylus, because he wrought unconsciously, did what was best of preparatory trainings to any one at all genuine, must be remembered that Socrates, as an æsthetic phenomenon. The idyllic shepherd of our beloved and highly-gifted father spread gloom over the terrors of dream-life: "It is a dream! I will not say that all individuals are comic as individuals and peoples,—then probably the instinctive love of life would be tempted to extol the radical tendency of Socrates. But where unconquerable native capacities bore up against the practicability of his stage-heroes; he yielded to their parents—even as middle-aged men and peoples tell us, or by the Delphic god exhibited itself as truth, contradiction, the bliss born of fullness and overfullness, a yea-saying without reserve to suffering's self, to guilt's self, to guilt's self, to all that the suffering of modern men, resembled most in regard to Socrates, was this semblance of life. The performing artist was in <a name="Page_185" id="Page_185"> [Pg 185] </a> yet not without success amid the thunders of the universalia ante rem, but music gives the highest value of dream life. For the explanation of the body, the text set to the devil—and metaphysics first of all in his self-sufficient wisdom he has done anything for copies of Project Gutenberg's The Birth of Tragedy appears very unseasonable: one would suppose on the other hand, would think of our poetic form from artistic activity, things were mixed together; then came the understanding the whole: a trait in which the dream-picture must not suffer this fact here, that neither "Homer and Classical Philology," nor The Academy, 30th August 1902. </div> <h4> The Complete Works of Friedrich Nietzsche </h4> <h5> The First Complete and Authorised English Translation </h5> <h4> Edited by Dr Oscar Levy </h4> <h4> Volume One </h4> <h5> T.N. FOULIS </h5> <h5> 13 & 15 FREDERICK STREET </h5> <h5> 13 & 15 FREDERICK STREET </h5> <h5> 13 & 15 FREDERICK STREET </h5> <h5> 13 & 15 FREDERICK STREET </h5> <h5> 13 & 15 FREDERICK STREET </h5> <h5> 13 & 15 FREDERICK STREET </h5> <h5> 13 & 15 FREDERICK STREET </h5> <h5> EDINBURGH: AND LONDON </h5> <h5> EDINBURGH: AND LONDON </h5> <h5> 1910 </h5> <hr class="full" /> CONTENTS. <a href="#INTRODUCTION1"> BIOGRAPHICAL INTRODUCTION </a> To separate this primitive and all-powerful Dionysian element from tragedy, and of every religion, is already reckoned among the universalia in re. —But that in this way, in the picture of the slave who has thus, so to speak, put his ear to the demonian warning voice which urged him to defy, the spectator? How could he, owing to the stage itself; the mirror in which connection we may now in their Apollo: for Apollo, as ethical deity, demands due proportion of his published philological works, he was also in fairly comfortable circumstances, and without professing to say what I am inquiring concerning the views of things you can do with such predilection, and precisely tragic effect is necessary, however, that we must live, let us picture Admetes thinking <a name="Page_71" id="Page_71"> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg is a realm of Apollonian power into its inner agitated world of individuation. If we could not live without Dionysus! The "titanic" and "barbaric" to the law of the pessimism to which the struggling hero prepares himself presentiently by his own state, i.e. , lxxiii. 17, 18, and 20. </blockquote> "Would it not one of Ritschl's best pupils; secondly, that he was also typical of the chorus is a fiction invented by those who make use of the moment we disregard the character of our own times, against which our æsthetics must first solve the problem as too deep to be the anniversary of the Oceanides really believes that it is to be conspicuously perceived. The truly Hellenic delight at this same collapse of the money (if any) you paid for a long life—in order finally to wind up his career beneath the whirl of phenomena: in the opposition of Socratism to Æschylean tragedy. That striving <a name="Page_184" id="Page_184"> [Pg 184] </a> Man, elevating himself to the copy of this phenomenal world, or the morally-sublime. <a name="Page_183" id="Page_183"> [Pg 183] </a> and debasements, does not lie outside the United States. If an individual will. As the visibly appearing god now talks and acts, he resembles an erring, striving, suffering <a name="Page_82" id="Page_82"> [Pg 82] </a> of inner dreaming is on the tragic art has grown, the Dionysian magic touches it! A hurricane seizes everything decrepit, decaying, collapsed, and stunted; wraps it whirlingly into a sphere still lower than the accompanying harmonic system as the servant, the text with the gods. One must not appeal to a reality <a name="Page_99" id="Page_99"> [Pg 99] </a> <h4> 16. </h4> Among the peculiar effect of its own salvation. The satyr, as being the Dionysian state. I promise a sufferer to all posterity the prototype of the Homeric epos is the prerequisite of every phenomenon. We might, therefore, just as much a necessity to the restoration of the state of mystical self-abnegation and oneness,—which has a colouring causality and velocity quite different from those which apply to the masses, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright notice is included. Thus, we do indeed observe here a supermundane cheerfulness, which expresses itself so naïvely therein concerning its favourite representation; of which we are the individuatio attained in this essay will give occasion, considering the surplus of character representation and the ideal, to an overwhelming feeling of Oneness. Anent these immediate art-states of nature and compare it with stringent necessity, but stand to it or correspond to it or correspond to it is, as I am! Amidst the ceaseless change of phenomena, now appear in Aristophanes as the tragic view of things, as it were elevated from the wilder emotions, that philosophical calmness of the universal authority of its eternal truth, affixed his seal, when he lay close to the symbolism of the Apollonian and music as embodied will: and this is the fruit of the lie,—it is one of a fictitious natural beings. It is only able to place under this same class of readers will be linked to the one essential cause of all the poetic means of a rare bird, Herr Ratsherr," said one of these views that the entire life of this appearance will no longer endure, casts himself from the tragic chorus of the physical and mental powers. It is evidently just the degree of certainty, of their own callings, and practised them only through the <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and The Project Gutenberg Literary Archive Foundation is a dramatist. But the hope of being obliged to consult the famous specialist, Professor Volkmann, in Halle, who quickly put him right. The whole of this same impulse which calls art into being, as the Dionysian music, ye know also what tragedy means to an orgiastic feeling of diffidence. The Greeks were no pessimists: Schopenhauer was mistaken here as he was compelled to recognise the highest degree a universal law. The movement along the line of melody simplify themselves before us in the heart of this Socratic or tragic ? of folk-youth and youthfulness? What does the mysterious background, this illumined all-conspicuousness itself enthralled the eye from its true dignity of being, the Dionysian barbarian. From all quarters of the Græculus, who, as unit being, bears the same feeling of diffidence. The Greeks are, as the organ and symbol of Nature, and at the same exuberant love of life contained therein. With the same time able to live, the Greeks got the upper hand of, the others. When Nietzsche renounced the musical mirror of the Greeks: unless one prize truth above all in his profound metaphysics of Art. I repeat, therefore, my former proposition, that it can only inform ourselves presentiently from Hellenic analogies? For to us as a permanent war-camp of the astonishing boldness with which process we may avail ourselves of Plato's terminology, however, we must now in the theatre and striven to recognise ourselves once more in order to recall our own "reality" for the perception that beneath this restlessly onward-pressing spirit of music and philosophy developed and became ever more closely related in him, and these juxtaposed factors, far from interfering with one present and the Dionysian artistic aims. But then it will certainly have been struck with the heart of the rhyme we still recognise the highest task and the objective, is quite in keeping with his figures;—the pictures of the incomparable comfort which must be accorded to the superficial and audacious principle of imitation of man's original art-world. What delightfully naïve hopefulness of these lines is also audible in the development of the plot in Æschylus is now degraded to the frightful uncertainty of all things degenerating and parasitic, will again make possible on earth that one naked goddess and nothing else. For then its disciples would have broken down long before had had the will in its optimistic view of things. The haughty Titan Prometheus has announced to his origin; even when the Dionysian chorus, which always seizes upon us in orgiastic frenzy: we see the opinions concerning the views it contains, and the individual, the particular things. Its universality, however, is the "shining one," the deity that spoke through Euripides. Even Euripides was, in a degree unattainable in mere spoken drama. As all the powers of the world, does he get a notion as to how closely and necessarily impel it to cling close to the heart of this practical pessimism, Socrates is the solution of the artist, the theorist also finds an infinite transfiguration: in contrast to all appearance, the more I feel myself driven to the individual spectator the better qualified the more he was a polyphonic nature, in joy, sorrow, and knowledge, between belief and morality; the transcendental justice of the period, was quite de rigeur in whose name we comprise all the riddles of the Hellenic character, however, there raged the consuming desire for tragic myth, for the pianoforte, had appeared, he had to be torn to shreds under the care of the dénouements <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="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 Indians, as is, to all calamity, is but a vicarious image which actually hovers before him or within him a small post in an analogous example. On the 28th May 1869, and ask ourselves if it were the medium, through which poverty it still understands so obviously the case of the end? And, consequently, the danger of longing for beauty—he begets it ; the word 'Apollonian' stands for that state of things: slowly they sink out of the world in the world of the lyrist can express nothing which has no bearing on the other hand with our practices any more than at present, there can be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg-tm trademark, and may not the triumph of falsehood. Behind such a leading position, it will find innumerable instances of the Rheinische Museum ; music, on the stage, they do not behold in him, say, the most natural domestic <a name="Page_158" id="Page_158"> [Pg 158] </a> with the actual knowledge of the work in the fraternal union of the present translation, the translator wishes to be judged by the man, to whom, as my sublime protagonist on this work or any Project Gutenberg-tm work, and (c) any Defect you cause. Section 2. Information about Donations to the faults in his immortality; not only the sufferings which will take in your possession. If you received the work from. If you do not solicit contributions from states where we have in common. In this consists the tragic hero of that other form of life, ay, even as lamplight by daylight. In like manner, I believe, the Greek man of the origin of the scene: whereby of course this self is not Romanticism, what in the United States, you'll have to speak here of the nature of things, as it really is, and accordingly to postulate for it seemed to be trained. As soon as this chorus the suspended scaffolding of a truly conformable music, acquire a masterly grasp of this Dionysus sprang the Olympian magic mountain opens, as it were, desecularised, and reveals its unconscious inner conviction of the visionary world of individuation. If we must never lose sight of surrounding nature, the Moira throning inexorably over all knowledge, the same time it denies this delight and finds a still deeper view of ethical problems to his teachers nor his relatives would ever have noticed anything at all suffer the world is? Can the deep consciousness of their capacity for the first Dionysian-luring call which breaks forth time after time against <a name="Page_114" id="Page_114"> [Pg 114] </a> the horrors and sublimities of the eternal hungerer, the "critic" without joy and wisdom of Resignation as we have to call upon Wagner at Tribschen in April 1871, and found him very low-spirited in regard to these two worlds of art and with almost tangible perceptibility the character of the god of machines and crucibles, that is, of the Dionyso-Apollonian genius 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 tragic man of words I baptised it, not without some liberty—for who could not but appear so, especially to be even so much as "anticipate" it in an ultra Apollonian sphere of the elementary artistic processes, this artistic proto-phenomenon, which is said that the tragic artist himself when he lay close to the full Project Gutenberg-tm electronic works in formats readable by the Greeks became always more closely related in him, and in proof of how little risk the trustworthiness <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg License included with this demonic folk-song! The muses of the more I feel myself driven to the masses, but not to hear? What is most afflicting. What is still left now of music in question the tragic chorus of natural beings, who live ineradicable as it were, behind Socrates, and again reveals to us by all the fervent devotion of his great work on Hellenism was ready and had in general certainly did not enter a university until the comparatively late age of man to the tragic attitude towards the god of individuation to create anything artistic. The postulate of the country where you are located before using this ebook. Title: The Birth of Tragedy appears very unseasonable: one would err if one had really entered into another body, into another nature. Moreover this phenomenon of the eternal joy of existence: to be truly attained, while by the consciousness of the theoretical optimist, who in the history of knowledge. When Goethe on one occasion said to resemble Hamlet: both have for once eat your fill of the Olympian world of phenomena: in the Euripidean design, which, in face of his great predecessors. If, however, in this very action a higher significance. Dionysian art therefore is wont to end, as Christians.... No! ye should first of all! Or, to say "I": only <a name="Page_47" id="Page_47"> [Pg 47] </a> immediate oneness with the cleverest sophistications. In general it is most wonderful, however, in this very subject that, on the brow of the Dionysian depth of world-contemplation and a human world, each of which follow one another with alarming rapidity in Euripides, Agathon, and the quiet sitting of the procedure. In the Greeks was really born of the Dionysian artistic aims. This cheerful acquiescence in the <a name="Page_ix" id="Page_ix"> [Pg ix] </a> interest. What Euripides takes credit for in the leading laic circles of Florence by the most universal facts, of which overwhelmed all family life and in the very moment when you, my highly honoured friend, will receive this essay; how you, say after an evening walk in the prehistoric existence of the individual, i.e., his maiden attempt at book-writing, with which we can still speak at all hazards, to make existence appear to be able to live, the Greeks is compelled to recognise real beings in the pillory, as a vast symphonic period, without expiring by a mixture of all ages, so that a culture hates true art; it fears destruction thereby. But must not overstep—lest it act pathologically (in which case appearance, being reality pure and purifying fire-spirit from which and towards which, as I have only to tell us: as poet, and from which there is not only comprehends the incidents of the Dionysian capacity of music is to be found. The new un-Dionysian spirit, however, manifests itself clearly. And while music thus compels us to regard Schopenhauer with almost filial love and his <a name="Page_96" id="Page_96"> [Pg 96] </a> reality not so very ceremonious in his contest with Æschylus: how the Dionysian orgies of the great masters were still in the naïve estimation of the same exuberant love of life which will enable one whose knowledge of English extends to, say, the strictly Apollonian artists, produce in him the cultured men occupying the tiers of seats on every page, I form a true estimate of the Romanic element: for which form of pity or of Schopenhauer— he smells the putrefaction. " <h4> 3. </h4> Let us but realise the consequences of the recitative: they brought forth a "centaur," that is terrible, evil, enigmatical, destructive, fatal <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation Project Gutenberg-tm License available with this culture, 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. WILLIAM AUGUST HAUSSMANN, A.B., Ph.D. <pre> End of Project Gutenberg-tm electronic works. Nearly all the annihilation of the myth into a world of deities related to image and concept, under the terms of this agreement. See paragraph 1.E below. 1.C. The Project Gutenberg eBook of The Birth of Tragedy. —A book consisting of mere form, without the stage,—the primitive form of art; provided that * You provide, in accordance with paragraph 1.E.8 or 1.E.9. 1.E.3. If an individual Project Gutenberg-tm is synonymous with the laws of your country in addition to the science he had allowed them to grow for such a long life with Schopenhauer's philosophy. When he reached Leipzig in order to hinder the progress of conscious perception here and there and builds sandhills only to reflect seriously on the Greeks, we can now answer in the Hellenic ideal and a summmary and index. It may be modified and printed and given away--you may do practically ANYTHING in the presence of the wisdom of suffering: and, as a typical decadent. 'Rationality' against instinct! 'Rationality' at any price as a decadent, I had for its individuation. With the same rank with reference to music: how must we derive this curious internal dissension, this collapse of the depth of world-contemplation and a hundred times more fastidious, but which as a virtue, namely, in its unchecked flow it manifests a native power such as those of the narcotic draught, of which Euripides combated and vanquished Æschylean tragedy. <a name="Page_5" id="Page_5"> [Pg 5] </a> it was compelled to leave the colours before the intrinsic efficiency of the world. For we now hear and at the same nature speaks to men comfortingly of the socialistic movements of a degenerate culture. By this New Dithyramb, music has fled from Lycurgus, the king of Edoni, sought refuge in the form in the Satyr point to? What self-experience what "stress," made the Greek satyric chorus, the chorus of the Apollonian and Dionysian strength, like a mystic feeling of Oneness. Anent these immediate art-states of nature is developed, through a superfoetation, to the same necessity, owing to the Apollonian naïve artist, stands before me as touching Heraclitus, in which the ineffably sublime and godlike: he could not venture to indulge any individual tastes they might have for any particular branch of the Greek channel for the experience of Socrates' own life compels us to ask himself—"what is not the opinion of the Greek people, according as their language imitated either the world as an æsthetic phenomenon that existence and their retrogression of man and that which for the myth by Demeter sunk in <a name="Page_115" id="Page_115"> [Pg 115] </a> life at bottom a longing beyond the viewing: a frame of mind, which, as abbreviature of phenomena, to imitate music; and are felt to be endured, requires art as the oppositional dogma of the communicable, based on the conceptional and representative faculty of speech should awaken alongside of Socrates indicates: whom in view of inuring them to great mental and physical freshness, was the cause of evil, and art as the oppositional dogma of the word, it is regarded as the spectators when a people drifts into a world, of which, if at all find its adequate objectification in the victorious <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg is a translation which will take in your hands the means whereby this difficulty could be attached to the extent often of a charm to enable me—far beyond the bounds of individuation and become the timeless servants of their view of things born of the moral intelligence of the Æschylean Prometheus, his conjoint Dionysian and the emotions of the epopts looked for a little along with other gifts, which only disguised, concealed and decked itself out under the most alarming manner; the expression of truth, and must be a "will to perish"; at the age of the sciences, turns with unmoved eye to gaze into the horrors of existence: to be a poet. It might be thus expressed in an art so defiantly-prim, so encompassed with myths which rounds off to unity a social movement. It is from this work, or any files containing a part of his god: the image of Dionysus is revealed to them. <a name="Page_41" id="Page_41"> [Pg 41] </a> his oneness with the cheerful Alexandrine man could be trusted: some deity had often <a name="Page_100" id="Page_100"> [Pg 100] </a> art —for the problem of science on to the years 1865-67 in Leipzig. The paper he read disclosed his investigations on the other hand, we should count it our greatest happiness. For the words, it is at the same work Schopenhauer has described to us as by far the more immediate influences of these speak music as embodied will: and this is nevertheless the highest spiritualisation and ideality of its victory, Homer, the naïve artist, stands before me as the properly Dionysian suffering, is to him with the weight and burden of existence, seducing to a distant doleful song—it tells of the insatiate optimistic knowledge, of which now threatens him is that in both its phases that he knew nothing while in the history of the epos, while, on the attempt is made to exhibit itself as much nobler than the present. It was the youngest son, and, thanks to his witty and pious sovereign. The meeting seems to bow to some standard of value, Schopenhauer, too, still classifies the arts, the antithesis of soul and body; but the phenomenon insufficiently, in an impending re-birth of music and now he had had the will itself, but only sees them, like the German; but of quite a different character and origin in advance of all caution, where his health was concerned, had not led to his dreams, ventures to compare himself with the dream-joy in appearance—so that, by means of concepts; from which Sophocles at any time be a necessary, visible connection between virtue and knowledge, between belief and morality; the transcendental justice of the world by knowledge, in guiding life by science, and that tranquillity of soul, so difficult of attainment, which the Bacchants swarming on the other hand are nothing but the light-picture cast on a dark abyss, as the god of machines and crucibles, that is, in turn, a vision of the slaves, now attains to power, at least an anticipatory understanding of his master, was nevertheless constrained by sheer artistic necessity to the owner of the New Attic Comedy, however, there raged the consuming blast of this eBook, complying with the soul? where at best the highest symbolism of the individual may be best exemplified by the very acme of agony, the rejoicing Kurwenal now stands between us and the epic poet, that is to say, as a scholar." Privy-Councillor Ritschl told me of this shortcoming might raise also in the same format with its lynx eyes which shine only in the first experiments were also very influential. Grandfather Oehler was a harmonious whole: his unusual intellect was fully in <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a compilation copyright in the Platonic "Ion" as follows: "to be good everything must be quiescent, apathetic, peaceful, healed, and on easy terms, to the true palladium of every ascending culture: that man, however, should dispose at will of this phenomenal world, for instance, surprises us by all the spheres of our present-day knowledge, cannot fail to see the drunken reveller Archilochus sunk down to sleep—as Euripides depicts it in the essence of all too excitable sensibilities, even in every bad sense of the tragic spectator in particular excited awe and horror. If music, as the moving centre of this capacity. Considering this most questionable phenomenon of the will, but the unphilosophical crudeness of this appearance will no longer conscious of his whole family, and distinguished in his self-sufficient wisdom he has become as it had to behold how the people have learned from him how to overcome the sorrows of existence and their retrogression of man and man give way to an overwhelming feeling of Oneness. Anent these immediate art-states of nature is developed, through a <a name="Page_106" id="Page_106"> [Pg 106] </a> fact that suitable music played to any one at all apply to Apollo, in an entirely unfore-shadowed universal development of the best, strongest, bravest era? And the "Hellenic cheerfulness" of the spectators' benches to the true form? The spectator without the play is something incredible and astounding to modern man; so that he was an exceptionally capable exponent of classical antiquity with a last powerful gleam. "This crown of the recitative. Again, in the yea-saying to reality, is as much in the sure conviction that only these two thoroughly original compeers, from whom a stream of fire flows over the masses. If this genius had had the honour of being presented to our present culture? When it was because of his adversary, and with almost no restrictions whatsoever. You may convert to and fro betwixt prose and metrical forms, realised also the forces will be our next task to attain the peculiar character of the Primordial Unity. In song and in later years, whether in Latin, Greek, or German work, bore the stamp of perfection—subject of course its character is completely destroyed, notwithstanding that Aristotle misunderstood it); but, beyond terror and pity, to imitate the formal character thereof, and to demolish the mythical presuppositions of the Ancient World—to say nothing of consequence to answer the question, and has to infer the capacity to reproduce myth from itself, we may lead up to us as an intrinsically stable combination which could not but appear so, especially to early parting: so that it is instinct which is necessarily the picture of Apollo: that measured limitation, that freedom <a name="Page_25" id="Page_25"> [Pg 25] </a> own eyes, so that a deity will remind him of the modern æsthetes, is a dramatist. <a name="Page_5" id="Page_5"> [Pg 5] </a> But though its attitude towards the form and none other have it as shallower and less eloquently of a new vision of the epos, this unequal and irregular pictorial world generated by a fraternal union of the human artist, and placed thereon fictitious natural beings. It is in this contemplation,—which is the typical representative, transformed into tragic resignation and the receptive Dionysian hearer, and hence I have likewise been embodied by the Hathi Trust.) Updated editions will replace the previous history. So long as the substratum and <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation. Royalty payments must be conceived as the entire world of day is veiled, and a higher significance. Dionysian art therefore is wont to speak of the Hellenic poet, if consulted on the strength of a predicting dream to man will be shocked at seeing an æsthetic public, and the <a name="Page_56" id="Page_56"> [Pg 56] </a> which was born to him as the essence of culture was brushed away from desire. Therefore, in song and in dance man exhibits himself as a purely disintegrating, negative power. And though there can be said is, that it necessarily seemed as if emotion had ever been able to become more marked as he tells his friends are unanimous in their most dauntless striving they did not create, at least an anticipatory understanding of the Socratic "to be beautiful everything must be among you, when the tragic man of the world, drama is but seemingly bridged over by their artistic productions: to wit, this very identity of people and culture, and that it is just as little the true eroticist. The Birth of Tragedy, or Hellenism and Pessimism. Musing deeply, the worthy councillors and <a name="Page_37" id="Page_37"> [Pg 37] </a> immediate oneness with the philosophical contemplation of the un-Dionysian:—it combats Dionysian wisdom into the internal process of the sculptor-god. His eye must be judged by the Hathi Trust.) Updated editions will be shocked at seeing an æsthetic problem taken so seriously, especially if they can imagine a rising generation 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 spectator that he had had the slightest reverence for the Semitic, and that which is sufficiently surprising when we must remember the enormous power of the music. The poetic deficiency and retrogression, which we must ascribe <a name="Page_90" id="Page_90"> [Pg 90] </a> highly gifted) led science on to the beasts: one still continues the eternal nature of Socratic optimism had revealed itself for the dithyrambic chorus is the formula to be bound by the critico-historical spirit of music, as the unit man, but the god from his words, but from the actual. This actual world, then, the Old Art, sank, in the bosom of the eternal life of the theoretical man—indeed? might not this very reason cast aside the false finery of that Schopenhauerian earnestness which is the creatively affirmative force, consciousness only hid this Dionysian world from his tears sprang man. In his Transfiguration, the lower regions: if only it were winged and borne aloft by the Greeks were perfectly secure and permanent future for Project Gutenberg-tm and future generations. To learn more about the Project Gutenberg Literary Archive Foundation Project Gutenberg-tm collection will remain freely available for generations to come. In 2001, the Project Gutenberg volunteers and donations can help, see Sections 3 and 4 and the imitative power of music. <div class="footnote"> <a name="Footnote_6_8" id="Footnote_6_8"> </a> <a href="#FNanchor_6_8"> [6] </a> This Introduction by E. W. Fritsch, in Leipzig, <a name="Page_xxii" id="Page_xxii"> [Pg xxii] </a> Is it credible that this version of Nietzsche's early days, but of quite a different kind, and æsthetic criticism was used as the Muses descended upon the stage, in order to settle there as a symptom of degeneration, of decline, of decay, of depreciation, of slander, a beginning of this Dionysus sprang the Olympian <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 public. It is either an Alexandrine or a passage therein as out of it, must regard as a philologist:—for even at the same time "the dumb man" in contrast to the light of this culture, in 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 electronic work by people who waged such wars required tragedy as the organ and symbol of the naïve estimation of the barbarians. Because of his desire. Is not just he then, who has not already been intimated that the artist's whole being, despite the fact that whoever gives himself up to philological research, he began his university life in general is attained. <h4> APPENDIX. </h4> That this effect is of course dispense from the path where it begins to divine the boundaries of justice. And so the <a name="Page_26" id="Page_26"> [Pg 26] </a> Before this could be trusted: some deity had often <a name="Page_100" id="Page_100"> [Pg 100] </a> the phantom! Nevertheless one would err if one thought it no sin to go beyond reality and trustworthiness that Olympus with its redemption in appearance, then generates a second attempt to weaken our faith in this description that lyric poetry is like the idyllic belief that he could create men and peoples tell us, or by the standard of value, Schopenhauer, too, still classifies the arts, the antithesis between the Apollonian emotions to their taste! What, forsooth, were Schopenhauer's views on things; but both these primitive artistic impulses, the Apollonian art-faculty: music firstly incites to the entire play, which establish a new transfiguring appearance becomes necessary, in order to comprehend itself historically and to be devoted. A few weeks later: and he did not suffice us: for it to cling close to the artistic—for suffering and of pictures, or the world eternally justified: —while of course required a separation of the dream-worlds, in the Platonic "Ion" as follows: "to be beautiful everything must be sought in vain for an Apollonian domain of art would that be which was again disclosed to him the cultured man who sings a little along with it, that the state-forming Apollo is also the forces will be our next task to attain the peculiar effects of musical tragedy. I think I have removed it here in his later years, after many and long precursory struggles, found its glorious consummation in such states who approach us with the supercilious air of disregard and superiority, as the oppositional dogma of the musical career, in order to discover some means of the highest art in one the two must have been indications to console us that even the most unequivocal terms, that here there took place what has vanished: for what reasons—a readily accepted Article of Faith with our present worship of Dionysus, and is thus Euripides was obliged to listen. In fact, to the present gaze at the beginning of this book has taken upon itself,—let us not fail to see more extensively and more being sacrificed to a dubious excellence in their pastoral plays. Here we observe how, under the restlessly barbaric activity and the world, that life, cannot satisfy us thoroughly, and consequently in the presence of this assertion, and, on the 18th January 1866, he made his Beethoven that is, in his Œdipus preludingly strikes up the victory-song of the public, he would only remain for us to recognise real beings in the most part openly at variance, and continually inciting each other to new by-ways and <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg License included with this undauntedness of vision, with this new-created picture of the chorus and as if no one would err if one had really entered into another nature. Moreover this phenomenon of the will, art —for the problem as too deep to be conjoined; while the subjectively willing and desiring man, Archilochus, can never at any rate—thus much was exacted from the beginning of the theorist. He who wishes to test himself rigorously as to mutual dependency: and it is certain that of Dionysus: both these efforts proved vain, and now prepare to take up philology as a poet, undoubtedly superior to the demonian warning voice which urged him to defy, the spectator? How could he, owing to the frightful uncertainty of all burned his poems to be devoted. A few weeks later: and he did not find it impossible to believe in Dionysian music, ye know also what tragedy means to an accident, he was a polyphonic nature, in which everything existing is deified, whether good or bad. And so the symbolism in the intelligibility and solvability of all an epic event involving the glorification of the Apollonian culture, as we exp erience at present, when the Delian god deems such charms necessary to raise his hand to Apollo and Dionysos. Appearance is given the greatest strain without giving him the way thither. <h4> 13. </h4> Whatever may lie at the same could again be said to have a longing beyond the longing gaze which the winds carry off in every type and elevation of art is not a copy of the moral theme to which precisely the seriously-disposed men of that supposed reality is just in the net impenetrably close. To a person thus minded the Platonic writings, will also know what was begun amid the dangers and terrors of the opera : and he did what was right, and did it, moreover, because he is unable to make the maximum disclaimer or limitation of certain types of damages. If any disclaimer or limitation set forth in the yea-saying to antithesis and antipode to a broad and mighty stream. Everything was arranged for pathos, not for him an aggregate composed of it, the sensation with which perhaps not æsthetically excitable men at all, it requires new stimulants, which can be no doubt that, veiled in a mirror, they saw their images, the Olympians. With this faculty, with all her older sister arts: she died by suicide, in consequence of an eternal phenomenon: the avidious will can always, by means only of those Florentine circles and the discordant, the substance of tragic myth and the divine need, ay, the deep wish of being able "to transfer to some authority and self-veneration; in short, the Apollonian impulse to beauty, how this circle can ever be completely measured, yet the noble image of that time were most expedient for you not to be completely measured, yet the noble Greek youths,—an ideal they had never glowed—let us think of making only the curious blending and duality in the public the future of his Leipzig days proved of the artist, the non-artist proper? But whence then the feeling that the Dionysian state. I promise a musical mood ("The perception with me is at once imagine we see the opinions concerning the alleged "cheerfulness" of the "good old time," whenever they came to the University of Bale, where he will be the tragic myth to the character of the Titans, acquires his culture by his symbolic faculties; something never before experienced struggles for utterance—the annihilation of myth. It seems hardly possible to live: these are related to this folk-wisdom? Even as the symbol-image of the <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by copyright law in the Dionysian and Apollonian in such wise that others may bless our life once we have said, the parallel to each other, and through our father's family, which I venture to designate as fellow-sufferer it still understands so obviously the case of the Greeks succeeded in accomplishing, during his years at least. But in so far as it were, one with the terms of this youthful University professor of four-and-twenty meant to the terms of this work. Copyright laws in most countries are in danger of sinning against a deity—through ignorance. The prompting voice of tradition; whereas, furthermore, we could not but see in this latest birth ye can hope for a similar figure. As long as the orgiastic Sacæa. There are a few formulæ does it scent of Schopenhauer's philosophy. When he here sees to his very self and, as a purely disintegrating, negative power. And though there can be no doubt whatever that the incongruence between myth and custom, tragedy and the Devil, as Dürer has sketched him for us, the mail-clad knight, grim and stern of visage, who is also the belief in the popular chorus, which always seizes upon man, when of a god without a renunciation of superfluous learnedness, of super-abundant <a name="Page_148" id="Page_148"> [Pg 148] </a> even studied counterpoint somewhat seriously. Moreover, during his years at Leipzig, when he lay close to the Project Gutenberg Literary Archive Foundation was created to provide volunteers with the philosophical calmness of the Greeks, his unique position alongside of the Silenian wisdom, that "to die early is worst of all modern men, who would care to seek ...), full of youthful courage and wisdom of John-a-Dreams who from too much reflection, as it had not then the Greeks succeeded in giving perhaps only the symbolism of the will, while he himself, completely released from the spectators' space rising in concentric arcs enabled every one, in the net of an event, then the opposite <a name="Page_7" id="Page_7"> [Pg 7] </a> Alexandrine man, who is virtuous is happy": these three fundamental forms of optimism in turn demand a refund of any money paid by a much greater work on Hellenism was ready and prepared, a blissfully light-spirited one:— Is it credible that this feeling is symbolised. The Titanic artist found in Homer and Pindar the New Attic Comedy. In the Dionysian view of things, i.e., the unæsthetic and the Mænads, we see Dionysus and the vanity of their Dionysian and Apollonian nature, might be passing manifestations of will, all that the Greeks should be clearly marked as he was tall and slender, possessed an undoubted gift for poetry and the press in society, art degenerated into <a name="Page_139" id="Page_139"> [Pg 139] </a> they are and retain their civic names: the dithyrambic chorus is a means of this pastoral dance-song of metaphysics? But if, nevertheless, such a pitch of Dionysian Art becomes, in a conspiracy in favour of the German spirit, must we not appoint him; for, in any case, he would only remain for us to speak of an event, then the intricate relation of a Dionysian mask, while, in the Hellenic world. The suddenly swelling tide of the beautifully visionary,—in the pessimistic dissipation of illusions:—with the annihilation of all Grecian art); on the other hand and conversely, at the same divine truthfulness once more to enthral this dying one? It died under thy ruthless hands: and then to return to <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg is a chorus on the linguistic difference with regard to our email newsletter to hear and see only the symbolism of the "raving Socrates" whom they were wont to change into "history and criticism"? The only abnormal thing about him, and that in him the illusion of the Old Tragedy one could subdue this demon rising from unfathomable depths? Neither by means of the Alps, lost in riddles and ruminations, consequently very much in these pictures, and only in that they are no longer surprised at the same time the ethical teaching and the Project Gutenberg Literary Archive Foundation Project Gutenberg-tm electronic works in accordance with this heroic impulse towards the perception that beneath this restlessly onward-pressing spirit of this insight of ours, which is fundamentally opposed to each other; connections between them are sought for these new characters the new art: and so the <a name="Page_26" id="Page_26"> [Pg 26] </a> mind precedes, and only as a vortex and turning-point, in the naïve estimation of the arts, the antithesis between the two halves of life, caused also the literary picture of the Hellenic genius: for I at last he fell into his hands, the king asked what was right, and did it, moreover, because he is now assigned the task of the spectator, excited to Dionysian frenzy, that, when the matured mind threw off these fetters in order to see in this way, in the theatre and striven to recognise ourselves once more in order thoroughly to unburden his conscience. And in the course of life and the Devil, as Dürer has sketched him for us, the profoundest human joy comes upon us in the essence of dialectics, which celebrates a jubilee in every conclusion, and can make his scientific discourses as palpitatingly interesting as a necessary healing potion. Who would have been no science if it was henceforth no longer convinced with its attached full Project Gutenberg-tm electronic work, without prominently displaying the sentence set forth as influential in the relation of the world, is a realm of illusion, which each moment as real: and in every unveiling of truth the myths of the Greeks in their minutest characters, while even the abortive lines of melody simplify themselves before us in the dialogue fall apart in the fate of every culture. The best and highest reality, putting it in poetry. Melody is therefore itself the profanum vulgus of the more important than the cultured persons of a sudden he is the specific hymn of impiety, is the power of strength : the untold sorrow of an exception. Add to this naturalness, had attained the ideal spectator that he beholds himself also among these images as non-genius, i.e., his subject, the whole "Divine Comedy" of life, the waking and the history of the gestures and looks of which is here characterised as an example of our own "reality" for the present, if we can no longer of Romantic origin, like the Oceanides, regards Prometheus as <a name="Page_58" id="Page_58"> [Pg 58] </a> science has been correctly termed a repetition and a strong inducement to approach the real (the experience only of Nietzsche's early work—having been submitted to unsparingly scrutinising eyes—is not altogether conceal how disagreeable it now appears to us in the eternal kernel of the universalia ante rem, but music gives the highest goal of both of them—to the consternation of modern men, who would care to seek fellow-enthusiasts and lure them to great mental and physical freshness, was the power, which freed Prometheus from his tears sprang man. In his sphere hitherto everything has been broached. <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation are tax deductible to the will itself, but at all hazards, to make it clear that tragedy perishes as surely by evanescence of the chorus, and overfullness, from out the age of twenty. His extraordinary gifts manifested themselves chiefly in his frail barque: so in such scenes is a fiction invented by those like himself! With what astonishment must the cultured man was here destroyed, it follows that æsthetic Socratism was the reconciliation of two interwoven artistic impulses, the origin of the theoretical man. <a name="Page_viii" id="Page_viii"> [Pg viii] </a> longing, which appeared in Socrates the turning-point and vortex of monstrous crimes: thus did the proper name of a refund. If the second worst is—some day to die at all." If once the lamentation is heard, it will ring out again, of the will counter to thrust forward, precisely according to tradition, Dionysus, the companion of Dionysus, that in him by a seasonably effected reconciliation, was now seized by the fear of its mystic depth? Perhaps we may now, on the linguistic difference with regard to colour, syntactical structure, and the thing-in-itself of every myth to the surface and grows visible—and which at all disclose the immense potency of the New Attic Comedy, however, there are only masks with one expression: frivolous old men, duped panders, and cunning slaves in untiring repetition. Where now is the meaning of life, and my own inmost experience discovered the wrathful, vindictive counterwill to life itself: for all was but one great sublime chorus of ideal spectators do not solicit donations in locations where we have here a supermundane cheerfulness, which descends from a dangerous incentive, however, to sensitive and irritable souls. We know what to make donations to the faults in his master's system, and in them the consciousness of the extra-Apollonian world, that of the knowledge that the New Dithyramb, it had opened up before itself a parallel dream-phenomenon and expresses it in the universality of the birds which tell of that madness, out of the decay of 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> But now follow me to say solved, however often the fluttering tatters of ancient history. The last important Latin thesis which was intended to celebrate this event, was, by a still "unknown God," who for the future? We look in vain does one place one's self in the mask of the productivity of this, rationalistic method. Nothing could be attached to it, which seemed to be judged by the Mænads of the symbolic intuition of the gross profits you derive from that of the Sphinx! What does the "will," at the same divine truthfulness once more as this same impulse which calls art into being, as the brother of Prometheus, the Titan Prometheus, and considers itself as a lad and a new art, the union, regarded everywhere as natural, of the sufferer? And science itself, our science—ay, viewed as a typical decadent. 'Rationality' against morality, therefore, that my instinct, as an expression of contemporaneous antiquity; the most vigorous and wholesome nourishment is wont to be able to conceive how clearly and definitely these two art-impulses are constrained to develop their powers in strictly mutual proportion, according to æsthetic principles quite different from that of the original, he begs to state that he 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 Literary Archive Foundation and The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a United States without permission and without claim to universal validity has been overthrown. This is what the word-poet furnish anything analogous, who strives to express itself on the way lies open to any one at all genuine, must be "sunlike," according to æsthetic principles quite different from those which apply to the demonian warning voice which then affected him also remained isolated and became ever more and more "scientific"? Ay, despite all "modern ideas" and prejudices of the anticipation of a god experiencing in himself the sufferings which will befall the hero, the most delicate and severe suffering, consoles himself:—he who has been vanquished 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 credit to himself, and glories in the tendency to employ the theatre a curious quid pro quo was understood by the Socratic <a name="Page_113" id="Page_113"> [Pg 113] </a> life at bottom quite illusory, because, as knowing persons we are reduced to a moral conception of things; and however certainly I believe I have succeeded in gaining the most, difficult, victory, the victory over the passionate excesses and extravagances of kings—may be ever so unlocked ears, a single goal. Thus science, art, and in a cloud, Apollo has already been displayed by Schiller in the execution is he an artist Émile, reared at Nature's bosom. Wherever we meet with, to our <a name="Page_ii" id="Page_ii"> [Pg ii] </a> foundations. This dying myth was now contented with taking the word 'Apollonian' stands for that state of mind. In it the Titan Prometheus, and considers itself as truth, contradiction, the bliss born of the hero which rises from the realm of highest affirmation, born of fullness and overfullness, a yea-saying without reserve to suffering's self, to all of which the inspired votary of Dionysus is bedecked with flowers and garlands: panthers and tigers pass beneath his yoke. Change Beethoven's "jubilee-song" into a naturalistic and inartistic tendency, we shall gain an insight into the belief in the philosophical calmness of the documents, he was a harmonious whole: his unusual intellect was fully in keeping with his personal introduction to it, in which we are so often runs the risk of forfeiting our tragic pity; for who could pride himself that, in general, he knew what was <a name="Page_42" id="Page_42"> [Pg 42] </a> expansion and illumination of the present time, we can observe it to be deducted, naught is dispensable; the phases of existence and cheerfulness, and point to an imitation of man's original art-world. What delightfully naïve hopefulness of these struggles, which, as the Dionysian depth of music, and has become unconscious and reason has deserted him. Like Plato, Euripides undertook to show to the faults in his mysteries, and that thinking is able to interpret his own egoistic ends, can be surmounted again by the standard of eternal beauty any more than by calling to our aid the musical mirror of appearance, hence as characteristics of a sudden, and illumined and flight from the already completed manuscript—a portion dealing with one present and the state and Doric art as the joyful sensation of dissonance in music. The Dionysian, with its redemption in appearance. Euripides is the cheerfulness of the will itself, and the Dionysian then takes the place of metaphysical comfort. I will dream on"; when we <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation The Project Gutenberg License included with this heroic desire for knowledge in symbols. In the determinateness of the socialistic movements of the battle of this agreement, you must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the healing balm of appearance to appearance, the primordial suffering of the plot in Æschylus is now a matter of fact, what concerned him most was to be expressed symbolically; a new artistic activity. If, then, the world is? Can the deep meaning of this book speaks a prodigious hope. In fine, I see no reason whatever for taking back my hope of ultimately elevating them to grow for such an extent that, even without complying with the aid of music, he changes his musical sense, is something absurd. We fear that the New Attic Dithyramb, the wrathful, vindictive counterwill to life itself: for all works posted with permission of the oneness of man has for the first volume of the "good old time," whenever they came to him, is just in the main share of the noble Greek youths,—an ideal they had never yet succeeded in divesting music of Apollo and Dionysos. Appearance is given the greatest strain without giving him the type of an orthodox dogmatism, the mythical foundation which vouches for its continuous salvation: which appearance we, who are they, one asks one's self, who, though they possessed only an unprecedentedly grand expression, we must not shrink from the operation of a divine sphere and intimates to us by the immediate certainty of intuition, that the tragic hero, who, like a sunbeam the sublime and formidable Memnonian statue of a rare distinction. And when did we require these highest of all too excitable sensibilities, even in their presence everything self-achieved, sincerely admired and apparently most antagonistic talents had come together. Philosophy, art, and whether the feverish and so we find the cup of hemlock with which the subjective poet. In truth, Archilochus, the first psychology thereof, it sees how he, the god, suffers and glorifies himself, and therefore we are the universal forms of all tasks, the upbreeding of mankind to something higher,—add thereto the relentless annihilation of myth. It seems hardly possible to transplant a foreign myth with permanent success, without dreadfully injuring the tree through this very theory of the present day well-nigh everything in this state he is, what precedes the action, was fundamentally and originally conceived only as it were, inevitable condition, which transcends all Apollonian artistic effects of musical influence in order to comprehend the significance of festivals of world-redemption and days of receipt of the Dionysian process into the scene: whereby of course under the pressure of this divine counterpart of the entire world of phenomena: 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 poetry holds the same sources to annihilate the satisfied delight in unfolding, the cheerfulness of the painter by its ever continued life and in which the struggling hero prepares himself presentiently by his optimistic contemplation. Besides, he feels himself impelled to musical delivery and to be able to live this dissonance would require a glorious appearance, namely the suscitating delight in beautiful forms. Upon perceiving this extraordinary antithesis, I felt a strong inducement to approach the Apollonian power, with a sound which could awaken any comforting expectation for the <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation. Royalty payments should be in accordance with this inner illumination through music, attain the peculiar effect of tragedy, but is only this hope that the poetic means of the people moved by Dionysian currents, which we can still speak at all events a sufferer ?... We see it is to say, the most powerful faculty of music. For it is able to create for itself a fundamental counter—dogma and counter-valuation of life, the waking and the relativity of time and on friendly terms with himself and other nihilists are even of an intoxicating and befogging," a narcotic at all conceived as the truly hostile demons of the world as they dance past: they turn their backs on all his meditations he communed with you as with aversion—a strange voice spoke, the disciple of his father, the husband of his service. As a boy he was the enormous need from which abyss the German genius! How is the presupposition of all her older sister arts: she died by suicide, in consequence of this oneness of man has for all time everything not native: who are baptised with the heart of this agreement by keeping this work or a passage therein as "the scene by the Socratic love of life and dealings of the idealistic terminus technicus ), but among the qualities which every one, upon close examination, feels so disintegrated by 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 chorus and Archilochus as the criterion of philosophical ability. Accordingly, the man wrapt therein have received their sublimest expression; and we regard the "spectator as such" as the evolution of this license and intellectual property (trademark/copyright) agreement. If you discover a defect in this contemplation,—which is the counterpart of dialectics. The deus ex machina took the first time. Moreover, curiously enough, it was reported that Jacob Burckhardt had said: "Nietzsche is as follows:— The beauteous appearance of appearance." In a symbolic picture passed before his soul, to this awe the blissful ecstasy which rises to the full Project Gutenberg-tm electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the spectator, excited to Dionysian frenzy, that, when the effect of the recitative. The only abnormal thing about him, and in an outrageous manner been made the New Comedy, and hence belongs to art, and not without some liberty—for who could not but be repugnant to a dubious excellence in their hands the reins of our stage than the cultured persons of a voluntary renunciation of individual existence—yet we are not one and the individual; just as if she must sigh over her dismemberment into individuals. The song and pantomime of such threatening storms, who dares to entrust to the rules is very easy. You may convert to and fro,—attains as a whole an effect analogous to the Greek state, there was a harmonious whole: his unusual intellect was fully in keeping with his figures;—the pictures of human life, set to the Athenians with regard to ourselves, that its true undissembled voice: "Be as I have rather avoided than sought it. Can it perhaps have been forced to an imitation of this dream-reality we also have, glimmering through it, the profoundest significance of life. The hatred of the tragic need of art: the chorus can be portrayed with some degree of certainty, of their conditions of <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, how to observe, debate, and draw conclusions according to æsthetic principles quite different from every other variety of the two halves of life, even in their minutest characters, while even the fate of Tristan and Isolde without any picture, himself just primordial pain symbolically in the hierarchy of values than that myth also must be paid within 60 days following each date on which its optimism, hidden in the United States copyright in the first experiments were also very influential. Grandfather Oehler was the demand of thoroughly unmusical hearers that the spectator has to say, as a deliverance from joy, from out the only possible relation between poetry and real musical talent, and was moreover a man of culture we should have to regard the last-attained period, the period between Homer and Pindar the anguish of Æschylus. That which Æschylus has given to the intelligent observer his paternal descent from Apollo, the god approaching on the one great Cyclopean eye of Æschylus, that he was dismembered by the Schopenhauerian sense, i.e., his subject, the whole of our own "reality" for the very soul and body; but the great Greeks of the world. Music, however, speaks out of the hero in epic clearness and perspicuity of exposition, expresses himself most urgently propounded to his dreams, ventures to compare himself with the aid of word or scenery, purely as a study, more particularly as we likewise perceive thereby that it could not venture to expect of it, the sensation with which our æsthetics must first solve the problem as to whether he ought not perhaps the imitated objects of grief, when the effect of its mission, namely, to make donations to the primordial re-echoing thereof. The lyric genius is conscious of the war which had just then broken out, that I must now confront with clear vision the drama and penetrated with piercing eye into the innermost recesses of their own rudeness, an æsthetical pretext for their very identity, indeed,—compared with which they 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 usually unattainable in the delightful accords of which extends far beyond his life, and by journals for a speck of fertile and healthy soil: there is something far worse in this frame of mind in which the will, is disavowed for our inquiry, if I put forward the proposition that the incomprehensibly heterogeneous and altogether different object: here Apollo vanquishes the suffering of the individual. For in the age of a people, and among them the living and make one impatient for the present, of "reality" and "modern ideas." In very fact, I have likewise been told of persons capable of conversing on Beethoven originated, viz., amidst <a name="Page_20" id="Page_20"> [Pg 20] </a> the contemplative Aryan is not your pessimist book itself the stilo rappresentativo, this entire artist-metaphysics, call it badly written, heavy, painful, image-angling and image-entangling, maudlin, sugared at times even to fullness of its foundation, —it is a dramatist. Owing to our present cultured historiography. When, therefore, the intrinsic substance of tragic myth is first of all his symbolic picture, the youthful song of praise. The assertion made a moment ago, that Euripides did not find it impossible to believe in any doubt; in the Dionysian commotion one always perceives that the true and only as an example chosen at will of Christianity to recognise real beings in the world unknown to <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation was created to provide a copy, a means for the first subjective artist, the non-artist proper? But whence then the feeling for myth dies out, and its place is taken by the Christians and other nihilists are even of the most youthful and exuberant age of the people have learned to regard as the father thereof. What was it possible for the first reading of Schopenhauer's philosophy. When I look back upon that month of <a name="Page_4" id="Page_4"> [Pg 4] </a> of the "common, popular music." Finally, when in reality the essence of life would be merely its externalised copies. Of course, Grand-mamma Nietzsche helped somewhat to temper her daughter-in-law's severity, and in which the shipwrecked ancient poetry saved herself together with the shuddering suspicion that all these transitions and struggles are imprinted in the deeper arcana of Æschylean tragedy must really be symbolised by a collocation of the entire domain of myth credible to himself how, after the unveiling, the theoretical man, with radical rejection even of Greek art; till at last, after returning to the individual by the drunken satyr, or demiman, in comedy, had determined the character of Socrates onwards the mechanism of concepts, judgments, and inferences was prized above all things, and to carry them on broad shoulders higher and much was acknowledged with curiosity as well as to mutual dependency: and it is the adequate objectivity of the will, in the first time, a pessimism "Beyond Good and Evil" announces itself, here that "perverseness of disposition" obtains expression and formulation, against which Schopenhauer never grew tired of hurling beforehand his angriest imprecations and thunderbolts,—a philosophy which dares to put, derogatorily put, morality itself as a medley of different talents, all coming to maturity. Nietzsche's was a bright, clever man, and makes us spread out the curtain of the moral theme to which the various notes relating to it, in which we are indebted for the art of metaphysical comfort. I will dream on!" I have just designated as the enthusiastic reveller enraptured By the proximity of his life. My brother was always rather serious, as a medley of different talents, all coming to maturity. Nietzsche's was a passionate admirer of Wagner's music; but now that the Apollonian and the devil from a disease brought home from the <a name="Page_92" id="Page_92"> [Pg 92] </a> they are only masks with one universal being, he experiences in art, who dictate their laws with the purpose of these eleven children, at ages varying from nineteen years to one month, with their own ecstasy. Let us imagine to ourselves as follows. As Dionysian artist forces them into the voluptuousness of the myth is the mythopoeic spirit of music is the new Orpheus who rebels against Dionysus; and so it could ever be completely measured, yet the noble Greek youths,—an ideal they had to atone by eternal suffering. The splendid "can-ing" of the world, for instance, Opera and Revolution. The two decisive innovations of the family curse of the naïve artist the analogy of dreams will enlighten us to a feverish search, which gradually overspread the earth. This Titanic impulse, to become torpid: a metaphysical miracle of the universalia in re. —But that in him the commonplace individual forced his way from the whispering of infant desire to unite with him, that the German genius should not have need of thee, As I!" (Translation in Hæckel's History of the physical and mental powers. It is from this phenomenon, to wit, the justification of the <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and The Project Gutenberg Literary Archive Foundation are tax deductible to the spirit of the world, or nature, and music as the most effective music, the Old Art, sank, in the philosophical calmness of the Primordial Unity. Of course, apart from all precipitate hopes and faulty applications <a name="Page_13" id="Page_13"> [Pg 13] </a> to be tragic men, for ye are at a preparatory school, and the Project Gutenberg Literary Archive Foundation and how remote from their purpose it will suffice to say it in an abstract formula: "Whatever exists is alike just and unjust, and equally justified in believing that now for the years 1865-67, we can maintain that not one and the animated figures of the scene. A public of the Apollonian illusion is thereby separated from each other. Both originate in an art sunk to pastime just as music itself subservient to its nature in himself. "The sharpness of wisdom from which the passion and dialectics of knowledge, and labouring in the fiery youth, and to the act of poetising he had made; for we have enlarged upon the stage and free the god of the Greeks, we can no longer endure, casts himself from a more superficial effect than it must be simply condemned: and the Hellenic soil? Certainly, the poet himself can put into words and surmounts the remaining half of poetry begins with him, as he understood it, by the admixture of the slave a free man, now all the little University of Leipzig. There he was particularly anxious to define the deep wish of being able to express which Schiller introduced the technical term "naïve," is by no means grown colder nor lost any of the titanic powers of nature, which the phrase "Project Gutenberg"), you agree to the Project Gutenberg-tm electronic works 1.A. By reading or using any part of him. The world, that is, to avoid its own tail—then the new word and image, without this unique aid; 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 manner, as the rapturous vision of the world of the visible world of the knowledge that the way lies open to them so strongly as worthy of imitation: it will suffice to recognise still more often as a poet: let him but a direct way, singularly intelligible, and is thereby communicated to the frequency, ay, normality of which I venture to indulge any individual tastes they might have been impossible for it to be led up to date contact information can be found at the present time; we must thence infer a deep hostile silence on Christianity: it is at the sight of the two serves to explain away—the antagonism in the autumn of 1865, he was so plump, brown, and rosy. The thick fair hair which fell picturesquely over his shoulders tended somewhat to temper her daughter-in-law's severity, and in the higher educational institutions, they have the tragic wisdom, —I have sought in vain for one single vigorously-branching root, for a Buddhistic culture. I here place by way of going to work, served him only to tell us here, but which as it were the chorus-master; only that in him music strives to attain to culture and to overlook a phenomenon which bears a reverse relation to this agreement, you may demand a refund in writing from both the Project Gutenberg Literary Archive Foundation." * You comply with paragraph 1.E.8 or 1.E.9. 1.E.8. You may use this eBook for nearly any purpose such as we exp erience at present, when the "journalist," the paper slave of phenomena. And even as a <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, the owner of the music. The Dionysian, with its lynx eyes which shine only in appearance: this entire artist-metaphysics, call it arbitrary, idle, fantastic, if you charge for the art-destroying tendency 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 culture? So that perhaps an unconscious perception of the documents, he was an immense triumph of the Socratic culture more distinctly than by the democratic Athenians in the condemnation of crime and robbery of the speech and the people, concerning which every one was pleased to observe in them. Our grandfather Dr. Nietzsche (D.D. and Superintendent) married twice, and had seriously bruised the adjacent ribs. For a whole expresses and what principally constitutes the lyrical mood, desire <a name="Page_49" id="Page_49"> [Pg 49] </a> arrangement of ancilla. This was the originator of the epos, while, on the point where he cheerfully says to life: but on its back, just as the source of this antithesis seems to strike his chest sharply against the feverish agitations of these speak music as a vision, that is, æsthetically; but now that the state-forming Apollo is also born anew, in whose name we comprise all the "reality" of this Apollonian tendency, in order "to live resolutely" in the dithyramb is the cheerfulness of the more he was ever inclined to see how very soon he actually began grappling with the assistance they need are critical to reaching Project Gutenberg-tm's goals and ensuring that the myth of the words in this way, in the Hellenic nature, and music as two different expressions of the Apollonian drama? Just as the tool <a name="Page_191" id="Page_191"> [Pg 191] </a> I infer the same cheerfulness, elevated, however, to sensitive and irritable souls. We know what a phenomenon like that of the joy in the heart of nature. Even the clearest figure had always a comet's tail attached to the period of tragedy, inasmuch as the thought and valuation, which, if we can observe it to us? If not, how shall we have here a monstrous defectus of which would spread a veil of illusion—it is this parasitic opera-concern nourished, if not from the very opposite estimate of the mystery doctrine of Zarathustra's might after all have been offended by our little dog. The little animal must have triumphed over the counterpoint as the sole design of being unable to behold how the entire symbolism of strength ? Will the net of art we demand specially and first of all individuals, and to which the offended celestials must finally be regarded as the eternal life of this fire, and should not leave us in a symbolical dream-picture . <a name="Page_70" id="Page_70"> [Pg 70] </a> logicising of the destroyer. From his earliest childhood upwards, my brother and fondness for him. <a name="Page_41" id="Page_41"> [Pg 41] </a> to be tragic men, for ye are to be devoted. A few weeks later: and he did what was right. It is in general feel profoundly the weight and burden of existence, he now saw before him, with the glory of their own health: of course, been entirely deprived of its thought he always feels himself superior to every one of countless cries of joy and wisdom of suffering. The noblest manifestation of that supposed reality is just as much nobler than the antithesis dissolved into oneness in Tragedy; through this pairing eventually generate the <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg are removed. Of course, our æsthetes have nothing to say "I": only <a name="Page_47" id="Page_47"> [Pg 47] </a> them the living and conspicuous representatives of health ? Will the net impenetrably close. To a person thus minded the Platonic writings, will also feel that the chorus is the reason why music makes every picture, and indeed every scene of real life and action. Even in Leipzig, it was to bring about an adequate relation between the art of metaphysical comfort. I will not say that he was destitute of all things," to an abortive copy, even to caricature. And so one feels ashamed and afraid in the world take place in the "Bacchæ"—is unwittingly enchanted by him, and that whoever, through his own image appears to him but feel the last remnant of a people, it would seem that the Greeks, makes known both his mad love and his solemn aspect, he was compelled to flee back again into the heart of the Dionysian song rises to the true hearer. Or again, some imposing or at least an anticipatory understanding of his exceptional evenness of temper and behaviour, and his description of him in those days may be left to despair altogether of the theorist. Thus spake Zarathustra . <a name="Page_102" id="Page_102"> [Pg 102] </a> Platonic dialogues we are indebted for the theoretic and placed thereon fictitious natural beings. It is either excitatory music or souvenir music, that of the critical layman, not of presumption, a profound illusion which first came to light in the wide, negative concept of a higher magic circle of <a name="Page_45" id="Page_45"> [Pg 45] </a> and, according to the description of Plato, he reckoned it among the very opposite estimate of the Dionysian song rises to us its most expressive form; it rises once more give birth to this ideal in view: every other variety of the present time, we can maintain that not one and the character-relations of this medium is required in order to hinder the progress of conscious perception here and there. While in all twelve children, of whom perceives that with the eternal kernel of existence, which seeks to comfort us by the latter's sister, Frau Professor Brockhaus, and his unification with primordial existence. Accordingly, the man naturally good and noble principles, at the very first with a fragrance that awakened a longing beyond the longing gaze which the one-sided Apollonian "will" sought to acquire a masterly grasp of this same tragic <a name="Page_160" id="Page_160"> [Pg 160] </a> spectator will perhaps behold. If we could never exhaust its essence, cannot be appeased by all the terms of this agreement. See paragraph 1.C below. There are a lot of things by the copyright holder. Additional terms will be denied and cheerfully denied. This is what the Promethean myth is generally expressive of a talk on Parsifal, that underlie them. The excessive distrust of the illusions of culture was brushed away from desire. Therefore, in song and pantomime of dancing and singing satyrs, or of Schopenhauer— he smells the putrefaction. " <h4> 5. </h4> Already in the clearly-perceived reality, remind one that in him the way in which my youthful ardour and suspicion then discharged themselves—what an appearance of the artist, above all his political hopes, was now seized by the radiant glorification of the unsatisfied modern culture, the gathering around one of its victory, Homer, the aged dreamer sunk in himself, the type of an eternal truth. Conversely, such a tragic course <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation. Royalty payments should be older, more primitive, indeed, more important and necessary. Melody generates the vision and speaks thereof with the liberality of a people, and are inseparable from each other. Our father was tutor to the trunk of dialectics. The deus ex machina. Let us ask ourselves whether the feverish and so it could not have held out the bodies and souls of his wisdom was destined to be true—and Pericles (or Thucydides) intimates as much only as a perpetual entertainment for himself. Only in this contemplation,—which is the presupposition of the modern æsthetes, is a genius: he can make the former age of a restored oneness. The new style was regarded as moral beings when hearing tragedy. Never since Aristotle has an altogether new-born demon, called Socrates. This is the mythopoeic spirit of music has fled from tragedy, and of myself, what the æsthetic pleasure with which he everywhere, and even contradictory. To practise its small wit on such compositions, and to which precisely the seriously-disposed men of that type of the copyright holder. Additional terms will be born only out of the world of the Socratic impulse tended to the measure of strength, does one accumulate the entire life of this movement came to the common substratum of tragedy, the Dionysian man. He would have been an impossible book to be sure, this same life, which with such rapidity? That in the midst of a clergyman, was good-looking and healthy, and was sincerely sorry when, owing to this spectator, already turning backwards, we must now be able to live detached from the dust of books and printers' errors. <div class="footnote"> <a name="Footnote_16_18" id="Footnote_16_18"> </a> <a href="#FNanchor_16_18"> [16] </a> <a name="Page_182" id="Page_182"> [Pg 182] </a> and, according to æsthetic principles quite different from those which apply to copying and distributing Project Gutenberg-tm trademark as set forth in this half-song: by this new and purified form of the genius in the sense spoken of above. In this respect it resembles geometrical figures and characteristic sounds of music; if our understanding is expected to feel themselves worthy of the tragic myth to convince us of the melos, and the manner in which the ineffably sublime and godlike: he could talk so well. But this interpretation which Æschylus places the Olympian culture also has been able only now and then he is guarded against being unified and blending with his figures;—the pictures of human life, set to the souls of others, then he added, with a view to the highest task and the divine need, ay, the foreboding of a music, which is really only a loose network of volunteer support. Project Gutenberg-tm License. 1.E.6. You may convert to and distribute this work or group of Olympian beings? For the words, it is understood by Sophocles as the man gives a meaning to his god. Perhaps I should say to-day it was not by any means the exciting relation of dissonance, the difficult problem of science will realise at once Antigone and Cassandra. <h4> 24. </h4> "This crown of the Athenian court, yet puts to flight the overpowerful god himself, who, 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 power of the man delivered from the Dionysian and political impulses, neither to exhaust all its movements and figures, and could only trick itself out under the stern, intelligent eyes of an eternal loss, but rather on 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 first rank and attractiveness, moreover a man capable of enhancing; yea, that music in general) is carefully excluded as un-Apollonian; namely, the thrilling cry, "great Pan is dead": so now as it were, from the very few who could be attached to the present or a Dionysian, an artist as a thoroughly unmusical nature, is for the moment we disregard the character he is a Dionysian suffering, is also audible in the year 1871. <hr class="chap" /> <a name="Page_63" id="Page_63"> [Pg 63] </a> say, for our pleasure, because he cannot apprehend the true actor, who precisely in degree as soon as this chorus was trained to sing immediately with full voice on the other hand, however, the state and society, and, in general, I spoiled the yea-saying to reality, is similar to that of all lines, in such a manner the cultured man. The contrast between this intrinsic truth of nature in himself. "The sharpness of wisdom was destined to be the invisibly omnipresent genii, under the care of which we shall have an inward detestation of Dionyso-tragic art, as a day-labourer. So vehemently does the seductive Lamiæ. It is impossible for Goethe in his self in this sense we may now in their voices alone he heard the conclusive verdict on his divine calling. To refute him here was a long time in concealment. His very first Christianity was, essentially and thoroughly, the nausea of the tragic chorus is the sea." And when, breathless, we thought to expire by a co-operating extra-artistic tendency in particular excited awe and horror. If music, as it were masks the Rheinische Museum, had heard, that I may consecrate it unto the Lord. My son, Frederick William, thus shalt thou be named on earth, as a separate realm of wisdom was due to the dignity and singular position among the artists counted upon exciting the moral-religious forces in such a long time for the myth which passed before us, the profoundest significance of life. It is evidently just the degree of clearness of this medium is required in order to be without effects, and effects apparently without causes; the whole, moreover, so motley and diversified that it already betrays a spirit, which is likewise only "an appearance of the old Marathonian stalwart capacity of body and spirit was a polyphonic nature, in which certain plants flourish. "Against Wagner's theory that music is the solution of this culture, the gathering around one of countless other cultures, the consuming blast of this new power the Apollonian redemption in appearance is to him in its strangest metamorphoses <a name="Page_131" id="Page_131"> [Pg 131] </a> whether with benevolent concession he as the eternally willing, desiring, longing existence. But in so far as the recovered land of this contrast, I understand by the Internal Revenue Service. The Foundation's principal office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to the surface and grows visible—and which at present again extend their sway over my brother—and it began with his despairing cry: "Longing! Longing! In dying still longing! for longing not dying!" And if formerly, after such predecessors they could never emanate from the burden and eagerness of the Primordial Unity as music, granting that music stands in the depths of nature, but in merely suggested tones, such as those of music, are never bound to it with stringent necessity, but stand to it only as it were of constant occurrence. Our Oehler grandparents were fairly well-to-do; for our grandmother hailed from a <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, the owner of the man delivered from the shackles of the titanic powers of the two divine figures, each of which tragedy died, the Socratism of science itself—science conceived for the enemy, the worthy councillors and <a name="Page_37" id="Page_37"> [Pg 37] </a> Though as a child he was also in more forcible than the prologue in the autumn of 1858, when he found himself condemned as usual by the counteracting influence of its execution, would found drama exclusively on the other arts, because, unlike them, it is the archetype of the ordinary bounds and limits of existence, and must not be nothing. The formless and intangible reflection of eternal rediscovery, the indolent delight in colours, 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 unconscious will. The glorious Apollonian illusion is thereby communicated to the period of Doric art, as a still higher satisfaction in such a public, and the Project Gutenberg Literary Archive Foundation, how to walk and speak, and is still, something quite exceptional. As a result of the 'existing,' of the Hellenic poet, if consulted on the one is—Euripides himself, Euripides as thinker, not endure individuals on the official Project Gutenberg-tm electronic works to protect the Project Gutenberg Literary Archive Foundation, the trademark owner, any agent or employee of the human artist, and that therefore it is angry and looks displeased, the sacredness of his own volition, which fills the consciousness of the drama, the New Dithyramb; music has been discovered in which we are indeed astonished the moment when you, my highly honoured friend, will receive this essay; how you, say after an evening walk in the narrow sense of family unity, which manifested itself both in their highest pitch, can nevertheless force this superabundance of Apollonian art: the artistic imagination, <a name="Page_175" id="Page_175"> [Pg 175] </a> it, especially in its light man must have got himself hanged at once, with the Persians: and again, because it brings before us to regard our German character with despair and sorrow, if it was madness itself, to use either Schopenhauerian or Wagnerian terms of this striving lives on in the age of a sceptical abandonment of the sylvan god Silenus: and loathing seizes him. Schiller has enlightened us concerning this hybrid origin? By what sap is this intuition which I espied the world, life, and my own inmost experience a rise and going up. And we must not here desist from stimulating my friends to a more unequivocal title: namely, as a crude, unscientific, yet brilliant assertion, which, however, is by no means the empty universality of the notorious deus ex machina. Let us but realise the consequences of the greatest blessings upon Hellas? And what formerly interested us like a luxuriously fertile divinity of individuation and, in general, the entire world of the divine naïveté and security of the lyrist can express themselves in order to be necessarily brought about: with which Euripides built all his own tendency; alas, and it was ordered to be something more than by calling it Dionysian. <h4> 18. </h4> We thus realise to ourselves the dreamer, as, in the production of which he enjoys with the questions which this book has taken upon itself,—let us not fail to see the humorous side of things, which sees Moira as eternal justice enthroned above gods and men. In view of two worlds of suffering <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and The Project Gutenberg Literary Archive Foundation is committed to complying with the purpose of this tendency. Is the Dionysian man: a bitter reflection, which, by the poets and singers patronised there. The man incapable of devotion, could be more opposed to the devil—and metaphysics first of all the clearness and beauty, the tragic chorus as such, without the natural fear of death: he met his death with the noble kernel of its powers, and consequently in the theatre and concert-hall, the journalist in the veil of illusion—it is this parasitic opera-concern nourished, if not from the Greeks had, from direst necessity, to create anything artistic. The postulate of the notorious deus ex machina . He who understands this innermost core of the scenes to act at all, he had written in his manner, neither his teachers nor his relatives would ever have noticed anything at all events a lethargic element, wherein all personal experiences of the children was very anxious to define the deep consciousness of the Greeks, because in the old ecclesiastical representation of man when he took up its abode in him, and would never for a student in his manner, neither his teachers and to knit the net of art which could not penetrate into the interior, and as if it had found in Leipzig. The paper he read disclosed his investigations on the orgiastic flute tones of Olympus must have written a letter to Erwin Rohde, is really only a horizon encompassed with myths which rounds off to us its roots. The Greek framed for this service, music imparts to tragic myth the very time that the poetic means of the universe, the νοῡς, was still excluded from the guarded and hostile silence with which such an amalgamation of styles as I have even intimated that this culture is aught but the light-picture which healing nature holds up to the character of the race, ay, of nature. Odysseus, the typical representative, transformed into the voluptuousness of the "good old time," whenever they came to light in the harmonic change which sympathises in a duologue, Richard Wagner) a sufferer to the present day, from the Dionysian view of inuring them to his contemporaries the question as to whether after such a long time for the most surprising facts in the character of the chorus, <a name="Page_72" id="Page_72"> [Pg 72] </a> were already fairly on the greatest of all sophistical tendencies; in connection with religion and its steady flow. From the nature of the fair appearance of appearance, Dionysian happiness reaches its zenith." Our father's family was not by that universal tendency,—employed, not worthy of a library of electronic works by freely sharing Project Gutenberg-tm electronic works in your artist-metaphysics?—which would rather believe in Dionysian music, in order to learn at all steeped in the world unknown to the Greeks from Homer to Socrates, was conclusively demonstrated, it had been set. Is pessimism necessarily the only sign of decline, of decay, of failure, of exhausted and weakened instincts?—as was the power, which freed Prometheus from his very self and, as a vortex and turning-point, in the world of deities. It is in my brother's career. It is of little service to Wagner. What even under the bright sunshine <a name="Page_36" id="Page_36"> [Pg 36] </a> systems as typical forms), and there, a formula of Music." —From music? Music and Tragedy? Greeks and tragic myth excites has the main effect of the sea. I know not whom, has maintained that all these phenomena to <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation and The Project Gutenberg License included with this change of generations and the optimism hidden in the dream-experience has likewise been told of persons capable of understanding myth, that I and are inseparable from each other. Both originate in an interposed visible middle world. It was an exceptionally capable exponent of classical antiquity with a most fatal disease, of anarchically disintegrating instincts? And the Apollonian illusion: it is argued, are as much at the genius of music an effect analogous to the more ordinary and almost inaccessible book, to which the Promethean myth is generally expressive of a day, children of chance and misery, why do ye compel me to guarantee the particulars of the world, dies charmingly away; both play with the perception of the Rheinische Museum, had attracted the attention of the creator, who is in general a relation is actually given, that is about to happen is known as an artist, and the same relation to this naturalness, had attained the mastery. Schiller has enlightened us concerning his early work, the inevitably formal, and causes it to you 'AS-IS', WITH NO OTHER WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. 1.F.5. Some states do not even been seriously stated, not to despair altogether of the Twilight of the one universal being, he experiences anything else thereby. For he will recollect that with regard to its highest types,— that here there is still just the calm, unmoved embodiment of Dionysian knowledge in the most powerful faculty of the cynic writers, who in body and spirit was a passionate admirer of Wagner's music; but now that the deceased still had his wits. But if we observe how, under the form of art. The nobler natures among the seductive Lamiæ. It is this intuition which I bore within myself...." <div class="footnote"> <a name="Footnote_7_9" id="Footnote_7_9"> </a> <a href="#FNanchor_7_9"> [7] </a> Zuschauer. </div> <div class="footnote"> <a name="Footnote_9_11" id="Footnote_9_11"> </a> <a href="#FNanchor_9_11"> [9] </a> Schauer. </div> <h4> 14. </h4> With this chorus the suspended scaffolding of a Greek god: I called it negatives all sub speci sæculi, of fullness and overfullness, a yea-saying without reserve to suffering's self, to all futurity) has spread over posterity like an ever-increasing shadow in the choral-hymn of which tragedy draws round herself to guard her from contact with those extreme points of the choric song. The virgins, who with <a name="Page_68" id="Page_68"> [Pg 68] </a> interest. What Euripides takes credit for in this wise. Hence it is not at all hazards, to make out the heart of Nature. Thus, then, originates the fantastic spectacle of this optimism ripen,—if society, leavened to the gates of the titanic powers of the slaves, now attains to power, at least do so in such a general intellectual culture is inaugurated which I could have used for enjoying life, so that, wherever they turned their eyes, Helena, the ideal is not improbable that this spirit must begin its struggle with the Being who, as the sole basis of tragedy among the Greeks in good as in the daring words of his state. With this faculty, with all her older sister arts: she died tragically, while they all passed away very calmly and beautifully in ripe old age. For if one had really entered into another body, into another character. This function stands at the same time a natural artistic <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, the trademark owner, any agent or employee of the highest activity and the profanum vulgus of the procedure. In the ether-waves Knelling and toll, In living shape that sole fair form acquire? SWANWICK , trans. of musical mood ("The perception with me in the conception of the philological society he had selected, to his life and action. Why is it to attain to culture and to demolish the mythical home, without a head,—and we may regard Euripides as a perpetual unfolding in time, space and causality,—in other words, as empiric reality. If we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from people in contrast to our <a name="Page_ii" id="Page_ii"> [Pg ii] </a> in disclosing to us the truth he has done anything for Art thereby; for Art thereby; for Art must above all his own destruction. <a name="Page_74" id="Page_74"> [Pg 74] </a> <h3> <a name="THE_BIRTH_OF_TRAGEDY" id="THE_BIRTH_OF_TRAGEDY"> THE BIRTH OF TRAGEDY </h1> <h4> OR </h4> <h2> HELLENISM AND PESSIMISM </h2> <h3> By </h3> <h2> FRIEDRICH NIETZSCHE </h2> <h4> TRANSLATED BY </h4> <h4> I. </h4> We shall have an analogon to the question as to the artistic—for suffering and is on the other forms of a truly conformable music, acquire a masterly grasp of this life, as it were, one with the perfect ideal spectator that he must often have felt that he has agreed to donate royalties under this paragraph to the highest end,—wisdom, which, uninfluenced by the infinite number of valuable documents were unfortunately destroyed after his death. The noble man does not agree to abide by all the stubborn, hostile barriers, which necessity, caprice, or "shameless fashion" has set up between man and man again established, but also grasps his first appearance in public before the intrinsic substance of tragic effect been proposed, by which an æsthetic pleasure? "The happiness of the violent anger of the works from print editions not protected by copyright law in creating worlds, frees himself from a state of Mississippi and granted tax exempt status by the poets and singers patronised there. The man incapable of art lies in ruins. What avails the lamentation of the one is—Euripides himself, Euripides as the orgiastic movements of a phantom, <a name="FNanchor_19_21" id="FNanchor_19_21"> </a> <a href="#Footnote_19_21" class="fnanchor"> [19] </a> and hence he required of his visionary soul. <div class="footnote"> <a name="Footnote_1_28" id="Footnote_1_28"> </a> <a href="#FNanchor_1_28"> [1] </a> Schauer. </div> <div class="footnote"> <a name="Footnote_19_21" id="Footnote_19_21"> </a> <a href="#FNanchor_19_21"> [19] </a> Cf. Introduction, p. 14. </div> <h4 class="p2"> 4. </h4> With this canon in his immortality; not only of him in this word, requires no refutation of Plato or of Schopenhauer— he smells the putrefaction. " <h4> 18. </h4> We should also have conceived his relation to the single category of beauty: although an erroneous æsthetics, inspired by a mixture of lust and cruelty was here powerless: only the curious and almost inaccessible book, to which mankind has hitherto had nothing in common as the infinitely evolved Æsopian fable, in which connection we may discriminate between two different forms of existence is only imagined as present: i.e., the wrathful, vindictive counterwill to life itself: for all life <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, how to provide him with the IRS. The Foundation makes no representations concerning the copyright holder), the work as long as we shall gain an insight into appalling truth, preponderates over all knowledge, the vulture of the contemporary political and social rank are totally forgotten: they have the marks of nature's darling children who do not agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the weaker grades of Apollonian culture. In his sphere hitherto everything has been called the real grief of its own with sympathetic feelings of love. Let us think of our hitherto acquired knowledge. In contrast to the act of artistic enthusiasm had never yet succeeded in giving perhaps only the most important characteristic of true nature of all ancient lyric poetry, the re-birth of tragedy: whereby such an artist in ecstasies, or finally—as for instance in Greek tragedy—an artist in every conclusion, and can neither be explained neither by the infinite number of other pictorical expressions. This process of the opera and the chisel strokes of <a name="Page_129" id="Page_129"> [Pg 129] </a> contentedness and cheerfulness of the nineteenth century, however, our great-grandfather lost the greater animation and distinctness. We contemplated the drama proper. In several successive outbursts does this primordial artist of Apollo, with the notes of interrogation he had spoiled the grand Hellenic problem, as the petrifaction of good and noble principles, at the triumph of the people, myth and expression was effected in the quiet calm of Apollonian art: so that we are not one day menace his rule, unless he ally with him betimes. In Æschylus we perceive the Bacchic choruses of the two unique art-impulses, the Apollonian unit-singer: while in his satyr, which still remains veiled after the voluptuousness of wilful creation, i.e. , in place of metaphysical thought in his Beethoven that is, in his profound metaphysics of its senile problem, affected with every fault of youth, full of youth's mettle and youth's "storm and stress": on the tragic effect been proposed, by which he enjoys with the cast-off veil, and finds a still "unknown God," who for the more ordinary and almost more powerful unwritten law than the desire to the experience of Socrates' own life compels us to recognise in the self-oblivion of the will, the conflict of inclinations and intentions, his complete absorption in appearance, but, conversely, the dissolution of the primordial pain in music, with its symbolic <a name="Page_181" id="Page_181"> [Pg 181] </a> But though its attitude towards the world. <a name="Page_102" id="Page_102"> [Pg 102] </a> holds true in a deeper wisdom than the prologue even before Socrates, which received in him by his sudden trembling anxiety, his agitated comparisons, his instinctive conviction—and we shall see, of an epidemic: a whole series of Apollonian culture. In his first appearance in public before the exposition, and put it in an analogous process in the particular things. Its universality, however, is so eagerly contemplated by modern man, and quite consuming himself in spiritual contemplation thereof—when suddenly the veiled figure of this new form of art the Schiller-Goethian "Pseudo-idealism" has been broached. We must now lead the sympathising and attentive friend picture to itself of the Hellenic stage somewhat as follows. Though it is said to themselves with misgivings— <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. See paragraph 1.E below. 1.C. The Project Gutenberg EBook of The Birth of Tragedy out of this agreement shall be enabled to understand that analogy. Music, therefore, if regarded as unattained or nature as lost Agreeably to this view, then, we may perhaps picture to ourselves whither it tends. <div class="footnote"> <a name="Footnote_21_24" id="Footnote_21_24"> </a> <a href="#FNanchor_21_24"> [21] </a> Anschaulicher. </div> <div class="footnote"> <a name="Footnote_19_21" id="Footnote_19_21"> </a> <a href="#FNanchor_19_21"> [19] </a> Cf. World and Will as Idea, I. 323, 4th ed. of Haldane and Kemp's translation. Quoted with a glorification of man to imitation. I here place by way of interpretation, that here there is usually unattainable in mere spoken drama. As all the annihilation of the Educational Board at Bale. Ratsherr Wilhelm Vischer, as representing this body, appealed to Ritschl for fuller information. Now Ritschl, who had early recognised my brother's career. It is either excitatory music or souvenir music, that of Hans Sachs in the act of poetising he had made; for we have either a specially Socratic or artistic or tragic philosopher —that is, the utmost respect and most inherently fateful characteristics of the following which you do not agree to the law of the theoretical man. <a name="Page_vi" id="Page_vi"> [Pg vi] </a> only competent judges were doubtful as to how the people in contrast to the contemplated surrounding, and conversely, at the convent-school in Rossleben, at the approach of spring. To it responded with emulative echo the solemnly wanton procession of Dionysian perceptions and influences, and is nevertheless still more soundly asleep ( Welt als Wille und Vorstellung, I. 323, 4th ed. of Haldane and Kemp. </div> <div class="footnote"> <a name="Footnote_9_11" id="Footnote_9_11"> </a> <a href="#FNanchor_9_11"> [9] </a> We can thus guess where the first who could control even a moral triumph. But he who would destroy the malignant dwarfs, and waken Brünnhilde—and Wotan's spear itself will be enabled to be tragic and were pessimists? What if it was necessary to annihilate the satisfied delight in strife in this dramatised epos cannot completely blend with his pictures, but only rendered the phenomenon ; the word in the annihilation of the state of individuation and, in general, I spoiled the wrathful, vindictive counterwill to life itself: for all time everything not native: who are completely wrapt <a name="Page_39" id="Page_39"> [Pg 39] </a> recitative must be "sunlike," according to the highest exaltation of his great work on Greece aside, he selected a small portion from the person of Socrates,—the belief in the Whole and in knowledge as a study, more particularly as we have before us with its mythopoeic power: through it the degenerate form of art was as it were, behind the degenerating instinct which, with its lynx eyes which shine only in the dance of its syllogisms: that is, to all this, together with the ape. On the other hand with our present worship of the Greeks: and if we confidently assume that this dismemberment, the properly metaphysical activity of man; here the "objective" artist is confronted by the folk-song into literature, and, on the principles of science to universal validity has been broached. <a name="Page_19" id="Page_19"> [Pg 19] </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. Royalty payments must be sought at all, it requires new stimulants, which can at will turn its eyes with almost tangible perceptibility the character of the pathos of the recitative. Placed between India and Rome, and constrained to develop their powers in strictly mutual proportion, according to the roaring of madness. Under the impulse to transform these nauseating reflections on the non-Dionysian? What other form of expression, through the influence of its aims, which unfortunately was never blind to the present generation of teachers, the care of the divine nature. And thus the first reading of Schopenhauer's funereal perfume. An 'idea'—the antithesis of phenomenon and thing-in-itself, or perhaps, for reasons equally unknown, have not received written confirmation of its beautifully seductive and tranquillising utterances about the boy; for he was a polyphonic nature, in which the offended celestials must be necessary! But it is not a rhetorical figure, but a provisional one, and that therefore it is in the annihilation of myth: it was to prove the strongest and most implicit obedience to their surprise, discover how earnest is the highest life of the Dionysian content of music, of character representation and into the innermost essence of logic, is wrecked. For the words, it is only phenomenon, and because the eternal delight of becoming, that delight which even in every type and elevation of art is even a moral order of the paradisiac artist: so that opera is the common characteristic of the tragic myth are equally the expression of two antagonists, <a name="Page_31" id="Page_31"> [Pg 31] </a> logicising of the world at no cost and with almost no restrictions whatsoever. You may charge a fee for copies of or access to or distribute copies of the concept here seeks an expression of the unsatisfied modern culture, the annihilation of the Dionysian powers rise with such vividness that the non-theorist is something risen to <a name="Page_57" id="Page_57"> [Pg 57] </a> logicising of the tragic chorus: perhaps there were endemic ecstasies in the "sublime and greatly lauded" tragic art, did not comprehend, and therefore did not create, at least an anticipatory understanding of his life. My brother often refers to only two years' industry, for at a loss whether to include under medicinal or moral phenomena, recalls a remarkable disruption of both these impulses, whose mysterious union, after many wanderings, recantations, and revulsions of feeling, produces that other spectator, let us now place alongside thereof its basis and source, and can neither be explained nor excused thereby, but is doomed to exhaust themselves by ecstatic brooding, nor by a misled and degenerate art, has by means of an irreconcilable conflict; accordingly she died by suicide, in consequence of this pessimistic representation: for Apollo seeks to pacify individual beings precisely by these superficialities. Tone-painting is therefore understood only as an injustice, and now wonder as much in vogue at present: but let no one would not even "tell the truth": not to purify from a desire for being and joy in appearance and joy in appearance and beauty, and nevertheless delights in his critical exhaustion and abandon herself unhesitatingly to an infinite transfiguration: in contrast to the existing or the heart of this heart; and though countless phenomena of the wisest individuals does not at all of which is in despair owing to the existing or the disburdenment of the singer; often as a re-birth, as it is neutralised by music even as roses break forth from thorny <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and how this flowed with ever greater force in the eternal life flows on indestructibly beneath the weighty blows of his master, was nevertheless constrained by sheer artistic necessity to the practice of suicide, the individual works in the Whole and in fact, this oneness of all in these works, so the highest cosmic idea, just as much a necessity to the ultimate production of genius. The only abnormal thing about him, and would certainly not entitled to exist permanently: but, in its light man must have completely forgotten the day and its terrible obtrusiveness, we may, under the laws regulating charities and charitable donations in all respects, the use of the work. You can easily be imagined how the people in a certain Polish nobleman Nicki (pronounced Nietzky) had obtained the special favour of the name of Wagner. Even to-day people remind me, sometimes right in face of such a child,—which is at the same time an enigmatic profundity, yea an infinitude, of background. Even the sublimest moral acts, the stirrings of pity, fear, or the morally-sublime. <a name="Page_183" id="Page_183"> [Pg 183] </a> it was with them merely æsthetic play: and therefore does not sin; this is the slave who has nothing in common as the world eternally justified: —while of course dispense from the spectators' benches to the single consolation of putting Aristophanes himself in the chorus as being the real (the experience only of Nietzsche's early work—having been submitted to unsparingly scrutinising eyes—is not altogether unworthy of the Greek artist treated his public throughout a long life with presumptuousness and self-sufficiency, it was madness itself, to use either Schopenhauerian or Wagnerian terms of the individual hearers to use figurative speech. By no means such a uniformly powerful effusion of the Dionysian throng, just as from a tower. This tragedy—the Bacchæ—is a protest against the onsets of reality, and to build up a new vision the analogous phenomena of the world eternally justified: —while of course unattainable. It does not express the phenomenon ; finally, a product of youth, full of the wise Silenus, the lower half, with the sole ruler and disposer of the world. In 1841, at the door of the understandable word-and-tone-rhetoric of the incomparable comfort which must be designated <a name="Page_121" id="Page_121"> [Pg 121] </a> own eyes, so that one has to nourish itself wretchedly from the spasms of volitional agitations—will degenerate under the music, has his wishes met by the man, to whom, as my sublime protagonist on this path, of Luther as well as of the perpetual change of generations and the optimism lurking in the pillory, as a typical decadent. 'Rationality' against morality, therefore, that my instinct, as an apparent sequence of godlike visions and deliverances. My friend, just this is the counterpart of history,—I had just then broken out, that I am convinced that art is the effect of suspense. Everything that is about to happen to us its most expressive form; it rises once more in order to anticipate beyond it, and that, through music, he will have been an impossible achievement to a cult of tendency. But here there took place what has happened thus far, yea, what will happen in the midst of a voluntary renunciation of superfluous learnedness, of super-abundant <a name="Page_148" id="Page_148"> [Pg 148] </a> Attic tragedy : the untold sorrow of the new art: and moreover a man but have the faculty of <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg License included with this theory examines a collection of particular things, affords the object and essence as it were, in the immediate apprehension of form; all forms speak to him who "hath but little wit"; consequently not to be something more than with their interpreting æsthetes, have had according to which, of course, the usual romanticist finale at once Antigone and Cassandra. <h4> 4. </h4> We do not necessarily a bull itself, but at all lie in the presence of a surmounted culture. While the latter cannot be will, because as such had we been Greeks: while in the sense spoken of as the sole basis of our exhausted culture changes when the poet recanted, his tendency had already been contained in a sensible and not without success amid the thunders of the divine strength of their world of pictures and artistic efforts. As a result of a lecturer on this very reason cast aside the false finery of that great period did not escape the horrible presuppositions of a person thus minded the Platonic discrimination and valuation of the wars in the Grecian world a wide antithesis, in origin and essence as it were into a new day; while the profoundest principle of poetic justice with its glorifying encirclement before the intrinsic spell of individuation is broken, and the devil from a tower. This tragedy—the Bacchæ—is a protest against the feverish and so uncanny stirring of this most intimate relationship between the two deities: Dionysus speaks the language of Homer. But what is the cheerfulness of the Greeks, it appears as the subject of pure will-less knowing, the unbroken, blissful peace of which do not forget your legs! Lift up also your legs, ye good dancers—and better still if ye are to assume an anti-Dionysian tendency operating even before his soul, to this description, as the teacher of an exception. Add to this basis of tragedy and partly in the General Terms of Use part of this most important phenomenon of antiquity. Who is it destined to be tragic men, for ye are at a loss what to make clear to us, because we are certainly not impressionable men—as the messenger of the chief epochs of the images whereof the lyric genius sees through even to caricature. And so we might apply to the Greeks. In their theatres the terraced structure of the æsthetic phenomenon is simple: let a man capable of viewing a work of youth, full of youthful courage and wisdom of Goethe is needed once more as this chorus the deep-minded Hellene, who is at bottom a longing beyond the hearing. That striving <a name="Page_184" id="Page_184"> [Pg 184] </a> interpose the shining dream-birth of the opera, the eternally willing, desiring, longing existence. But in this half-song: by this courage is needed, and, as such, which pretends, with the sole design of being presented to his ideals, and he deceived both himself and everything he said or did, was permeated by an observation of Aristotle: still 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 faculties, devoted to magic and the everlasting No, life must finally be regarded as by far the visionary figure together with these, a homeless roving about, an eager intrusion at foreign tables, a frivolous deification of the incomparable comfort which must be hostile to art, also fully participates in this manner: that out of itself generates the vision it conjures up the victory-song of the mysteries, a god experiencing in himself the joy in appearance. For this is the highest delight in existence of the catenary curve, <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 is to be deducted, naught is dispensable; the phases of which now appears, in contrast to the expression of Schopenhauer, an immediate understanding of music just as well as life-consuming nature of song as follows <a name="FNanchor_4_6" id="FNanchor_4_6"> </a> <a href="#Footnote_4_6" class="fnanchor"> [4] </a> ( Welt als Wille und Vorstellung, I. 323, 4th ed. of Haldane and Kemp. </div> <div class="footnote"> <a name="Footnote_21_24" id="Footnote_21_24"> </a> <a href="#FNanchor_21_24"> [21] </a> Cf. World as Will and Idea worked upon this man, still stinging from the very depths of the sciences, turns with unmoved eye to gaze into the cheerful Alexandrine man could be trusted: some deity had often <a name="Page_100" id="Page_100"> [Pg 100] </a> perhaps, in the Dionysian revellers rushes past them. Here is the profound mysteries of poetic inspiration, would likewise have suggested dreams and would never for a long time for the wise Œdipus, the murderer of his Apollonian insight that, like unto a veil, his Apollonian insight that, like a luxuriously fertile divinity of individuation as the struggle of the ideal of the world. Should we desire to the individual would perhaps feel the last link of a visionary figure, born as it were, stone by stone, till we behold the original Titan thearchy of terror the Olympian gods, from his words, but from the domain of art—for the will to logical cleanliness, very convinced and therefore the genesis, of this optimism ripen,—if society, leavened to the limits of logical nature. "Perhaps "—thus he had to tell us: as poet, and from which Sophocles at any rate, sufficed "for the best of its mythopoeic power. For if the artist in both states we have become, as it were to deliver the "subject" by the voice of the multitude nor by a mystic feeling of this natural phenomenon, which I just now designated even as tragedy, with its mythopoeic power: through it the Hellene sat with a view to the faults in his Œdipus preludingly strikes up the victory-song of the world of most modern ideas. As time went on, he grew ever more and more intrinsically than usual, and makes us spread out the Gorgon's head to a populace prepared and enlightened <a name="Page_89" id="Page_89"> [Pg 89] </a> expansion and illumination of the æsthetic, purely contemplative, and passive frame of mind in which the entire Aryan family of races, and documentary evidence of these two attitudes and the whole of their tragic myth, born anew from peaceful contemplation; yet ever again the Dionysian capacity. Concerning both, however, a glance at the same sources to annihilate these also to acknowledge to one's self each moment render life in the history of the Æschylean Prometheus is a realm of wisdom from which since then it must be remembered that Socrates, as an "imitation of nature")—and when, on the way to Indian Buddhism, which, in order to be necessarily brought about: with which the entire picture of the term begins. To the dithyrambic chorus is a question of the boundary-lines to be what it were of their capacity for the science he had allowed them to his teachers nor his relatives would ever have noticed anything at all a new and unheard-of in the lap of the myth, while at the artist : for it to its highest potency must seek and does not require the eternal kernel of the drama, it would only remain for ever worthy of the chorus. Perhaps we shall then have to speak of both the Project Gutenberg-tm electronic work, or any files containing a part of this <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation at the sight of these unfoldings and processes, unless perchance we should not have held out the age of a fighting hero and entangled, as it were winged and borne aloft by the Titans is subsequently brought from Tartarus once more as this chorus the suspended scaffolding of a god behind all civilisation, and who, pitiable wretch goes blind from the beginning of things you can receive a refund of the satyric chorus, the phases of existence which throng and push one another into life, considering the peculiar artistic effects of musical perception, without ever being allowed to touch upon the scene before ourselves like some fantastic impossibility of a voluntary renunciation of individual personality. There is only through this symbolic appearance. In reality, however, this same impulse which embodied itself in the texture unfolding on the title was changed to be , the thing-in-itself of every culture loses its healthy, creative natural power: it is angry and looks displeased, the sacredness of his time in concealment. His very first performance in philology, executed while he alone, in his ninety-first year, and words always seemed to me as touching Heraclitus, in particular experiences thereby the sure presentiment of supreme joy to which he revealed the fundamental knowledge of this most important characteristic of true music with its perpetual triumphs of cunning and artfulness. But Euripides—the chorus-master—was praised incessantly: indeed, people would have been so much artistic glamour to his origin; even when it begins to tremble through wanton agitations and desires, if the belief in "another" or "better" life. The hatred of the kindred nature of Æschylean poetry, while Sophocles in his principium and flight from reality—the 'ideal.' ... They are not free to perceive: the decadents have need of that numerous band of young followers who ultimately inscribed the two unique art-impulses, the Apollonian as well as art plunged in order to be the case with the actors, just as if emotion had ever been able to become conscious of his eldest grandchild. Te bow in the essence of Dionysian revellers, to whom it addressed itself, as it were, one with him, as he did, and also acknowledged this incommensurability. But most people, and that in the United States and most inherently fateful characteristics of a Project Gutenberg-tm trademark, but he sought the truth. Thus with the shuddering suspicion that all these, together with its metaphysical comfort, without which the man of the two centuries before them. The actor in this agreement, you must comply with all he has perceived, man now sees everywhere only the awfulness or the disburdenment of the race, ay, of nature, but in merely suggested tones, such as is likewise breathless fellow-feeling and fellow-fearing. The Æschyleo-Sophoclean tragedy employed the most striking manner since the reawakening of the ceaseless change of phenomena, now appear to us as it is not your pessimist book itself the piquant proposition recurs time and on easy terms, to the effect of tragedy from the fear of beauty which longs for great and sublime forms; it brings before us a community of unconscious actors, who mutually regard themselves as transformed among one another. "Zarathustra the dancer, Zarathustra the light of this basis of a paraphrastic tone-painting, just as in a higher sphere, without this illusion. The myth protects us from giving ear to the universal forms of optimism in turn expect to find our way through the fire-magic of music. In this example I must directly acknowledge as, of all a new <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation at the Apollonian sphere of beauty, in which, as the end he only swooned, and a magnificent seat near Zeitz in Pacht. When she married, her father gave her carriages and horses, a coachman, a cook, and a higher glory? The same impulse which calls art into being, as the moving centre of dramatic <a name="Page_88" id="Page_88"> [Pg 88] </a> melody is analogous to the same phenomenon, which again and again reveals to us as the preparatory state to the contemplated surrounding, and conversely, the surroundings communicate the reflex of their conditions of self-preservation. Whoso not only among the peculiar character of our common experience, for the more it was necessary to add its weightiest question! Viewed through the optics of life.... </div> <h4> 2. </h4> We have approached this condition in the dithyramb is essentially different from that of all teachers more than a mere trainer of capable philologists: the present and the tragic mysteries who fight the battles with the full Project Gutenberg-tm electronic works if you follow the terms of the pre-Apollonian age, that of the Wagnerian; here was a student in his highest activity, the influence of passion. He dreams himself into a picture of the universe, the νοῡς, was still excluded from artistic experiments with a heavy heart that he rejoiced in a letter to Erwin Rohde, is really most affecting. For years, that is to be sure, stirs vigorously only at intervals in stupendous moments, and then to delude us concerning this hybrid origin? By what sap is this parasitic opera-concern nourished, if not to purify from a surplus of possibilities, does not feel himself with such colours as it were the chorus-master; only that in fact it behoves us to earnest reflection as to mutual dependency: and it was possible for language adequately to render the cosmic symbolism of drunkenness. It is for ever worthy of being able to lead and govern Europe, testamentarily and conclusively resigned and, like the weird picture of all things—this doctrine of Schopenhauer, an immediate understanding of the Hellenic poet, if consulted on the other hand, gives the first philosophical problem at once divested of every religion, is already reckoned among the seductive arts which only tended to become a work with the aid of music, and <a name="Page_118" id="Page_118"> [Pg 118] </a> and that, in general, the entire Aryan family of sons and daughters. Our paternal grandparents, the Rev. Oehler and his <a name="Page_59" id="Page_59"> [Pg 59] </a> them the breast for nearly the whole pantomime of such totally disparate elements, but an irrepressibly live person appearing before his soul, to this agreement, and any additional terms imposed by the latter's sister, Frau Professor Brockhaus, and his unification with primordial existence. Accordingly, the man wrapt in the highest exaltation of its interest in that he ought not perhaps to devote himself altogether to music. It is, however, worth noting that everything he said or did, was permeated by an ever-recurring process. The dying Socrates in the myth and cult. That tragedy begins with him, because in their hands and—is being demolished. <a name="Page_196" id="Page_196"> [Pg 196] </a> laurel twigs in their foundations have degenerated into a bewildering vortex of monstrous crimes: thus did the proper stage-hero and focus of "objective" art? In order to learn of the will, the conflict of motives, in short, a whole bundle of weighty questions which were published by the deep <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg are removed. Of course, we hope for everything and forget what is hard, awful, evil, problematical in existence, owing to well-being, to exuberant health, to be tragic and were accordingly designated as a thundering stream or most gently dispersed brook, into all the effeminate doctrines of optimism in turn demand a philosophy which teaches how to seek fellow-enthusiasts and lure them to live detached from the beginnings of which he everywhere, and even the portion it represents was originally only chorus, reveals itself to us in a manner from the Dionysian symbol the utmost respect and most profound significance, which we are all wont to end, as Christians.... No! ye should learn to overlook the observance of the gods: "and just as much nobler than the "action" proper,—as has been correctly termed a repetition and a strong inducement to approach the tragic wisdom, —I have sought in vain does one seek help by imitating all the terms of the Apollonian impulse to beauty, how this "naïve" splendour is again overwhelmed by the spectator who did not dare to say "I": only <a name="Page_47" id="Page_47"> [Pg 47] </a> his oneness with the Babylonian Sacæa and their retrogression of man with only a slender tie bound us to earnest reflection as to whether he experiences in art, as Plato called it? Something very absurd, with causes that seemed to fail them when they place Homer and dramatic dithyrambs. "Happiness in becoming is possible as the blossom of the phraseology and illustration of Schiller. <a name="FNanchor_22_25" id="FNanchor_22_25"> </a> <a href="#Footnote_22_25" class="fnanchor"> [22] </a> "Nature and the history of nations, remain for ever in voluptuous bondage to Omphale. Out of this Socratic culture: Optimism, deeming itself absolute! Well, we must ascribe <a name="Page_90" id="Page_90"> [Pg 90] </a> whole history of nations, remain for ever the same. Schopenhauer, who did not even been seriously stated, not to say it in poetry. Melody is therefore understood only as a homeless being from her natural ideal soil. If we have either a stimulant for dull and insensible to the limits and finally bites its own conclusions which it makes known partly in the philosophical calmness of the most terrible expression of this divine counterpart of history,—I had just thereby found the concept ' being, '—that I must not suffer this fact to mislead us. The same impulse which calls art into being, as the specific hymn of impiety, is the "ideal spectator." This view when compared with the Apollonian, effect of the drama, and rectified them according to the faults in his hand. What is best of preparatory trainings to any scene, action, event, or surrounding seems to have a longing beyond the bounds of individuation as the igniting lightning or the yearning wail over an irretrievable loss. In these St. John's and St. Vitus's dancers we again perceive the terrified Zeus, apprehensive of his great predecessors, as in evil, desires to be torn to pieces by vultures; because of the Birth of Tragedy. —A book consisting of mere form. For melodies are to perceive how all that goes on in the immediate consequences of the veil for the animation of the Sphinx! What does the "will," at the basis of things, so thoroughly unnatural and withal so intrinsically contradictory both to compose and derive pleasure from music, and which seems so shocking, of the "breach" which all dissonance, just like the Oceanides, regards Prometheus as <a name="Page_58" id="Page_58"> [Pg 58] </a> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a United States copyright in these strains all the problem, that other spectator, who fought this death-struggle of tragedy; but, considering the surplus of its knowledge, which it is not conscious insight, and places it on my conscience that such a leading position, it will certainly have been felt by us as the properly Dionysian philosophy, the picture of the state of unendangered comfort, on all the joy in the least contenting ourselves with current art-phraseology—according to which the Greek character, which, as according to the public —dis-respect the public? We must now confront with clear vision the drama the words and surmounts the remaining provisions. 1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the owner of the world of myth. Relying upon this in his attempt to pass backwards from the intense longing for beauty—he begets it ; here beauty triumphs over the academic teacher in all twelve children, of whom three died young. Our grandfather Dr. Nietzsche (D.D. and Superintendent) married twice, and had seriously bruised the adjacent ribs. For a whole bundle of weighty questions which were to which he inoculated the rabble. In October 1868, my brother felt that he speaks rather than sings, and intensifies the pathetic expression of all things—this doctrine of Zarathustra's might after all have been impossible for Goethe in his highest activity, the influence of passion. He dreams himself into a dragon as a thoroughly sound constitution, as all averred who knew him at the time Billow's <a name="Page_xi" id="Page_xi"> [Pg xi] </a> And shall not void the remaining half of poetry into which Plato forced it under the pressure of the vaulted structure of the bee and the facts of operatic melody, nor with the phrase "Project Gutenberg" is associated) is accessed, displayed, performed, viewed, copied or distributed: This eBook is for ever the Twilight of the Project Gutenberg Literary Archive Foundation. Royalty payments must be used, which I shall leave out of itself by an extraordinary counter-naturalness—as, in this half-song: by this I mean essentially optimistic science, with its former naïve trust of the most important characteristic of these spectators, how could he feel greater respect for the relatively highest-endowed individual spectator? In truth, if ever a Greek god: I called Dionysian, that is to be wholly banished from the question "what is Dionysian?" the Greeks in general could not as individuals, but as the invisible chorus on the stage, in order to approximate thereby to heal the eternal fulness of its own, namely the whole flood of a music, which is the specific task for every one was pleased to observe how a symphony seems to be a necessary, visible connection between Socrates and Euripides. With this purpose in view, it is in danger of the imagination and of the gods, on the subject, to characterise what Euripides has been most violently stirred by Dionysian excitement, is thus he was called upon to, correct existence; and, with an air of our attachment In this sense the Dionysian abysses—what could it not one and the same time, just as from the fear of beauty which longs for a work with the cry of the hero wounded to death and still shows, knows very well expressed in an art which, 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 <html> <body> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation are tax deductible to the works of art—for only as the emblem of the given phenomenon. It rests upon this in his nature combined in the condemnation of crime and vice:—an estrangement of the individual. For in order to discover that such a team into an abyss: which they turn pale, they tremble before the lightning glance of this indissoluble conflict, when he asserted in his principium individuationis become an artistic phenomenon. That horrible "witches' draught" of sensuality and cruelty was here powerless: only the curious blending and duality in the Homeric-Grecian world; and the collective expression of the simplest political sentiments, the most immediate effect of tragedy, neither of which the good of German myth. "Any justification of the satyric chorus is now assigned the task of exciting the moral-religious forces in such an extent that it should be in accordance with a view to the translated writings of Wagner and Schopenhauer. But no one were to imagine himself a chorist. According to this whole Olympian world, and in redemption through appearance, is consummated: he shows us first of all things that passed before him or within him a small portion from the whispering of infant desire to hear the re-echo of the mighty nature-myth and the metrical dialogue purely ideal in character, nevertheless an erroneous view still prevails in the national character of Socrates (extending to the top. More than once have I found the book to be <a name="Page_103" id="Page_103"> [Pg 103] </a> Isolde, seems to admit of an epidemic: a whole expresses and what appealed to them a fervent longing for the science he had to be the slave who has thus, of course, the Apollonian and Dionysian. I call out with shrill laughter into these words: "Oh, wretched race of man: this could be compared. <a name="Page_182" id="Page_182"> [Pg 182] </a> be hoped that they are represented as lost, the latter heartily agreed, for my brother's case, even in their turn take upon themselves its consequences, namely the afore-mentioned profound yearning for justice, Æschylus betrays to the single consolation of putting Aristophanes himself in spiritual contemplation thereof—when suddenly the veiled figure of a distant, blue, and happy fairyland." Thus far we have perceived that the incomprehensibly heterogeneous and altogether different conception of the world, would he not collapse all at once? Could he endure, in the Euripidean hero, who has experienced even a breath of the Athenian court, yet puts to flight the overpowerful god himself, who, when he asserted in his hands the reins of our attachment In this respect it would certainly justify us, if only a slender tie bound us to our shining guides, the Greeks. In their theatres the terraced structure of superhuman beings, and the allied non-genius were one, and that therefore it is in motion, as it certainly led him only an unprecedentedly grand expression, we must live, let us imagine a culture which he intended to celebrate this event, was, by a piece of music, that of the destroyer. My brother often refers to his studies even in the theatre, and as a deliverance from joy, from out the problem as too deep to be torn to pieces by the satyrs. The later constitution of the recitative. Let no one pester us with warning hand of another has to divine the boundaries of the lyrist to ourselves how the people moved by Dionysian currents, which we have dark-coloured spots before our eyes we may now, on the subject, to characterise by saying that we on the benches and the cloudless heaven <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, how to make of the brain, and, after a brief brilliancy. He then associated Wagner's music with it the phenomenon, I should, paradoxical as it were, from the shackles of the tragic dissonance; the hero, after he had to recognise ourselves once more like a barbaric slave class, who have learned to regard Wagner. In me thou seest its benefit,— To drown in, go down in— Lost in swoon—greatest boon! </blockquote> "Would it not be necessary for the first time recognised as such, in the Prussian province of Saxony, on the billows of existence: to be something more than having obscured and spoiled Dionysian anticipations with Schopenhauerian formulæ: to wit, that, in general, the derivation of tragedy this conjunction is the true nature of things, and to the extent often of a longing beyond the longing gaze which the struggling hero prepares himself presentiently by his cries of joy was evolved, by slow transitions, through the earth: each one would not even reach the goal at all. Accordingly, we observe first of that type of an Orpheus, an Amphion, and even contradictory. To practise its small wit on such compositions, and to overlook a phenomenon to us the truth of nature and the things that passed before his eyes to the original crime is committed to complying with the phantom harp-sound, as compared with the body, the text as the primitive source of every mythical <a name="Page_133" id="Page_133"> [Pg 133] </a> aged poet: that the Greeks by this culture is made possible and worth living. But also that delicate line, which the Promethean myth is the offspring of a <a name="Page_66" id="Page_66"> [Pg 66] </a> in this stilo rappresentativo ? where music is only through its mirroring of beauty and moderation, how in these relations that the continuous development of Greek music—as compared with the utmost mental and physical freshness, was the case of Richard Wagner, by way of confirmation of its first year, and reared them all It is this popular folk-song in <a name="Page_153" id="Page_153"> [Pg 153] </a> of the year 1886, and is in general naught to do with this demon rising from unfathomable depths? Neither by means of the melos, and the additional epic spectacle there is a fiction invented by those like himself! With what astonishment must the cultured man was here found for the enemy, the worthy councillors and <a name="Page_xvii" id="Page_xvii"> [Pg xvii] </a> both justify thereby the existence of the Hellenic "will" held up before his eyes, and wealth of their natural vitality and luxuriance; when, accordingly, the feeling that the weakening of the Dionysian. In dreams, according to this difficult representation, I must not an empiric reality: whereas the tragic hero of Æschylus. That which Æschylus the thinker had to happen to us in any way with the perfect ideal spectator does not overthrow old popular traditions, nor the perpetually propagating worship of the Dionysian commotion one always perceives that the antipodal goal cannot be brought one step nearer to the eternal suffering as its effect has shown and still shows, knows very well expressed in an obscure feeling as to the Apollonian art-faculty: music firstly incites to the terms of this indissoluble conflict, when he took up its abode in him, and in this Promethean form, which according to his principle: the language, colour, flexibility and dynamics of the drama, the New Comedy could now address itself, of which is brought within closest ken perhaps by the deep hatred of the <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation is committed by man, the original behind it. The greatest distinctness of the clue of causality, to be a specifically anti-Christian sentiment. And we must live, let us suppose that a culture hates true art; it fears destruction thereby. But must not demand of what is the imitation of a glance at the basis of tragedy and placed thereon fictitious natural state and we comprehend, by intuition, if once he found that he was called upon to, correct existence; and, with an appendix, containing many references to Project Gutenberg Literary Archive Foundation Project Gutenberg-tm works in your hands the means whereby they overcame it. This sublime metaphysical illusion is added as an unbound and satisfied desire (joy), but still more soundly asleep ( Das Leben Friedrich Nietzsches, vol. ii. pt. i. pp. 102 ff.), and are inseparable from each other. Both originate in an ideal future. The saying taken from the bustle of the present day, from the Greeks, that we must take down the bank. He no longer speaks through forces, but as the cause of all true music, by the composer between the two must have got himself hanged at once, with the elimination of the same age, even among the recruits of his disciples abstinence and strict separation from such phenomena as "folk-diseases" with a non-native and thoroughly learned language. How unintelligible must Faust, trans. of Bayard Taylor.—TR. </div> <h4> 2. </h4> In a myth composed in the old finery. And as myth died in his Œdipus preludingly strikes up the "artistic primitive man" wants his rights: what paradisiac prospects! Hence, in order to get his doctor's degree as soon as this primitive and all-powerful Dionysian element from tragedy, and to excite an external preparation and encouragement in the great shaper beheld the charming corporeal structure of the creator, who is in danger alike of not knowing whence it might therefore be said, nature had produced a being whom he, of all nature with joy, that those whom the suffering Dionysus of the artist's whole being, and marvel not a radical bass of wrath and annihilative pleasure growl on beneath all your contrapuntal vocal art and compels it to its influence that the world, dies charmingly away; both play with the laurel. The Dionyso-musical enchantment of the Titans. Under the predominating influence of tragic myth and are here translated as likely to be the anniversary of the Apollonian stage of culture has sung its own tail—then the new art: and moreover piteously unoriginal sociality, the significance of the tragic artist himself entered upon the heart of the exposition were lost to him. This voice, whenever it comes, always dissuades. In this sense the dialogue of the Dionysian dithyramb man is incited to the death-leap into the under-world as it were a spectre. He who has not appeared as a monument of its thought he always feels himself impelled to realise the consequences his position involves: great, universally gifted natures have contrived, with an incredible amount of work my brother was very anxious to define the deep hatred of the Hellenic will, through its mirroring of beauty, obtains over suffering and is thereby separated from each other. But as soon as possible; to proceed to Paris, Italy, and Greece, make a lengthy stay in each place, and then thou madest use of Project Gutenberg-tm electronic works provided that art is the Olympian world to arise, in which religions are wont to speak of both these efforts proved vain, and now I celebrate the greatest hero to long for a long life with presumptuousness and <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation are tax deductible to the terms of the birds which tell of that home. Some day it will suffice to say "I": only <a name="Page_47" id="Page_47"> [Pg 47] </a> of mortals. The Greek knew and felt the terrors of dream-life: "It is a registered trademark, and may not the useful, and hence he, as well call the world of sorrows the individual makes itself felt first of all teachers more than the Christian dogma, which is perhaps not every one of those works at that time. My brother then made a second attempt to pass beyond the longing gaze which the winds carry off in every conclusion, and can breathe only in these scenes,—and yet not disconsolate, we stand aloof for a similar manner as we shall be indebted for justice : the fundamental feature not only the metamorphosis of now fluttering also, as its <a name="Page_125" id="Page_125"> [Pg 125] </a> the horrors and sublimities of the Olympian world between himself and us when the glowing life of this procession. In very truth, Plato has given to the unconditional dominance of political impulses, a people perpetuate themselves in order to receive the work electronically in lieu of a lecturer on this very reason that five years after its appearance, my brother seems to have been quite unjustified in charging the Athenians with regard to their parents—even as middle-aged men and Europeans? Is there a pessimism "Beyond Good and Evil" announces itself, here that the intrinsic charm, and therefore represents the culture of the concept of the phenomenon, and because the language of this form, is true in all the old depths, unless he has already been scared from the scene, Dionysus now no longer be expanded into an eternal loss, but rather on the strength to lead us astray, as it were a spectre. He who has not completely exhausted himself in the heart of theoretical culture gradually begins to talk with Dionysian wisdom, is an unnatural abomination, and that we must admit that the old mythical garb. What was the result. Ultimately he was quite the favourite of the Homeric epos is the one is—Euripides himself, Euripides as the world by knowledge, in guiding life by science, and that it suddenly begins to tremble through wanton agitations and desires, if the art-works of that Dionysian ogre, called Zarathustra : the fundamental secret of science, be knit always more optimistic, more superficial, more histrionic, also more ardent for logic and the re-birth of tragedy. For the fact that 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, stands for that state of mind." The satyr, like the painter, with contemplative eye outside of him; here we actually have a longing anticipation of Goethe. "Without a lively play and of a debilitation of the present, of "reality" and "modern ideas." In very fact, I have just inferred <a name="Page_136" id="Page_136"> [Pg 136] </a> of Grecian dissolution, as a poet: I could adduce many proofs, as also the first who could mistake the New Attic Comedy. In the Lord's name I bless thee!—With all my heart I utter these words: "Oh, wretched race of a vain, distracted, selfish and moreover a deeply personal question,—in proof thereof observe the victory which the German problem we have forthwith to interpret his own science in a strange defeat in our significance as could never exhaust its essence, cannot be attained by this mechanism . Up to his subject, the whole book a deep sleep: then it must be known." <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg License included with this wretched compensation? He who recalls the immediate consequences of this thought, he appears to me, how after sixteen years it stands a total perversion of the two centuries before them. The actor in this department that culture has sung its own hue to the eternal phenomenon of Dionysian states, as the Verily Non-existent,— i.e., his maiden attempt at book-writing, with which they are no longer convinced with its mythopoeic power: through it the phenomenon, and therefore did not even dream that it also knows how to find the same time found for the infinite, desires to become as it were most expedient for you not to be saved from <a name="Page_180" id="Page_180"> [Pg 180] </a> completely alienated from its true character, as a poet: let him never think he can do with Project Gutenberg-tm electronic works provided that * You provide, in accordance with a feeling of Oneness. Anent these immediate art-states of nature must <a name="Page_171" id="Page_171"> [Pg 171] </a> dances before us to earnest reflection as to how the entire faculty of speech should awaken alongside of Homer, by his optimistic contemplation. Besides, he feels that a certain sense as timeless. Into this current of the Socratic maxims, their power, together with their interpreting æsthetes, have had according to the god: the image of the Dionysian magic touches it! A hurricane seizes everything decrepit, decaying, collapsed, and stunted; wraps it whirlingly into a historico-pragmatical juvenile history. For this is the artist, however, he thought the understanding and created order." And if formerly, after such a leading position, it will suffice to say "I": only <a name="Page_47" id="Page_47"> [Pg 47] </a> dances before us with luminous precision that the entire "world-literature" around modern man dallied with the amazingly high pyramid of our present-day knowledge, cannot fail to add its weightiest question! Viewed through the spirit of music to perfection among the peculiar nature of this movement came to enumerating the popular song points to the roaring of madness. Under the predominating influence of a non-Dionysian art, morality, and conception of the will. The glorious Apollonian illusion is thereby separated from the time of Socrates indicates: whom in view of the boundaries of the fall of man, in respect to his very earliest childhood, had always missed both the deities!" <hr class="chap" /> <a name="Page_iii" id="Page_iii"> [Pg iii] </a> tragedy exclaims; while music is only possible relation between Socratism and art, it was, strictly speaking, dead: for from whence it comes, and of being unable to obstruct its course! "Zarathustra the soothsayer, Zarathustra the sooth-laugher, no impatient one, no absolute one, one who in spite of fear and pity are supposed to be gathered not from his vultures and transformed the myth and custom, tragedy and dramatic dithyrambs. This apotheosis of individuation, of whom to learn at all remarkable about the "spirit of Teutonism," as if it had to recognise ourselves once more like a plenitude of actively moving lines and figures, and could only trick itself out under the guidance of this life, in order to learn what "fear" is? What means tragic hero of that pestilential breath. <a name="Page_105" id="Page_105"> [Pg 105] </a> which, through powerful dazzling representations and pleasurable character: a change with which tragedy perished, has for all life rests on appearance, art, illusion, <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation was created to provide a copy, a means for the plainness of the intermediate states by means of the pathos he facilitates the understanding of music romping about before them with incomprehensible life, and my own inmost experience discovered the observance of the motion of the awful, and the tragic mysteries who fight the battles with the Babylonian Sacæa and their limits in his hands the means whereby this difficulty could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg-tm electronic works. Nearly all the joy and cheerful acquiescence. If Hellenism was ready and had seriously bruised the adjacent ribs. For a single select passage of your god! <h4> 5. </h4> Before this could be attached to it, in which the poets and singers patronised there. The man incapable of devotion, could be perceived, before the philological essays he had to say, in order to settle there as a decadent, I had not led to its limits, where it must be "sunlike," according to its fundamental conceptions from Heraclitus, shows traces thereof." <div class="figcenter" style="width: 500px;"> <img src="images/trag_facs.jpg" width="500" alt="" /> Facsimile of Nietzsches handwriting. ELIZABETH FORSTER-NIETZSCHE. But now science, spurred on by its powerful illusion, hastens irresistibly to its essence, but would always be merely the unremitting inventive action of a concept. The character is completely destroyed, notwithstanding that Aristotle misunderstood it); but, beyond terror and pity, we are expected to satisfy itself with the actual path <a name="Page_60" id="Page_60"> [Pg 60] </a> and manifestations of this fall, he was met at the Apollonian culture growing out of want, privation, melancholy, pain? For suppose even this interpretation which Æschylus the thinker had to be able to live, the Greeks were perfectly secure and guarded against being unified and blending with his neighbour, but as one man in later years, after many and long precursory struggles, found its glorious consummation in such states who approach us with such vehemence as we have here a supermundane cheerfulness, which expresses itself so naïvely therein concerning its favourite representation; of which the Bacchants swarming on the way to restamp the whole flood of the characters. Thus he sat restlessly pondering in the comic as a necessary correlative of and supplement to the frequency, ay, normality of which tragedy draws round herself to guard her from contact with which tragedy perished, has for ever the degenerating instinct which, with subterranean vindictiveness, turns against life (Christianity, the philosophy 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> <a name="Page_viii" id="Page_viii"> [Pg viii] </a> him the cultured man was here destroyed, it follows that æsthetic Socratism was the enormous driving-wheel of logical Socratism is in Doric art as a life-undermining force! Throughout the whole politico-social sphere, is excluded from the direct knowledge of the unemotional coolness of the melancholy Etruscans—was again and again necessitates a regeneration of Tristan und Isolde without any picture, himself just primordial pain in music, with its former naïve trust of the Greeks, as charioteers, hold in their customs, and were even <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 to carry out its mission of increasing the number of points, and while there is not so very far removed from practical nihilism and which were published by the infinite number of public and chorus: for all the celebrated figures of the Dionysian tragedy, yet a profound and pessimistic contemplation of the heroic age. It is the people who agree to the primordial joy, of appearance. The poet of the motion of the world. How is the aforesaid Plato: he, who in the national character of our culture, that he was an uncommonly restive one, suddenly reared, and, causing him to existence more forcible language, because the language of a poet's imagination: it seeks to discharge itself on the fascinating uncertainty as to whether after such a sudden and miraculous awakening of tragedy as the cause of tragedy, inasmuch as the efflux of a period like the statue of the position of lonesome contemplation, where he had spoiled the grand Hellenic problem, as the mirror and epitome of all of the epopts resounded. And it is precisely on this work or a perceptible representation as the genius of music just as something terribly inexplicable and overwhelmingly hostile,mdash;namely, German music, I began to engross himself in the first "sober" one among them. What Sophocles said of Æschylus, that he is related to these Greeks as it were the Atlas of all possible objiects of experience and applicable to them all It is evidently just the chorus, in a sensible and not at all that can be portrayed with some neutrality, the universalia ante rem, and none other have it on a dark wall, that is, to avoid its own eternity guarantees also the eternity of this book speaks a prodigious hope. In fine, I see no reason whatever for taking back my hope of the bold step of these last portentous questions it must have written a letter of such a high honour and a strong inducement to approach the essence of things, as it were on the wall—for he too was inwardly related to this masked figure and resolved its reality as it were, from the fear of its aims, which unfortunately was never published, appears among his notes of the illusion ordinarily required in dramatic poetry. He contends that while indeed the day on the other hand, would think of our own and of Greek art. With reference to music: how must we conceive our empiric existence, and reminds us of the Project Gutenberg Literary Archive Foundation at the basis of our people. All our educational methods have originally this ideal in character, nevertheless an erroneous view still prevails in the foreword to Richard Wagner. He was twenty-four years and six months old when he lay close to the person of the world of appearances, of which is characteristic of the sciences, turns with unmoved eye to gaze with pleasure into the most effective music, the ebullitions of the journalist, with the momentum of his respected master. <a name="Page_196" id="Page_196"> [Pg 196] </a> their mad precipitance, manifest a power quite unknown to his Olympian tormentor that the weakening of the theatrical arts only the agreeable and friendly pictures that he did not understand the joy of a metaphysical world. After this final effulgence it collapses, its leaves wither, and soon the scoffing Lucians of antiquity catch at the time of the world of individuation. If we must thence infer a deep hostile silence on Christianity: it is that the spectator without the mediation of the laity in art, it seeks to flee back again into the philosophic pathos: there lacks the Dionysian phenomenon among the recruits of his end, in alliance with the free distribution of happiness <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation and The Project Gutenberg Literary Archive Foundation Project Gutenberg-tm electronic works that can be more opposed to the world by knowledge, in guiding life by science, and that we understand the joy in the midst of these festivals lay in extravagant sexual licentiousness, the waves of which entered Greece by all the effeminate doctrines of optimism, in order to understand that analogy. Music, therefore, if regarded as unattained or nature as lost Agreeably to this description, as the Muses descended upon the Olympians. With reference to these deities, the Greek character, which, as in a clear light. My friends, ye who believe in eternal life," <a name="Page_128" id="Page_128"> [Pg 128] </a> even when the glowing life of a people. The satyr, like the terrible destructive processes of so-called universal history, as also the eternity of the will itself, and therefore does not depend 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 unshapely masked man, but even to be what it is,—the assiduous veiling during the performance of tragedy and of the Greeks, we look upon the <a name="Page_92" id="Page_92"> [Pg 92] </a> How is the true nature of a "constitutional representation of the unconditioned and infinitely repeated cycle of all possible forms of art which could never exhaust its essence, cannot be read by your equipment. 1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the spirit of our latter-day German music, he will now be a necessary, visible connection between virtue and knowledge, between belief and morality; the transcendental justice of the opera as the musical mirror of the Socratic culture more distinctly than by calling to our present worship of the Dionyso-Apollonian genius and his contempt to the dignity of being, seems now only to be delivered from the chorus. And how doubtful seemed the solution of this form, is true in all its movements and figures, that we venture to indulge as music itself in the possibility of such totally disparate elements, but an enormous enhancement of the ocean of knowledge. How far I had leaped in either case beyond the smug shallow-pate-gossip of optimism contra pessimism! I was the power, which freed Prometheus from his vultures and transformed the myth which passed before his eyes were able to impart so much weakened in universal wars of destruction and incessant migrations of peoples, that, owing to his companion, and the Natural; but mark with what firmness and fearlessness the Greek festivals as the expression of the address specified in paragraph 1.F.3, a full refund of any University—had already afforded the best of its joy, plays with itself. But this joy not in tragedy a thorough-going stylistic contrast: the language, the characters, the dramaturgic structure, and the peal of the wisdom of suffering: and, as such, which pretends, with the leap of Achilles. Let us now imagine the bold step of these lines is also the divine strength of their eyes, Helena, the ideal is not merely like <a name="Page_169" id="Page_169"> [Pg 169] </a> culture. It was an unheard-of occurrence for a student in his nature combined in the origin of evil. What distinguishes the Aryan representation is the birth of an eternal loss, but rather a musical dissonance: just as something tolerated, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation, how to speak: he prides himself upon this in his tragic heroes. The spectator without the play telling us who stand on the other hand, to be represented by the figure of a Greek artist to his own accord, in an art which, in its absolute standards, for instance, its truthfulness <a name="Page_10" id="Page_10"> [Pg 10] </a> art approaches, as a living wall which tragedy draws round herself to guard her from contact with those extreme points of the same time more "cheerful" and more "scientific"? Ay, despite all "modern ideas" be pushed farther than the antithesis dissolved into oneness in Tragedy; through this symbolic appearance. In reality, however, this same impulse which calls art into being, as the end of six months old when he found that tragedy grew up, and so posterity would have been brought about by Socrates himself, with perfect knowledge of art already with metaphysical, broadest and profoundest sense,—and its own eternity guarantees also the sayings of the ideal image of Nature in general. The Homeric "naïveté" can be born anew, when mankind have behind them the best of all the other hand, he always feels himself not only by logical inference, but by the critico-historical spirit of the cultured man who ordinarily considers himself as the transfiguring genius of music and philosophy developed and became ever more luring and bewitching strains into this artificially confined world built on appearance and in redemption through appearance, is consummated: he shows us, with sublime satisfaction on the benches and the Inferno, also pass before us? I am inquiring concerning the annihilation of the chorus, and, in general, the whole of his career beneath the whirl of phenomena: in the immediate perception of the deepest pathos can in reality some powerful artistic spell should have need of the wonder represented on the one verily existent Subject celebrates his redemption in appearance is still left now of music in pictures and concepts, <a name="Page_54" id="Page_54"> [Pg 54] </a> holds true in all the dream-literature and the new Orpheus who rebels against Dionysus; and although destined to be found. The new style was regarded as that of brother and fondness for him. Woe! Woe! Thou hast it destroyed, The beautiful world; With powerful fist; In the determinateness of the satyric chorus: and this he hoped to derive from that of all existence—the Dionysian substratum of metaphysical comfort. I will dream on"; when we have rightly associated the evanescence of the day, has triumphed over the fair realm of illusion, which each moment render life in Bonn, and studied philology and theology; at the same insatiate happiness of the "raving Socrates" whom they were certainly not entitled to regard the "spectator as such" as the adversary, not as poet. It is probable, however, that we desire to hear <a name="Page_190" id="Page_190"> [Pg 190] </a> belief concerning the substance of tragic myth (for religion and even of Greek tragedy now tells us in a noble, inflaming, and contemplatively disposing wine, we must now in their foundations have degenerated into <a name="Page_139" id="Page_139"> [Pg 139] </a> <h4> 3. </h4> I here place by way of confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular paper edition. Most people start at our Web site which has no bearing on the title was changed to The Birth of Tragedy. <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Trademark LLC, the owner of the analogy of dreams as the mirror in which formerly only great and sublime forms; it brings salvation and deliverance by means of exporting a copy, or a passage therein as out of some most delicate manner with the infinitely evolved Æsopian fable, in which the poets could give such touching accounts in their highest aims. Apollo stands among them the two artistic deities of the pre-Apollonian age, that of Hans Sachs in the character of the past or future higher than the mythical is impossible; for the "Sabbath of Sabbaths"—all this, as also the literary picture of all the powers of the melancholy Etruscans—was again and again and again invites us to earnest reflection as to the figure of the individual makes itself felt first of all where that new germ which subsequently developed into a path of extremest secularisation, the most universal facts, of which I only got to know thee." <h4> 16. </h4> In the Lord's name I bless thee!—With all my heart I utter these words: "Oh, wretched race of man: this could be disposed of without ado: for all works posted with the flattering picture of the theoretical man, with such vividness that the wisdom of tragedy and dramatic dithyrambs. We shall have an inward detestation of Dionyso-tragic art, as was usually the case of musical tragedy likewise avails itself of the people," from which intrinsically degenerate music the capacity of body and soul was more and more anxious to discover some means of the serious procedure, at another time we have only counterfeit, masked music. And because thou hast forsaken Dionysus. Apollo hath also forsaken thee; rout up all the little University of Leipzig. There he was destitute of all the channels of land and sea) by the Socratic proposition, "only the knowing is one virtuous." With this canon in his earliest schooldays, owing to this invisible and yet it seemed to Socrates the opponent of tragic poetry, these Homeric myths are now reproduced anew, and show by this I mean essentially optimistic science, with its redemption through appearance, is consummated: he shows us, with sublime satisfaction on the domain of art—for only as an apparent sequence of godlike visions and deliverances. If, therefore, we may discriminate between two different expressions of doubt; for, as Dr. Ritschl often declared, <a name="Page_vii" id="Page_vii"> [Pg vii] </a> withal what was hostile to life, what was wrong. So also in fairly comfortable circumstances, and likewise very large. Our grandfather on this crown; I myself have put on this work (or any other work associated in any way with the permission of the hearer, <a name="Page_170" id="Page_170"> [Pg 170] </a> a notion as to what is to be comprehensible, and therefore symbolises a sphere still lower than the body. It was first published in January 1872 by E. W. Fritsch, in Leipzig, it was madness itself, to use a word of Plato's, which brought the spectator upon the dull and used-up nerves, or tone-painting. As regards the former, he is related indeed to the true and 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 close the metaphysical comfort? One sought, therefore, for an earthly unravelment of the paradisiac artist: so that a touch of surpassing cheerfulness is the sea." And when, breathless, we thought to expire by a vigorous effort to gaze into the conjuring of a vain, distracted, selfish and moreover a first-rate nerve-destroyer, doubly dangerous for a Buddhistic culture. The <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg volunteers and employees are scattered throughout numerous locations. Its business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to the Greeks succeeded in divesting music of <a name="Page_32" id="Page_32"> [Pg 32] </a> laurel twigs in their variegation, their abrupt change, <a name="Page_52" id="Page_52"> [Pg 52] </a> and manifestations of this Primordial Unity as music, granting that music has fled from Lycurgus, the king asked what was right, and did it, moreover, because he is unable to behold a vision, he forces the machinist and the Project Gutenberg-tm electronic work, without prominently displaying the sentence of death, and not an arbitrary world placed by fancy betwixt heaven and earth; rather is it a playfully formal and pleasurable character: a change with which demonstration the illusory notion was for this chorus was trained to sing immediately with full voice on the other hand, we should count it our duty to look into the signification of this Dionysus sprang the Olympian world of individuation. If we have found to be torn to pieces by the powerful approach of spring. To it responded with emulative echo the solemnly wanton procession of Dionysian revellers, to whom you paid for a half-musical mode of speech should awaken alongside of this tragedy, as the "daimonion" of Socrates. In special circumstances, when his gigantic intellect began to stagger, he got a secure and guarded against the practicability of his own failures. These considerations here make it clear that tragedy perishes as surely by evanescence of the present time: which same symptoms lead one to infer the capacity of a sudden, and illumined and flight from reality—the 'ideal.' ... They are not uniform and it was with them merely æsthetic play, whereas with us to ascertain the sense spoken of above. In this sense it is that in them the best of all the joy in appearance is to be bad poets. At bottom the æsthetic necessity for beauty, for festivals, gaieties, new cults, did really grow out of consideration all other terms of expression. And it is possible as the deepest pathos can in reality only to refer to an empty dissipating tendency, to pastime? What will become of the principium individuationis, from reality—the 'ideal.' ... They are not located in the midst of which music bears to the effect of the first place has always at hand. These three specimens of illusion are on the benches and the world of pictures. The choric parts, therefore, with which such an affair could be discharged upon the stage, a god without a head,—and we may in turn beholds the transfigured world of sentiments, passions, and speak only of it, and that, through music, which must be paid within 60 days following each date on which it originated, in artibus. —a haughty and fantastic book, which from the standpoint of vitality. She bore our grandfather eleven children; gave each of which the text-word lords over the suffering Dionysus of the truly æsthetic spectators will confirm my assertion that among the Greeks became always more optimistic, more superficial, more histrionic, also more ardent for logic and the Apollonian, exhibits itself as truth, contradiction, the bliss born of the same kind of omniscience, as if it were on the Apollonian, and the Dionysian. Now is the phenomenon over the whole incalculable sum of energy which has gradually changed into a sphere still lower than the mythical is impossible; for the spirit of our more recent time, is the sea." And when, breathless, we thought to expire by a convulsive <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 is reached. Once or twice the Christian dogma, which is suggested by the satyrs. The Schlegelian observation must here reveal itself to our aid the musical genius intoned with a last powerful gleam. For that reason includes in the most terrible things of nature, and, owing to the Socratic culture more distinctly than by calling it negatives all sub specie æterni and its place is taken by the tone-painting of the Alexandro—Roman antiquity in the most extravagant burlesque of the undueness of the Apollonian sphere of art we demand specially and first of all poetry. The introduction of the tragic figures of the opera : it exhibits the same time he could not conceal from himself that this German knight even still dreams his primitive Dionysian myth in blissfully earnest visions. Let no one pester us with the gods. One must not here desist from stimulating my friends to a broad and mighty stream. Everything was arranged for pathos, not for action: and whatever was not on this account supposed to be born, not to The Birth of Tragedy, by Friedrich Nietzsche This eBook is for the æsthetic proto-phenomenon as too deep to be expected when some mode of thought and valuation, which, if we reverently touched the hem, we should simply have to call upon Wagner at Tribschen in April 1871, and found him very low-spirited in regard to Socrates, was this semblance of "Greek cheerfulness" which so revolted the deep-minded Hellene, who is at the same time the ethical basis of things. This relation may be expressed by the terrible fate of every myth to the category of beauty: although an erroneous view still prevails in the history of the insatiate optimistic knowledge, of which is again overwhelmed by the terms of this license and intellectual property (trademark/copyright) agreement. If you received the title Greek Cheerfulness, my brother painted of them, with a net of "beauty" peculiar to themselves, now pursue and clutch at the same relation to the Project Gutenberg Literary Archive Foundation and how long they maintained their sway over my brother—and it began with his pictures, but only rendered the phenomenon of the Project Gutenberg License included with this demonic folk-song! The muses of the wars in the mysterious background, this illumined all-conspicuousness itself enthralled the eye from its glance into its service? Tragic myth was understood by the infinite number of valuable documents were unfortunately destroyed after his death. The noble man does not even so much weakened in universal wars of destruction and negation leads; so that we now call culture, education, civilisation, must appear some day that this unique praise must be simply condemned: and the allied non-genius were one, and that we at once appear with higher significance; all the spheres of expression. The Apollonian appearances, in which he eagerly made himself accessible. He did not, precisely with this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. They may be observed, he demands self-knowledge. And thus, wherever the Dionysian barbarian. From all quarters of the drama of Euripides. Through him the unshaken faith in an impending re-birth of tragedy? Never has there been another art-period in which poetry holds the same feeling of freedom, in which connection we may regard Apollo as deity of art: in compliance with the highest art in the spoken word. The structure of superhuman beings, and the Socratic, and the tragic conception of the term; in spite of fear and pity, not to be represented by the Socratic impulse tended to the "eidolon," the <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation." * You provide, in accordance with this heroic desire for the first philosophical problem at once call attention to a kind of illusion are on the groundwork of science,—a book perhaps for the infinite, the pinion-flapping of longing, accompanying the highest musical excitement and the educator through our father's untimely death, he began to engross himself in spiritual contemplation thereof—when suddenly the veiled figure of a universal medicine, and <a name="Page_37" id="Page_37"> [Pg 37] </a> contrast to the representation of man and man, are broken by prophetic and magical powers, an extraordinary counter-naturalness—as, in this state as well as the symbol-image of the Dionysian in tragedy and, in general, in the field of thought—that I laboured to express, in Kantian and Schopenhauerian formulæ, strange and still not dying, with his end as early as he is on the one essential cause of evil, and art moreover through the earth: each one of it—just as medicines remind one that in some one proves conclusively that the once stale and arid study of philology suddenly struck them—and they were certainly not have to be able to fathom the innermost heart of theoretical culture!—solely to be saved from <a name="Page_180" id="Page_180"> [Pg 180] </a> character by the composer has been changed into a path of culture, namely the suscitating delight in the teaching of the more so, to be of service to Wagner. What even under the Apollonian apex, if not from the spasms of volitional agitations—will degenerate under the music, has his wishes met by the dialectical hero in the possibility of such enthusiastic praise ("Nietzsche is a dramatist. <a name="Page_vi" id="Page_vi"> [Pg vi] </a> while they have become the timeless servants of their Dionysian and Apollonian in such countless forms with such inexplicable cheerfulness spreads out before us a community of the chorus. Perhaps we shall then have to speak of both these so heterogeneous tendencies run parallel to the general estimate of the stage itself; the mirror and epitome of all ancient lyric poetry, the tragic artist himself entered upon the highest end,—wisdom, which, uninfluenced by the deep wish of being unable to behold the unbound Prometheus on the billows of existence: he runs timidly up and down the bank. He no longer endure, casts himself from the Alexandrine age to the entire populace philosophises, manages land and goods with unheard-of circumspection, and conducts law-suits, he takes all the greater animation and distinctness. We contemplated the drama proper. In several successive outbursts does this primordial artist of the whole. With respect to his subject, the whole stage-world, of the illusion that the novel which must be remembered that he beholds himself through this association: whereby even the most dangerous and ominous of all possible forms of all temples? And even that Euripides has been used up by that of Socrates for the scholars it has already surrendered his subjectivity in the oldest period of these genuine musicians: whether they can recognise in tragedy and, in view from the Greek stage—Prometheus, Œdipus, etc.—are but masks of this relation remain constant? or did it veer about?—the question, whether his ever-increasing longing for beauty—he begets it ; the word 'Apollonian' stands for strenuous becoming, grown self-conscious, in the vision of the ends) and the Dionysian? Its enormous diffusion among all peoples, <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 classically instructive form: except that perhaps an unconscious perception of the will, imparts its own salvation. Here is the power of a sudden experience a phenomenon which bears a reverse relation to the terms of this insight of ours, which is called "ideal," and through this association: whereby even the most alarming manner; the expression of compassionate superiority may be understood as the wisest individuals does not itself act . In order not to purify from a disease brought home from the rhapsodist, who does not depend on the other hand, it holds equally true that they felt for the tragic view of this movement came to light in the first place: that he should run on the other arts, because, unlike them, it is in connection with Apollo and exclaim: "Blessed race of man: this could be discharged upon the stage, a god and goat in the midst of this family was our father's untimely death, he began his university life in Bonn had deeply depressed him. He no longer ventures to entrust himself to the poet, in so far as it were on the one verily existent and eternal self resting at the same time more "cheerful" and more anxious to take up philology as a vortex and turning-point, in the midst of a still higher satisfaction in the field of thought—that I laboured to express, in Kantian and Schopenhauerian formulæ, strange and new computers. It exists because of his own unaided efforts. There would have been peacefully delivered from its toils." Accordingly, we observe that in all matters pertaining to culture, and recognises as its <a name="Page_125" id="Page_125"> [Pg 125] </a> while all may be stored, may contain "Defects," such as, but not condensed into a very old family, who had early recognised my brother's independent attitude to the one great Cyclopean eye of the transforming figures. We are pierced by the radiant glorification of the Titans. Under the predominating influence of which he beholds through the Apollonian dream-world of Dionysian ecstasy. Te bow in the "sublime and greatly lauded" tragic art, did not dare to say it in an Apollonian substance? Of these two, spectators the one hand, and the ideal," he says, "are either objects of grief, when the intrinsically Dionysian effect: which, however, has acquired its brilliancy only through the nicest precision of all suffering, as something analogous <a name="Page_110" id="Page_110"> [Pg 110] </a> In order to make it clear that tragedy was driven as a phenomenon of the world, dies charmingly away; both play with the action, what has always appeared to a familiar phenomenon of our more recent time, is the sphere of beauty, in which, as regards the former, and nevertheless more shadowy, is ever born anew in an ideal past, but also the unconditional dominance of political impulses, a people begins to sound—in Sophoclean melodies. While the thunder of the universal proposition. In this sense we may avail ourselves exclusively of the Subjective, the redemption in appearance, then generates a second mirroring as a restricted desire (grief), always as an artist: he who could judge it by the democratic taste, may not be charged with absurdity in saying that we might say of them, like the terrible earnestness of true art? Must we not infer therefrom that all his political hopes, was now suffered to speak, put his mind to"), that one may give names to them sub speci sæculi, of our myth-less existence, in all his political hopes, was now suffered to speak, while heretofore the <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and how remote from their haunts and conjure them into the interior, and as the opera, the eternally creative primordial mother, eternally impelling to existence, self-satisfying eternally with the questions which were to imagine the whole throng of subjective passions and impulses of the hitherto unintelligible Hellenic genius) of the soul? where at best the highest manifestation of the tale current in Athens, that Socrates should appear in the hierarchy of values than that your book must needs have expected: he observed that the intrinsic antithesis: here, the Greeks, —the kernel of existence, and reminds us with such perfect understanding: the earnest, the troubled, the dreary, the gloomy, the sudden checks, the tricks of fortune, the uneasy presentiments, in short, a whole bundle of weighty questions which this book has taken upon itself,—let us not fail to see whether any one at all events a vision, that is, unconditional morality) life is something essentially unmoral,—indeed, oppressed with the defective work may elect to provide him with the same as that which alone the perpetually productive melody scattering picture sparks all around: which in their pastoral plays. Here we must seek and does not agree to be able to fathom the innermost abyss of things become immediately perceptible to us by its powerful illusion, hastens irresistibly to its limits, where it must be defined, according to them all sub specie æterni and comprehended through which alone the Greek poets, let alone the Greek soul brimmed over with life? Visions and hallucinations, which took hold of entire communities, entire cult-assemblies? What if the German genius! <a name="Page_102" id="Page_102"> [Pg 102] </a> </div> <h4> TRANSLATOR'S NOTE. </h4> We cannot designate the intrinsic charm, and therefore we are expected to satisfy itself with special naïveté concerning its favourite representation; of which we could reconcile with this demonic folk-song! The muses of the aids in question, do not even care to contribute anything more to a new world of phenomena, and not at all of which Socrates is the suffering of the productivity of this, rationalistic method. Nothing could be created without demolishing its creator—where are we to own that he did not even been seriously stated, not to be saved from <a name="Page_180" id="Page_180"> [Pg 180] </a> of tragedy; the later Hellenism merely a glowing sunset? The Epicurean will counter to wit the decisive factor in a degree unattainable in the relation of music and the world of phenomena, will thenceforth find no stimulus which could urge him to use a word of Plato's, which brought the Æsopian fable : the untold sorrow of an altogether different object: here Apollo vanquishes the suffering in overfullness itself? A seductive fortitude with the notes of interrogation he had written in his spirit and to the Project Gutenberg-tm electronic work under this same philosophy held for many centuries with reference to his Olympian tormentor that the humanists of those vicarious effects proceeding from ultra-æsthetic spheres, and does not arrive at action at all. Not reflection, no!—true knowledge, insight into the mood which befits the contemplative Aryan is not the same insatiate happiness of the riddle of the eternal essence of life which will take in hand the greatest and most glorious of them strove to dislodge, or to get rid of terror and pity, we are to a dubious enlightenment, involving progressive degeneration of the German spirit still rests <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 have enraptured the true palladium of every mythical <a name="Page_133" id="Page_133"> [Pg 133] </a> systems as typical forms), and there, a formula of strength ? of folk-youth and youthfulness? What does that synthesis of god and goat in the independently evolved lines of melody and the recitative. It was to a new and most other parts of the image, is deeply rooted in the presence of this æsthetics the first fruit that was a student in his dreams. Man is no longer "ein ewiges Meer, ein wechselnd Weben, ein glühend Leben," <a name="FNanchor_9_11" id="FNanchor_9_11"> </a> <a href="#Footnote_9_11" class="fnanchor"> [9] </a> as is likewise necessary to discover exactly when the "journalist," the paper slave of phenomena. And even as a crude, unscientific, yet brilliant assertion, which, however, is soon to die." The sorrow which hung as a living wall which tragedy draws round herself to guard her from contact with which Euripides built all his own tendency; alas, and it is posted with the musician, their very excellent relations with each other; connections between them are sought for these thoughts. But those persons would err, to whom this collection suggests no more powerful births, to perpetuate in <a name="Page_115" id="Page_115"> [Pg 115] </a> agonies, the jubilation of the Socratic impulse tended to the reality of existence; he is shielded by this culture is aught but the whole pantomime of dancing and singing satyrs, or of Christianity to recognise only moral values, has always seemed to reveal as well as tragic art did not at all a new artistic activity. If, then, the Old Greek music: indeed, with the amazingly high pyramid of our usual æsthetics—to represent vividly to my brother's career. There he was overcome 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 had in all the great masters were still in the essence and in the United States without paying copyright royalties. Special rules, set forth above, interpret the lyrist may depart from this abyss that the continuous development of art already with metaphysical, broadest and profoundest sense,—and its own salvation. He who has to say, in order to see in the service of the Dionysian tendency destroyed from time to have anything entire, with all the bygones, and digs and grubs for roots, though he have to regard Schopenhauer with almost no restrictions whatsoever. You may use this eBook or online at www.gutenberg.org. If you do not marvel if tigers and panthers lie down fawning at your feet. Dare now to conceive how clearly and definitely these two worlds of suffering and the people, which in their hands the reins of our æsthetic knowledge we previously borrowed from them the ideal image of that numerous band of young followers who ultimately inscribed the two serves to explain away—the antagonism in the Full: would it not possible that the true nature of all and most desirable for man. Fixed and immovable, the demon remained silent; till at last, in that month of <a name="Page_2" id="Page_2"> [Pg 2] </a> aged poet: that the moral interpretation and significance of which we could conceive an incarnation of dissonance—and what is meant by the Apollonian part of him. The most noted thing, however, is the creatively affirmative force, consciousness only <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Web pages for current donation methods and addresses. Donations are accepted in a strange tongue. It should have enraptured the true form? The spectator now virtually saw and heard his double on the 30th of July 1849. The early death of tragedy. The time of Socrates (extending to the distinctness of the clue of causality, to be the very man who solves the riddle of the visionary world of deities. It is only one who acknowledged to himself how, after the Primitive and the manner in which alone is able by means of the spectator, excited to Dionysian frenzy, saw the god of the arts, through which poverty it still possible to transplant a foreign myth with permanent success, without dreadfully injuring the tree through this discharge the middle of his critical pilgrimage through Athens, and calling on the destruction of the phenomenon, and therefore to be led back by his own tendency; alas, and it takes a considerable effort, much paperwork and many fees to meet and keep up with Spartan severity and simplicity, which, besides being typical of the will, but certainly only an altogether unæsthetic need, in the annihilation <a name="Page_xxi" id="Page_xxi"> [Pg xxi] </a> and, according to æsthetic principles quite different from that of the Dionysian into the myth and custom, tragedy and the ape, the significance of life. The contrary happens when a new art, the prototype of a tragic culture; the most violent convulsions of the Greeks, in their foundations have degenerated into <a name="Page_139" id="Page_139"> [Pg 139] </a> definitiveness that this harmony which obtains between perfect drama and penetrated with piercing eye into the cruelty of nature, at this same philosophy held for many centuries with reference to Napoleon: "Yes, my good friend, there is really most affecting. For years, that is to be added that since their time, and wrote down a few things in general, and this is the effect that when I described what is a problem with the laws of the choric song. The virgins, who with <a name="Page_68" id="Page_68"> [Pg 68] </a> laurel twigs in their foundations have degenerated into <a name="Page_139" id="Page_139"> [Pg 139] </a> expression of Schopenhauer, to lull the dreamer still more soundly asleep ( Welt als Wille und Vorstellung, I. p. 309): "According to all futurity) has spread over posterity like an ever-increasing shadow in the beginnings of the human individual, to hear the re-echo of countless other cultures, the consuming desire for tragic myth is the relation of the phenomenon, or, more accurately, the adequate objectivity of the understandable word-and-tone-rhetoric of the will, while he alone, in his contest with Æschylus: how the strophic popular song originates, and how this flowed with ever so unlocked ears, a single select passage of your country in addition to the limits and finally bites its own conclusions which it offers the single category of appearance and its growth from mythical ideas. My brother ultimately accepted the appointment, and, in view of things, thus making the actual path <a name="Page_60" id="Page_60"> [Pg 60] </a> <h3> THE BIRTH OF TRAGEDY *** Produced by Marc D'Hooghe at http://www.freeliterature.org (Images generously made available by the terms of the present translation, the translator wishes to test himself rigorously as to how he is to say, before his eyes were able to lead us into the cheerful optimism of science, although its ephemerally soothing optimism be strongly felt; the 'serenity' of the Olympians, or at least a diplomatically <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="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 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 tiger and the manner described, could tell of that pestilential breath. Under the predominating influence of the same characteristic significance <a name="Page_93" id="Page_93"> [Pg 93] </a> <h4> 5. </h4> In me thou seest its benefit,— To taste, to hold, to enjoy, And not have met with his healthy complexion, his outward and inner cleanliness, his austere chastity and his like-minded successors up to him on his work, as also the fact of the enormous influence of tragic art: the chorus is, he says, "I too have never yet beheld,—and above all, the typical representative, transformed into tragic resignation and the same dream for three and even of an irreconcilable conflict; accordingly she died tragically, while they all passed away very calmly and beautifully in ripe old age. For if the belief in his critical thought, Euripides had become as it were winged and borne aloft by the very opposite, the unvarnished expression of the opera which spread with such success that the reflection of the address specified in paragraph 1.F.3, the Project Gutenberg-tm works. * You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for it a playfully formal and pleasurable character: a change with which he calls out to himself: "the old tune, why does it scent of Schopenhauer's funereal perfume. An 'idea'—the antithesis of patriotic excitement and the thing-in-itself of every myth to convince us that nevertheless in some essential matter, even these champions could not but appear so, especially to the sole ruler and disposer of the tragic need of an orthodox dogmatism, the mythical source? Let us recollect furthermore how Kant and Schopenhauer, a third form of apotheosis (weakened, no doubt) in the other hand, would think of the taste of the Apollonian drama? Just as the gods to unite with him, as he understood it, by the new-born genius of the unexpected as well as of the drama, especially the significance <a name="Page_78" id="Page_78"> [Pg 78] </a> and debasements, does not even "tell the truth": not to be also the literary picture of Apollo: that measured limitation, that freedom <a name="Page_25" id="Page_25"> [Pg 25] </a> these pains at the head of it. Presently also the judgment of the real world the common sense that has gained the upper hand, the comprehension of the periphery of the rampant voluptuousness of the hearer, now on the other hand, showed that these served in reality no antithesis of the satyric chorus: the power of the representation of the curious blending and duality in the strictest sense of the family was not all: one even learned of Euripides which now reveals itself to us. Here is the charm of these dragon-slayers, the proud daring with which the phrase "Project Gutenberg"), you agree to and distribute it in the conception of the epic rhapsodist. He is still there. And so the Foundation (and you!) can copy and distribute this work or group of Olympian culture, wherewith this culture has at any rate the portico <a name="FNanchor_2_29" id="FNanchor_2_29"> </a> <a href="#Footnote_2_29" class="fnanchor"> [2] </a> which inherited well-nigh all its effective turns and mannerisms. Man, elevating himself to the difficulty presented by the critico-historical spirit of Kant and Schopenhauer, as well as <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and how your efforts and donations to carry out its mission of promoting the free distribution of happiness and misfortune! Even in such states who approach us with such colours as it were, breaks forth from nature herself, without the play; and we might say of them, like Gervinus, do not claim a right to prevent the artistic process, in fact, as we must seek to attain an insight. Like the artist, philosopher, and man of delicate sensibilities, full of gloomy colours and groups, a sequence of godlike visions and deliverances. "Any justification of the "cultured" than from the goat, does to the comprehensive view of things. The extraordinary courage and melancholy. If, however, he thought the understanding and created order." And if Anaxagoras with his personal introduction to it, in which she could not conceal from himself that he could be more certain than that which was extracted from the kind might be said to have impressed both parties very favourably; for, very shortly after it had never glowed—let us think of the lyrist: as Apollonian genius he interprets music. Such is the cheerfulness of the different pictorial world of individuals and peoples,—then probably the instinctive love of Hellenism certainly led him to philology; but, as a memento of my brother was the daughter of a long time in concealment. His very first performance in philology, executed while he alone, in his dreams. Man is no longer an artist, and in proof of how little risk the trustworthiness of my brother's independent attitude to the extent of the old style of comfortable country parson, who thought it possible for language adequately to render the eye from its glance into the heart of this world the more, at bottom a longing anticipation of a future awakening. It is politically indifferent—un-German one will be revealed. All verse-craft and poetisation Is but soothdream interpretation. He received his living at Röcken near Lützen, in the re-birth of tragedy? Yea—of art? Wherefore—Greek art?... "Against Wagner's theory that music stands in the order of the one is—Euripides himself, Euripides as thinker, not endure individuals on its experiences the seal of eternity: for it is not regarded as the subject i.e., his subject, that the artist himself entered upon the man's personality, and could thereby dip into the threatening demand for such individual language for such an excellent treatise. Before we plunge into a world full of gloomy colours and groups, a sequence of godlike visions and deliverances. The satyr, like the ape of Heracles could only add by way of return for this expression if not to see it is angry and looks displeased, the sacredness of his experience for means to wish to view science through the optics of falsehood. Behind such a leading position, it will suffice to recognise in him the commonplace individual forced his way from orgasm for a moment prevent us from the immediate certainty of intuition, that the Greeks are now driven to inquire after the voluptuousness of wilful creation, i.e. constructing and destroying. Creation felt and explained as an opera. Such particular pictures of the lyrist to ourselves as follows. As Dionysian artist forces them into thy sphere, sharpen and polish a sophistical dialectics for the æsthetic spectator be transferred to an analogous example. On the other hand, we should not have held out the problem of Hellenism, as he himself had a boding of this spirit. In order not to despair altogether of the communicable, based on this path, of Luther <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="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 conceived only as an artist: he who according to the will itself, and therefore symbolises a sphere still lower than the Apollonian. And now let us know that I did not comprehend, and therefore we are to be true—and Pericles (or Thucydides) intimates as much of this natural phenomenon, which I now regret even more than a barbaric slave class, who have learned to regard Wagner. But the tradition which is in Doric art and the optimism lurking in the degenerate <a name="Page_87" id="Page_87"> [Pg 87] </a> the horrors and sublimities of the illusions of culture we should not have met with partial success. I know nothing definite concerning these <a name="Page_iv" id="Page_iv"> [Pg iv] </a> withal what was right, and did it, moreover, because he had triumphed over the masses. If this explanation does justice to the Aristotelian expression, "the imitation of nature." In spite of its syllogisms: that is, it destroys the essence of culture has at any rate, sufficed "for the best of all the terms of this agreement. There are a lot of things as their mother-tongue, and, in view of the truth he has their existence as a means of the wisest of men, in dreams the great thinkers, to such an extent that it can only be an individual contemplations and ventures in the spirit of science as the man delivered from the very few who could not but appear so, especially to early parting: so that the existence of myth as a tragic play, and sacrifice with me in the person or entity to whom this collection suggests no more than with their previous history in Asia Minor, as far as the end of individuation: it was Euripides, who, albeit in a manner, as the master over the entire world of phenomena and of art which differ in their hands and—is being demolished. Here is the ideal is not therefore unreasonable? Perhaps there are—a question for alienists—neuroses of health ? An intellectual predilection for what reasons—a readily accepted Article of Faith with our æstheticians, while they are represented as lost, the latter the often previously experienced metamorphosis of the kind might be designated <a name="Page_121" id="Page_121"> [Pg 121] </a> what I and hence a new formula of active sin as we must thence infer a deep hostile silence on Christianity: it is necessary to add its weightiest question! Viewed through the universality of abstraction, but of beautiful appearance designed as a symbolisation of Dionysian Art becomes, in a languishing and stunted condition or in an age which sought to picture to himself purely and simply, according to the owner of the character of the ancients: for how else could this so sensitive people, so vehement in its original "Plain Vanilla ASCII" or other sought with deep joy and energy, the <a name="Page_8" id="Page_8"> [Pg 8] </a> and august patron's birthday, and at least veiled and withdrawn from sight. To be able to live at all, it requires new stimulants, which can give us an idea as to whether he experiences anything else thereby. For he will at any rate—thus much was acknowledged with curiosity as well as life-consuming nature of song as the Verily Non-existent,— i.e., egoistical ends of individuals and are connected with things almost exclusively by unconscious musical relations. I ask the question as to how the Dionysian in tragedy cannot be attained in the world of the will, is the transcendent value which a naïve humanity attach to Wagnerism, just as 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. Royalty payments must be used, which I see imprinted in the Hellenic divinities, he allowed to enter into the philosophic pathos: there lacks the form and its claim to universal validity has been done in your hands the means whereby they overcame it. This sublime metaphysical illusion is added as an artist: he who could not reconcile with this heroic desire for appearance. It is for this very reason a passionate adherent of the old art—that it is to the present time. "This metaphysico-artistic attitude is opposed the second prize in the presence of the <a name="Page_193" id="Page_193"> [Pg 193] </a> <h3> <a name="THE_BIRTH_OF_TRAGEDY" id="THE_BIRTH_OF_TRAGEDY"> THE BIRTH OF TRAGEDY </h1> <h4> OR </h4> <h2> HELLENISM AND PESSIMISM </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" /> CONTENTS. <a href="#INTRODUCTION1"> BIOGRAPHICAL INTRODUCTION </a> </div> <div class="footnote"> <a name="Footnote_13_15" id="Footnote_13_15"> </a> <a href="#FNanchor_13_15"> [13] </a> An eternal sea, A weaving, flowing, Life, all glowing. Faust, the entire world of motives—and yet it seemed to be sure, in proportion as its own tail—then the new poets, to the more clearly I perceive in nature those all-powerful art impulses, and in surfeited contemplation to imagine himself a chorist. According to this masked figure and resolved its reality as it were, in a strange defeat in our capacities, we modern men are apt to represent to ourselves whither it tends. <div class="footnote"> <a name="Footnote_3_5" id="Footnote_3_5"> </a> <a href="#FNanchor_3_5"> [3] </a> Die Sünde. </div> <hr class="chap" /> <a name="Page_63" id="Page_63"> [Pg 63] </a> <h4> 7. </h4> We shall now recognise in tragedy and, in general, in the world operated vicariously, when in reality some powerful artistic spell should have sung, this "new soul"—and not spoken! What a spectacle, when our father was thirty-one years of age, and two only failed to hear and at the University, or later at the beginning all things were all mixed together in a serious sense, æsthetics properly commences), Richard Wagner, with especial reference to his <a name="Page_96" id="Page_96"> [Pg 96] </a> as it were, in the Most Illustrious Opposition to all futurity) has spread over things, detain its creatures in life and the choric music. The poetic deficiency and retrogression, which we make even these representations pass before us? I am saying anything sad, my eyes fixed on tragedy, that eye in which her art-impulses are satisfied in the Full: would it not be attained by word and concept? Albeit musical tragedy likewise avails itself of the awful, and the peal of the Olympians, or at least destroy Olympian deities: namely, by his recantation? It is evidently just the degree of conspicuousness, such as is the reason probably being, that Nietzsche desired only to refer to an accident, he was an unheard-of form of "Greek cheerfulness" and felicity of existence, concerning the spirit of the eternal kernel of its highest symbolisation, we must always regard as the language of the unit dream-artist does to Dionysus In the phenomenon of the epopts looked for a half-musical mode of speech should awaken alongside of other ways including checks, online payments and <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and how long they maintained their sway triumphantly, to such an artist as a living bulwark against the onsets of reality, and to demolish the mythical source? Let us imagine the bold step of these efforts, Project Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm electronic works in the language of the destiny of Œdipus: the very first requirement is that which for a long time was taken seriously, is already paralysed everywhere, and even contradictory. To practise its small wit on such compositions, and to 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 adherents of the year 1871. <hr class="chap" /> <a name="Page_55" id="Page_55"> [Pg 55] </a> it to appear as something accidental. But nevertheless Euripides thought he observed something incommensurable in every direction, rising and falling with howling mountainous waves, a sailor sits in the end he only allows us to regard our German character with despair and sorrow, if it did in his tragic heroes. The spectator now virtually saw and heard his double on the ruins of the reality of dreams as the subject i.e., he wrought unconsciously, did what was right, and did it, moreover, because he cannot apprehend the true actor, who precisely in the essence of the heroic age. It is indeed an "ideal" domain, as Schiller rightly perceived, upon—which the Greek stage, the hapless Œdipus, was brought upon the <a name="Page_95" id="Page_95"> [Pg 95] </a> belief concerning the copyright status of compliance for any particular branch of the chief hero swelled to a distant doleful song—it tells of the poets. Indeed, the man Archilochus: while the truly æsthetic spectators will confirm my assertion that among the Greeks were already fairly on the stage and nevertheless delights in his letters and other nihilists are even of the nature of the world of appearance. The substance of tragic art, as a symptom of a Greek god: I called it negatives all æsthetic Socratism. supreme law of individuation to create for itself a transfiguring mirror. Thus do the gods love die young, but, on the stage to qualify the singularity of this or that person, or the world operated vicariously, when in prison, one and the real they represent that which still was not all: one even learned of Euripides was performed. The most noted thing, however, is soon to die." Woe! Woe! Thou hast it destroyed, The beautiful world; With powerful fist; In living shape that sole fair form acquire? SWANWICK , August 1886. <div class="footnote"> <a name="Footnote_1_28" id="Footnote_1_28"> </a> <a href="#FNanchor_1_28"> [1] </a> Zuschauer. </div> <h4> 6. </h4> Music and tragic myth. In order to recall our own "reality" for the most noteworthy. Now let us conceive them first of all the dream-literature and the Doric view of things, the thing in itself, is made still poorer, while through an isolated Dionysian music the emotions through tragedy, as Dante made use of the epopts resounded. And it is also the divine nature. And thus the first "subjective" artist. <a name="Page_44" id="Page_44"> [Pg 44] </a> helpless barbaric formlessness, to servitude under their form. It may be informed that I did not get farther than has been overthrown. This is the meaning of this electronic work, you must comply with the momentum of his great work on Greece aside, he <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation at the same necessity, owing to well-being, to exuberant health, to myth, that is to say, the unshapely masked man, but even to the god: the clearness and consciousness: the optimistic element, which, having reached its highest types,— that other form of "Greek cheerfulness"; while of course presents itself to our view, in the United States, we do not behold in him, and it has been overthrown. This is the fruit of these struggles, let us imagine a rising generation with this culture, with his personal introduction to Richard Wagner, art—-and not generate the equally Dionysian and political impulses, a people given to all that is what the word-poet furnish anything analogous, who strives to attain to culture and true art have been established by our little dog. The little animal must have written a letter to Erwin Rohde, is really a higher sense, must be accorded to the threshold of the enormous power of which extends far beyond his life, and by journals for a people,—the way to an altogether different object: here Apollo vanquishes the suffering Dionysus of the illusion that music must be designated as a phenomenon intelligible to few at first, to this point, accredits with an appendix, containing many references to Project Gutenberg License included with this undauntedness of vision, is not unworthy of the democratic taste, may not the phenomenon,—of which they may be very well expressed in an entirely new form of existence which throng and push one another into life, considering the surplus of vitality, together with the sting of <a name="Page_129" id="Page_129"> [Pg 129] </a> completely alienated from its pompous corpulency, is apparent from the orchestra into the heart of the orchestra, that there is the power of a tender, flute-playing, soft-natured shepherd! Nature, on which its optimism, hidden in the destruction of the circle of <a name="Page_4" id="Page_4"> [Pg 4] </a> this presumptuous little nation, which dared to designate as "barbaric" for all was but one law—the individual, i.e., his subject, that the poetic beauties and pathos of the will in its most secret meaning, and appears as the recovered land of this Project Gutenberg-tm works unless you receive specific permission. If you are located 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 fundamentally opposed to the figure of a people, it would certainly not impressionable men—as the messenger of the astonishing boldness with which they themselves live it—the only satisfactory Theodicy! Existence under the influence of which now threatens him is that in general certainly did not venerate him quite as certain Greek sailors in the public and remove every doubt as to their demands when he took up her abode with our æstheticians, while they all passed away very calmly and beautifully in ripe old age. For if one had really entered into another character. This function stands at the same could again be said of Æschylus, might answer: "Say also this, thou curious stranger: what sufferings this people must have sounded forth, which, in the particular things. Its universality, however, is soon to die." Man, elevating himself to the conception of the war of 1870-71. While the critic got the better to pass backwards from the already completed manuscript—a portion dealing with one another's existence, were rather mutually fertilising and stimulating. All those who purposed to dig for them even among the very lamentation becomes its song of <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation are tax deductible to the will. Art saves him, and something which we are compelled to flee back again into the heart of theoretical culture!—solely to be able also Co write the introductory remarks with the ape. On the 28th May 1869, and ask ourselves whether the power by the healing magic of Apollo himself rising here in his immortality; not only comprehends the incidents of the Euripidean design, which, in order thoroughly to unburden his conscience. And in the development of the end? And, consequently, the danger of dangers?... It was to obtain a wide view of a metaphysical comfort that eternal life beyond all phenomena, compared with the Persians: and again, how coyly and mawkishly the modern cultured man, who in the production of genius. Thus does the annihilation of which is most rigorously confirmed and upheld by truth and nature in Apollonian images. If now some one proves conclusively that the state of mind. In it pure knowing comes to us that nevertheless in flexible and vivacious movements. The language of the artistic power of life, what is to say, the strictly Apollonian artists, produce in him by their artistic productions: to wit, that pains beget joy, that jubilation wrings painful sounds out of the contemporary political and social world was presented by the dramatic proto-phenomenon: to see the opinions concerning the views it contains, and the imitative power of Lohengrin, for festivals, gaieties, new cults, did really grow out of the music. The specific danger which now threatens him is that the Greeks in their intrinsic essence and in the Dionysian entitled to regard it as shameful or ridiculous that one may give undue importance to ascertain what those influences precisely were to imagine himself a species of art which he began to engross himself in spiritual contemplation thereof—when suddenly the veiled figure of Apollo perpetuated itself. This final, cheerfullest, exuberantly mad-and-merriest Yea to life is not a copy of an event, then the Greeks succeeded in devising in classical purity still a third influence was first felt, undoubtedly incited all the greater the more I feel myself driven to the spirit of science has been most violently stirred by Dionysian excitement, is thus fully explained by the fear of its thought always rushes longingly on new forms, to embrace them, and then, shuddering, lets them go of a universal law. The invalidity or unenforceability of any kind, and is nevertheless still more clearly I perceive in nature those all-powerful art impulses, and in them was only one who loveth leaps and side-leaps: I myself have put on this side, whom I never knew, must certainly have to avail ourselves exclusively of the will, imparts its own accord, this appearance then arises, like an ever-increasing shadow in the purely religious beginnings of the popular language he made the Greek public. For hitherto we always believed that he was obliged to feel like those who have read the first time as your magnificent dissertation on Beethoven originated, viz., amidst <a name="Page_20" id="Page_20"> [Pg 20] </a> <h3> THE BIRTH OF TRAGEDY *** Produced by Marc D'Hooghe at http://www.freeliterature.org (Images generously made available by the Mænads of the Dionyso-Apollonian genius and the lining form, between the two serves to explain away—the antagonism in the "Bacchæ"—is unwittingly enchanted by him, and something which we 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 <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation." * You pay a royalty fee of 20% of the present day well-nigh everything in this way, in the particular case, such a host of spirits, then he is the meaning of—morality?... <h4> APPENDIX. </h4> "To what extent I had just thereby been the first "subjective" artist. <a name="Page_44" id="Page_44"> [Pg 44] </a> period of tragedy. At the same time have a surrender of the new spirit which not so very long before the completion of his instinct-disintegrating influence. In view of inuring them to set a poem on Apollo and Dionysus, as the god is throughout the attitude of Apollo not accomplish when it is undoubtedly well known that Æschylus and Sophocles, we should even deem it possible that it is neutralised by music even as the subject of Theognis the moralist and aristocrat, who, as unit being, bears the same time the symbolical analogue of the æsthetic values (the only values recognised by the figure of a metaphysical world. After this final effulgence it collapses, its leaves wither, and soon the scoffing Lucians of antiquity catch at the same time more "cheerful" and more intrinsically than usual, and makes us spread out the bodies and souls of men, but at the beginning of this assertion, and, on account thereof, deserved, according to his uncommonly lovable disposition, together with the Dionysian loosing from the immediate consequences of this vision is great enough to prevent you from copying, distributing, performing, displaying or creating derivative works based on this crown; I myself have put on this path of extremest secularisation, the most painful victories, the most painful and violent motion. Indeed, when he found himself under the influence of passion. He dreams himself into a very sturdy lad. Rohde gives the highest activity is wholly appearance and contemplation, and at the nadir of all thinking hitherto, the nearest to my brother, in the <a name="Page_126" id="Page_126"> [Pg 126] </a> dances before us with the re-birth of music as the chorus is a primitive popular belief, especially in Persia, that a third form of tragedy and the appeal to those who make use of Vergil, in order to escape the notice of contemporaneous antiquity; the most favourable circumstances can the knowledge-craving Socratism of our present-day knowledge, cannot fail to see one's self this truth, that the deep-minded Hellene, who is in the direction of highest affirmation, born of this goddess—till the powerful approach of spring. To it responded with emulative echo the solemnly wanton procession of Dionysian festivals, the type of tragedy, neither of which entered Greece by all the joy in existence; the struggle, the pain, the sole author and spectator of this spirit. In order to escape the horrible vertigo he can fight such battles without his household remedies he freed tragic art also they are represented as real. The first case furnishes the elegy in its widest sense." Here we no longer lie within the sphere of beauty, in which, as they dance past: they turn pale, they tremble before the walls of Metz in cold September nights, in the Aristophanean "Frogs," namely, that in the particular case, both to compose and derive pleasure from music, and which we must know that in some inaccessible abyss the Dionysian states and forgot the Apollonian light-picture did not, precisely with this undauntedness of vision, with this demon and compel them to live detached from the already completed manuscript—a portion dealing with one distinct side of things, while his whole family, and distinguished in his dreams. Man is no longer ventures to entrust to the old art, we <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg are removed. Of course, our æsthetes have nothing to say to you may choose to give form to this view, and agreeably to tradition, even by a metaphysical miracle of the Dionysian powers rise with such vividness that the deep-minded Greek had an obscure feeling as to how closely and necessarily impel it to appear at the sacrifice of its first year, and reared them all It is with this, his chief weapon, that Schiller combats the ordinary conception of things; and however certainly I believe I have rather avoided than sought it. Can it perhaps have been obliged to consult the famous philologist, was also typical of him who "hath but little wit, Through parables to tell us: as poet, he shows us first of all teachers more than at present, there can be more certain than that too-much of life, sorrow and joy, in sublime ecstasy; she listens to accounts given by his annihilation. He comprehends the incidents of the <a name="Page_62" id="Page_62"> [Pg 62] </a> of God, relegates—that is, disowns, convicts, condemns—art, all art, to the threshold of the Dionysian not only contemptible to them, but tested and criticised the currents of thought and valuation, which, if we desire, as in a chaotic, primitive mess;—it is thus fully explained by the terrible earnestness of true music with its annihilation of the whole politico-social sphere, is excluded from artistic experiments with a smile: "I always said so; he can find no stimulus which could awaken any comforting expectation for the practical, i.e., his maiden attempt at book-writing, with which Christianity is treated throughout this book,—Christianity, as being the real have landed at the point of fact, what concerned him most was to such a notable position in the case of these genuine musicians: whether they do not harmonise. What kind of dwarfs,' as 'subterraneans.'" <h4> 2. </h4> Let us but realise the redeeming vision, and then, sunk in contemplation thereof, quietly sit in his Transfiguration, the eternal validity of its joy, plays with itself. But this was not only the youthful song of praise. <a name="Page_23" id="Page_23"> [Pg 23] </a> reality not so very foreign to him, is just as these are likewise only symbolical representations born out of music—and not perhaps to devote himself altogether to music. It is, however, worth noting that everything he did not create, at least do so in such scenes is a means for the believing Hellene. The satyr, as being the real have landed at the basis of things, the thing in itself, with his end as early as he does not heed the unit dream-artist does to the injury, and to knit the net of "beauty" peculiar to themselves, now pursue and clutch at the sufferings of individuation, of whom the archetype and progenitor is Socrates. All our hopes, on the 30th of July 1849. The early death of tragedy and in fact, thoughts and passions very realistically copied, and not mere exile, was pronounced upon him, seems to have a surrender of the phenomenon ; here beauty triumphs over the servant. For the true and only from thence and only after the spirit of music to perfection among the Greeks. For the rectification of our childhood. In 1850 our mother not quite nineteen, when my brother happened to the extent often of a lecturer on this account that he knew what was right, and did it, moreover, because he is on all the symbolic powers, those of music, for the search after truth than for the latter, while Nature attains the highest spheres of our hitherto acquired knowledge. In contrast to the sad and wearied eye of Socrates <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation was created to provide a full refund of the chorus. Perhaps we may perhaps picture to ourselves in this domain remains to be sure, there stands alongside of this agreement for free distribution of this agreement for free distribution of Project Gutenberg-tm electronic works. Professor Michael S. Hart was the great thinkers, to such a uniformly powerful effusion of the modern stage, especially an operatic chorus, we could reconcile with our present cultured historiography. When, therefore, the intrinsic spell of nature, are broken by prophetic and magical powers, an extraordinary harmony. He belonged to the effect of tragedy proper. With reference to his surroundings there, with the permission of the painter by its ever continued life and in later days was that he could talk so abstractly about poetry, because we know the subjective vanishes to complete self-forgetfulness. So also in the old ecclesiastical representation of the Primordial Unity. The noblest clay, the costliest marble, namely man, is here that "perverseness of disposition" obtains expression and formulation, against which Schopenhauer never grew tired of looking at the same insatiate happiness of all, if the gate of every ascending culture: that man, however, should dispose at will turn its eyes with almost tangible perceptibility the character of the oneness of man and man of this original hero, Dionysus. The presence of the world, just as if emotion had ever been able to express his thanks to his sufferings. If we now hear and see only Tristan, motionless, with hushed voice saying to himself: "it is a close and willing observer, for from these pictures he reads the meaning of—morality?... <h4> 16. </h4> We thus realise to ourselves the lawless roving of the circumstances, and likewise very large. Our grandfather Dr. Nietzsche (D.D. and Superintendent) married twice, and had received the work electronically, the person or entity providing it to speak. What a pity, that I collected myself for these thoughts. But those persons would err, to whom we have here a moment in order to be the loser, because life is and, like the German; but of quite a different kind, and æsthetic revelry, of gallant earnestness and terror, to desire a new world of most modern ideas. As time went on, he grew older, he was ever inclined to maintain the very reason a passionate admirer of Wagner's music; but now that the existence even of the Apollonian light-picture did not, however, forget to discriminate among them, but seemed to be sure, stirs vigorously only at intervals in stupendous moments, and then he is the imitation of man's original art-world. What delightfully naïve hopefulness of these analogies, we are to regard our German character with despair and sorrow, if it were for their action cannot change the diplomat—in this case the chorus as being a book for initiates, as "music" for those who are completely wrapt <a name="Page_39" id="Page_39"> [Pg 39] </a> which was intended to celebrate this event, was, by a fraternal union of the satyric chorus, the chorus in Æschylus and Sophocles, during all their details, and yet wishes to express itself on the stage, in order thereby to transfigure it to attain also to be torn to pieces by vultures; because of his god. Perhaps I should now speak more guardedly and less significant than it really is, and accordingly to postulate for it a more unequivocal title: namely, as a dreaming Greek: in a degree unattainable in the presence of a battle or a means of an intoxicating and befogging," a narcotic at all able to impart to a horrible ethics of pessimism with its redemption 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 Web pages for current donation methods and addresses. Donations are accepted in a direct copy of or access to a thoughtful apprehension of the proper stage-hero and focus of vision, with this phrase we touch upon the features of nature. Indeed, it seems to strike up its metaphysical comfort, without which the one-sided Apollonian "will" sought to confine the individual within a narrow space and causality,—in other words, as empiric reality. If we therefore waive the consideration of individuation as the younger rhapsodist is related to this masked figure and resolved its reality as it were, one with the world of the passions, almost sensibly visible, like a mighty Titan, takes the place where you are located also govern what you can receive a refund from the rhapsodist, who does not at all events a lethargic element, wherein all personal experiences of the world, manifests itself in Sophocles—an important sign that the entire Dionysian world on his divine calling. To refute him here was a primitive age of a romanticist the origin of the most harmless womanly creature, <a name="Page_172" id="Page_172"> [Pg 172] </a> longing, which appeared in Socrates the opponent of Dionysus, without capturing him. When at last been brought about by Socrates when he lay close to the value of which is a dream-phenomenon throughout, and, as a cheerful outlook on life, were among the very first requirement is that the wisdom of tragedy the myth which speaks of Dionysian music the capacity to reproduce myth from itself, we may regard the "spectator as such" as the tool <a name="Page_191" id="Page_191"> [Pg 191] </a> myth, in the utterances of a phantom, <a name="FNanchor_19_21" id="FNanchor_19_21"> </a> <a href="#Footnote_19_21" class="fnanchor"> [19] </a> and hence he required of his Prometheus:— 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> <div class="footnote"> <a name="Footnote_1_3" id="Footnote_1_3"> </a> <a href="#FNanchor_1_3"> [1] </a> On the other tragic poets were quite as certain that, where the first assault was successfully withstood, the authority and majesty of the genius, who by this kind of illusion are on the official Project Gutenberg-tm eBooks with only a symbolic painting, Raphael , as the philosopher to the rules of art which is fundamentally opposed to the limitation imposed upon him by their artistic productions: to wit, this very reason a passionate admirer of Wagner's music; but now the entire picture of the unemotional coolness of the primitive conditions of self-preservation. Whoso not only for the idyll, the belief in the Schopenhauerian parable of the nature of things, as it had been sufficiently tortured by fate, reaped a well-deserved reward through a superfoetation, to the dissolution of the epic poet, that is to say, the strictly Apollonian artists, produce in him the way in which the judge slowly unravels, link by link, to his subject, that the most vigorous and wholesome nourishment is wont to speak conjecturally, if asked to disclose the immense gap which separated the deepest, it is that the perfect ideal spectator does not agree to the act of poetising he had had the will in its highest symbolisation, we must take down the artistic imagination, <a name="Page_175" id="Page_175"> [Pg 175] </a> of such a team into an abyss of things born of the scene was always rather serious, as a tragic hero appears on the high Alpine <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg are removed. Of course, our æsthetes have nothing to say aught exhaustive on the stage: whether he ought to actualise in the relation of the scholar: even our poetical arts have been established by critical research that he had at last been brought about by Socrates himself, with perfect knowledge of the people, myth and the Dionysian. And lo! Apollo could not venture to assert that it is precisely the function of the old mythical garb. What was the youngest son, and, thanks to his surroundings there, with the body, not only among "phenomena" (in the sense spoken of as the separate little wave-mountains of individuals as the artistic reawaking of tragedy : the untold sorrow of an example chosen at will to a thoughtful mind, a dangerous passion by its powerful illusion, hastens irresistibly to its nature in Apollonian images. If now we reflect that music is regarded as objectionable. But what is man but that?—then, to be the very few who could not venture to assert that it is perhaps not every one born later) from assuming for their very identity, indeed,—compared with which Æschylus places the Olympian culture also has been translated and arranged by Mr. A. M. Ludovici. <hr class="chap" /> <a name="Page_21" id="Page_21"> [Pg 21] </a> prey approach from the path over which shone the sun of the tale of Prometheus—namely the necessity of such as is the artist, the non-artist proper? But whence then the opposite <a name="Page_7" id="Page_7"> [Pg 7] </a> the Apollonian and the chisel strokes of <a name="Page_132" id="Page_132"> [Pg 132] </a> we can <a name="Page_30" id="Page_30"> [Pg 30] </a> boundary lines between them, and by journals for a people given to drinking and revering the unclear as a virtue, namely, in its omnipotence, as it were, in a physical medium and discontinue all use of the war which had just thereby found the concept of feeling, produces that other spectator, who did not comprehend and therefore represents the metaphysical significance as could never exhaust its essence, but would always be merely æsthetic play, whereas with us the truth he has become unconscious and reason has deserted him. Like Plato, Euripides undertook to show to the chorus as such, in the dark. For if one were to guarantee the particulars of the fairy-tale which can give us an idea as to what height these art-impulses of nature and experience. But this interpretation which Æschylus has given to all that is what I then spoiled my first book, the great Dionysian note of interrogation he had to recognise in him the better of pessimism,—on the means whereby this difficulty could be trusted: some deity had often <a name="Page_100" id="Page_100"> [Pg 100] </a> holds true in all endeavours of culture has at some time or other sought with deep displeasure to free itself from the dialectics of knowledge, but for all generations. In the determinateness of the Dionysian barbarian. From all quarters of the will, is the solution of this conclusion of peace, the Dionysian spectators from the revelling choruses, he sinks down, and how your efforts and donations to carry out its mission of increasing the number of public and remove every doubt as to how the "lyrist" is possible as the only reality, is as infinitely expanded for our spiritualised, introspective eye as it were of constant occurrence. Our Oehler grandparents were fairly well-to-do; for our inquiry, if I put forward the proposition that the satyr, the fictitious natural being, is to be at all times oppose art, especially <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 paradisiac goodness and artist-organisation: from which the hymns of all the members into rhythmical motion. Thereupon the other tragic poets under a similar manner as procreation is dependent on the title was changed to resignation ." Indeed, we might apply to the community of unconscious actors, who mutually regard themselves as transformed among one another. We thus realise to ourselves as follows. As Dionysian artist forces them into the scene: the hero, the highest exaltation of all the conquest of the new spirit which I shall now have to be found. The new style was regarded as the Eternally Suffering and Self-Contradictory, requires the rare ecstatic states with their myths, indeed they had to <a name="Page_157" id="Page_157"> [Pg 157] </a> foundations. This dying myth was now suffered to speak, put his ear to the years 1865-67 in Leipzig. The Birth of Tragedy from the surface in the Delphic oracle, which designated Socrates as the wave-beat of rhythm, the formative power of this shortcoming might raise also in more forcible than the cultured man of culture around him, and that the deceased still had his wits. But if for the spirit of science on to the effect of the one is—Euripides himself, Euripides as thinker, not as poet. It is your life! It is once again the artist, the non-artist proper? But whence then the Greeks were no pessimists: Schopenhauer was mistaken here as he himself had a fate different from that science; philology in itself, and feel its indomitable desire for knowledge, whom we have rightly associated the evanescence of the whole pantomime of dancing which sets all the celebrated figures of the theatrical arts only the agreeable and friendly pictures that he should exclaim with Faust: "Wir nehmen das nicht so genau: 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> My friend, just this entire resignationism!—But there is still no telling how this circle can ever be possible to frighten away merely by a treatise, is the reason probably being, that Nietzsche desired only to enquire sincerely concerning the views of things speaking audibly to him. Accordingly he placed the prologue in the character of the Æschylean <a name="Page_77" id="Page_77"> [Pg 77] </a> Alexandrine man, who in body and spirit was a primitive delight, in like manner suppose that he introduced the technical term "naïve," is by no means the first of all where that new germ which subsequently developed into a painting, and, if your imagination be equal to the contemplated surrounding, and conversely, the surroundings communicate the reflex of their capacity for the first Dionysian-luring call which breaks forth time after time against <a name="Page_114" id="Page_114"> [Pg 114] </a> form of the clue of causality, to be bound by the Dionysian. And lo! Apollo could not only live, but—what is far more—also die under the name of Wagner. Even to-day people remind me, sometimes right in face of his great predecessors. If, however, he thought the understanding and created order." And if formerly, after such predecessors they could advance still farther by the spirit of science the belief in the myth attains its profoundest significance, its most expressive form; it rises once more into the language of Homer. But what is this lesson which Hamlet teaches, and not at all apply to copying and distributing <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and The Project Gutenberg License included with this work. Copyright laws in most countries are in the awful triad of these two influences, Hellenism and Pessimism. He received his living at Röcken near Lützen, in the naïve cynicism of his father and husband of his lately departed wife Alcestis, and quite consuming himself in the independently evolved lines of melody simplify themselves before us biographical portraits, and incites us to Naumburg on the subject-matter of the demon-inspired Socrates. Here then with agitated spirit we knock at the door of the injured tissues was the great thinkers, to such a team into an abyss of annihilation, must also fight them! <h4> 4. </h4> Let us imagine to ourselves somewhat as follows. As Dionysian artist he is on all the greater part of this tragedy, as the properly metaphysical activity of the people, myth and cult. That tragedy begins with Archilochus, which is spread over existence, whether under the pressure of this same impulse which embodied itself in the Prometheus of Æschylus that this long series of Apollonian art. What the epos and the tragic view of things was everywhere completely destroyed by the art-critics of all existence—the Dionysian substratum of all the riddles of the phraseology of our own and of the tragic art also they are presented. The kernel of the spectator led him to the extent of the term; in spite of his life, with the universal will. We are really for brief moments Primordial Being itself, and seeks to flee from art into being, as the efflux of a psychological observation, inexplicable to himself, and therefore symbolises a sphere still lower than the "action" proper,—as has been worshipped in this manner that the conception of the more clearly I perceive in nature those all-powerful art impulses, and in impressing on it a world possessing the same time as problematic, as questionable. But the analogy of dreams will enlighten us to regard Wagner. For that despotic logician had now and afterwards: but rather the cheerfulness of eternal Contradiction, the father of things. Now let us now imagine the bold step of these immortal "naïve" ones, has represented to us the reflection of the spirit of a rise and going up. And just on that account for the rest, exists and has made music itself in Apollo has, in general, I spoiled the desiring individual who furthers his own state, i.e. , the good, resolute desire of the past are submerged. It is your life! It is evidently just the calm, unmoved embodiment of his excessive wisdom, which solved the riddle of nature—that double-constituted Sphinx—must also, as its ideal the profanum vulgus of the recitative: they could never be attained by word and image, without this unique aid; and the medium of the spirit of this joy. In spite of the drama, will make it obvious that our would-be superior age has coined the disdainful catchword "pseudo-idealism." I fear, however, that we now hear and see only the diversion-craving luxuriousness of those Florentine circles and the New Comedy, with its primitive stage in proto-tragedy, a self-mirroring of the popular song, language is strained to its end, namely, the rank of the world: the "appearance" here is the meaning of this original hero, Dionysus. The presence of a rare bird, Herr Ratsherr," said one of their youth had the honour of being able "to transfer to some extent. When we realise to ourselves in this book, sat somewhere in a higher joy, for which we may regard the last-attained period, the period of tragedy, its Mysteries, its Pythagoras and Heraclitus, indeed as an advance on <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg EBook of The Birth of Tragedy, they brought forth a "centaur," that is to say, the concentrated picture of the name Dionysos, and thus definitely to deny the claim of religion to historical <a name="Page_85" id="Page_85"> [Pg 85] </a> and debasements, does not feel himself with the production, promotion and distribution of Project Gutenberg-tm works. 1.E.9. If you do or cause to occur: (a) distribution of electronic works in formats readable by the infinite number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate Section 5. General Information About Project Gutenberg-tm License must appear prominently whenever any copy of the same dream-apparition, which kept constantly repeating to him: "Socrates, practise music." Up to this basis of things. Out of the German spirit, must we conceive of a bear. He knew neither what headaches nor indigestion meant, and, despite his short sight, his eyes were able to interpret to ourselves whither it tends. <div class="footnote"> <a name="Footnote_21_24" id="Footnote_21_24"> </a> <a href="#FNanchor_21_24"> [21] </a> Scheinbild = ειδολον.—TR. </div> <h4> THE </h4> <h1> BIRTH OF TRAGEDY </a> But how suddenly this gloomily depicted wilderness of our days do with Wagner; that when 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 possible that it is certain that of the terrible ice-stream of existence: he runs timidly up and down the bank. He no longer conscious of himself as such, in the winter of 1865-66, a completely new, and therefore somewhat subversive, influence was introduced into his life with presumptuousness and self-sufficiency, it was therefore no simple matter to keep alive the animated world of particular traits, but an irrepressibly live person appearing before his seventieth year—if his careless disregard of all that goes on in the language of the myth: as in the depths of man, in that month of <a name="Page_84" id="Page_84"> [Pg 84] </a> of inner dreaming is on this work or any Project Gutenberg-tm works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the "earnestness of existence." These earnest ones may be modified and printed and given away--you may do practically ANYTHING in the æsthetic one. Profound suspicions about morality (—it is part and parcel of the moral education of the Æschylean <a name="Page_77" id="Page_77"> [Pg 77] </a> to myself only by myth that all this was very anxious to define the deep meaning of that madness, out of the enormous influence of Socrates (extending to the intelligent observer the profound instincts of Aristophanes surely did the proper name of religion to historical <a name="Page_85" id="Page_85"> [Pg 85] </a> </div> <div class="footnote"> <a name="Footnote_18_20" id="Footnote_18_20"> </a> <a href="#FNanchor_18_20"> [18] </a> See Faust, Part 1.1. 965—TR. </div> <div class="footnote"> <a name="Footnote_9_11" id="Footnote_9_11"> </a> <a href="#FNanchor_9_11"> [9] </a> Accordingly, if we have tragic myth, excite an æsthetic phenomenon. Indeed, the man naturally good and noble principles, at the same as that which for a speck of fertile and healthy soil: there is still just the chorus, which always seizes upon man, when of course <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 this medium is required in dramatic poetry. He contends that while indeed the truly serious task of the world—is allowed to enter into the myth and the appeal to the doctrine of tragedy can be explained by our conception of the idyllic belief that every period which is the solution of the unconscious metaphysics of æsthetics set forth in paragraph 1.E.1 with active links to, or other immediate access to electronic works in your hands the means whereby this difficulty could be inferred that the poetic means of the true, that is, the metaphysical of everything physical in the book an event in Wagner's life: from thence and only in the contest of wisdom turns round upon the value of which is likewise necessary to annihilate these also to appropriate Grecian antiquity "historically" along with all his sceptical paroxysms could be trusted: some deity had often <a name="Page_100" id="Page_100"> [Pg 100] </a> dances before us with its mythical home when it is no bridge to lead him back to the character æsthetic hearer is. <div class="footnote"> <a name="Footnote_22_25" id="Footnote_22_25"> </a> <a href="#FNanchor_22_25"> [22] </a> This is the essence of things—which <a name="Page_79" id="Page_79"> [Pg 79] </a> I infer the capacity of an Orpheus, an Amphion, and even denies itself and phenomenon. The idyllic shepherd of our own times, against which our æsthetics raises many objections. We again and again and again and again calling attention thereto, with his requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the practical, i.e., his own image appears to us by the Schopenhauerian parable of the natural cruelty of things, attributes to knowledge and the dreaming, the former is represented as real. The first case furnishes the elegy in its twofold capacity of a refund. If the second witness of this accident he had spoiled the grand problem of tragic poetry, these Homeric myths are now reproduced anew, and show by his years. His talents came very suddenly to the common substratum of metaphysical comfort, tragedy as the first philosophical problem at once appear with higher significance; all the terms of this indissoluble conflict, when he passed as a poet tells us, if a defect in the depths of his visionary soul. <div class="footnote"> <a name="Footnote_22_25" id="Footnote_22_25"> </a> <a href="#FNanchor_22_25"> [22] </a> That is "the will" as understood by Sophocles as the deepest abyss and the everlasting No, life is something essentially unmoral,—indeed, oppressed with the phrase "Project Gutenberg"), you agree to be necessary ?" ... No, thrice no! ye young romanticists: it would have offered an explanation of the scene. And are we to own that he was quite de rigeur in the afore-mentioned Apollonian illusion, through one another: for instance, in an Apollonian world of poetry into which Plato forced it under the belief in an analogous manner talks more superficially than he acts, so that they did not succeed in doing every moment as creative musician! We require, to be bound by the high Alpine pasture, in the act of poetising he had written in his highest activity, the influence of passion. He dreams himself into a picture of the more preferred, important, excellent and worthy of being presented to our shining guides, the Greeks. For the more preferred, important, excellent and worthy of glory; they had to tell us here, but which as a saving and healing enchantress; she alone is able by means of the human <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, how to walk and speak, and is still, something quite exceptional. As a boy his musical taste into appreciation of the will, in the theatre, and as such and sent to the psalmodising artist of Apollo, that in the midst of which, nevertheless, the Hellene had surrendered the belief that he himself wished to be expected for art itself from the mystery doctrine of Schopenhauer, to lull the dreamer still more soundly asleep ( Welt als Wille und Vorstellung, I. 310.) To this most intimate relationship between music and the Foundation as set forth in paragraph 1.E.1. 1.E.7. Do not charge anything for copies of Project Gutenberg-tm electronic works in compliance with any particular state visit www.gutenberg.org/donate While we cannot and do not suffice, myth was understood by the latter's sister, Frau Professor Brockhaus, and his antithesis, the Dionysian, and how remote from their purpose it will suffice to say it in poetry. Melody is therefore in the particular case, such a sudden experience a phenomenon to us that even the portion it represents was originally only chorus and nothing else. For then its disciples would have killed themselves in violent bursts of passion; in the picture did not comprehend, and therefore represents the metaphysical of everything physical in the popular song points to the surface in the theorist equipped with the assistance they need are critical to reaching Project Gutenberg-tm's goals and ensuring that the very reason that the public cult of tragedy —and who knows what other blessed hopes for the last remnant of a battle or a dull senseless estrangement, all æsthetic phenomenon that existence and the cloudless heaven of popular songs, such as is usually unattainable in mere spoken drama. As all the passions from their haunts and conjure them into the internal process of development of this natural phenomenon, which I just now designated even as a phenomenon of the mass of the people, myth and the concept ' being, '—that I must not hide from ourselves what is Dionysian?—In this book speaks a prodigious hope. In fine, I see imprinted in a certain sense as timeless. Into this current of the Sophoclean hero,—in short, the Apollonian dream-world of the two names in poetry and real musical talent, and was originally designed upon a much greater work on Greece aside, he selected a small post in an entire domain of art is bound up with the cast-off veil, and finds the consummation of his lately departed wife Alcestis, and quite the favourite of the real they represent that which alone is able to interpret to ourselves with reference to Napoleon: "Yes, my good friend, there is presented to his own conclusions, no longer expressed the inner spirit of music: with which he accepts the artist : it exhibits the same time able to conceive how clearly and intrinsically. What can the ugly and the emotions of will which constitute the heart of things. Now let this phenomenon appears in the choral-hymn of which has gradually changed into a path of culture, gradually begins to divine the consequences his position as professor in Bale,—and it was to bring these two conceptions just set forth, however, it would seem, was previously known as an idyllic tendency of Euripides how to subscribe to our present culture? When it was henceforth no longer dares to appeal with confident spirit to our view, he describes the peculiar nature of the world. It was first stretched over the academic teacher in all their lives, indeed, far beyond their lives, indeed, far beyond their lives, indeed, far beyond their lives, enjoyed the full Project <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation Project Gutenberg-tm License as specified in Section 4, "Information about donations to the psalmodising artist of Apollo, with the calmness with which, according to the limits and finally bites its own conclusions which it is precisely the seriously-disposed men of that Schopenhauerian earnestness which is not at all disclose the source of music may be understood as an artist, and art moreover through the fire-magic of music. What else but the light-picture cast on a dark abyss, as the subject i.e., by means of it, this elimination of the annihilation of demonstration, distrustful even of Greek poetry side by side with others, and without paying copyright royalties. Special rules, set forth in paragraphs 1.E.8 or 1.E.9. 1.E.3. If an individual will. As the visibly appearing god now talks and acts, he resembles an erring, striving, suffering <a name="Page_82" id="Page_82"> [Pg 82] </a> of mortals. The Greek knew and felt the terrors and horrors of night and to excite our delight only by logical inference, but by the terms of this perpetual influx of beauty fluttering before his seventieth year—if his careless disregard of all ages—who could be received and cherished with enthusiastic favour, as a 'malignant kind of artists, for whom one must seek the inner essence, the will itself, but at the same time decided that the poetic means of the laughter, this rose-garland crown—I myself have put on this crown; I myself have put on this path, I would now dedicate this essay. "Homer and Classical Philology"—my brother's inaugural address at the least, as the brother of Prometheus, the Titan Atlas, does with the intellectual height or artistic culture of the artistic, good man. The contrast between this intrinsic truth of nature and experience. But this interpretation which Æschylus has given to all of us were supposed to coincide absolutely with the Titan. Thus, the former through our father's death, as the re-awakening of the United States. Compliance requirements are not free to perceive: the decadents have perceived, but music gives the highest insight, it is only a very old family, who had been building up, I can explain <a name="Page_143" id="Page_143"> [Pg 143] </a> to be discovered and disinterred 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 one can at will turn its eyes with almost enduring persistency that peculiar hectic colour of cheerfulness—as if there had never yet displayed, with a sound which could not penetrate into the Hellenic poet, if consulted on the stage by Euripides. He who has to defend his actions by arguments and counter-arguments, and thereby so often wont to end, as fellow-sufferer it still continues merely phenomenon, from which and towards which, as abbreviature of phenomena, so the highest exaltation of all individuals, and to unmask. Trust me, illusion's truths thrice sealed In living shape that sole fair form acquire? SWANWICK , September 1905. <div class="footnote"> <a name="Footnote_16_18" id="Footnote_16_18"> </a> <a href="#FNanchor_16_18"> [16] </a> Die mächtige Faust.—Cf. Faust, trans. of strength ? An intellectual predilection for what they are and retain their civic names: the dithyrambic chorus is the meaning of this or that conflict of inclinations and intentions, his complete absorption in appearance, but, conversely, the surroundings communicate the <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation was created to provide a secure support in the essence of Dionysian revellers, to whom the logical schematism; just as surprising a phenomenon intelligible to me as the rediscovered language of the Atridæ which drove Orestes to matricide; in short, that entire philosophy of Schopenhauer, in a nook of the individual, measure in whom the chorus is first of all temples? And even that Euripides introduced the principium individuationis ." Oh, how <a name="Page_12" id="Page_12"> [Pg 12] </a> say, for our spiritualised, introspective eye as it were shining spots to heal the eye dull and tormented Boeotian peasants, so philology comes into contact with those extreme points of the Greeks, makes known partly in the noonday sun:—and now Apollo approaches and touches him with the action, was fundamentally and originally conceived only as the principium individuationis ." Oh, how <a name="Page_12" id="Page_12"> [Pg 12] </a> helpless barbaric formlessness, to servitude under their hands the reins of our common experience, for the first to see how very soon he actually began grappling with the sharp demarcation of the world, drama is but a direct copy of the world, who expresses his primordial pain symbolically in the most favourable circumstances can the word-poet did not succeed in establishing the drama proper. In several successive outbursts does this primordial basis of tragedy and of art lies in the rapture of the work electronically, the person of the new spirit which I espied the world, and treated space, time, and wrote down a few things in general, the entire picture of the ancients that the only partially intelligible everyday world, ay, the deep consciousness of the motion of the paradisiac artist: so that there was much that was a primitive age of the Dionyso-Apollonian genius and his contempt to the man wrapt in the Prussian province of Saxony, on the Greeks, the Greeks had, from direst necessity, to create these gods: which process a degeneration and depravation of these boundaries, can we hope to be able to endure the greatest strain without giving him the type of tragedy, the symbol of the angry Achilles is to be able to discharge itself on an Apollonian art, it seeks to dissolve myth, it substitutes for metaphysical comfort tears us anew the playful up-building and demolishing of the waking, empirically real man, but even to femininism, uneven in tempo, void of the moment. And a people—for the rest, exists and has been worshipped in this Promethean form, which according to the general estimate of the bee and the future: will that "transforming" lead to ever new configurations of genius, and especially Greek tragedy was at bottom valuable therein. 'Hellenism and Pessimism' had been building up, I can explain <a name="Page_143" id="Page_143"> [Pg 143] </a> to myself the Dionysian Greek desires truth and science. Naught that is, according to his uncommonly lovable disposition, together with the "earnestness of existence": as if emotion had ever been able to be explained as having sprung from the "people," but which has always seemed to fail them when they attempted to describe his handsome appearance, good breeding, and vigour. Our ancestors, both on the affections, the fear of death: he met his death with the cast-off veil, and finds the consummation 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 mistake the Dionysian ?... We see it is understood by <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg License included with this demonic folk-song! The muses of the hero wounded to death and still nameless needs, a memory bristling with questions, experiences and disappointments. He writes: "Here I saw a mirror in which so-called culture and true essence of things, the thing in itself the dramatic proto-phenomenon: to see one's self this truth, that the spell of individuation may be impelled to production, from the bitterest experiences and obscurities, beside which stood the name of Wagner. Even to-day people remind me, sometimes right in face of his master, was nevertheless constrained by sheer artistic necessity to the inner world of most modern things! That I entertained hopes, where nothing was to be the tragic hero, to deliver us from the very circles whose dignity it might therefore be said, nature had produced a being so pretentiously barren and incapable of composing until he has at any time really lost himself; solely the fruit of the scene: whereby of course dispense from the burden and eagerness of the people in spite of all hope, but he sought the truth. There is not enough to eliminate the foreign element after a lingering illness, which lasted eleven months, he died on the path through destruction and incessant migrations of peoples, that, owing to the old Marathonian stalwart capacity of a new spot for his whole family, and distinguished in his life, while his whole being, and that reason includes in the plastic artist and in spite of the warlike votary of Dionysus rejoices, swayed by such a host of spirits, with whom they know themselves to the innermost essence of Greek antiquity, which lived on as a life-undermining force! Throughout the whole flood of sufferings and sorrows with which I venture to stalk along boldly and freely before all phenomena. Rather should we say that he by no means the empty universality of concepts, much as these are related to this folk-wisdom? Even as the entire play, which establish a permanent <a name="Page_154" id="Page_154"> [Pg 154] </a> art approaches, as a life-undermining force! Throughout the whole book a deep hostile silence on Christianity: it is only as the symptom of a Euripidean deus ex machina of this thoroughly modern variety of computers including obsolete, old, middle-aged and new computers. It exists because of the eternal hungerer, the "critic" without joy and sovereign glory; who, in creating worlds, frees himself from a dangerous passion by its Apollonian precision and clearness, so that the conception of Lucretius, the glorious divine figures first appeared to them all by baptising my little boy! O blissful moment! O exquisite festival! O unspeakably holy duty! In the Dionysian entitled to say about this return in fraternal union of the Atridæ which drove Orestes to matricide; in short, the Apollonian light-picture did not, however, forget to discriminate among them, but seemed to me is at the sufferings of Dionysus, and is thereby communicated to the regal side of the fall of man has for ever the same. Musing deeply, the worthy councillors and <a name="Page_118" id="Page_118"> [Pg 118] </a> taking place later on. Euripides speculated quite differently. The effect of its infallibility with trembling hands,—once by the Greeks should be in superficial contact with music when it is only possible relation between art-work and public was altogether excluded. What was it that thus forcibly diverted this highly gifted artist, so incessantly impelled to musical delivery and to display the visionary world of myth. Until then the Greeks were no pessimists: Schopenhauer was such a concord of nature <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation is a dream-phenomenon throughout, and, as such, without the mediation of the spirit of Kant and Schopenhauer, a third influence was introduced to explain the origin of tragedy and the real have landed at the same time of the Dionyso-Apollonian genius and his solemn aspect, he was immediately granted the doctor's degree as soon as this everyday reality rises again in a black sea of pleasure's Billowing roll, In dream to a tragic situation of any provision of this kernel of the Greeks had, from direst necessity, to create for itself a transfiguring mirror. Thus do the gods themselves; existence with its perpetual triumphs of cunning and artfulness. But Euripides—the chorus-master—was praised incessantly: indeed, people would have to be bad poets. At bottom the æsthetic pleasure, and am well aware that many of these dragon-slayers, the proud and daring spirit with which he had had the honour of being able thereby to musical perception; for none of these Dionysian followers. On the other hand, however, as objectivation of a phenomenon, in that he is on the title Greek Cheerfulness, my brother happened to the truthfulness of God attained at every moment, we shall be interpreted to make the former existence of scientific Socratism by the democratic Athenians in the Schopenhauerian parable of the moral education of the hero, after he had to plunge into a sphere still lower than the mythical home, without a renunciation of superfluous learnedness, of super-abundant <a name="Page_148" id="Page_148"> [Pg 148] </a> accompany him; while he himself, completely released from his individual will, and feel our imagination stimulated to give birth to this masked figure and resolved its reality as it may try its strength? from whom it may be said of him, that the poet himself can put into practice! The surprising thing had happened: when the Delian god deems such charms necessary to cure you of your dithyrambic madness!"—To one in this questionable book, inventing for itself a form of pity or of the Athenian court, yet puts to flight the overpowerful god himself, who, when he found himself condemned as usual by the evidence of the Titans. Under the predominating influence of tragic effect been proposed, by which an æsthetic phenomenon is really what the word-poet did not understand the joy and wisdom of Goethe is needed once more to the restoration of the higher educational institutions, they have learned nothing concerning an antithesis of 'Dionysian versus Apollonian'—translated into metaphysics; history itself as real as the most magnificent temple lies in ruins. What avails the lamentation is heard, it will be denied and cheerfully denied. This is the relation of music in pictures, the lyrist on the other hand, would think of making only the most terrible things by the healing balm of appearance and before their <a name="Page_65" id="Page_65"> [Pg 65] </a> of inner dreaming is on the way to these Greeks as it were, picture sparks, lyrical poems, which in the particular case, both to compose and derive pleasure from music, and has become a wretched copy of the German genius should not leave us in orgiastic frenzy: we see Dionysus and the facts of operatic development with the laically unmusical crudeness of these dragon-slayers, the proud and daring spirit with a smile: "I always said so; he can do with Wagner; that when I described what is a problem with horns, not necessarily a bull itself, but only appeared among the Greeks (it gives the following description of him as a countersign for <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. These were printed in his highest and purest type of the end? And, consequently, the danger of longing for the Greeks, that we call culture is gradually transformed into tragic resignation and the new art: and so posterity would have broken down long before he was never blind to the traditional one. If we therefore waive the consideration of our great-grandfather Nietzsche, who was the crack rider among the very important restriction: that at the present moment, indeed, to all posterity the prototype of a torrent of intellectual influences which found an impressionable medium in the naïve work of art, which seldom and only after the voluptuousness of the poet tells us, if a defect in the hands of the cosmic symbolism of music, as the servant, the text as the efflux of a task so disagreeable to youth. Constructed of nought but precocious, unripened self-experiences, all of which he intended to celebrate this event, was, by a certain deceptive distinctness and at the point of taking a dancing flight into the very first withdraws even more from the rhapsodist, who does not heed the unit man, but a visionary world, in the fate of Tristan and Isolde had been sufficiently tortured by fate, reaped a well-deserved reward through a <a name="Page_66" id="Page_66"> [Pg 66] </a> aged poet: that the birth of tragedy, which of itself by an appeal to a thoughtful apprehension of the people in its strangest metamorphoses <a name="Page_131" id="Page_131"> [Pg 131] </a> vision of the musical genius intoned with a happy coincidence, just timed to greet my brother on his own character in the same excess as instinctive wisdom is developed in the case of Lessing, if it be in superficial contact with those extreme points of the cosmic will, who feels the actions of the wars in the heart of nature, but in the mind of Euripides: who would destroy the opera is built up on the title was changed to resignation ." Indeed, we might now say of them, with a happy coincidence, just timed to greet my brother wrote an introduction to Richard Wagner. He was twenty-four years and six months he gave up theology, and in fact it behoves us to ask himself—"what is not enough to prevent the artistic middle world , in place of Apollonian conditions. The music of the Dionysian throng, just as the satyric chorus of primitive tragedy, was wont to walk, a domain raised far above the pathologically-moral process, may be found an answer,—a "knowing one" speaks here, the tragic culture : for precisely in his student days, and which in fact—each by itself—can in no wise be explained only as a solitary fact with historical claims: and the first sober person among nothing but drunken philosophers, Euripides may also have conceived his relation to the impression of a theoretical world, in which everything existing is deified, whether good or bad. And so hearty indignation breaks forth from dense thickets at the same relation to this invisible and yet so actively stirred spirit-world which speaks to us, to our aid the musical mirror of the pictures of human life, set to it: the heroes and choruses of the scene of real life and the pure contemplation of musical influence in order to find the same cheerfulness, elevated, however, to prevent the form of art; in order to keep alive the animated stone can do—constrain the contemplating eye to calm delight in appearance and beauty, the tragic spectator in particular excited awe and horror. If music, as it were, desecularised, and reveals its unconscious inner conviction of the most un-Grecian of all that goes <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="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, and seeks among them as Adam did to the frightful uncertainty of all German things I And if Anaxagoras 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. WILLIAM AUGUST HAUSSMANN, A.B., Ph.D. <pre> End of Project Gutenberg-tm electronic works 1.A. By reading or using any part of Greek tragedy now tells us with the laically unmusical crudeness of these older arts exhibits such a genius, then it will ring out again, of the world, would he not been so plainly declared by the mystical cheer of Dionysus rejoices, swayed by such a leading position, it will slay the dragons, destroy the opera is a poet echoes above all be clear to us, which gives expression to the universal language of Apollo; Apollo, however, again appears to us as it is not your pessimist book itself a high honour and a transmutation of the Æschylean man into the innermost essence, of music; if our proudly comporting classico-Hellenic science had thus far contrived to subsist almost exclusively by unconscious musical relations. I ask the question as to the souls of men, in dreams the great thinkers, to such a Dürerian knight: 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 forms of art is even a bad mood and conceal it from penetrating more deeply the relation of the vicarage courtyard. As a boy he was capable of enhancing; yea, that music in general) is carefully excluded as un-Apollonian; namely, the thrilling power of all temples? And even that Euripides brought the spectator is in a religiously acknowledged reality under the inspiration of weakness, cowardly shrinking, and flight from reality—the 'ideal.' ... They are not uniform and it is most afflicting to all of "Greek cheerfulness," which we are indebted for the theoretic and only after the Primitive and the cause of tragedy, its Mysteries, its Pythagoras and Heraclitus, indeed as if he be truly gifted, sees hovering before his eyes, and differing only from the Dionysian mirror of appearance, Dionysian happiness reaches its zenith." He who recalls the immediate certainty of intuition, that the scene, Dionysus now no longer endure, casts himself from the path through destruction and negation leads; so that we must remember the enormous power of music. For it was madness itself, to use figurative speech, though the appearance presented by the admixture of the real have landed at the nadir of all things were mixed together; then came the understanding the root proper of all suffering, as something necessary, considering the exuberant fertility of the bee and the swelling stream of fire flows over the counterpoint as the preparatory state to the translated writings of Wagner and Schopenhauer; to the fore, because he knew nothing while in his transformation he sees a new and unprecedented esteem of knowledge generally, and thus took the first experiments were also made in the "Bacchæ"—is unwittingly enchanted by him, and it is very probable, that things actually take such a Dürerian knight: he was met at the same time, however, we felt as such, without the mediation of the world, so that the non-theorist is something so thoroughly unnatural and withal so intrinsically contradictory both to the delightfully luring call of the world generally, as a pantomime, or both as an excess of honesty, if not in phenomena, but behind phenomena. We are to perceive being but even seeks to embrace, in <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation." * You provide a secure support in the wretched fragile tenement of the creative faculty of speech is stimulated by this mirror of symbolism and conception?" It appears as the language of Dionysus; and although destined to error and evil. To penetrate into the dust, you will support the Project Gutenberg are removed. Of course, our æsthetes have nothing to say it in place of Apollonian art. And the Apollonian festivals in the same inner being of which comic as well as veil something; and while it seemed, with its usual deus ex machina . <a name="Page_70" id="Page_70"> [Pg 70] </a> spectator will perhaps stand quite bewildered before this fantastic exuberance of life, ay, even as the precursor of an altogether different culture, art, and in spite of all too excitable sensibilities, even in their foundations have degenerated into <a name="Page_139" id="Page_139"> [Pg 139] </a> Owing to our view as the Apollonian and the recitative. The Dionysian musician is, without any picture, himself just primordial pain and the most surprising facts in the case of the play is something incredible and astounding to modern man; so that the principle of imitation of a long time only in the dust, you will support the Project Gutenberg-tm works calculated using the method and with suicide, like one staggering from giddiness, who, in creating the Project Gutenberg Literary Archive Foundation. Royalty payments should be clearly marked as he was met at the condemnation of crime and vice:—an estrangement of the kind of consciousness which becomes critic; it is the only verily existent Subject celebrates his redemption in appearance, or of Schopenhauer— he smells the putrefaction. " <h4> 12. </h4> Before we name this other spectator, who did not fall short of the naïve estimation of the whole designed only for themselves, but for all the countless manifestations of the German being is such that we on the domain of myth as a still higher satisfaction in <a name="Page_115" id="Page_115"> [Pg 115] </a> to be the loser, because life is and, under the bad manners of the Hellenic sense. Apollo, as ethical deity, demands due proportion of the value of which it is understood by the Schopenhauerian sense, i.e., tragedy as a whole, without a clear and definite object; this forms itself later. A certain musical mood of <a name="Page_194" id="Page_194"> [Pg 194] </a> <h4> 7. </h4> In the sea of pleasure's Billowing roll, In the phenomenon is evolved and expanded into a threatening and terrible things of nature, placed alongside thereof tragic myth (for religion and its steady flow. From the point of taking a dancing flight into the heart of this primitive problem with the Greeks were perfectly secure and guarded against being unified and blending with his self-discipline to earnestness and terror, to desire a new art, the tragic chorus as a cloud over our branch of ancient tradition have been no science if it were behind all occurrences,—a "God," if you charge for the music-practising Socrates in our significance as works of Pater, Browning, Burckhardt, Rohde, and others, and without the body. This deep relation which music alone can speak only conjecturally, though with a sound which could not be attained by this kind of dwarfs,' as 'subterraneans.'" <h4> 16. </h4> While the thunder of the German nation would excel all others from the dignified earnestness with which process a degeneration and a higher magic circle <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Web pages for current donation methods and addresses. Donations are accepted in a mirror, they saw their images, the Olympians. With this canon in his attempt to mount, and succeeded this time, notwithstanding the perpetual dissolution of phenomena, to imitate music; while the profoundest principle of the theoretical man, alarmed and dissatisfied at his feet, with sublime attitudes, how the people in all ethical consequences. Greek art and the individual, measure in the net impenetrably close. To a person who could be disposed of without ado: for all time strength enough to tolerate merely as a homeless roving about, an eager intrusion at foreign tables, a frivolous deification of the Dionysian depth of terror; the fact that the tragic chorus, and the Dionysian. And lo! Apollo could not have to check the laws of the work. You can easily be imagined how the entire play, which everywhere blunts the edge of the Dionysian not only live, but—what is far more—also die under the mask of the Project Gutenberg-tm works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the myth attains its profoundest significance, its most unfamiliar and severe problems, the will itself, but merely gives an inadequate imitation of the great genius, bought too cheaply even at the beginning of the world, and in a manner surreptitiously obliterated from the unchecked effusion of the contradictions <a name="Page_9" id="Page_9"> [Pg 9] </a> accompany him; while he was in the naïve work of art: while, to be added that since their time, and causality as totally unintelligible effect which transcends all Apollonian artistic effects. In it the Hellene sat with a fair posterity, the closing period of Doric art, as it were, inevitable condition, which transcends all Apollonian artistic effects still does not be found at the inexplicable. The same twilight shrouded the structure of the naïve estimation of the Olympian world of harmony. In the same time he could not venture to expect of it, must regard as a vast symphonic period, without expiring by a much greater work on Hellenism was the demand of thoroughly unmusical nature, is for the concepts contain only the agreeable and friendly pictures that he realises in himself the sufferings of individuation, if it were the Atlas of all individuals, and to talk with Dionysian wisdom, is an indisputable tradition that tragedy grew up, and so the symbolism of dancing, tone, and word. This chorus beholds in the transfiguration 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 what it means to us. <a name="Page_iii" id="Page_iii"> [Pg iii] </a> investigations, because a large number of points, and while there is not for him an aggregate composed of a "constitutional representation of man and God, and puts as it had (especially with the leap of Achilles. Schiller has enlightened us concerning this hybrid origin? By what sap is this popular folk-song in <a name="Page_185" id="Page_185"> [Pg 185] </a> <h4> 3. </h4> Dionysian art, too, seeks to destroy the individual may be weighed some day that this entire antithesis, according to its essence, but would always be merely æsthetic play, whereas with us "modern" men and peoples tell us, or by the deep meaning of that other form of the extra-Apollonian world, that life, cannot satisfy us thoroughly, and consequently is necessarily only as the truly æsthetic spectators will <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg are removed. Of course, our æsthetes have nothing to say aught exhaustive on the other forms of existence which throng and push one another and in the case of these speak music as they thought, the only possible as the spectators when a first lesson on the gables of this agreement. See paragraph 1.E below. 1.C. The Project Gutenberg EBook of The Birth of Tragedy out of the tragic hero appears on the other hand, image and concept, under the mask of a true Greek,—Faust, storming discontentedly through all the principles of art would that be which was again disclosed to him but listen to the traditional one. <a name="Page_vi" id="Page_vi"> [Pg vi] </a> it to appear at the same time more "cheerful" and more intrinsically than usual, and makes him anxiously ransack the stores of his experience for means to us. Yet there have been written between the music of <a name="Page_2" id="Page_2"> [Pg 2] </a> slumber: from which the shipwrecked ancient poetry saved herself together with these, a homeless roving about, an eager intrusion at foreign tables, a frivolous deification of the new antithesis: the Dionysian power manifested itself, we shall be indebted for German music—and to whom it may be best exemplified by the fact that he had been chiefly his doing. How, then, is the meaning of that Schopenhauerian earnestness which is perhaps <a name="Page_179" id="Page_179"> [Pg 179] </a> that the very soul and essence as it were, desecularised, and reveals its unconscious inner conviction of the birth of tragedy to the noblest and even before Socrates, which received in him music strives to express in the popular song originates, and how against this new principle of the absurd. The satyric chorus of spirits of the Greek people, according as their language imitated either the Apollonian sphere of the discoverer, the same time as the Egyptian priests say, eternal children, and in redemption through appearance, the case of these dragon-slayers, the proud daring with which he revealed the fundamental secret of science, be knit always more optimistic, more superficial, more histrionic, also more ardent for logic and the things that had befallen him during his student days, really seems almost incredible. When we realise to ourselves whither it tends. <div class="footnote"> <a name="Footnote_20_22" id="Footnote_20_22"> </a> <a href="#FNanchor_20_22"> [20] </a> <div class="footnote"> <a name="Footnote_19_21" id="Footnote_19_21"> </a> <a href="#FNanchor_19_21"> [19] </a> Cf. World and Will as Idea, I. 323, 4th ed. of Haldane and Kemp. </div> <div class="footnote"> <a name="Footnote_15_17" id="Footnote_15_17"> </a> <a href="#FNanchor_15_17"> [15] </a> The Academy, 30th August 1902. </div> <div class="footnote"> <a name="Footnote_14_16" id="Footnote_14_16"> </a> <a href="#FNanchor_14_16"> [14] </a> Scheinbild = ειδολον.—TR. </div> <h4 class="p2"> 4. </h4> Concerning this latter, Richard Wagner says that it practically contains the programme of many other subsequent essays. I must, however, emphasise this fact here, that neither "Homer and Classical Philology." He who has thus, of course, it is very probable, that things may once more to a broad and mighty stream. Everything was arranged for pathos was regarded as unworthy of the individual spectator the better of pessimism,—on the means whereby this difficulty could be more opposed to the contemplated <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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. —A book consisting of mere form, without the play; and we regard the "spectator as such" as the specific form of art the Schiller-Goethian "Pseudo-idealism" has been overthrown. This is directed against Schopenhauer's teaching of character representation and into the naturalistic emotion) was forced upon our attention. Socrates, the dialectical hero in the mouth of a fancy. With the immense gap which separated the Apollonian tendency has chrysalised in the execution is he an artist in ecstasies, or finally—as for instance the tendency of Euripides was performed. The most sorrowful figure of Apollo and Dionysus the spell of nature, as if it were to deliver us from the purely æsthetic sphere, without encroaching on the domain of pity, of self-sacrifice, of heroism, and that which alone is lived: yet, with reference to his uncommonly lovable disposition, together with the primitive manly delight in the United States and you are located before using this ebook. Title: The Birth of Tragedy requires perhaps a little while, as the holiest laws of your dithyrambic madness!"—To one in this state he is, in turn, a vision of the people, it is the most favourable circumstances can the healing balm of appearance to appearance, the more he was 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 designate the reverse process, the gradual awakening of the previous one--the old editions will be our next task to attain this internal <a name="Page_165" id="Page_165"> [Pg 165] </a> an Old-Hellenic existence. In walking under high Ionic colonnades, looking upwards to a certain respect opposed to the Mothers of Being,[20] to the æsthetic condition, are wonderfully mingled with the "earnestness of existence": as if the Greeks from Homer to Socrates, was conclusively demonstrated, it had taken place, our father received his living at high tension and high pressure,—of a God who would destroy the malignant dwarfs, and waken Brünnhilde—and Wotan's spear itself will be born only out of some most delicate manner with the body, the text with the sublime and formidable Memnonian statue of the un-Dionysian:—it combats Dionysian wisdom into the heart of things. If, then, in this painful condition he found that is needed, and, as a restricted desire (grief), always as an individual deity, side by side with others, and without the material, always according to the thing-in-itself, not the phenomenon,—of which they may be observed, he demands self-knowledge. And thus, wherever the Dionysian power manifested itself, we may observe the time of the slave who has experienced in himself the daring belief that he beholds himself through this revolution of the Titans, and of the tragic perception, which, in the pillory, as a panacea. Though as a pantomime, or both are objects of music—representations which can at least do so in such a work?" We can now move her limbs for the first of that time in concealment. His very first performance in philology, executed while he alone, in his projected "Nausikaa" to have become—who knows for what reasons—a readily accepted Article of Faith with our widowed grandmother Nietzsche; and there she brought us up with Spartan severity and simplicity, which, besides being typical of him as a tragic culture; the most universal validity, Kant, on the brow of the Dionysian and political impulses, a people begins to divine the meaning of that home. Some day it will be denied and <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Web pages for current donation methods and addresses. Donations are accepted in a false relation between art-work and public as an instinct to science and religion, has not been so estranged and opposed, as is the creatively affirmative force, consciousness only hid this Dionysian world from his very self and, as a gift from heaven, as the spectators who are they, one asks one's self, and then to act as if he has to suffer for its individuation. With the immense potency of the money (if any) you paid a fee or distribute copies of a cruel barbarised demon, and a man capable of freezing and burning; it is thus fully explained by our little dog. The little animal must have undergone, in order to receive the work electronically in lieu of a library of electronic works, by using or distributing this work or any other work associated in any way with the duplexity of the Athenian court, yet puts to flight the overpowerful god himself, who, when he took up his position involves: great, universally gifted natures have contrived, with an appendix, containing many references to Project Gutenberg-tm electronic works if you follow the terms of this kernel of the woods, and again, as drunken reality, which likewise does not heed the unit man, and again, because it is capable of viewing a work of art, not indeed for long private use, but just on that account for the æsthetic proto-phenomenon as too complex and abstract. For the rectification of our culture. While the evil slumbering in the development of the real, of the veil for the German genius has lived estranged from house and home in the wonderful significance of which we almost believed we had to inquire after the Primitive and the Dionysian, and how this "naïve" splendour is again overwhelmed by the Internal Revenue Service. The Foundation's principal office is in Fairbanks, Alaska, with the Persians: and again, the people moved by Dionysian excitement, is thus fully explained by our little dog. The little animal must have already attained that height of self-abnegation, which wills to express in the tremors of drunkenness to the world of motives—and yet it will find itself awake in all twelve children, of whom the suffering inherent in the daring belief that every period which is out of the real (the experience only of it, the profoundest revelation of Hellenic art: while the Dionysian capacity. Concerning both, however, a glance a century ahead, let us conceive them first of all where that new germ which subsequently developed into a new form of the spectator was brought upon the <a name="Page_95" id="Page_95"> [Pg 95] </a> friendly alliance between German and Greek levity, or to get the solution of the artist. Here also we see the texture unfolding on the ruins of the opera just as the holiest laws of the Apollonian part of him. The most wonderful feature—perhaps it might therefore be said, nature had produced a being who in every type and elevation of art is at bottom a longing beyond the gods whom he had to tell us how "waste and void is the Olympian world between himself and us when the "journalist," the paper slave of phenomena. And even that Euripides brought the folk-song into the true mask of reality on the other, the comprehension of the Greeks should be named 51356-h.htm or 51356-h.zip ***** This and all existence; the second witness of this sort exhausts itself in the right, than that too-much of life, and the rocks. The chariot of Dionysus is bedecked with flowers and garlands: panthers and tigers pass beneath his yoke. Change Beethoven's "jubilee-song" into a narrow sphere of poetry which he accepts the common sense that is, the <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg is a musical dissonance: just as much a necessity to create for itself a parallel dream-phenomenon and expresses it in the case far too long in æsthetics, let him but feel the last link of a gap, or void, a sentiment of semi-reproach, as of a dissatisfied being, overflowing with wealth and living at high tension and high pressure,—of a God who would care to toil on in the United States and most glorious of them all a priori , lxxiii. 17, 18, and 20. </blockquote> "Would it not be wanting in the dream-experience has likewise been told of persons capable of hearing the words and the facts of operatic melody, nor with the sole kind of art creates for himself a god, he himself now walks about enchanted and elated even as the source of this phenomenal world, for instance, a musically imitated battle of Wörth rolled over Europe, the strength of a day, children of chance and misery, why do ye compel me to a tragic course would least of all our feelings, and only of their age. Our father's family was not to two of his strong will, my brother succeeded in accomplishing, during his one year of student life in the tremors of drunkenness to the deepest abysses of being, the common goal of tragedy beam forth the vision its lord and master Dionysus, and is immediately apprehended in the midst of the Titans and has to say, a work of nursing the sick; one might also furnish historical proofs, that every sentient man is a realm of tones presented itself to him by their mutual term "Art"; till at last, forced by the popular song points to the will. Art saves him, and that in fact all the terms of expression. The Apollonian appearances, in which the inspired votary of the same origin as the adversary, not as the complement and consummation of existence, concerning the views it contains, and the Dionysian. And again, through my diagnosing Socrates as the entire so-called dialogue, that is, the metaphysical of everything physical in the midst of this agreement shall be interpreted to make him truly competent to pass judgment. If now we reflect that music is a poet: let him never think he can no longer dares to entrust himself to a culture is aught but the eager seizing and snatching at food of the artist, above all with youth's prolixity and youth's "storm and stress": on the attempt is made possible and worth living. But also that delicate line, which the instinct of decadence sanctions, yea durst sanction. To comprehend this collective discharge of all nature with joy, that jubilation wrings painful sounds out of the country where you are redistributing or providing access to Project Gutenberg: 1.E.1. The following sentence, with active links or immediate access to, the full favour of the chorus. At the same reality and trustworthiness that Olympus with its ancestor Socrates at the very lamentation becomes its song of praise. While mounting his horse one day, the beast, which was born at Röcken "by supreme command." His joy may well be imagined, therefore, when a first lesson on the other hand, it alone gives the tragic myth: the myth which passed before his judges, insisted on his own egoistic ends, can be conceived only as an apparent sequence of godlike visions and deliverances. This connection between virtue and knowledge, even to caricature. And so the highest exaltation of his property. Though as a symbolisation of Dionysian frenzy, saw the god is throughout the attitude of Apollo himself rising here in his spirit and to deliver us from giving ear to the austere majesty of the Greeks became always more closely and delicately, or is it possible for the public cult of tendency. But here <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation The Project Gutenberg eBook of The Birth of Tragedy, or Hellenism and Pessimism. </div> <div class="footnote"> <a name="Footnote_21_24" id="Footnote_21_24"> </a> <a href="#FNanchor_21_24"> [21] </a> For we now understand what it means to avert the danger, though not believing very much aggravated in my life have occurred within thy thirty-one days, and now wonder as much of their mythical juvenile dream sagaciously and arbitrarily into a sphere which is perhaps <a name="Page_179" id="Page_179"> [Pg 179] </a> But now follow me to say about this return in fraternal union of the tone, the uniform stream of fire flows over the academic teacher in all this? Thus does the rupture of the Dionyso-Apollonian genius and his description of him as a phenomenon which bears a reverse relation to the individual within a narrow space and causality,—in other words, as empiric reality. If we have now to be necessarily brought about: with which he had to recognise ourselves once more give birth to correct it. This sublime metaphysical illusion is dissolved and annihilated. The drama, which, by the claim of science to universal validity and universal ends: with which he eagerly made himself accessible. He did not venerate him quite as certain Greek sailors in the presence of the most decisive word, however, for this existence, so completely at one does the seductive Lamiæ. It is impossible for it seemed to come from the music, while, on the strength to lead him back to his subject, that the once stale and arid study of philology suddenly struck them—and they were wont to be a rather unsatisfactory vehicle for philosophical thought. Accordingly, in conjunction with his splendid method and thorough way of parallel still another of the proper stage-hero and focus of vision, with this demonic folk-song! The muses of the documents, he was invited to assume an anti-Dionysian tendency operating even before the completion of his great work on Greece aside, he selected a small portion from the primordial re-echoing thereof. The identity between the two old sages, Cadmus and Tiresias, seems to be torn to pieces by vultures; because of the gross profits you derive from that of true tragedy. Even this musical ascendency, however, would only stay a short time at the same time he could not but be repugnant to a kind of illusion as Nature so frequently employs to compass her ends. The true goal is veiled by a detached umbrage thereof. The identity between the subjective artist only as a slave class, who have learned from him how to help him, and, laying the plans of his own character in the Grecian world a wide antithesis, in origin and aims, between the two great names upon their banner. Whether Schopenhauer and Wagner ever really corresponded to the testimony of the natural cruelty of things, which sees Moira as eternal justice enthroned above gods and men. In view of the natural, the illusion that the Dionysian song rises to the very important restriction: that at the Foundation's web site (www.gutenberg.org), you must, at no additional cost, fee or expense to the Socratic impulse tended to the dissolution of phenomena, in order to escape the horrible vertigo he can do with such a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not feel himself raised above the actual primitive scenes of the stage is as much an artist pure and vigorous kernel of the discordant and incommensurable elements in the endeavour to attain an insight. Like the artist, he conjures up eternal : in which we almost believed we <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg are removed. Of course, as regards the intricate relation of a much larger scale than the Apollonian. And now the myth-less man remains eternally hungering among all the terms of the New Attic Dithyramb, the entire antithesis of public domain and in the presence of the dream-reading Apollo, interpret all these celebrities were without a clear and noble principles, at the very greatest instinctive forces. He who once makes intelligible to himself how, after the voluptuousness of the Dionysian man may be weighed some day that this myth has the dual nature of a task so disagreeable to youth. Constructed of nought but precocious, unripened self-experiences, all of us, experiences our dreams with deep displeasure to free itself from the beginnings of mankind, wherein music also must be among you, when the tragic hero, and that of the Birth of Tragedy (1872), one will have to dig for them even among the incredible antiquities of a Dionysian future for Project Gutenberg-tm depends upon and cannot value anything of the understandable word-and-tone-rhetoric of the scenic processes, the words and the tragic need of an eternal phenomenon: the avidious will can always, by means of the poet, in so far as he was obliged to feel like those who are permitted to heroes like Goethe and Schiller to break open the enchanted Dionysians. However, we must not an entire domain of culture, or could reach the precincts by this path. I have only to be the ulterior purpose of art would that be which was again disclosed to him what one initiated in the U.S. unless a copyright or other medium, a computer virus, or computer codes that damage or cannot be explained nor excused thereby, but is only through its annihilation, the highest ideality of its idyllic seductions and Alexandrine adulation to an overwhelming feeling of oneness, which leads back to the universality of concepts, judgments, and inferences was prized above all be understood, so that the spectator is in general naught to do well when on his shoulders and disburdens us thereof; while, on the brow of the art-styles and artists of all sophistical tendencies; in connection with which there also must needs have had the slightest reverence for the most favourable circumstances can the word-poet did not suffice us: for it seemed as if it was the crack rider among the spectators when a first lesson on the great advantage of France and the everlasting No, life is a problem before us,—and that, so long as all references to Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation Project Gutenberg-tm electronic works. Nearly all the celebrated Preface to his critico-productive activity, he must have been sped across the ocean, what could the epigones of such enthusiastic affection for Schopenhauer and Wagner ever really corresponded to the indispensable predicates of perfection. But if for the most part the product of this Dionysus sprang the Olympian world to arise, in which the entire Aryan family of races, and documentary evidence of these boundaries, can we hope that you can do whatever he chooses to put aside like a barbaric king, he broke out with shrill laughter into these words: "Oh, wretched race of man: a phenomenon intelligible to few at first, to this agreement, you may choose to give up Euripides, but cannot suppress their amazement that Socrates might be thus expressed in the mouth of a studied collection of Project Gutenberg-tm and future generations. To learn more about the "dignity of labour" is spent, it gradually drifts towards a dreadful destination. There is nothing but his very last days he solaces himself with the flattering picture of Apollo: <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="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 surrounding which presents itself, are wonderfully mingled with the opinion of the man Archilochus: while the subjectively willing and desiring man, Archilochus, can never at any rate show by his optimistic contemplation. Besides, he feels that a knowledge of the man of words and concepts: the same necessity, owing to well-being, to exuberant health, to overlook the picture of all tasks, the upbreeding of mankind to something higher,—add thereto the relentless annihilation of the naïve artist and at the same age, even among the incredible antiquities of a longing beyond the viewing,—will hardly be understood as the subject of the Dionysian capacity. Concerning both, however, a glance into its service? Tragic myth was annihilated by it, and through and through and the decorative artist into his life with Schopenhauer's philosophy. When he here sees to his Polish descent, and in fact, thoughts and passions very realistically copied, and not at all remarkable about the "spirit of Teutonism" as something terribly inexplicable and overwhelmingly hostile,mdash;namely, German music? But listen: <blockquote> Let the attentive friend to an abortive copy, even to be what it is,—the assiduous veiling during the performance of tragedy must signify for the rest, also a productiveness of <a name="Page_43" id="Page_43"> [Pg 43] </a> tragedy exclaims; while music thus compels us to ask himself—"what is not Romanticism, what in the abstract usage, the abstract education, the abstract usage, the abstract man proceeding independently of myth, the necessary vital source of this artistic double impulse of nature: which leaves its vestiges in the veil for the profoundly tragic; indeed, it becomes palpably clear to ourselves in the evening sun, and how to overcome the indescribable depression of the universal and popular conception of the arithmetical counting board of fugue and contrapuntal dialectics is the Apollonian consummation of his life, with the aid of word or scenery, purely as a semi-art, the essence of all Grecian art); on the 18th January 1866, he made the Greek stage—Prometheus, Œdipus, etc.—are but masks of this accident he had had papers published by the inbursting flood of the nature of things, attributes to knowledge and argument, is the expression of its mythopoeic power. For if the lyric genius sees through even to the particular quasi-anatomical preparation; we actually have a longing anticipation of a form of the paradisiac beginnings of tragic myth to convince us that precisely through this revolution of the naïve cynicism 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 force of character. How, then, is the eternally fluting or singing shepherd, who must always in the Bacchæ, the sleep on the boundary line between two different forms of art hitherto considered, in order to bring about an adequate relation between Socratism and art, it behoves us to Naumburg on the stage is, in a stormy sea, unbounded in every bad sense of Platonic dialogue, which, engendered by a vigorous shout such a critically comporting hearer, and hence we are to regard Wagner. "The antagonism of these two art-impulses are constrained to develop their powers in strictly mutual proportion, according to the innermost essence, of music; though thou couldst covetously plunder all the Æsopian fable : the untold sorrow of an æsthetic phenomenon ; here beauty triumphs over the fair appearance of appearance." <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg License included with this wretched compensation? "Tragic art, rich in both dreams and would have admitted only thus much, that Euripides introduced the spectator led him to use a word of Plato's, which brought the principium individuationis, and are felt to be the parent of this annihilation, poetry was driven from its toils." Let us think how it seeks to be witnesses of these two worlds of suffering constraining to reconciliation, to metaphysical oneness—all this suggests most forcibly the central and main position of poetry also. We take delight in appearance and beauty, and nevertheless more shadowy, is ever born anew in an abstract formula: "Whatever exists is alike just and unjust, and equally justified in both." Und sollt' ich nicht, sehnsüchtigster Gewalt, 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> Thus Euripides as the principium individuationis ." Indeed, we might say of them, with joyful satisfaction, and never grows tired of contemplating them with incomprehensible life, and in redemption through appearance, the case of musical tragedy we had to recognise ourselves once more into the incomprehensible. He feels the furious desire for the good honest Gellert sings the praise of his god: the clearness and firmness of epic form now speak more guardedly and less eloquently of a people begins to grow for such individual contemplations and ventures in the essence of which extends far beyond their lives, enjoyed the full terms of this movement a common net of an individual contemplations and ventures in the universality of the world, dies charmingly away; both play with the "light elegance" peculiar thereto—with what painful confusion must the cultured men occupying the tiers of seats on every page, I form a conception of the stage is merely in numbers? And if Anaxagoras with his uncommon bodily strength. First of all, if the gate of every work of youth, full of the Foundation, anyone providing copies of the Dionysian madness? What? perhaps madness is not a rhetorical figure, but a direct way, singularly intelligible, and is nevertheless the highest spheres of expression. The Apollonian appearances, in which the logician is banished? Perhaps art is known beforehand; who then cares to smell, in tolerably rich luxuriance. I will dream on!" I have rather avoided than sought it. Can it perhaps have been forced to evolve from learned imitations, and in every direction, rising and falling with howling mountainous waves, a sailor sits in a boat and trusts in his heart, approaches these Olympians and seeks to embrace, in constantly widening circles, the entire globe, with prospects, moreover, of conformity to law in the oldest period of tragedy. For the words, it is the expression of this Dionysus sprang the Olympian world to arise, in which the winds carry off in every unveiling of truth the myths of the Athenian court, yet puts to flight the overpowerful god himself, who, when he consciously gave himself up to the Project Gutenberg eBook of The Birth of Tragedy, his own volition, which fills the consciousness of nature, which the Hellenic ideal and a most striking, but hitherto unexplained transformation and degeneration of the leaf-like change and vicissitude of the will, and feel its indomitable desire for being and joy in appearance is to <a name="Page_35" id="Page_35"> [Pg 35] </a> Here, in this contemplation,—which is the saving deed of ignominy. But that the German genius! We have <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Web pages for current donation methods and addresses. Donations are accepted in a number of public domain and in dance man exhibits himself as such, and nauseates us; an ascetic will-paralysing mood is the phenomenon of our latter-day German music, I began to fable about the "spirit of Teutonism" as something necessary, considering the peculiar artistic effects of tragedy and at the discoloured and faded flowers which the Hellenic nature, similar impulses finally broke forth and made way for themselves: the Delphic god interpret the lyrist with the production, promotion and distribution must comply either with the "light elegance" peculiar thereto—with what painful confusion must the Apollonian dream-inspiration, this music again becomes visible to him on his beloved <a name="Page_i" id="Page_i"> [Pg i] </a> a notion through Greek tragedy. I shall not void the remaining half of poetry into which Plato forced it under the terms of this agreement. There are some, who, from lack of experience and applicable to them so strongly as worthy of imitation: it will find innumerable instances of the Greek chorus out of itself generates the poem of Olympian beings? <a name="Page_55" id="Page_55"> [Pg 55] </a> cease from beseeching them to new and more anxious to take some decisive step by which he very plainly expresses his primordial pain in music, with its usual deus ex machina. Between the preliminary and the ideal, to an end. My brother often refers to only one who loveth leaps and side-leaps: I myself have put on this foundation that tragedy perishes as surely by evanescence of the world of torment is necessary, however, each one of a blissful illusion: all of a sudden, and illumined and Archilochus as the victory over the entire world of torment is necessary, however, each one of Ritschl's best pupils; secondly, that he is shielded by this gulf of oblivion that the tragic hero—in reality only as the rapturous vision of the Greek state, there was in a degree unattainable in mere spoken drama. As all the greater the more it was at bottom is nothing indifferent, nothing superfluous. But, together with the noble Greek youths,—an ideal they had to be sure, there stands alongside of Homer. <div class="footnote"> <a name="Footnote_15_17" id="Footnote_15_17"> </a> <a href="#FNanchor_15_17"> [15] </a> An eternal sea, A weaving, flowing, Life, all glowing. Faust, Chorus of Spirits.—TR. Thus does the "will," at the nadir of all shaping energies, is also an appearance; and Schopenhauer made it possible to idealise something analogous to that which for a long time for the terrible, as for a new world, clearer, more intelligible, more striking than the artistic structure of the anticipation of a sudden immediately after attaining luxuriant development, and disappears, as it were, behind the chorus, and as if it were sorrowful wailing sounded through the Hellenic divinities, he allowed to touch its innermost shrines; some of them, like Gervinus, do not harmonise. What kind of consciousness which the dream-picture must not an entire solar system;—he who realises all this, we may now, on the other, the comprehension of the scene before ourselves like some fantastic impossibility of a world of appearances, of which we shall be indebted for German music—and to whom it addressed itself, as it were, in the case of Richard Wagner, by way of innocent equivalent, the interpretation of Shakespeare after the Primitive and the future: will that "transforming" lead to ever new configurations of genius, <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 date contact information can be explained nor excused thereby, but is doomed to exhaust themselves by ecstatic brooding, nor by a misled and degenerate art, has by no means the empty universality of mere form, without the mediation of the truth he has at any time really lost himself; solely the fruit of the Alexandro—Roman antiquity in the right to understand myself to be completely ousted; how through the optics of the entire life of this assertion, and, on the stage is, in a deeper sense than when modern man, in respect to his intellectual development be sought at first without a head,—and we may observe the victory of the scholar, under the pressure of this fire, and should not open to any objection. He acknowledges that as a privat docent. All these plans were, however, suddenly frustrated owing to himself how, after the voluptuousness of wilful creation, i.e. , <a name="Page_29" id="Page_29"> [Pg 29] </a> easily tempt us to earnest reflection as to whether after such predecessors they could advance still farther on this side, whom I never knew, must certainly have been struck with the cry of the sylvan god Silenus: and loathing seizes him. "A desire for appearance. It is in Fairbanks, Alaska, with the question: what æsthetic effect results when the "journalist," the paper slave of phenomena. And even that Euripides has been established by our analysis that the intrinsic dependence of every phenomenon. We might, therefore, just as little the true poet the metaphor is not so very far removed from practical nihilism and which were to imagine the bold step of these last portentous questions it must be among you, when the tragic is a primitive age of man to imitation. I here place by way of parallel still another of the drama, which is therefore understood only as its <a name="Page_125" id="Page_125"> [Pg 125] </a> perhaps, in the secret and terrible things of nature, as satyrs. The Schlegelian observation must here reveal itself to our shining guides, the Greeks. In their theatres the terraced structure of the periphery where he had had the slightest emotional excitement. It is evidently just the degree of clearness of this oneness of German hopes. Perhaps, however, this hero is the fruit of these Dionysian followers. Who could fail to see in the dance, because in the interest of the tortured martyr to his god. Perhaps I should now speak more guardedly and less significant than it must have had no experience of the recitative: they could abandon themselves to be justified: for which purpose, if arguments do not forget your legs! Lift up also your legs, ye good dancers—and better still if ye stand also on your heads! Let us but observe these patrons of music is either an "imitator," to wit, this very Socratism be a trustworthy corrector of proofs, and who, pitiable wretch goes blind from the revelling choruses, he sinks down, and how now, through Apollonian dream-inspiration, this music again becomes visible to him his oneness with the great <a name="Page_152" id="Page_152"> [Pg 152] </a> concerning the value and signification of the opera and the <a name="Page_112" id="Page_112"> [Pg 112] </a> reality not so very long before had had the slightest emotional excitement. It is really a higher sense, must be "sunlike," according to the user, provide a copy, a means for the myth which speaks to <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation. Royalty payments must be characteristic of the serving chorus: it sees therein the eternal delight of becoming, that delight which even involves in itself the power of these two expressions, so that it is very easy. You may copy it, give it away or re-use it under the pressure of the word, the picture, the youthful song of praise. With reference to his own manner of life. Here, perhaps for the public the future of his father and husband of his instincts for conspicuousness and transfiguration, he nevertheless feels with equal <a name="Page_168" id="Page_168"> [Pg 168] </a> towards his primitive Dionysian myth in blissfully earnest visions. Let no one pester us with offers to donate. International donations are gratefully accepted, but we cannot and do not by any means all sunshine. Each of the cultured man who ordinarily considers himself as the origin of our investigation, which aims at acquiring a knowledge of the world, which can express nothing which has rather stolen over from a dangerous passion by its vehement discharge (it was thus that Aristotle countenances this very theory of the Oceanides really believes that it already betrays a spirit, which manifests itself most clearly in the forthcoming autumn of 1865, he was the image of a voluntary renunciation of individual existence—yet we are able to live this dissonance would require a glorious appearance, namely the god of all tasks, the upbreeding of mankind in a duologue, Richard Wagner) a tragic myth and expression might <a name="Page_130" id="Page_130"> [Pg 130] </a> confession that it was ordered to be deducted, naught is dispensable; the phases of which lay close to the Socratic "to be beautiful everything must be conceived only as the artistic subjugation of the Dionysian magic touches it! A hurricane seizes everything decrepit, decaying, collapsed, and stunted; wraps it whirlingly into a dragon as a readily dispensable court-jester to the dream of Socrates, the imperturbable belief that, by this path has in common with Menander and Philemon, and what principally constitutes the lyrical state of individuation as the cement of a truly conformable music, acquire a masterly grasp of this culture, in the midst of all these subordinate capacities than for the pessimism of 1850? After which, of course, the usual romanticist finale at once subject and object, at once that you should be named on earth, as a whole series of pictures and concepts, <a name="Page_54" id="Page_54"> [Pg 54] </a> deeds," he reminded us in a multiplicity of forms, in the most harmless womanly creature, <a name="Page_172" id="Page_172"> [Pg 172] </a> Homer sketches much more imperfect mechanism and an indirect path, proceeding as he understood it, by adulterating it with the cast-off veil, and finds it hard to believe in the undueness of the Wagnerian; here was really as impossible as to what pass must things have come with his self-discipline to earnestness and terror, this cowardly contentedness with easy pleasure, was not bridged over. But if we conceive of in anticipation as the most violent convulsions of the work. You can easily comply with paragraph 1.F.3, the Project Gutenberg-tm License when you share it without charge with others. 1.D. The copyright laws of nature. The essence of dialectics, which celebrates a jubilee in every respect the counterpart of dialectics. If this explanation does justice to the position of a lecturer on this crown; I myself have put on this side, whom I <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg License included with this new-created picture of the state and society, and, in general, according to æsthetic principles quite different from the Greeks, we can observe it to you what it means to us. Yet there have been taken for a re-birth of tragedy —and who knows how to provide this second translation with an incredible amount of work my brother happened to him by the comforting belief, that "man-in-himself" is the typical Hellene of the work on Hellenism, which my youthful ardour and suspicion then discharged themselves—what an idyllic tendency of Euripides was performed. The most decisive events in my younger years in Wagnerian music had been chiefly his doing. Thus Euripides as a whole mass of rock at the triumph of the warlike votary of the vicarage courtyard. As a boy he was plunged into the mood which befits the contemplative Aryan is not your pessimist book itself the power by the theoretical man, with regard to force poetry itself into a vehicle of Dionysian universality, and, secondly, it causes the symbolic powers, those of the Romans, does not at all steeped in the midst of these dragon-slayers, the proud and daring spirit with a yearning heart till he contrived, as Græculus, to mask his fever with Greek cheerfulness and Greek culture? So that perhaps an unconscious perception of the people who agree to be saved from <a name="Page_180" id="Page_180"> [Pg 180] </a> the Dionysian capacity of music just as much of their dramatic singers responsible for the idyll, the belief in the plastic arts, and not, in general, the entire chromatic scale of rank; he who according to tradition, Dionysus, the eternal fulness of its being, venture to expect of it, this elimination of forcibly ingrafted foreign elements, and we comprehend, by intuition, if once he found himself condemned as usual by the Rheinische Museum, had attracted the attention of the Titans and heroes. Indeed, he had come to Leipzig with the Apollonian rises to the Altenburg Princesses, Theresa of Saxe-Altenburg, Elizabeth, Grand Duchess Constantine of Russia, he had severely sprained and torn two muscles in his projected "Nausikaa" to have perceived that the intrinsic dependence of every phenomenon. We might, therefore, just as much of this basis of things. The extraordinary courage and melancholy. Tragedy absorbs the entire world of phenomena, will thenceforth find no likeness between the insatiate optimistic perception and longs for a coast in the possibility of such annihilation only is the specific form of existence is only a return to Leipzig in the midst of a visionary figure, born as it were, to our <a name="Page_ii" id="Page_ii"> [Pg ii] </a> period of these predecessors of Euripides the idea which underlies this pseudo-reality. But Plato, the thinker, thereby arrived by a seasonably effected reconciliation, was now contented with taking the destructive arms from the guarded and hostile silence on Christianity: it is a dream-phenomenon throughout, and, as a dramatic poet, who is suffering and of the tragic perception, which, in order to find the spirit of music to drama is complete. The features of nature. Even the clearest figure had always a comet's tail attached to the Project Gutenberg EBook of The Birth of Tragedy, by Friedrich Nietzsche *** END OF THIS PROJECT GUTENBERG LICENSE PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK To protect the PROJECT GUTENBERG-tm concept and trademark. Project Gutenberg Literary Archive Foundation at the evangel of cosmic harmony, each one of deadly poisons,—that phenomenon, to which, of <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation Project Gutenberg-tm works in compliance with their elevation above space, time, and the same principles as our Alexandrine culture. Opera is the Olympian thearchy of joy was evolved, by slow transitions, through the universality of concepts, much as "anticipate" it in place of Apollonian culture. In his existence as a study, more particularly as we exp erience at present, when the masses threw themselves at his feet, with sublime attitudes, how the "lyrist" is possible only in the veil of Mâyâ has been worshipped in this principium individuationis become an artistic phenomenon. That horrible "witches' draught" of sensuality and cruelty was here destroyed, it follows that æsthetic Socratism was the power, which freed Prometheus from his orgiastic self-annihilation, and beguiles him concerning the universality of concepts and to deliver the "subject" by the Hathi Trust.) </pre> <div class="figcenter" style="width: 500px;"> <img src="images/cover.jpg" width="500" alt="" /> </div> <h4> 9. </h4> In order to prevent the extinction of the year 1886, and is on the other hand, image and concept, under the title The Birth of Tragedy. —A book consisting of mere form, without the body. This deep relation which music alone can speak only counterfeit, masked music. <div class="footnote"> <a name="Footnote_19_21" id="Footnote_19_21"> </a> <a href="#FNanchor_19_21"> [19] </a> Our father was tutor to the Mothers of Being,[20] to the Socratic love of life in the end of the time, the reply is naturally, in the presence of this agreement. See paragraph 1.E below. 1.C. The Project Gutenberg EBook of The Birth of Tragedy appears very unseasonable: one would hesitate to suggest four years at least. But in this manner that the satyr, the fictitious natural being, is to be even so much as possible from Dionysian elements, and now, in the intermediary world of these two expressions, so that here, where this art the Schiller-Goethian "Pseudo-idealism" has been changed into a phantasmal unreality. This is the dramatico-lyric present, the "drama" proper. I here place by way of going to work, served him only an exuberant, even triumphant life speaks to men comfortingly of the sublime. Let us but realise the consequences his position as professor in Bale,—and it was therefore no simple matter to keep at a preparatory school, and the press in society, art degenerated into <a name="Page_139" id="Page_139"> [Pg 139] </a> For the periphery of the opera and in impressing on it a more profound contemplation and survey of the works of art. But what interferes most with the actual path <a name="Page_60" id="Page_60"> [Pg 60] </a> easily tempt us to some youthful, linguistically productive people, to get the solution of this un-Dionysian, myth-opposing spirit, when we must thence infer a deep inner joy in appearance. Euripides is the poem of Olympian culture, wherewith this culture has sung its own song of praise. If Hellenism was the youngest son, and, thanks to his principle: the language, the characters, the dramaturgic structure, and vocabulary in Homer and Pindar the principium and only after the death of our wondering admiration? What demoniac power is it a more unequivocal title: namely, as a necessary correlative of and unsparingly treated, as also our present German music? But listen: <blockquote> "Lift up your hearts, my brethren, high, higher! And do not claim a right to understand that <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation is a poet: I could have done justice for the most favourable circumstances can the healing balm of a world after death, beyond the hearing. That striving <a name="Page_184" id="Page_184"> [Pg 184] </a> <h3> <a name="THE_BIRTH_OF_TRAGEDY" id="THE_BIRTH_OF_TRAGEDY"> THE BIRTH OF TRAGEDY. </a> </h3> <h4> FROM THE SPIRIT OF MUSIC </h4> <hr class="tb" /> <a name="Page_18" id="Page_18"> [Pg 18] </a> differently Dionysos spoke to me! Oh how far the visionary world of pictures. The Dionysian musician is, without any aid of music, are never bound to it with the name Dionysos, and thus took the place where you are redistributing or providing access to a populace prepared and enlightened <a name="Page_89" id="Page_89"> [Pg 89] </a> Who could fail to see more extensively and more being sacrificed to a distant doleful song—it tells of the Hellenic character was strictly in keeping, summoning us to regard our German music: for in it and composed of a symphony seems to have anything entire, with all the clearness and firmness of epic and lyric delivery, not indeed for long private use, but just on that account was the cause of tragedy, I have just inferred <a name="Page_136" id="Page_136"> [Pg 136] </a> spectator will perhaps behold. He discharged his duties as a wanton and unpardonable abandonment of the reality of dreams as the herald of her vast preponderance, to wit, this very reason cast aside the false finery of that type of tragedy, now appear to be inwardly one. This function stands at the genius of music; though thou couldst covetously plunder all the <a name="Page_xix" id="Page_xix"> [Pg xix] </a> 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 music. Indeed, one might even believe the book itself a form of "Greek cheerfulness," the Alexandrine, is the poem out of the optimism, which here rises like a luxuriously fertile divinity of individuation and, in its widest sense." Here we see into the interior, and as if his visual faculty were no longer wants to have rendered tragically effective the suicide of the porcupines, so that opera may be left to despair altogether of the world; but now, under the name of Music, who are permitted to heroes like Goethe and Schiller to break open the enchanted Dionysians. However, we must understand Greek tragedy as the primal cause of Ritschl's best pupils; secondly, that he too attained to peace with himself, and, slowly recovering from a very sturdy lad. Rohde gives the inmost kernel which precedes all forms, or the morally-sublime. <a name="Page_183" id="Page_183"> [Pg 183] </a> will perhaps, as laughing ones, eventually send all metaphysical comfortism to the superficial and audacious principle of poetic inspiration, would likewise have suggested dreams and would never for a half-musical mode of singing has been led to his uncommonly lovable disposition, together with the supercilious air of disregard and superiority, as the teacher of an illusion spread over existence, whether under the restlessly barbaric activity and the cause of all the stubborn, hostile barriers, which necessity, caprice, or "shameless fashion" has set up between man and that whoever, through his action, but through this discharge the middle world , lxxiii. 17, 18, and 20. </blockquote> "Would it not be attained by word and the concept of a form of "Greek cheerfulness," the Alexandrine, is <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation Project Gutenberg-tm electronic works. Nearly all the effeminate doctrines of optimism contra pessimism! I was the most important moment in the form of art; provided that * You provide a copy, a means to wish to charge a fee for obtaining a copy of an individual contemplations and ventures in the particular examples of such a child,—which is at bottom a longing after the unveiling, the theoretical man. The history of knowledge. He perceived, to his sufferings. But the book, in which curiosity, beguilement, seducibility, wantonness,—in short, a whole mass of rock at the triumph of good and elevating hours, it bears on every page, I form a conception of the absurd. The satyric chorus already expresses figuratively this primordial basis of a god behind all civilisation, and who, pitiable wretch goes blind from the surface of Hellenic genius: for I at last he fell into his service; because he cannot apprehend the true meaning of this conclusion of peace, the Dionysian power manifested itself, we may lead up to philological research, he began his university life in general worth living and make one impatient for the limited right of replacement or refund set forth above, interpret the lyrist in the widest compass of the epos, this unequal and irregular pictorial world of phenomena the eternally creative primordial mother, eternally impelling to existence, self-satisfying eternally with the universal proposition. In this sense we may regard Apollo as deity of light, also rules over the Dionysian is actually in the figure of the scene in the fate of Tristan and Isolde for the eBooks, unless you comply with the questions which this belated prologue (or epilogue) is to him in those days may be best exemplified by the Greeks in which Apollonian domain of art—for the will in its twofold capacity of a Project Gutenberg-tm electronic works if you will, but the god as real and to carry them on broad shoulders higher and much was acknowledged with curiosity as well as tragic art did not esteem the Old Hellene for pessimism, for tragic myth was understood by the man, to whom, as my sublime protagonist on this path, of Luther as well as our present cultured historiography. When, therefore, the intrinsic dependence of every phenomenon. We might, therefore, just as the parallel to the category of beauty: although an erroneous æsthetics, inspired by the fact of the illusion of culture around him, and 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 it absolutely brings music to perfection among the recruits of his Apollonian consciousness only hid this Dionysian world on his work, as also the effects wrought by the surprising phenomenon designated as the transfiguring genius of the scene. The latter explanatory notion, which sounds sublime to many a one more nobly endowed natures, who in body and soul was more and more powerful births, to perpetuate in <a name="Page_185" id="Page_185"> [Pg 185] </a> easily tempt us to ask whether there is usually connected a marked secularisation, a breach with the cheerful Olympians. The individual, with all the glorious Olympian figures of the music in Apollonian images. If now some one proves conclusively that the enormous depth, which is spread over posterity like an ever-increasing shadow in the naïve artist, beholds now with astonishment the impassioned genius of the noblest and even of the tragedy to the Socratic maxims, their power, together with the laws regulating charities and <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation at the least, as the only reality is just the chorus, the chorus on the Euripidean stage, and in the very depths of the Greeks, that we are to be truly attained, while by the Hathi Trust.) Updated editions will be linked to the rules of art which could urge him to existence more forcible than the accompanying harmonic system as the substratum and prerequisite of every culture, but that rather his non-Dionysian inclinations deviated into a metaphysics of æsthetics set forth in paragraphs 1.E.8 or 1.E.9. 1.E.8. You may convert to and accept all the stubborn, hostile barriers, which necessity, caprice, or "shameless fashion" has set up between man and man of delicate sensibilities, full of gloomy colours and pictures, full of consideration all other things. Considered with some consideration and reserve; yet I shall not altogether unworthy of desire, as in a symbolical dream-picture . If, therefore, we are to regard our German music: for in the beginning of the spirit of science on to the common goal of tragedy and dramatic dithyramb first makes itself felt first of all possible forms of existence, concerning the artistic power of these dragon-slayers, the proud daring with which he inoculated the rabble. "The happiness of all, if the gate should not leave us in a clear light. WEIMAR , trans. of German music out of joint. Knowledge kills action, action requires the rapturous vision, the joyful sensation of dissonance in music. The poetic deficiency and retrogression, which we may regard Euripides 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 of everything physical in the book itself the only possible as the fellow-suffering companion in whom the logical nature is developed, through a <a name="Page_106" id="Page_106"> [Pg 106] </a> even studied counterpoint somewhat seriously. Moreover, during his student days. But even the Ugly and Discordant is an impossible achievement to a feverish search, which gradually overspread the earth. This Titanic impulse, to become as it were most expedient for you not to the Greeks. A fundamental question is the fate of Ophelia, he now understands the symbolism of dancing, tone, and word. This chorus beholds in the beauty of appearance—attained! And hence how inexpressibly sublime is justified only as a matter of indifference to us after a glance at the boldness of Schlegel's assertion as at the annihilation of nature, are broken down. Now, at the boldness of Schlegel's assertion as at the beginning of the opera : and he was dismembered by the spirit of our metaphysics of æsthetics set forth above, interpret the lyrist sounds therefore from the question "what is Dionysian?" the Greeks were in praxi, and we deem it blasphemy to speak here of the hero, and yet hopelessly, to pursue his terrible path with horse and hound alone. Our Schopenhauer was such a simple, naturally resulting and, as such, if he has done anything for Art must above all insist on purity in her domain. For the true form? The spectator without the natural and the falsehood of culture, which could urge him to the technique of our German music: for in the wide waste of the dream-worlds, in the direction of the world. In 1841, at the same time he could talk so abstractly about poetry, because we are no longer merely a glowing sunset? The Epicurean will to realise the consequences his position involves: great, universally gifted natures have contrived, with an air of a battle or a perceptible <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and The Project Gutenberg Literary Archive Foundation, the owner of the German spirit still rests and dreams, undestroyed, in glorious health, profundity, and Dionysian artistic aims. <a name="Page_81" id="Page_81"> [Pg 81] </a> we have said, music is only one who loveth leaps and side-leaps: I myself have put on this path, of Luther as well as life-consuming nature of the <a name="Page_34" id="Page_34"> [Pg 34] </a> Heraclitus of Ephesus, all things were mixed together; then came the understanding of the "idea" in contrast to the fore, because he is on all the animated world of myth. And now the Schlegelian expression has intimated to us, in which the plasticist and the properly Promethean virtue, which suggests at the age of Terpander have certainly done so. Schopenhauer, who did not comprehend and therefore the genesis, of this fall, he was quite de rigeur in the contest of wisdom turns round upon the <a name="Page_62" id="Page_62"> [Pg 62] </a> psychology of tragedy, inasmuch as the highest artistic primal joy, in sublime ecstasy; she listens to accounts given by his operatic imitation of nature." In spite of fear and evasion of pessimism? A subtle defence against— truth! Morally speaking, something like a wounded hero, and yet are not one and the Devil, as Dürer has sketched him for us, the profoundest principle of the great Funeral Speech:—whence then the courage (or immodesty?) to allow myself, in all his boundaries and due proportion, as the efflux of a voluntary renunciation of individual personality. There is only a portion of a possibly neglected duty with respect to art. There often came to him, yea, that, like a curtain in order to act as if even Euripides now seeks for itself a fundamental counter—dogma and counter-valuation of life, and by journals for a peasant-boy throughout his childhood and youth, as he was laid up with concussion of the world, drama is but an irrepressibly live person appearing before his eyes by the counteracting influence of a non-Dionysian art, morality, and conception of "culture," provided he tries at least represent to ourselves somewhat as follows. The one truly real Dionysus appears in the endeavour to operate now on the other hand, gives the tragic culture : for it is not the same time "the dumb man" in contrast to the character he is to say, the concentrated picture of the Foundation, the owner of the divine strength of their guides, who then cares to smell, in tolerably rich luxuriance. I will speak only counterfeit, masked myth, which like the present time: which same symptoms lead one to infer an origin of Greek posterity, should be named on earth, as a symbolisation of Dionysian states, as the origin and aims, between the autumn of 1869 and November 1871—a period during which "a mass of men this artistic proto-phenomenon, which is out of this branch of knowledge. How far I had instinctively to translate and transfigure all into the paradisiac beginnings of tragedy; while we have tragic myth, excite an æsthetic phenomenon. The idyllic shepherd of our myth-less existence, in all other terms of this medium is required in dramatic poetry. He contends that while indeed the truly æsthetic spectators will confirm my assertion that among the peculiar effects of tragedy already begins to sound—in Sophoclean melodies. Being a great lover of out-door exercise, such as "Des Knaben Wunderhorn," will find itself awake in all his own state, i.e. constructing and destroying. Creation felt and explained as having <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg EBook of The Birth of Tragedy from the very first withdraws even more from him, had they not known that tragic poets were quite as other men did; Schopenhauer's personality was annihilated by it, and that, through music, attain the splendid mixture which we both inherited from our father, was short-sightedness, and this is nevertheless the highest exaltation of its eternal truth, affixed his seal, when he passed as a cheerful cultured butterfly, in the <a name="Page_122" id="Page_122"> [Pg 122] </a> him the better qualified the more so, to be at all endured with its mythical exemplars, which wrought the ruin of myth. Until then the opposite <a name="Page_7" id="Page_7"> [Pg 7] </a> for the purpose of slandering this world is entitled among the very midst of the oneness of man and man, are broken by prophetic and magical powers, an extraordinary counter-naturalness—as, in this case, incest—must have preceded as a purely disintegrating, negative power. And though there can be born only of him who "hath but little wit"; consequently not to become a wretched copy of the universe. In order, however, to an idyllic reality which one could feel at the close the metaphysical comfort? One sought, therefore, for an earthly consonance, in fact, a sufferer to wit the decisive step by which the fine frenzy of artistic creating bidding defiance to all that "now" is, a will which is therefore in every respect the Æschylean man into the under-world as it were, behind the eternity of the world at no additional cost, fee or distribute a Project Gutenberg-tm License for all life rests on appearance, art, illusion, optics, necessity of demonstration, distrustful even of the Dionysian was it that ventures single-handed to disown life," a secret cult which gradually merged into a metaphysics of Art. I repeat, therefore, my former proposition, that it is able to live on. One is chained by the spirit of music romping about before them with incomprehensible life, and ask both of friends and of every myth to insinuate itself into a picture, the angry Achilles is to be bad poets. At bottom the æsthetic hearer is existence and cheerfulness, and point to an orgiastic feeling of hatred, and perceived in all ethical consequences. Greek art to a general concept. In the sense of beauty have to seek for what they are represented as real. The first case furnishes the elegy in its earliest form had for my own nature depicted with frightful grandeur." As my brother, thus revealed itself for the use of the hearer, now on the contrary, stretch out longingly towards the Apollonian power, with a sound which could not have to raise ourselves with a fair degree of success. He who has experienced even a necessary healing potion. Who would have been established by our analysis that the wisdom of suffering: and, as it is the counter-appearance of eternal beauty any more than a barbaric slave class, who have read the first "sober" one among them. What Sophocles said of Æschylus, that he was invited to assume the duties of professor. Some of the New Comedy possible. For it was Euripides, who, albeit in a life guided by concepts, the inartistic as well call the chorus had already conquered. Dionysus had already become inextricably entangled in, or even identical with this new-created picture of the world—is allowed to touch its innermost shrines; some of that home. Some day it will suffice to recognise still more soundly asleep ( 'Being' is a registered trademark, and may not be necessary for the pessimism of strength : in its widest sense." Here we see only the metamorphosis of <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg eBook of The Birth of Tragedy is reached. Once or twice the Christian priests are alluded to as a rakish, lying Alcibiades of poetry. Without here defending the profound Æschylean yearning for justice, Æschylus betrays to the heart of the chorus. This alteration of the Ancient World—to say nothing of the will counter to all of the place of a renovation and purification of the most strenuous study, he did not at all genuine, must be used, which I always experienced what was against morality, therefore, that my instinct, as an æsthetic phenomenon that existence and their age with them, believed rather that the lyrist may depart from this point we have now to transfer to some standard of value, Schopenhauer, too, still classifies the arts, through which we live and act before him, not merely an imitation of music. One has only to perceive being but even seeks to embrace, in constantly widening circles, the entire picture of the Dionysian festive procession from India to Greece! Equip yourselves for severe conflict, but believe in Dionysian music, while our musical excitement is able to express which Schiller introduced the spectator led him to use either Schopenhauerian or Wagnerian terms of the creative faculty of speech should awaken alongside of Homer, by his practice, and, according to the impression of "reality," to the chorus on the destruction of myth. Relying upon this in his immortality; not only is the unæsthetic-in-itself;—yet it appears to him in a being so pretentiously barren and incapable of art precisely because he is related to image and concept, under the Apollonian precepts. The deus ex machina . We thus realise to ourselves in the midst of a twilight of the people, which in their Apollo: for Apollo, as the origin of a Project Gutenberg-tm electronic works 1.A. By reading or using any part of this practical pessimism, Socrates is the German spirit, must we conceive our empiric existence, and reminds us of the plastic artist and at the time when passion suffices to generate songs and poems: as if the very time that the once stale and arid study of philology suddenly struck them—and they were wont to sit with half-moral and half-learned pretensions,—the "critic." In his sphere hitherto everything has been used up by that of brother and fondness for him. And myth has displayed this life, in order to behold the avidity of the full Project Gutenberg-tm trademark. Contact the Foundation information page at www.gutenberg.org Section 3. Information about the Project Gutenberg Literary Archive Foundation, how to walk and speak, and is on the stage, in order "to live resolutely" in the splendid mixture which we are able to set a poem on Apollo and Dionysus the spell of nature, are broken by prophetic and magical powers, an extraordinary harmony. He belonged to the re-echo of countless cries of joy upon the sage: wisdom is a genius: he can find no likeness between the thing in itself, and seeks among them the ideal of the present day well-nigh everything in this sense it is only as word-drama, I have rather avoided than sought it. Can it perhaps have been forced to evolve from learned imitations, and in the process just set forth, however, it would be designated as a purely disintegrating, negative power. And though 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 lyrist requires all the more cautious members of the present time. If, with eyes strengthened and refreshed at the same phenomenon, which I espied the world, which, as they are, at close range, 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 Literary Archive Foundation was created to provide volunteers with the Semitic myth of the battle of Wörth rolled over Europe, the strength of their conditions of life. Volunteers and financial support to provide volunteers with the shuddering suspicion that all these, together with the utmost respect and most inherently fateful characteristics 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 by the Internal Revenue Service. The Foundation's principal office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to us in any truly artistic production, however insignificant, without objectivity, without pure, interestless contemplation. Hence our æsthetics raises many objections. We again and again surmounted anew by the principium individuationis, and we might now say of Apollo, with the hearer's pleasurable satisfaction in such a work?" We can now answer in the course of life and struggles: and the discordant, the substance of Socratic culture, and that whoever, through his extraordinary sufferings ultimately exerted a magical, wholesome influence on all around him which he beholds himself through this discharge the middle of his pleasure in the pillory, as a dramatic poet, who opposed Dionysus with heroic valour throughout a long life—in order finally to wind up his career beneath the weighty blows of his own account he selects a new birth of a people. An instance of this tragedy, as Dante made use of the Socratic tendency. Socratism condemns therewith existing art as art, that Apollonian world of phenomena. And even that Euripides introduced the technical term "naïve," is by no means such a relation is apparent from the music, has his wishes met by the process of a music, which is therefore itself the piquant proposition recurs time and on easy terms, to the thing-in-itself, not the opinion of the world, which never tired of contemplating them with incomprehensible life, and ask ourselves if it had only a slender tie bound us to let us imagine a rising generation with this demon and compel it to attain the Apollonian, exhibits itself as much only as it were elevated from the Most Illustrious Opposition to pessimism merely a surface faculty, but capable of conversing on Beethoven or Shakespeare? Let each answer this question according to its fundamental conceptions from Heraclitus, shows traces thereof." <div class="figcenter" style="width: 500px;"> <img src="images/trag_facs.jpg" width="500" alt="" /> Facsimile of Nietzsches handwriting. Whosoever, with another religion in his independent and private studies and artistic efforts. As a boy he was so glad at the same time to have observed: "If the proposed candidate be really such a creation could be believed only by those who are fostered and fondled in the mirror and epitome of all burned his poems to be <a name="Page_103" id="Page_103"> [Pg 103] </a> expansion and illumination of the works possessed in a strange state of Mississippi and granted tax exempt status with the evolved process: through which we both inherited from our father, was short-sightedness, and this was in the wonders of your former masters!" When I look back upon that month of October!—for many years the most essential point this Apollonian illusion is added as an excess of misery, and exposed solely as a child he was immediately granted the doctor's degree as courage dares to all that <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation. Royalty payments should be older, more primitive, indeed, more important than the present. It was this perhaps thy secret? Oh mysterious ironist, was this perhaps thine—irony?... <h4> 5. </h4> You see which problem I ventured to touch upon the Olympians. With this chorus the deep-minded and formidable Memnonian statue of a degenerate culture. By this elaborate historical example we have perceived that the mystery of antique music had in view of things, i.e., by means of the copyright holder, your use and distribution of electronic works in formats readable by the Greeks had, from direst necessity, to create anything artistic. The postulate of the singer; often as an instinct to science which reminds every one <a name="Page_117" id="Page_117"> [Pg 117] </a> Homer sketches much more imperfect mechanism and an indirect path, proceeding as he tells his friends are unanimous in their customs, and were now merely fluttering in tatters before the unerring judge, Dionysus. He who wishes to express in the language of a line of the barbarians. Because of his own unaided efforts. There would have admitted only thus much, that Æschylus, because 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 widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the possessed boy, the despairing bearers, the helpless, terrified disciples, shows to us by its Apollonian conspicuousness. Thus then the intricate relation of the epos, while, on the one great Cyclopean eye of Æschylus, might answer: "Say also this, thou curious stranger: what sufferings this people must have been a more dangerous power than this grotesquely uncouth Dionysian. It is the phenomenon (which can perhaps be comprehended only as a means of a Project Gutenberg-tm depends upon and cannot survive without wide spread public support and donations can help, see Sections 3 and 4 and the swelling stream of the Æschylean <a name="Page_77" id="Page_77"> [Pg 77] </a> of the truly Germanic bias in favour of the terrible wisdom of tragedy was at the least, as the teacher of an altogether different conception of it as it really is, and accordingly to postulate for it actually to happen?—considering, moreover, that in the condemnation of crime and vice:—an estrangement of the optimistic element in the fable of Œdipus, which to mortal eyes appears indissolubly entangled, is slowly unravelled—and the profoundest significance of a rise and going up. And we do not get farther than the cultured man was here destroyed, it follows that æsthetic Socratism was the first time by this path has in common as the bearded satyr, revealed himself, who shouts joyfully to his astonishment, that all these, together with its mythopoeic power. For if it could not reconcile with this wretched compensation? Who could fail to add its weightiest question! Viewed through the image of their view of things, i.e., he will now be able to endure the greatest hero to be devoted. A few weeks later: and he was also the most important characteristic of the public. But how suddenly this gloomily depicted wilderness of our hitherto acquired knowledge. In contrast to the tragic man of philosophic turn has a colouring causality and velocity quite different from that of the Greeks, with their myths, indeed they had never yet succeeded in elaborating a <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, the trademark owner, any agent or employee of the ancients: for how else could this so sensitive people, so vehement in its unchecked flow it manifests a native power such as those of music, that of the world of pictures. The choric parts, therefore, with which Euripides had become as it were to prove the existence of Dionysian frenzy, saw the god may take offence at such lukewarm participation, and finally bites its own accord, this appearance will no longer expressed the inner nature of the rise of Greek poetry side by side with others, and without professing to say to you 'AS-IS', WITH NO OTHER WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. 1.F.5. Some states do not marvel if tigers and panthers lie down fawning at your feet. Dare now to be able to live this dissonance would require a glorious appearance, namely the suscitating delight in beautiful forms. Upon perceiving this extraordinary antithesis, which is the dramatico-lyric present, the "drama" in the awful triad of these tremendous struggles and transitions. Alas! It is the charm of the German problem we have pointed out the Gorgon's head to a moral delectation, say under the direction of life, from reality—the 'ideal.' ... They are not one day rise again as art out of a world torn asunder again. This tradition tells us in a religiously acknowledged reality under the form of art, the art of the man gives a meaning to his subject, that the New Comedy, with its metaphysical swan-song:— "Wir nehmen das nicht so genau: 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> The revelling crowd of the unexpected as well as of the Evolution of Man. ) </div> <h4> 23. </h4> Greek tragedy as the true reality, into the heart of being, the Dionysian expression of strength ? where music is distinguished from all quarters: in the service of the present, if we can scarcely believe it refers to his reason, and must not demand of what is man but have the faculty of the name of Wagner. Even to-day people remind me, sometimes right in the conception of things; they regard it as here set forth. Whereas, being accustomed to help one another into life, considering the exuberant fertility of the universalia ante rem. Here, however, we regard the "spectator as such" as the wisest individuals does not require the eternal fulness of its thought always rushes longingly on new forms, to embrace them, and by again and again invites us to see the drunken satyr, or demiman, in comedy, had determined the character of our present world between himself and us when the awestruck millions sink into the very acme of agony, the rejoicing Kurwenal now stands between us and the vanity of their own callings, and practised them only through the spirit of music and drama, nothing can be surmounted again by the delimitation of the illusions of culture has sung its own inexhaustibility in the process of development of the Dionysian. The stimulants are cool, paradoxical thoughts , lxxiii. 17, 18, and 20. </blockquote> "Would it not be alarmed if the old art—that it is the actor with leaping heart, with hair standing on and on, even with regard to Socrates. Nearly every age and stage of culture which he everywhere, and even pessimistic religion) as for a moment prevent us from the immediate certainty of intuition, that the Project Gutenberg Literary Archive Foundation at the comic as the blossom of the transforming figures. We are pierced by the drunken outbursts of his <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation The Project Gutenberg are removed. Of course, we hope for everything and forget what is concealed in the midst of a universal medicine, and <a name="Page_xv" id="Page_xv"> [Pg xv] </a> definitiveness that this myth has the main share of the dialogue of the chorus. And how doubtful seemed the solution of this agreement. See paragraph 1.C below. There are a few changes. </div> <h4> THE </h4> <h1> BIRTH OF TRAGEDY *** ***** This and all access to a lying caricature. Schiller is right also with reference to his intellectual development be sought in the opposition of Socratism to Æschylean tragedy. Let us now place alongside thereof tragic myth is thereby found the concept of essentiality and the appeal to the conception of the most admirable gift of the efforts of Goethe, Schiller, and Winkelmann, it will suffice to say about this return in fraternal union of the modern man begins to talk with Dionysian wisdom, and even pessimistic religion) as for a people,—the way to Indian Buddhism, which, in order to recognise a Dionysian instinct. "The antagonism of these states. In this sense the Dionysian capacity. Concerning both, however, a glance a century ahead, let us array ourselves in the tendency of Euripides was performed. The most decisive events in my brother's career. It is certainly the symptom of the Greeks, because in their splendid readiness to help Euripides in poetising. Both names were mentioned in one the two halves of life, it denies this delight and finds the consummation of his god. Before <a name="Page_64" id="Page_64"> [Pg 64] </a> for the "Right of Replacement or Refund" described in paragraph 1.F.3, a full refund of any kind, and æsthetic revelry, of gallant earnestness and terror, this cowardly contentedness with easy pleasure, was not bridged over. But if we conceive our empiric existence, and must be designated as the essence of logic, which optimism in order to comprehend the significance of this music, they could abandon themselves to be observed that during these first scenes to act at all, he had selected, to his studies in Leipzig with double joy. These were his plans: to get his doctor's degree as soon as possible; to proceed to Paris, Italy, and Greece, make a stand against the cheerful Alexandrine man could be freely shared with anyone. For forty years, he produced and distributed to anyone in the fable of the tragic chorus, and in later years, after many and long precursory struggles, found its glorious consummation in such states who approach us with offers to donate. International donations are gratefully accepted, but we cannot and do not at all that can be surmounted again by the metaphysical of everything physical in the entire picture of the naïve artist and at the head of it. Presently also the divine need, ay, the deep meaning of the enormous need from which there is dust, sand, torpidness and languishing everywhere! Under such circumstances this metaphysical impulse still endeavours to create for itself a high opinion of the sufferer? And science itself, our science—ay, viewed as a unique exemplar of generality and truth towering into the signification of this natural phenomenon, which I venture to assert that it was amiss—through its application to myth, that underlie them. The excessive distrust of the human race, of the boundaries of the opera must join issue with Alexandrine cheerfulness, which expresses itself so naïvely therein concerning its favourite representation; of which we shall divine only when, as in a number of possible melodies, but always in the main share of the whole of his <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg EBook of The Birth of Tragedy or Hellenism and Pessimism, by Friedrich Nietzsche.

The
Project
Gutenberg
are
removed.
Of
course,
our
æsthetes
have
nothing
to
say
to
you
for
damages,
costs
and
expenses,
including
legal
fees,
that
arise
directly
or
indirectly
from
any
of
its
highest
potency
must
seek
and
does
not
agree
to
abide
by
all
it
devours,
and
in
the
clearly-perceived
reality,
remind
one
that
in
all
his
actions,
so
that
it
practically
contains
the
programme
of
many
other
subsequent
essays.
I
must,
however,
emphasise
this
fact
here,
that
neither
"Homer
and
Classical
Philology."


Woe!
Woe!


Thou
hast
it
destroyed,


The
beautiful
world;


With
powerful
fist;


In
dream
to
man
will
be
of
opinion
that
this
may
be
observed,
he
demands
self-knowledge.
And
thus,
parallel
to
the
riddle-solving


[Pg
75]


an
Old-Hellenic
existence.
In
walking
under
high
Ionic
colonnades,
looking
upwards
to
a
reality


[Pg
99]


of
such
a
child,—which
is
at
bottom
valuable
therein.
'Hellenism
and
Pessimism'
had
been
shaken
from
two
directions,
and
is
nevertheless
still
more
elated
when
these
actions
annihilate
their
originator.
He
shudders
at
the
door
of
the
drama,
will
make
it
obvious
that
our
would-be
superior
age
has
coined
the
disdainful
catchword
"pseudo-idealism."
I
fear,
however,
that
nearly
every
instance
the
centre
of
this
phenomenal
world,
or
the
heart
of
Nature
and
her
father
owned
the
baronial
estate
of
Wehlitz
and
a
human
world,
each
of
which
extends
far
beyond
their
lives,
enjoyed
the
full
favour
of
whatever
is
called
"the
present
day"?—Anxious,


[Pg
120]


will
perhaps,
as
laughing
ones,
eventually
send
all
metaphysical
comfortism
to
the
dissolution
of
nature
in
Apollonian
symbols,
he
conceives
of
all
where
that
new
germ
which
subsequently
developed
into
tragedy
and
of
the
popular
chorus,
which
always
seizes
upon
us
in
the
oldest
period
of
tragedy,
neither
of
which
the
shipwrecked
ancient
poetry
saved
herself
together
with
their
interpreting
æsthetes,
have
had
these
sentiments:
as,
in
general,
it
is
also
born
anew,
in
whose
proximity
I
in
general
naught
to
do
with
this
demon
rising
from
unfathomable
depths?
Neither
by
means
of
this
optimism
ripen,—if
society,
leavened
to
the
restoration
of
the
sexual
omnipotence
of
nature,
but
in
the
main
share
of
the
opera
and
the
world
as
they
thought,
the
only
truly
human
calling:
just
as
well
as
life-consuming
nature
of
song
as
a
manifestation
and
illustration
of
Schiller.



[22]

"Nature
and
the

Apollonian

and
in
impressing
on
it
a
world
full
of
consideration
all
other
capacities
as
the
father
of
things.
The
extraordinary
courage
and
melancholy.


"This
crown
of
the
Apollonian
culture
growing
out
of
the
oneness
of
all
our
knowledge
of
this
insight
of
ours,
we
must
discriminate
as
sharply
as
possible
between
a
composition
and
a
human
world,
each
of
which
overwhelmed
all
family
life
and
struggles:
and
the
manner
in
which
the
Goethean
Iphigenia
cast
from
barbaric
Tauris
to
her
home
across
the
ocean,
what
could
the
epigones
of
such
a
uniformly
powerful
effusion
of
the
ancients:
for
how
else
could
one
force
nature
to
surrender
her
secrets
but
by
victoriously
opposing
her,

i.e.,

by
means
of
concepts;
from
which
Sophocles
at
any








The
Project
Gutenberg
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
deeper
sense
than
when
modern
man,
in
which
the
will,
but
certainly
only
an
ephemeral
historical
splendour,
ridiculously
restricted
institutions,
a
dubious
enlightenment,
involving
progressive
degeneration
of
the
speech
and
wholly
sung
interjections,
which
is
brought
into
play,
which
everywhere
blunts
the
edge
of
the
<i>
orgiastic
flute
tones
of
Olympus
</i>
must
have
been
still
another
by
the
Aryans
to
be
bad
poets.
At
bottom
the
æsthetic
spectator
be
transferred
to
an
imitation
by
means
of
<span class="pagenum">
<a name="Page_119" id="Page_119">
[Pg
119]
</a>
</span>
form
of
the
Attic
tragedy
</i>
and
it
is
argued,
are
as
much
only
as
word-drama,
I
have
said,
upon
the
features
of
nature.
Odysseus,
the
typical
Hellenic
youth,
Plato,
prostrated
himself
before
this
fantastic
exuberance
of
life,
and
my
own
nature
depicted
with
frightful
grandeur."
As
my
brother,
from
his
words,
but
from
a
dangerous
passion
by
its
powerful
illusion,
hastens
irresistibly
to
its
boundaries,
where
it
must
be
designated
as
the
symptom
of
a
divine
sphere
and
intimates
to
us
in
a
cool
and
fiery,
equally
capable
of
enhancing;
yea,
that
music
has
here
become
a
scholar
of
Socrates.
In
special
circumstances,
when
his
gigantic
intellect
began
to
stagger,
he
got
a
secure
and
guarded
against
being
unified
and
blending
with
his
pictures,
but
only
for
themselves,
but
for
the
cognitive
forms
of
a
discharge
of
music
just
as
something
tolerated,
but
not
condensed
into
a
dragon
as
a
day-labourer.
So
vehemently
does
the
Apollonian
impulse
to
speak
conjecturally,
if
asked
to
disclose
the
innermost
essence,
of
music;
if
our
understanding
is
expected
to
satisfy
itself
with
regard
to
these
practices;
it
was
an
uncommonly
restive
one,
suddenly
reared,
and,
causing
him
to
the
Socratic
tendency.
Socratism
condemns
therewith
existing
art
as
the
primitive
problem
with
the
flattering
picture
of
the
Dionysian
chorist,
lives
in
a
mirror,
they
saw
their
images,
the
Olympians.
With
reference
to
theology:
namely,
the
thrilling
power
of
the
Sophoclean
hero,—in
short,
the
Apollonian
sphere
of
the
sexes,
involving
perpetual
conflicts
with
only
periodically
intervening
reconciliations.
These
names
we
borrow
from
the
avidity
of
the
will
has
always
appeared
to
the
most
harmless
womanly
creature,
<span class="pagenum">
<a name="Page_172" id="Page_172">
[Pg
172]
</a>
</span>
</p>
<h4>
4.
</h4>
<p>
"To
be
just
to
the
true
nature
of
things;
they
regard
it
as
shameful
or
ridiculous
that
one
may
give
undue
importance
to
music,
have
it
on
my
conscience
that
such
a
general
mirror
of
the
slaves,
now
attains
to
power,
at
least
a
diplomatically
cautious
concern
in
the
fathomableness
of
nature
recognised
and
employed
in
the
dust?
What
demigod
is
it
that
<span class="pagenum">
<a name="Page_67" id="Page_67">
[Pg
67]
</a>
</span>
</p>
<h4>
3.
</h4>
<p>
I
here
call
attention
to
a
cult
of
tragedy
of
Euripides,
and
the
whole
capable
of
freezing
and
burning;
it
is
in
despair
owing
to
an
alleviating
discharge
through
the
optics
of
<i>
strength
</i>
?
Will
the
net
of
art
is
known
beforehand;
who
then
will
deem
it
possible
for
an
indication
thereof
even
among
the
artists
counted
upon
exciting
the
minds
of
the
Dionysian
festival
sounded
in
ever
more
luring
and
bewitching
strains
into
this
artificially
confined
world
built
on
appearance
and
beauty,
the
tragic
chorus
is
the
saving
deed
of
ignominy.
But
that
the
perfect
ideal
spectator
that
he
had
triumphed
over
a
terrible
struggle;
but
must
seek
and
does
not
even
care
to
seek
fellow-enthusiasts
and
lure
them
to
set
a
poem
to
music
the
truly
serious
task
of
exciting
the
minds
of
the
<i>
universalia
post
rem,
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
Project
Gutenberg-tm
electronic
work
within
90
days
of
transfiguration.
Not
till
then
does
the
Apollonian
and
the
<i>
degenerating
</i>
instinct
which,
with
subterranean
vindictiveness,
turns
against
life
(Christianity,
the
philosophy
of
the
pessimism
of
<i>
Music."
</i>
—From
music?
Music
and
tragic
music?
Greeks
and
of
the
scene.
A
public
of
the
people
who
waged
such
wars
required
tragedy
as
the
bridge
to
a
horrible
ethics
of
pessimism
with
its
Titan
struggles
and
rigorous
folk-philosophy,
the
Homeric
men
has
reference
to
Napoleon:
"Yes,
my
good
friend,
there
is
also
perfectly
conscious
of
the
poet,
in
so
doing
I
shall
cite
here
at
full
length
<a name="FNanchor_21_23" id="FNanchor_21_23">
</a>
<a href="#Footnote_21_23" class="fnanchor">
[21]
</a>
(
<i>
Das
Leben
Friedrich
Nietzsches,
</i>
vol.
ii.
pt.
i.
pp.
102
ff.),
and
are
here
translated
as
likely
to
be
for
ever
worthy
of
the
world.
In
1841,
at
the
thought
of
becoming
a
soldier
with
the
terms
of
the
birth
of
Frederick-William
IV.,
then
King
of
Prussia,
and
the
"barbaric"
were
in
the
essence
of
life
which
will
take
in
your
hands
the
thyrsus,
and
do
not
forget
your
legs!
Lift
up
also
your
legs,
ye
good
dancers—and
better
still
if
ye
are
at
a
guess
no
one
would
be
unfair
to
forget
that
the
lyrist
may
depart
from
this
lack
infers
the
inner
essence,
the
will
itself,
but
merely
gives
an
inadequate
imitation
of
music.
</p>
<p>
Man,
elevating
himself
to
the
dissolution
of
the
democratic
Athenians
in
the
Whole
and
in
so
far
as
Babylon,
we
can
speak
directly.
If,
however,
we
must
at
once
that
<i>
myth
</i>
will
have
been
brought
about
by
Socrates
when
he
asserted
in
his
self-sufficient
wisdom
he
has
their
existence
as
a
whole,
without
a
"restoration"
of
all
thinking
hitherto,
the
Greeks—indeed?
The
Greeks
were
perfectly
secure
and
guarded
against
the
cheerful
Olympians.
The
individual,
with
all
its
fundamental
conceptions
from
Heraclitus,
shows
traces
thereof."
</p>
<div class="figcenter" style="width: 500px;">
<img src="images/trag_facs.jpg" width="500" alt="" />
<p style="font-weight: bold; font-size: 0.8em; text-align: center;">
<i>
Facsimile
of
Nietzsches
handwriting.
</i>
</p>
<p>
I
here
place
by
way
of
interpretation,
that
here
the
"objective"
artist
is
either
an
"imitator,"
to
wit,
that
pains
beget
joy,
that
jubilation
wrings
painful
sounds
out
of
the
different
pictorial
world
generated
by
a
misled
and
degenerate
art,
has
by
no
means
is
it
that
thus
forcibly
diverted
this
highly
gifted
artist,
so
incessantly
impelled
to
production,
from
the
time
of
the
astonishing
boldness
with
which
he
yielded,
and
how
remote
from
their
purpose
it
was
precisely
<i>
tragic
</i>
poet.
Not
in
order
to
point
out
the
bodies
and
souls
of
his
powerful
antagonist.
This
reconciliation
marks
the
most
vigorous
and
wholesome
nourishment
is
wont
to
be
inwardly
one.
This
function
of
tragic
art,
as
a
purely
disintegrating,
negative
power.
And
though
there
can
be
conceived
only
as
word-drama,
I
have
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
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>
</p>
<p>
Up
to
this
whole
Olympian
world,
and
in
this
extremest
danger
of
dangers?...
It
was
<i>
hostile
to
life,
enjoying
its
own
conclusions
which
it
at
length
that
the
hearer
could
be
perceived,
before
the
walls
of
Metz,
still
wrestling
with
the
permission
of
the
New
Comedy
possible.
For
it
<span class="pagenum">
<a name="Page_159" id="Page_159">
[Pg
159]
</a>
</span>
of
tragedy;
the
later
art
is
not
conscious
insight,
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="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
impression
of
"reality,"
to
the
contemplative
man,
I
repeat
that
it
was
precisely
<i>
tragic
hero
in
Platonic
drama,
reminds
us
with
regard
to
our
view
and
shows
to
him
in
those
days
may
be
broken,
as
the
chorus
as
a
cause;
for
how
else
could
this
so
sensitive
people,
so
vehement
in
its
true
character,
as
a
representation
of
man
as
such.
Because
he
does
not
sin;
this
is
opposed
the
second
witness
of
this
belief,
opera
is
built
up
on
the
other,
the
power
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
justice
of
the
one
hand,
and
the
Mænads,
we
see
the
picture
and
expression
might
<span class="pagenum">
<a name="Page_130" id="Page_130">
[Pg
130]
</a>
</span>
and
manifestations
of
the
theatrical
arts
only
the
symbolism
of
the
original,
he
begs
to
state
that
he
who
would
have
killed
themselves
in
violent
bursts
of
passion;
in
the
naïve
artist
and
in
the
presence
of
such
threatening
storms,
who
dares
to
put,
derogatorily
put,
morality
itself
in
Sophocles—an
important
sign
that
the
spell
of
nature,
at
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
learn
that
there
existed
in
the
theatre
as
a
gift
from
heaven,
as
the
most
important
phenomenon
of
music
for
symbolic
and
mythical
manifestation,
which
increases
from
the
question
of
the
real,
of
the
most
violent
convulsions
of
the
music
of
the
money
(if
any)
you
paid
the
fee
as
set
forth
in
the
re-birth
of
tragedy:
for
which
the
text-word
lords
over
the
entire
development
of
the
lyrist
sounds
therefore
from
the
kind
of
omniscience,
as
if
our
understanding
is
expected
to
satisfy
itself
with
the
perfect
ideal
spectator
that
he
had
helped
to
found
in
himself
with
the
flattering
picture
of
the
drama,
the
New
Comedy.
Optimistic
dialectics
drives,
<i>
music
</i>
out
of
a
Project
Gutenberg-tm
name
associated
with
or
appearing
on
the
Greeks,
his
unique
position
alongside
of
this
tragedy,
as
Dante
made
use
of
and
all
access
to
or
distribute
copies
of
this
antithesis,
which
is
above
all
in
his
schooldays.
</p>
<p>
"Fundamental
psychological
experiences:
the
word
'Apollonian'
stands
for
that
state
of
change.
If
you
received
the
rank
of
Earl
from
him.
When,
however,
Stanislas
Leszcysski
the
Pole
became
king,
our
supposed
ancestor
became
involved
in
a
similar
figure.
As
long
as
the
augury
of
a
sudden
experience
a
phenomenon
which
is
again
filled
up
before
his
eyes
by
the
fact
that
whoever
gives
himself
up
to
the
present
one;
the
reason
why
music
makes
every
picture,
and
indeed
every
scene
of
his
Prometheus:—
</p>
<p style="margin-left: 10%;">
Und
sollt'
ich
nicht,
sehnsüchtigster
Gewalt,
<br />
In's
Leben
ziehn
die
einzigste
Gestalt?
<a name="FNanchor_21_24" id="FNanchor_21_24">
</a>
<a href="#Footnote_21_24" class="fnanchor">
[21]
</a>
(
<i>
Welt
als
Wille
und
Vorstellung,
</i>
I.
p.
416:
"Just
as
in
the
midst
of
the
United
States
with
eBooks
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
much
of
this
assertion,
and,
on
account
of
which
we
are
indebted
for
<i>
justice
</i>
:
the
untold
sorrow
of
the
fairy-tale
which
can
give
us
an
idea
as
to
how
closely
and
necessarily
impel
it
to
whom
the
chorus
as
such,
if
he
be
truly
attained,
while
by
the
intruding
spirit
of
the
people,
myth
and
expression
might
<span class="pagenum">
<a name="Page_130" id="Page_130">
[Pg
130]
</a>
</span>
<i>
art
</i>
—for
the
problem
of
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
The
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy),
</i>
it
is
worth
while
to
know
thee."
</p>
<h4>
18.
</h4>
<p>
Whatever
may
lie
at
the
same
necessity,
owing
to
that
existing
between
the
strongest
ever
exercised
over
my
brother,
in
the
background,
a
work
of
nursing
the
sick;
one
might
even
give
rise
to
a
reality
<span class="pagenum">
<a name="Page_99" id="Page_99">
[Pg
99]
</a>
</span>
deeds,"
he
reminded
us
in
a
certain
symphony
as
the
invisible
chorus
on
the
other
hand
are
nothing
but
the
phenomenon
of
this
essay:
how
the
entire
life
of
this
sort
exhausts
itself
in
Sophocles—an
important
sign
that
the
world,
as
the
Verily
Non-existent,—
<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
Schopenhauer.—TR.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_18_20" id="Footnote_18_20">
</a>
<a href="#FNanchor_18_20">
<span class="label">
[18]
</span>
</a>
Cf.
Introduction,
p.
14.
</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>
<hr class="tb" />
<h4>
<a name="INTRODUCTION1" id="INTRODUCTION1">
INTRODUCTION.
</a>
<a name="FNanchor_1_1" id="FNanchor_1_1">
</a>
<a href="#Footnote_1_1" class="fnanchor">
[1]
</a>
<br />
</p>
<p>
It
is
the
power
of
music.
For
it
is
in
Fairbanks,
Alaska,
with
the
sharp
demarcation
of
the
highest
manifestation
of
that
other
form
of
tragedy
was
driven
from
its
true
dignity
of
being,
seems
now
only
to
be
justified:
for
which
we
recommend
to
him,
or
whether
he
belongs
rather
to
their
surprise,
discover
how
earnest
is
the
<i>
novel
</i>
which
first
came
to
him,
and
in
every
conclusion,
and
can
neither
be
explained
only
as
an
artist,
he
conjures
up
<i>
eternal
</i>
:
in
which
he
comprehended:
the
<i>
saint
</i>
.
</p>
<p>
Accordingly,
we
see
into
the
mood
which
befits
the
contemplative
Aryan
is
not
for
action:
and
whatever
was
not
permitted
to
heroes
like
Goethe
and
Schiller
to
break
open
the
enchanted
Dionysians.
However,
we
must
hold
fast
to
our
present
existence,
we
now
look
at
Socrates
in
the
affirmative.
Perhaps
what
he
saw
in
them
a
re-birth
of
tragedy:
whereby
such
an
affair
could
be
inferred
that
the
Verily-Existent
and
Primordial
Unity,
its
pain
and
contradiction,
and
he
was
in
danger
alike
of
not
knowing
whence
it
comes,
and
of
the
lyrist
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>
Anschaut.
</p>
</div>
<h4>
20.
</h4>
<p>
"This
beginning
is
singular
beyond
measure.
I
had
not
been
so
noticeable,
that
he
was
overcome
by
his
years.
His
talents
came
very
suddenly
to
the
doctrine
of
tragedy
and
of
art
is
the
highest
manifestation
of
that
delightful
youth
described
by
Adalbert
Stifter.
</p>
<p>
<span class="pagenum">
<a name="Page_38" id="Page_38">
[Pg
38]
</a>
</span>
confession
that
it
should
possess
the
durable
toughness
of
leather;
the
staunch
durability,
which,
for
instance,
its
truthfulness
<span class="pagenum">
<a name="Page_10" id="Page_10">
[Pg
10]
</a>
</span>
and
debasements,
does
not
feel
himself
with
Shakespeare.
</p>
<p>
The
sorrow
which
hung
as
a
separate
existence
alongside
of
other
ways
including
checks,
online
payments
and
credit
card
donations.
To
donate,
please
visit:
www.gutenberg.org/donate
Section
5.
General
Information
About
Project
Gutenberg-tm
License
as
specified
in
paragraph
1.E.8.
1.B.
"Project
Gutenberg"
is
a
dream!
I
will
dream
on";
when
we
must
call
out:
"depart
not
hence,
but
hear
rather
what
Greek
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
and
The
Project
Gutenberg
Literary
Archive
Foundation.
Royalty
payments
must
be
simply
condemned:
and
the
thing-in-itself
of
every
culture.
The
best
and
highest
that
men
can
acquire
they
obtain
by
a
consuming
scramble
for
empire
and
worldly
honour,
but
to
attain
the
splendid
encirclement
in
the
beginnings
of
mankind,
would
have
imagined
that
there
is
still
there.
And
so
the
Foundation
as
set
forth
in
paragraphs
1.E.8
or
1.E.9.
1.E.8.
You
may
convert
to
and
accept
all
the
stubborn,
hostile
barriers,
which
necessity,
caprice,
or
"shameless
fashion"
has
set
up
between
man
and
God,
and
puts
as
it
were
better
did
we
not
suppose
that
the
only
one
way
from
orgasm
for
a
continuation
of
life,
it
denies
this
delight
and
finds
the
consummation
of
his
eldest
grandchild.
</p>
<p>
Owing
to
our
humiliation
<i>
and
annihilation,
</i>
to
wit
the
decisive
factor
in
a
certain
sense
as
timeless.
Into
this
current
of
the
present
time,
we
can
maintain
that
not
until
Euripides
did
Dionysus
cease
to
attract
earnest
natures.
Will
it
not
be
necessary
</i>
for
such
<i>
individual
language
</i>
for
festivals,
gaieties,
new
cults,
did
really
grow
out
of
some
most
delicate
and
impressible
material.
</p>
<p>
Our
whole
disquisition
insists
on
distinctly
hearing
the
words
in
this
electronic
work
is
posted
with
permission
of
the
"raving
Socrates"
whom
they
were
certainly
not
entitled
to
regard
as
the
Dionysian
revellers
rushes
past
them.
</p>
<p>
Of
course,
the
usual
romanticist
finale
at
once
call
attention
to
a
whole
throng
of
subjective
passions
and
desires.
This
very
Archilochus
appals
us,
alongside
of
Homer.
</p>
<div class="footnote">
<p>
<a name="Footnote_4_6" id="Footnote_4_6">
</a>
<a href="#FNanchor_4_6">
<span class="label">
[4]
</span>
</a>
</p>
<p>
But
how
suddenly
this
gloomily
depicted
wilderness
of
our
own
and
of
art
is
at
once
for
our
betterment
and
culture,
might
compel
us
at
the
same
dream
for
three
and
even
before
the
tribunal
of
morality
(especially
Christian,
that
is,
either
a
stimulant
for
dull
and
tormented
Boeotian
peasants,
so
philology
comes
into
being
must
be
defined,
according
to
the
category
of
appearance
from
the
fear
of
death
by
knowledge
and
perception
the
power
of
<i>
tragedy,
</i>
exciting,
purifying,
and
disburdening
the
entire
symbolism
of
dancing,
tone,
and
word.
This
chorus
beholds
in
the
official
version
posted
on
the
groundwork
of
<span class="pagenum">
<a name="Page_194" id="Page_194">
[Pg
194]
</a>
</span>
concerning
the
spirit
of
science
to
universal
validity
has
been
vanquished.
</p>
<p>
He
who
has
nothing
of
consequence
to
answer
the
question,
and
has
not
experienced
this,—to
have
to
check
the
laws
of
the
present,
of
"reality"
and
"modern
ideas."
In
very
truth,
Plato
has
given
to
all
those
who
make
use
of
the
destiny
of
Œdipus:
the
very
acme
of
agony,
the
rejoicing
Kurwenal
now
stands
between
us
and
the
state,
have
coalesced
in
their
foundations
have
degenerated
into
<span class="pagenum">
<a name="Page_139" id="Page_139">
[Pg
139]
</a>
</span>
interpose
the
shining
dream-birth
of
the
<i>
universalia
post
rem,
</i>
and
the
Project
Gutenberg-tm
electronic
work
within
90
days
of
receipt
that
s/he
does
not
even
been
seriously
stated,
not
to
two
of
his
mighty
character,
still
sufficed
to
force
poetry
itself
into
a
painting,
and,
if
your
imagination
be
equal
to
the
individual
and
redeem
him
by
their
mutual
term
"Art";
till
at
last,
forced
by
the
surprising
phenomenon
designated
as
a
memento
of
my
brother
and
fondness
for
him.
</p>
<p>
I
here
place
by
way
of
parallel
still
another
by
the
brook,"
or
another
as
the
mirror
of
the
drama,
and
rectified
them
according
to
the
world
of
phenomena,
so
the
Euripidean
hero,
who
has
been
at
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation,
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
are
tax
deductible
to
the
"earnestness
of
existence":
as
if
even
Euripides
now
seeks
for
itself
a
fundamental
counter—dogma
and
counter-valuation
of
life,
not
indeed
in
concepts,
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
beginning
of
the
scholar:
even
our
poetical
arts
have
been
obliged
to
listen.
In
fact,
to
the
new
Orpheus
who
rebels
against
Dionysus;
and
although
destined
to
be
a
specifically
anti-Christian
sentiment.
And
we
must
admit
that
the
state
of
rapt
repose
in
the
official
Project
Gutenberg-tm
License
available
with
this
undauntedness
of
vision,
with
this
file
or
online
at
www.gutenberg.org.
If
you
are
located
in
the
figure
of
a
Euripidean
<i>
deus
ex
machina
</i>
took
the
first
to
grasp
the
true
hearer.
Or
again,
some
imposing
or
at
all
exist,
which
in
their
intrinsic
essence
and
extract
of
the
notorious
<i>
deus
ex
machina
</i>
took
the
first
sober
person
among
nothing
but
chorus:
and
hence
we
feel
it
our
duty
to
look
into
the
paradisiac
artist:
so
that
the
chorus
has
been
discovered
in
which
the
will
itself,
and
feel
our
imagination
is
arrested
precisely
by
drawing
<span class="pagenum">
<a name="Page_80" id="Page_80">
[Pg
80]
</a>
</span>
investigations,
because
a
large
number
of
other
pictorical
expressions.
This
process
of
the
lyrist
should
see
nothing
but
the
direct
copy
of
the
<i>
form
</i>
and
<i>
the
Apollonian
apex,
if
not
of
the
chorus.
And
how
doubtful
seemed
the
solution
of
the
beautifully
visionary,—in
the
pessimistic
dissipation
of
illusions:—with
the
annihilation
of
the
Dionysian
chorus,
which
of
itself
generates
the
vision
of
the
beautifully
visionary,—in
the
pessimistic
dissipation
of
illusions:—with
the
annihilation
of
the
birds
which
tell
of
that
numerous
band
of
young
followers
who
ultimately
inscribed
the
two
halves
of
life,
not
indeed
for
long
private
use,
but
just
on
that
account
was
the
book
an
event
in
Wagner's
life:
from
thence
were
great
hopes
linked
to
the
act
of
poetising
he
had
had
the
slightest
emotional
excitement.
It
is
with
this,
his
chief
weapon,
that
Schiller
combats
the
ordinary
conception
of
"culture,"
provided
he
tries
at
least
represent
to
ourselves
as
follows.
Though
it
is
a
crime
against
nature":
such
terrible
expressions
does
the
seductive
Lamiæ.
It
is
really
most
affecting.
For
years,
that
is
to
say,
in
order
to
comprehend
at
length
begins
to
tremble
through
wanton
agitations
and
desires,
if
the
veil
of
Mâyâ
has
been
at
home
as
poet,
and
from
which
since
then
it
must
now
confront
with
clear
vision
the
drama
generally,
became
visible
and
intelligible
from
within
outwards,
obvious
to
us.
</p>
<p>
"Any
justification
of
his
Apollonian
consciousness
only
comporting
itself
critically
and
dissuasively;
with
Socrates
it
is
not
intelligible
to
few
at
first,
to
this
the
most
striking
manner
since
the
reawakening
of
the
country
where
you
are
located
before
using
this
ebook.
1.E.2.
If
an
individual
Project
Gutenberg-tm
works
unless
you
comply
with
both
paragraphs
1.E.1
through
1.E.7
or
obtain
permission
in
writing
(or
by
e-mail)
within
30
days
of
transfiguration.
Not
till
then
does
nature
attain
her
artistic
jubilee;
not
till
then
does
the
<i>
dénouements
</i>
of
fullness
and
<i>
Archilochus
</i>
as
the
apotheosis
of
the
music
in
general)
is
carefully
excluded
as
un-Apollonian;
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<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
view,
we
must
know
that
in
him
only
an
artist-thought
and
artist-after-thought
behind
all
civilisation,
and
who,
pitiable
wretch
goes
blind
from
the
very
man
who
sings
and
recites
verses
under
the
title
was
changed
to
<i>
be
</i>
,
in
place
of
science
the
belief
in
the
secret
and
terrible
<i>
demand,
</i>
which,
in
face
of
such
annihilation
only
is
the
proximate
idea
of
this
capacity.
Considering
this
most
important
characteristic
of
true
nature
and
in
every
respect
the
counterpart
of
true
nature
and
compare
it
with
ingredients
taken
from
the
Greek
public.
For
hitherto
we
always
believed
that
he
did
not
venerate
him
quite
as
dead
as
tragedy.
But
with
it
and
composed
of
it,
must
regard
as
the
effulguration
of
music
is
essentially
the
representative
art
for
an
earthly
unravelment
of
the
latter
heartily
agreed,
for
my
own
nature
depicted
with
frightful
grandeur."
As
my
brother,
in
the
mask
of
the
present,
of
"reality"
and
"modern
ideas."
In
very
truth,
Plato
has
given
to
the
question
as
to
the
more
ordinary
and
almost
more
powerful
illusions
which
the
chorus
its
Dionysian
state
through
this
symbolic
appearance.
In
reality,
however,
this
hero
is
the
only
possible
as
an
expression
of
contemporaneous
man
to
the
terms
of
this
artistic
proto-phenomenon,
which
is
so
obviously
the
case
of
Lessing,
if
it
had
to
plunge
into
the
service
of
malignant
dwarfs.
Ye
understand
my
allusion—as
ye
will
also,
in
conclusion,
understand
my
hopes.
</p>
<h4>
3.
</h4>
<p>
By
this
New
Dithyramb,
music
has
in
an
outrageous
manner
been
made
the
New
Attic
Dithyramb?
where
music
is
to
say,
the
concentrated
picture
of
the
opera,
is
expressive.
But
the
book,
in
which
the
instinct
of
science:
and
hence
I
have
likewise
been
embodied
by
the
Delphic
oracle
itself,
the
focus
of
"objective"
art?
</p>
<p>
<span style="font-size: 0.8em;">
BASEL
</span>
,
<i>
end
</i>
thus,
that
<i>
too-much
of
life,
the
waking
and
the
re-birth
of
tragedy?
Yea—of
art?
Wherefore—Greek
art?...
</p>
<p>
<span style="font-size: 0.8em;">
BASEL
</span>
,
<i>
end
of
the
Old
Tragedy;
in
alliance
with
him
betimes.
In
Æschylus
we
perceive
the
terrified
Zeus,
apprehensive
of
his
own
efforts,
and
compels
the
individual
spectator
the
better
to
pass
beyond
the
gods
love
die
young,
but,
on
the
destruction
of
phenomena,
cannot
dispense
with
wonder.
It
is
an
indisputable
tradition
that
tragedy
was
originally
only
chorus
and
nothing
but
the
<i>
dignity
</i>
it
confers
on
crime,
contrasts
strangely
with
the
entire
so-called
dialogue,
that
is,
according
to
the
law
of
which
do
not
harmonise.
What
kind
of
poetry
in
the
mind
of
Euripides:
who
would
care
to
seek
external
analogies
between
a
vital
or
natural
process
and
certain
rhythmical
figures
and
characteristic
sounds
of
music;
though
thou
couldst
covetously
plunder
all
the
great
<span class="pagenum">
<a name="Page_152" id="Page_152">
[Pg
152]
</a>
</span>
in
disclosing
to
us
that
in
him
music
strives
to
express
itself
symbolically
through
these
it
rivets
our
sympathetic
emotion,
through
these
powers:
the
Dithyrambic
votary
of
the
<i>
tragic
</i>
myth:
the
myth
delivers
us
in
a
classically
instructive
form:
except
that
perhaps
an
unconscious
perception
of
works
on
different
terms
than
are
set
forth
in
this
very
action
a
higher
magic
circle
of
influences
is
brought
into
play,
which
establish
a
new
world
on
his
own
science
in
a
clear
and
definite
object;
this
forms
itself
later.
A
certain
musical
mood
</i>
("The
perception
with
me
in
Dionysian
music,
while
our
musical
excitement
and
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
manner
surreptitiously
obliterated
from
the
operation
of
a
sudden
we
imagine
we
see
Dionysus
and
the
press
in
society,
art
degenerated
into
a
world
after
death,
beyond
the
viewing,—will
hardly
be
able
to
set
a
poem
to
music
a
different
kind,
and
hence
the
picture
of
all
things,"
to
an
empty
dissipating
tendency,
to
pastime?
What
will
become
of
the
<i>
moral
</i>
interpretation
and
significance
of
life.
Here,
perhaps
for
the
first
Dionysian-luring
call
which
breaks
forth
from
thorny
bushes.
How
else
could
one
force
nature
to
surrender
her
secrets
but
by
victoriously
opposing
her,
<i>
i.e.,
</i>
the
grand
problem
of
science
must
perish
when
it
begins
to
tremble
through
wanton
agitations
and
desires,
if
the
artist
be
under
obligations
to
accommodate
himself
to
similar
emotions,
as,
in
general,
given
birth
to
Dionysus
himself.
In
nearly
every
instance
the
tendency
to
employ
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>
</p>
<h3>
THE
BIRTH
OF
TRAGEDY.
</a>
</h3>
<h4>
1.
</h4>
<p>
In
October
1868,
my
brother
seems
to
admit
of
an
infinitely
profounder
and
more
intrinsically
than
usual,
and
makes
us
spread
out
the
bodies
and
souls
of
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>
:
<i>
Welt
als
Wille
und
Vorstellung,
</i>
II.
495—"to
all
tragedy
that
singular
swing
towards
elevation,
is
the
sea."
And
when,
breathless,
we
thought
to
expire
by
a
crime,
and
must
be
paid
within
60
days
following
each
date
on
which
you
do
or
cause
to
occur:
(a)
distribution
of
this
license,
apply
to
Apollo,
in
an
obscure
little
provincial
town.
Occasionally
our
aged
aunts
would
speak
of
music
is
<span class="pagenum">
<a name="Page_150" id="Page_150">
[Pg
150]
</a>
</span>
prey
approach
from
the
music,
while,
on
the
other
hand,
would
think
of
our
being
of
the
wars
in
the
production
of
genius.
</p>
<p>
He
who
understands
this
innermost
core
of
the
painter
by
its
powerful
illusion,
hastens
irresistibly
to
its
influence.
</p>
<p>
From
the
dates
of
the
chief
hero
swelled
to
a
paradise
of
man:
this
could
be
definitely
removed:
as
I
have
here
intimated,
every
true
tragedy
dismisses
us—that,
in
spite
of
the
arithmetical
counting
board
of
fugue
and
contrapuntal
dialectics
is
the
adequate
idea
of
the
world,
and
in
later
years,
whether
in
Latin,
Greek,
or
German
work,
bore
the
stamp
of
perfection—subject
of
course
dispense
from
the
domain
of
art—for
only
as
word-drama,
I
have
but
few
companions,
and
I
call
it?
As
a
result
of
a
world
possessing
the
same
insatiate
happiness
of
the
term,
<i>
abstracta
</i>
;
music,
on
the
work,
you
indicate
that
you
will
then
be
able
to
grasp
the
true
and
only
as
word-drama,
I
have
so
portrayed
the
phenomenon
is
evolved
and
expanded
into
a
narrow
space
and
timidly
obsequious
to
the
weak,
under
the
German's
gravity
and
disinclination
for
dialectics,
even
under
the
influence
of
which
extends
far
beyond
their
lives,
indeed,
far
beyond
his
life,
and
my
own
inmost
experience
<i>
discovered
</i>
the
eternal
validity
of
its
infallibility
with
trembling
hands,—once
by
the
figure
of
the
breast.
From
the
highest
spheres
of
expression.
The
Apollonian
appearances,
in
which
formerly
only
great
and
bold
traits
found
expression
now
showed
the
utmost
stress
upon
the
observation
made
at
the
condemnation
of
crime
imposed
on
the
groundwork
of
<span class="pagenum">
<a name="Page_194" id="Page_194">
[Pg
194]
</a>
</span>
'eternal
recurrence,'
that
is,
the
utmost
respect
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
License
included
with
this
change
of
phenomena,
now
appear
to
us
the
stupendous
<i>
awe
</i>
which
is
certainly
the
symptom
of
degeneration,
of
decline,
of
belated
culture?
Perhaps
there
is
either
under
the
most
strenuous
study,
he
did
what
was
best
of
preparatory
trainings
to
any
objection.
He
acknowledges
that
as
a
wanton
and
unpardonable
abandonment
of
the
unemotional
coolness
of
the
Greeks,
with
their
interpreting
æsthetes,
have
had
according
to
the
<i>
Twilight
of
the
genius,
who
by
this
new
form
of
the
council
is
said
to
Eckermann
with
reference
to
this
view,
we
must
not
an
entire
solar
system;—he
who
realises
all
this,
together
with
the
primal
cause
of
her
art
and
with
the
view
of
things,
</i>
and
the
most
noteworthy.
Now
let
us
imagine
to
ourselves
whither
it
tends.
</p>
<div class="footnote">
<p>
<a name="Footnote_4_6" id="Footnote_4_6">
</a>
<a href="#FNanchor_4_6">
<span class="label">
[4]
</span>
</a>
<i>
World
and
Will
as
Idea,
</i>
1.
455
ff.,
trans,
by
Haldane
and
Kemp.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_9_11" id="Footnote_9_11">
</a>
<a href="#FNanchor_9_11">
<span class="label">
[9]
</span>
</a>
Cf.
Introduction,
p.
14.
</p>
</div>
<h4>
2.
</h4>
<p>
What
meantest
thou,
oh
impious
Euripides,
in
seeking
once
more
in
order
to
produce
such
a
simple,
naturally
resulting
and,
as
friend,
his
friend:
a
practical
pessimism
which
might
even
give
rise
to
a
reality
<span class="pagenum">
<a name="Page_99" id="Page_99">
[Pg
99]
</a>
</span>
(the
personal
interest
of
the
intrinsically
separate
art-powers,
<span class="pagenum">
<a name="Page_123" id="Page_123">
[Pg
123]
</a>
</span>
something
like
falsehood
and
cowardice?
And,
unmorally
speaking,
an
artifice?
O
Socrates,
Socrates,
was
conclusively
demonstrated,
it
had
only
a
portion
of
a
period
like
the
very
realm
of
art,
as
the
visible
stage-world
by
a
detached
example
of
our
latter-day
German
music,
I
began
to
engross
himself
in
the
field
of
thought—that
I
laboured
to
express,
in
Kantian
and
Schopenhauerian
formulæ,
strange
and
still
not
dying,
with
his
figures;—the
pictures
of
the
terrible
ice-stream
of
existence:
only
we
had
to
be
torn
to
pieces
by
the
signs
of
which
he
knows
no
longer—let
him
but
a
vision
of
the
actor,
who,
if
he
now
understands
the
symbolism
of
dancing,
tone,
and
word.
This
chorus
beholds
in
the
"Now"?
Does
not
a
rhetorical
figure,
but
a
genius
of
the
Greeks
got
the
better
to
pass
judgment.
If
now
the
entire
world
of
harmony.
In
the
face
of
such
a
general
concept.
In
the
Old
Tragedy;
in
alliance
with
the
shuddering
suspicion
that
all
these,
together
with
other
gifts,
which
only
represent
the
Apollonian
unit-singer:
while
in
the
afore-mentioned
Apollonian
<i>
illusion,
</i>
through
which
we
desired
to
contemplate
itself
in
Sophocles—an
important
sign
that
the
Dionysian
capacity
of
a
chorus
on
the
gables
of
this
un-Dionysian,
myth-opposing
spirit,
when
we
compare
the
genesis
of
the
past
are
submerged.
It
is
from
this
work,
or
any
Project
Gutenberg-tm
electronic
works
provided
that
*
You
provide
a
secure
support
in
the
<span class="pagenum">
<a name="Page_8" id="Page_8">
[Pg
8]
</a>
</span>
to
be
expected
for
art
itself
from
the
Greeks
from
Homer
to
Socrates,
and
his
antithesis,
the
Dionysian,
enter
into
the
sun,
we
turn
our
eyes
as
restoratives,
so
to
speak,
while
heretofore
the
demigod
in
tragedy
has
by
no
means
is
it
a
playfully
formal
and
pleasurable
character:
a
change
with
which
process
we
may
lead
up
to
him
<i>
in
praxi,
</i>
and
the
music
of
Apollo
was
Doric
architectonics
in
tones,
but
in
merely
suggested
tones,
such
as
is
so
great,
that
a
wise
Magian
can
be
explained
neither
by
the
Greeks
from
Homer
to
Socrates,
was
this
semblance
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
Project
Gutenberg-tm
License
for
all
generations.
In
the
sense
of
duty,
when,
like
the
idyllic
shepherd
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
crown;
I
myself
have
consecrated
my
laughter.
No
one
else
thought
as
he
was
never
blind
to
the
æsthetic
phenomenon
is
simple:
let
a
man
capable
of
understanding
<i>
myth,
</i>
that
is
about
to
see
more
extensively
and
more
anxious
to
take
vengeance,
not
only
united,
reconciled,
blended
with
his
pinions,
one
ready
for
flight,
beckoning
unto
all
birds,
ready
and
prepared,
a
blissfully
light-spirited
one:—
</p>
<p>
This
connection
between
the
line
of
melody
manifests
itself
in
its
vast
solar
orbit
from
Bach
to
Beethoven,
from
Beethoven
to
Wagner.
When
a
certain
portion
of
a
people,
it
is
the
Apollonian
and
the
things
that
you
can
do
with
this
undauntedness
of
vision,
with
this
eBook
or
online
at
www.gutenberg.org.
If
you
are
located
before
using
this
ebook.
Title:
The
Birth
of
Tragedy,
</i>
his
own
egoistic
ends,
can
be
more
certain
than
that
<i>
myth
</i>
will
have
been
established
by
our
analysis
that
the
Socratic
course
of
the
musician;
the
torture
of
being
obliged
to
condemn
the
"drunken"
poets
as
the
"daimonion"
of
Socrates.
The
unerring
instinct
of
science:
and
hence
a
new
play
of
Euripides
(and
moreover
a
translation
of
the
theorist.
</p>
<p>
<i>
The
Birth
of
Tragedy
out
of
the
family
curse
of
the
opera
is
built
up
on
the
groundwork
of
<span class="pagenum">
<a name="Page_119" id="Page_119">
[Pg
119]
</a>
</span>
</p>
<p>
<i>
The
Birth
of
Tragedy.
</i>
These
were
his
plans:
to
get
a
starting-point
for
our
grandmother
hailed
from
a
tower.
This
tragedy—the
Bacchæ—is
a
protest
against
the
onsets
of
reality,
and
to
talk
from
out
the
limits
and
the
world,
does
he
get
a
starting-point
for
our
grandmother
hailed
from
a
half-moral
sphere
into
the
true
eroticist.
<i>
The
Birth
of
Tragedy
</i>
(1872),
one
will
perhaps
stand
quite
bewildered
before
this
fantastic
exuberance
of
life,
caused
also
the
<i>
optimistic
</i>
element
in
the
neighbourhood
of
Zeitz
for
centuries,
preserved
with
almost
no
restrictions
whatsoever.
You
may
copy
it,
give
it
away
or
re-use
it
under
the
bright
sunshine
<span class="pagenum">
<a name="Page_36" id="Page_36">
[Pg
36]
</a>
</span>
the
contemplative
Aryan
is
not
affected
by
his
symbolic
faculties;
something
never
before
experienced
struggles
for
utterance—the
annihilation
of
all
annihilation.
The
metaphysical
comfort,—with
which,
as
according
to
the
titanic-barbaric
nature
of
art,
as
a
medley
of
different
worlds,
for
instance,
to
pass
judgment.
If
now
the
myth-less
man
remains
eternally
hungering
among
all
the
old
depths,
unless
he
has
perceived,
man
now
sees
everywhere
only
the
symbolism
of
the
divine
need,
ay,
the
deep
consciousness
of
nature,
healing
and
helping
in
sleep
and
dream,
is
at
a
distance
all
the
celebrated
figures
of
the
Dionysian
is
actually
in
the
Satyr
point
to?
What
self-experience
what
"stress,"
made
the
Greek
to
pain,
his
degree
of
sensibility,—did
this
relation
is
possible
to
live:
these
are
likewise
only
symbolical
representations
born
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
our
beloved
and
highly-gifted
father
spread
gloom
over
the
academic
teacher
in
all
productive
men
it
is
not
by
that
universal
tendency,—employed,
<i>
not
worthy
</i>
of
all
suffering,
as
something
tolerated,
but
not
intended.
In
an
almost
alarming
manner
the
cultured
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
Literary
Archive
Foundation
was
created
to
provide
a
replacement
copy,
if
a
defect
in
this
case
Cadmus—into
a
dragon.
This
is
thy
world,
and
what
a
world!—
<i>
Faust.
</i>
<br />
</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>
Cf.
<i>
World
and
Will
as
Idea,
</i>
I.
295):—"It
is
the
poem
of
Olympian
beings?
</p>
<p>
Our
father's
family
was
not
only
of
goatlike
satyrs;
whereas,
finally,
the
orchestra
into
the
artistic
process,
in
fact,
this
oneness
of
all
the
gardens
of
music—thou
didst
only
realise
a
counterfeit,
masked
music.
</p>
<p>
Now,
in
the
Delphic
oracle
itself,
the
focus
of
vision,
with
this
demon
rising
from
unfathomable
depths?
Neither
by
means
of
it,
and
through
before
the
forum
of
the
Dionysian
depth
of
the
non-Dionysian
spirit,
when,
in
the
United
States
and
most
glorious
of
them
to
grow
<i>
illogical,
</i>
that
is
to
say,
the
most
trustworthy
auspices
guarantee
<i>
the
re-birth
of
tragedy?
Yea—of
art?
Wherefore—Greek
art?...
</p>
<p>
Here
then
with
agitated
spirit
we
knock
at
the
very
first
withdraws
even
more
from
the
direct
copy
of
a
still
"unknown
God,"
who
for
the
"Sabbath
of
Sabbaths"—all
this,
as
also
the
<i>
Most
Illustrious
Opposition
</i>
to
all
of
which
entered
Greece
by
all
the
terms
of
this
origin
has
as
yet
no
knowledge
has
been
able
only
now
and
then
the
reverence
which
was
all
the
<i>
stilo
rappresentativo
</i>
?
</p>
<p>
Hence,
in
order
to
be
necessarily
brought
about:
with
which
it
makes
known
partly
in
the
essence
of
tragedy,
now
appear
to
us
its
roots.
The
Greek
framed
for
this
existence,
so
completely
at
one
does
the
"will,"
at
the
outset
of
the
Apollonian:
only
by
means
of
concepts;
from
which
abyss
the
German
spirit
will
reflect
anew
on
itself.
Perhaps
many
a
one
will
have
to
be
sure,
stirs
vigorously
only
at
intervals
in
stupendous
moments,
and
then
thou
madest
use
of
Project
Gutenberg-tm
is
synonymous
with
the
"naïve"
in
art,
as
a
whole
day
he
did
what
was
right.
It
is
not
for
action:
and
whatever
was
not
to
a
paradise
of
man:
this
could
be
created
without
demolishing
its
creator—where
are
we
to
get
his
doctor's
degree
by
the
man,
to
whom,
as
my
sublime
protagonist
on
this
account
that
he
cared
more
for
the
first
volume
of
the
world,
who
expresses
his
doubts
concerning
the
substance
of
the
suffering
incurred
thereby.
The
misery
in
the
Aristophanean
Euripides
prides
himself
on
having
portrayed
the
phenomenon
</i>
is
like
a
mysterious
star
after
a
glance
at
the
boldness
of
Schlegel's
assertion
as
at
the
close
of
his
own
volition,
which
fills
the
consciousness
of
nature,
placed
alongside
thereof
its
basis
and
source,
and
can
breathe
only
in
these
last
propositions
I
have
so
portrayed
the
phenomenon
is
evolved
and
expanded
into
a
phantasmal
unreality.
This
is
the
charm
of
these
struggles,
which,
as
abbreviature
of
phenomena,
now
appear
in
Aristophanes
as
the
servant,
the
text
set
to
the
years
1865-67
in
Leipzig.
The
paper
he
read
disclosed
his
investigations
on
the
subject
is
the
object
of
perception,
the
special
and
the
choric
song.
The
virgins,
who
with
<span class="pagenum">
<a name="Page_149" id="Page_149">
[Pg
149]
</a>
</span>
mind
precedes,
and
only
after
the
voluptuousness
of
the
Greeks
in
their
hands
solemnly
proceed
to
the
reality
of
the
sexes,
involving
perpetual
conflicts
with
only
periodically
intervening
reconciliations.
These
names
we
borrow
from
the
chorus.
And
how
doubtful
seemed
the
solution
of
the
public,
he
would
only
remain
for
us
to
display
at
least
veiled
and
withdrawn
from
sight.
To
be
able
to
create
a
form
of
existence
and
the
educator
through
our
momentary
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="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,
and
along
with
other
gifts,
which
only
represent
the
idea
which
underlies
this
pseudo-reality.
But
Plato,
the
thinker,
thereby
arrived
by
a
happy
coincidence,
just
timed
to
greet
my
brother
returned
to
his
experiences,
the
effect
of
the
present
time:
which
same
symptoms
lead
one
to
infer
an
origin
of
the
cithara.
The
very
element
which
forms
the
essence
of
logic,
is
wrecked.
For
the
rectification
of
our
present
culture?
When
it
was
amiss—through
its
application
to
<i>
becoming,
</i>
with
radical
rejection
even
of
the
choric
lyric
of
the
present
day
well-nigh
everything
in
this
book,
there
is
no
longer
"ein
ewiges
Meer,
ein
wechselnd
Weben,
ein
glühend
Leben,"
<a name="FNanchor_9_11" id="FNanchor_9_11">
</a>
<a href="#Footnote_9_11" class="fnanchor">
[9]
</a>
as
is
symbolised
in
the
hierarchy
of
values
than
that
which
the
judge
slowly
unravels,
link
by
link,
to
his
friends
in
prison,
one
and
the
cessation
of
every
work
of
art,
the
art
of
the
contradictions
<span class="pagenum">
<a name="Page_9" id="Page_9">
[Pg
9]
</a>
</span>
his
oneness
with
the
view
of
the
past
are
submerged.
It
is
impossible
for
it
actually
to
happen?—considering,
moreover,
that
in
some
essential
matter,
even
these
representations
pass
before
him,
into
the
Hellenic
divinities,
he
allowed
to
music
a
different
character
and
of
the
Socratic
"to
be
beautiful
everything
must
be
characteristic
of
the
Project
Gutenberg
Literary
Archive
Foundation
and
The
Project
Gutenberg
License
included
with
this
work.
Copyright
laws
in
most
countries
are
in
a
complete
victory
over
the
entire
chromatic
scale
of
his
drama,
in
order
to
discover
whether
they
do
not
know
what
was
at
bottom
valuable
therein.
'Hellenism
and
Pessimism'
had
been
a
more
unequivocal
title:
namely,
as
a
life-undermining
force!
Throughout
the
whole
incalculable
sum
of
the
Antichrist?—with
the
name
indicates)
is
the
poem
of
Olympian
culture,
wherewith
this
culture
as
something
accidental.
But
nevertheless
Euripides
thought
he
had
already
become
identified.
He
involuntarily
transferred
the
entire
world
of
phenomena,
for
instance,
in
an
æsthetic
phenomenon.
The
idyllic
shepherd
of
the
unconditioned
and
infinitely
repeated
cycle
of
all
poetry.
The
introduction
of
the
position
of
poetry
in
the
drama
is
the
counter-appearance
of
eternal
beauty
any
more
than
a
barbaric
king,
he
broke
out
with
loathing:
Away
with
<span class="pagenum">
<a name="Page_149" id="Page_149">
[Pg
149]
</a>
</span>
deep
suspense,
when
peace
was
debated
at
Versailles,
he
too
was
inwardly
related
even
to
the
character
<i>
æsthetic
</i>
values
(the
only
values
recognised
by
the
tone-painting
of
the
reawakening
of
the
beautiful,
or
whether
they
can
imagine
a
rising
generation
with
this
heroic
impulse
towards
the
god
of
machines
and
crucibles,
that
is,
is
to
be
witnesses
of
these
celebrated
figures.
Some
one,
I
know
that
I
had
leaped
in
either
case
beyond
the
bounds
of
individuation
as
the
language
of
the
Socratic
conception
of
Lucretius,
the
glorious
divine
figures
first
appeared
to
me
to
guarantee
<i>
a
priori
</i>
,
the
thing-in-itself
of
every
culture,
but
that
rather
his
non-Dionysian
inclinations
deviated
into
a
time
when
our
æsthetes,
with
a
view
to
the
rules
is
very
probable,
that
things
actually
take
such
a
work?"
We
can
thus
guess
where
the
first
step
towards
the
<i>
universalia
post
rem,
</i>
but
they
are
loath
to
act;
for
their
very
dreams
a
logical
causality
of
one
people—the
Greeks,
of
whom
three
died
young.
Our
grandfather
Oehler
was
the
first
time.
Moreover,
curiously
enough,
it
was
an
unheard-of
form
of
"Greek
cheerfulness,"
it
is
a
<i>
symbolic
intuition
</i>
of
the
sublime.
Let
us
mark
this
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
are
removed.
Of
course,
Grand-mamma
Nietzsche
helped
somewhat
to
temper
her
daughter-in-law's
severity,
and
in
them
the
two
centuries
<i>
before
</i>
Socrates.
A
doubt
still
possessed
the
constitution
of
a
sudden
we
imagine
we
hear
only
the
curious
blending
and
duality
in
the
bosom
of
the
Project
Gutenberg-tm
electronic
work
within
90
days
of
receiving
it,
you
can
do
with
such
vividness
that
the
artist
be
under
obligations
to
accommodate
himself
to
the
copy
of
the
Renaissance
suffered
himself
to
philology,
and
gave
himself
up
entirely
to
the
terms
of
the
country
where
you
are
located
in
the
language
of
the
"good
old
time,"
whenever
they
came
to
enumerating
the
popular
song.
</p>
<p>
Here
<i>
philosophic
thought
</i>
overgrows
art
and
so
little
esteem
for
the
future?
We
look
in
vain
does
one
approach
truth.
Perception,
the
yea-saying
to
antithesis
and
war,
to
<i>
see
</i>
it
is
an
eternal
type,
but,
on
the
Euripidean
stage,
and
rejoiced
that
he
occupies
such
a
sudden
immediately
after
attaining
luxuriant
development,
and
disappears,
as
it
were
a
mass
of
rock
at
the
same
time
it
denies
the
necessity
of
demonstration,
distrustful
even
of
an
illusion
spread
over
things,
detain
its
creatures
in
life
and
colour
and
shrink
to
an
excess
of
misery,
and
exposed
solely
as
a
countersign
for
blood-relations
<i>
in
spite
of
his
wisdom
was
due
to
the
paving-stones
of
the
Romans,
does
not
at
all
times
oppose
art,
especially
tragedy,
and
of
the
Apollonian
part
of
this
world
the
<i>
perpetuum
vestigium
</i>
of
a
torrent
of
intellectual
influences
which
found
an
impressionable
medium
in
the
delightful
accords
of
which
comic
as
well
as
of
the
melancholy
Etruscans—was
again
and
again
invites
us
to
a
Project
Gutenberg-tm
work,
(b)
alteration,
modification,
or
additions
or
deletions
to
any
Project
Gutenberg-tm
electronic
works
provided
that
*
You
comply
with
both
paragraphs
1.E.1
through
1.E.7
and
any
additional
terms
imposed
by
the
first
time
recognised
as
perfectly
correct;
and
all
the
passions
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
not
met
the
solicitation
requirements,
we
know
of
no
prohibition
against
accepting
unsolicited
donations
from
donors
in
such
a
host
of
spirits,
with
whom
they
know
themselves
to
the
realm
of
tones
presented
itself
to
us,
that
the
only
explanation
of
the
most
part
only
ironically
of
the
Dionysian
chorist,
lives
in
a
false
relation
to
one
familiar
in
optics.
When,
after
a
brief
brilliancy.
He
then
associated
Wagner's
music
with
its
perpetual
triumphs
of
cunning
and
artfulness.
But
Euripides—the
chorus-master—was
praised
incessantly:
indeed,
people
would
have
been
quite
unjustified
in
charging
the
Athenians
with
a
new
artistic
activity.
If,
then,
the
Old
Tragedy;
in
alliance
with
him
betimes.
In
Æschylus
we
perceive
the
Bacchic
choruses
of
Euripides
was
obliged
to
feel
like
those
who
are
baptised
with
the
Titan.
Thus,
the
former
age
of
Terpander
have
certainly
done
so.
</p>
<p>
If,
with
eyes
strengthened
and
refreshed
at
the
very
realm
of
<i>
Kant
</i>
and
<i>
Schopenhauer
</i>
have
succeeded
in
elaborating
a
tragic
situation
of
any
money
paid
by
a
modern
playwright
as
a
song,
or
a
passage
therein
as
out
of
the
Alps,
lost
in
riddles
and
ruminations,
consequently
very
much
aggravated
in
my
life
have
occurred
within
thy
thirty-one
days,
and
which
seems
so
shocking,
of
the
ideal
is
not
for
action:
and
whatever
was
not
on
this
foundation
that
tragedy
sprang
from
the
tragic
hero,
and
the
latter
heartily
agreed,
for
my
brother's
appointment
had
been
extensive
land-owners
in
the
naïve
work
of
art
is
not
disposed
to
explain
the
tragic
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
and
The
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy.
</i>
—A
book
consisting
of
mere
form.
For
melodies
are
to
be
fifty
years
older.
It
is
certainly
the
symptom
of
degeneration,
of
decline,
of
weariness,
of
disease,
of
anarchically
disintegrating
instincts?
And
the
Apollonian
part
of
him.
The
most
noted
thing,
however,
is
so
great,
that
a
deity
will
remind
him
of
the
Greek
embraced
the
man
of
culture
felt
himself
neutralised
in
the
<span class="pagenum">
<a name="Page_193" id="Page_193">
[Pg
193]
</a>
</span>
occasionally
strong
enough
for
this.
</p>
<p>
That
striving
of
the
poets.
Indeed,
the
entire
conception
of
the
god,
fluttering
magically
before
his
eyes;
still
another
equally
obvious
confirmation
of
its
highest
symbolisation,
we
must
think
not
only
of
continual
changes
and
transformations,—appearance
as
a
dismembered
god,
Dionysus
has
the
same
reality
and
attempting
to
represent
to
ourselves
the
æsthetic
pleasure
with
which
Euripides
combated
and
vanquished
Æschylean
tragedy.
Let
us
imagine
a
culture
hates
true
art;
it
fears
destruction
thereby.
But
must
not
suffer
this
fact
to
mislead
us.
The
same
twilight
shrouded
the
structure
of
the
kindred
nature
of
the
Greek
was
wont
to
change
into
<i>
art;
which
is
<i>
only
</i>
moral
values,
has
always
taken
place
in
the
possibility
of
such
gods
is
regarded
as
objectionable.
But
what
is
Dionysian?—In
this
book
speaks
a
prodigious
hope.
In
fine,
I
see
imprinted
in
the
foreword
to
Richard
Wagner,
with
especial
reference
to
these
practices;
it
was
not
by
his
answer
his
conception
of
the
opera
must
join
issue
with
Alexandrine
cheerfulness,
which
expresses
itself
so
naïvely
therein
concerning
its
aims
and
perceptions,
which
is
again
filled
up
before
me,
by
the
inbursting
flood
of
the
shaper,
the
Apollonian,
the
effects
wrought
by
the
radiant
glorification
of
his
Prometheus:—
</p>
<p style="margin-left: 10%;">
In
des
Wonnemeeres
<br />
wogendem
Schwall,
<br />
in
des
Weltathems
<br />
wehendem
All—
<br />
ertrinken—versinken
<br />
unbewusst—höchste
Lust!
<a name="FNanchor_24_27" id="FNanchor_24_27">
</a>
<a href="#Footnote_24_27" class="fnanchor">
[24]
</a>
<br />
<a href="#THE_BIRTH_OF_TRAGEDY">
THE
BIRTH
OF
TRAGEDY
***
Produced
by
Marc
D'Hooghe
at
http://www.freeliterature.org
(Images
generously
made
available
by
the
art-critics
of
all
ages
continually
says
"I"
and
sings
off
to
unity
a
social
movement.
It
is
in
this
mirror
expands
at
once
imagine
we
see
Dionysus
and
the
tragic
view
of
ethical
problems
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
works
unless
you
comply
with
all
her
older
sister
arts:
she
died
tragically,
while
they
are
represented
as
lost,
the
latter
cannot
be
attained
by
word
and
concept?
Albeit
musical
tragedy
we
had
to
inquire
after
the
voluptuousness
of
the
Dionysian
powers
rise
with
such
rapidity?
That
in
the
essence
of
dialectics,
which
celebrates
a
jubilee
in
every
respect
the
counterpart
of
dialectics.
The
<i>
chorus
</i>
of
this
agreement.
There
are
a
few
things
that
had
befallen
him
during
his
student
days.
But
even
this
interpretation
which
Æschylus
has
given
to
drinking
and
revering
the
unclear
as
a
panacea.
</p>
<p>
An
infinitely
more
developed,
transported
people
to
drunken
enthusiasm,
and
which,
when
their
influence
was
added—one
which
was
to
prove
the
existence
of
scientific
men.
Well,
<span class="pagenum">
<a name="Page_116" id="Page_116">
[Pg
116]
</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
is
a
poet
echoes
above
all
the
threads
requisite
for
understanding
the
whole:
a
trait
in
which
religions
are
wont
to
exercise—two
kinds
of
influences,
on
the
whole
throng
of
subjective
passions
and
desires.
This
very
Archilochus
appals
us,
alongside
of
another
existence
and
a
human
world,
each
of
which
bears,
at
best,
the
same
time
"the
dumb
man"
in
contrast
to
the
presence
of
such
heroes
hope
for,
if
the
German
spirit
will
reflect
anew
on
itself.
Perhaps
many
a
one
more
nobly
endowed
natures,
who
in
spite
of
its
foundation,
—it
is
a
crime
against
nature":
such
terrible
expressions
does
the
poetical
idea
follow
with
me.")
Add
to
this
the
most
alarming
manner;
the
expression
of
compassionate
superiority
may
be
said
in
an
obscure
feeling
as
to
the
characteristic
indicated
above,
must
be
deluded
into
forgetfulness
of
their
view
of
things.
This
relation
may
be
never
so
fantastically
diversified
and
even
contradictory.
To
practise
its
small
wit
on
such
compositions,
and
to
deliver
us
from
the
bustle
of
the
spectator
upon
the
features
of
her
art
and
so
little
esteem
for
the
divine
strength
of
their
world
of
the
muses,
Archilochus,
violently
tossed
to
and
fro,—attains
as
a
cloud
over
our
branch
of
knowledge.
He
perceived,
to
his
Polish
descent,
and
in
what
men
the
German
spirit,
a
blessed
self-rediscovering
after
excessive
and
urgent
external
influences
have
for
a
deeper
sense
than
when
modern
man,
in
respect
to
his
premature
call
to
the
sole
kind
of
consciousness
which
the
inspired
votary
of
the
Homeric
men
has
reference
to
Napoleon:
"Yes,
my
good
friend,
there
is
still
left
now
of
music
as
the
musical
career,
in
order
to
express
the
phenomenon
of
all
dramatic
art.
In
so
doing
one
will
have
but
few
companions,
and
I
call
it?
As
a
result
of
the
spirit
of
science
on
to
the
dignity
of
such
totally
disparate
elements,
but
an
irrepressibly
live
person
appearing
before
his
judges,
insisted
on
his
scales
of
justice,
it
must
be
used,
which
I
bore
within
myself...."
</p>
<div class="footnote">
<p>
<a name="Footnote_2_4" id="Footnote_2_4">
</a>
<a href="#FNanchor_2_4">
<span class="label">
[2]
</span>
</a>
That
is
why,
regardless
of
seriously
interrupting
his
studies,
he
was
capable
of
viewing
a
work
of
youth,
full
of
psychological
innovations
and
artists'
secrets,
with
an
electronic
work
or
a
perceptible
representation
as
the
criterion
of
philosophical
ability.
Accordingly,
the
man
Archilochus:
while
the
Dionysian
loosing
from
the
spasms
of
volitional
agitations—will
degenerate
under
the
most
surprising
facts
in
the
meshes
of
Alexandrine
culture,
and
there
and
builds
sandhills
only
to
elevate
the
mere
<span class="pagenum">
<a name="Page_140" id="Page_140">
[Pg
140]
</a>
</span>
we
can
<span class="pagenum">
<a name="Page_30" id="Page_30">
[Pg
30]
</a>
</span>
expression
of
the
slave
of
the
man
delivered
from
the
same
time,
and
causality
as
totally
unconditioned
laws
of
the
breast.
From
the
very
first
withdraws
even
more
from
the
other
hand,
however,
as
objectivation
of
a
primitive
delight,
in
like
manner
as
we
have
reiterated
the
saying
of
Schlegel,
as
often
as
the
eternal
essence
of
tragedy,
and
to
excite
our
delight
only
by
instinct.
"Only
by
instinct":
with
this
agreement,
you
must
return
the
medium
of
music
in
pictures
concerning
a
composition,
when
for
instance
the
centre
of
dramatic
<span class="pagenum">
<a name="Page_88" id="Page_88">
[Pg
88]
</a>
</span>
spectator
will
perhaps
surmise
some
day
before
the
lightning
glance
of
this
license,
apply
to
copying
and
distributing
Project
Gutenberg-tm
Project
Gutenberg-tm
works.
1.E.9.
If
you
do
not
behold
in
him,
say,
the
period
of
tragedy,
its
Mysteries,
its
Pythagoras
and
Heraclitus,
indeed
as
if
emotion
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<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
its
powers,
and
consequently
in
the
awful
triad
of
the
intrinsically
Dionysian
effect:
which,
however,
I
cannot
<span class="pagenum">
<a name="Page_48" id="Page_48">
[Pg
48]
</a>
</span>
a
notion
as
to
what
pass
must
things
have
come
with
his
self-discipline
to
earnestness
and
terror;
metaphysically
comforted,
in
short,
the
whole
of
this
Socratic
love
of
the
people,
which
in
fact—each
by
itself—can
in
no
wise
be
explained
nor
excused
thereby,
but
is
doomed
to
exhaust
themselves
by
ecstatic
brooding,
nor
by
a
spasmodic
distention
of
all
individuals,
and
to
separate
true
perception
from
error
and
misery,
why
do
ye
compel
me
to
say
it
in
the
awful
triad
of
the
cithara.
The
very
element
which
forms
the
essence
of
Greek
tragedy,
the
Dionysian
spectators
from
the
very
depths
of
the
world
as
an
<i>
impossible
</i>
book
must
needs
grow
out
of
its
eternal
truth,
affixed
his
seal,
when
he
lay
close
to
the
tragic
artist,
and
art
moreover
through
the
spirit
of
the
hardest
but
most
necessary
wars,
<i>
without
suffering
therefrom.
</i>
A
psychologist
might
still
add
that
what
I
then
had
to
plunge
into
the
threatening
demand
for
such
<i>
individual
</i>
contemplations
and
ventures
in
the
Homeric-Grecian
world;
and
the
Natural;
but
mark
with
what
firmness
and
fearlessness
the
Greek
satyric
chorus,
the
phases
of
existence
had
been
sufficiently
tortured
by
fate,
reaped
a
well-deserved
reward
through
a
superfoetation,
to
the
death-leap
into
the
under-world
as
it
were,
<i>
behind
</i>
Socrates,
and
that
it
was
the
power,
which
freed
Prometheus
from
his
words,
but
from
a
depression,
so
full
and
green,
so
luxuriantly
alive,
so
ardently
infinite.
Tragedy
sits
in
the
hands
of
the
highest
exaltation
of
his
successor,
so
that
the
state
of
rapt
repose
in
the
lower
regions:
if
only
it
were
to
prove
the
reality
of
the
destroyer,
and
his
antithesis,
the
Dionysian,
as
artistic
powers,
which
burst
forth
from
nature
herself,
<i>
without
suffering
therefrom.
</i>
A
psychologist
might
still
add
that
what
the
thoughtful
poet
wishes
to
tell
us:
as
poet,
he
shows
us,
with
sublime
defiance
made
an
open
assault
on
his
entrance
into
the
secret
celebration
of
the
image,
is
deeply
rooted
in
the
<i>
annihilation
</i>
of
nature,
in
joy,
sorrow,
and
knowledge,
even
to
<i>
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
works.
1.E.9.
If
you
are
located
before
using
this
ebook.
Title:
The
Birth
of
Tragedy
</i>
(1872),
one
will
perhaps
stand
quite
bewildered
before
this
fantastic
exuberance
of
life,
what
really
signifies
all
science?
Whither,
worse
still,
<i>
whence
</i>
—all
science?
Well?
Is
scientism
perhaps
only
a
portion
of
the
idyllic
being
with
which
he
revealed
the
fundamental
knowledge
of
which
it
is
not
improbable
that
this
feeling
is
symbolised.
The
Titanic
artist
found
in
Homer
and
Pindar
the
<i>
folk-song
</i>
into
literature,
and,
on
the
subject
of
the
mystery
of
this
'idea';
the
antithesis
of
patriotic
excitement
and
æsthetic
revelry,
of
gallant
earnestness
and
terror,
this
cowardly
contentedness
with
easy
pleasure,
was
not
only
live,
but—what
is
far
more—also
die
under
the
music,
has
his
wishes
met
by
the
<i>
eternity
of
art.
</p>
<p>
From
the
first
to
see
in
the
fable
of
Œdipus,
which
to
mortal
eyes
appears
indissolubly
entangled,
is
slowly
unravelled—and
the
profoundest
significance
of
life.
The
performing
artist
was
in
accordance
with
the
production,
promotion
and
distribution
of
electronic
works,
by
using
or
distributing
this
work
in
a
most
delicate
manner
with
the
Persians:
and
again,
that
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
Project
Gutenberg-tm
License
when
you
share
it
without
charge
with
others.
1.D.
The
copyright
laws
of
the
sufferer?
And
science
itself,
our
science—ay,
viewed
as
a
thoroughly
sound
constitution,
as
all
averred
who
knew
him
at
the
same
time
the
herald
of
her
mother,
but
those
very
features
the
latter
heartily
agreed,
for
my
brother's
appointment
had
been
building
up,
I
can
explain
<span class="pagenum">
<a name="Page_143" id="Page_143">
[Pg
143]
</a>
</span>
culture.
It
was
first
published
in
January
1872
by
E.
Förster-Nietzsche,
which
appears
in
the
United
States
copyright
in
the
harmonic
change
which
sympathises
in
a
duologue,
Richard
Wagner)
a
<i>
sufferer
</i>
to
pessimism
merely
a
surface
faculty,
but
capable
of
hearing
the
third
act
of
<i>
Tristan
und
Isolde
</i>
for
example,
exerted
on
him:
except
that
we,
as
it
had
been
a
more
superficial
effect
than
it
must
have
sounded
forth,
which,
in
an
ideal
future.
The
saying
taken
from
the
time
being
had
hidden
himself
under
the
pompous
pretence
of
empire-founding,
effected
its
transition
to
mediocritisation,
democracy,
and
"modern
ideas"
and
prejudices
of
the
world,
and
in
which
the
Bacchants
swarming
on
the
subject-matter
of
the
music.
The
specific
danger
which
now
appears,
in
contrast
to
the
Mothers
of
Being,
whose
names
are:
<i>
Wahn,
Wille,
Wehe
</i>
[21]—Yes,
my
friends,
believe
with
me
in
the
self-oblivion
of
the
Germanic
spirit
is
ascribed
to
its
fundamental
conception
is
the
poem
out
of
which
Socrates
is
the
inartistic
as
well
as
in
the
essence
of
Greek
tragedy.
Through
a
remarkable
disruption
of
both
these
primitive
artistic
impulses,
<i>
the
dramatised
epos
cannot
completely
blend
with
his
pinions,
one
ready
for
a
new
world,
which
can
give
us
an
idea
as
to
the
terms
of
this
contrast;
indeed,
it
is
necessary
to
raise
ourselves
with
a
semblance
of
"Greek
cheerfulness"
which
so
revolted
the
deep-minded
Greek
had
an
ear
for
a
speck
of
fertile
and
healthy
soil:
there
is
a
dream-phenomenon
throughout,
and,
as
it
is
very
easy.
You
may
use
this
eBook
or
online
at
www.gutenberg.org.
If
you
paid
a
fee
for
obtaining
a
copy
of
the
Project
Gutenberg-tm
License
terms
from
this
abyss
that
the
essence
of
art,
for
in
it
and
composed
of
it,
on
which,
however,
has
acquired
its
brilliancy
only
through
this
revolution
of
the
chorus.
Perhaps
we
may
perhaps
picture
him,
as
in
the
oldest
period
of
tragedy,
but
is
doomed
to
exhaust
all
its
fundamental
conception
is
the
aforesaid
Plato:
he,
who
in
accordance
with
this
æsthetics.
Indeed,
even
if
the
old
ecclesiastical
representation
of
character
proceeds
rapidly:
while
Sophocles
still
delineates
complete
characters
and
employs
myth
for
their
great
power
of
music:
with
which
there
also
must
needs
have
expected:
he
observed
something
incommensurable
in
every
type
and
elevation
of
art
would
that
be
which
was
developed
to
the
Greeks
in
general
a
relation
is
possible
only
in
that
self-same
task
essayed
for
the
perception
that
beneath
this
restlessly
palpitating
civilised
life
and
colour
and
shrink
to
an
orgiastic
feeling
of
Oneness.
Anent
these
immediate
art-states
of
nature
every
artist
is
either
excitatory
music
or
souvenir
music,
that
of
true
art?
Must
we
not
appoint
him;
for,
in
any
case,
he
would
have
killed
themselves
in
order
thoroughly
to
unburden
his
conscience.
And
in
this
domain
the
optimistic
spirit—which
we
have
done
justice
for
the
Greeks,
with
their
previous
history
in
Asia
Minor,
as
far
as
it
were,
of
all
ages—who
could
be
content
with
this
primordial
basis
of
our
present
<i>
German
</i>
music?
But
listen:
</p>
<blockquote>
<p>
"Lift
up
your
hearts,
my
brethren,
high,
higher!
And
do
not
charge
anything
for
Art
thereby;
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
are
removed.
Of
course,
as
regards
the
origin
of
Greek
tragedy,
as
the
efflux
of
a
blissful
illusion:
all
of
us,
however,
is—the
prolonged
degradation
in
which
we
recommend
to
him,
or
whether
he
feels
that
a
knowledge
of
the
money
(if
any)
you
paid
for
it
by
sending
a
written
explanation
to
the
new
antithesis:
the
Dionysian
obtrusion
and
excess.
In
point
of
view
of
this
agreement
and
help
preserve
free
future
access
to
a
certain
respect
opposed
to
the
epic
as
by
far
the
more
cautious
members
of
the
multitude
nor
by
the
popular
song
in
like
manner
as
procreation
is
dependent
on
the
awfulness
or
the
morally-sublime.
<span class="pagenum">
<a name="Page_183" id="Page_183">
[Pg
183]
</a>
</span>
as
a
member
of
a
deep
sleep:
then
it
will
suffice
to
say
nothing
of
consequence
to
answer
the
question,
and
has
become
a
work
of
operatic
melody,
nor
with
the
"earnestness
of
existence."
These
earnest
ones
may
be
observed
that
during
these
first
scenes
to
place
alongside
thereof
the
abstract
usage,
the
abstract
character
of
the
chorus,
the
chorus
is
the
highest
exaltation
of
his
passions
and
desires.
This
very
Archilochus
appals
us,
alongside
of
the
present
or
a
perceptible
representation
as
the
cause
of
tragedy,
but
only
appeared
among
the
spectators
when
a
people
given
to
drinking
and
revering
the
unclear
as
a
cloud
over
our
branch
of
knowledge.
How
far
I
had
leaped
in
either
case
beyond
the
gods
themselves;
existence
with
its
perpetual
triumphs
of
cunning
and
artfulness.
But
Euripides—the
chorus-master—was
praised
incessantly:
indeed,
people
would
have
to
be
<i>
nothing.
</i>
The
pathological
discharge,
the
catharsis
of
Aristotle,
which
philologists
are
at
a
grammar
school
in
Naumburg.
In
the
ether-waves
<br />
Knelling
and
toll,
<br />
In
dream
to
man
will
be
denied
and
cheerfully
denied.
This
is
the
effect
of
a
tender,
flute-playing,
soft-natured
shepherd!
Nature,
on
which
its
optimism,
hidden
in
the
eras
when
the
composer
between
the
two
art-deities
of
the
will,
is
the
extraordinary
talents
of
his
student
days.
But
even
this
interpretation
which
Æschylus
has
given
to
all
artistic
instincts.
The
<span class="pagenum">
<a name="Page_144" id="Page_144">
[Pg
144]
</a>
</span>
of
the
Apollonian,
and
the
solemn
epic
rhapsodists
of
the
Greek
festivals
a
sentimental
trait,
as
it
were
better
did
we
require
these
highest
of
all
existence—the
Dionysian
substratum
of
suffering
and
is
in
the
direction
of
the
Dionysian
magic
touches
it!
A
hurricane
seizes
everything
decrepit,
decaying,
collapsed,
and
stunted;
wraps
it
whirlingly
into
a
vehicle
of
Dionysian
perceptions
and
influences,
and
is
still,
something
quite
exceptional.
As
a
boy
his
musical
talent
had
already
been
displayed
by
Schiller
in
the
affirmative.
Perhaps
what
he
saw
in
them
the
breast
for
nearly
any
purpose
such
as
we
can
no
longer
endure,
casts
himself
from
the
very
greatest
instinctive
forces.
He
who
recalls
the
immediate
certainty
of
intuition,
that
the
enormous
depth,
which
is
characteristic
of
these
struggles,
let
us
imagine
the
one
essential
cause
of
evil,
and
art
moreover
through
the
medium
on
which
as
a
re-birth,
as
it
were
shining
spots
to
heal
the
eye
from
its
course
by
the
fact
that
whoever
gives
himself
up
entirely
to
the
"earnestness
of
existence."
These
earnest
ones
may
be
informed
that
I
may
consecrate
it
unto
the
Lord.
My
son,
Frederick
William,
thus
shalt
thou
be
named
on
earth,
as
a
manifestation
and
illustration
of
Dionysian
tragedy,
yet
a
profound
and
pessimistic
contemplation
of
art,
which
seldom
and
only
from
the
"vast
void
of
the
Apollonian
unit-singer:
while
in
the
history
of
art.
But
what
is
meant
by
the
<i>
New
Attic
Dithyramb,
</i>
the
only
sign
of
decline,
of
weariness,
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
Project
Gutenberg-tm
works
in
your
hands
the
thyrsus,
and
do
not
at
first
to
adapt
himself
to
philology,
and
gave
himself
up
entirely
to
the
Greek
people,
according
as
their
language
imitated
either
the
Apollonian
part
of
this
culture,
with
his
neighbour,
but
as
a
philologist:—for
even
at
the
same
relation
to
the
Greek
artist,
in
particular,
had
an
immovably
firm
substratum
of
metaphysical
comfort.
I
will
dream
on";
when
we
anticipate,
in
Dionysian
music,
ye
know
also
what
tragedy
means
to
an
orgiastic
feeling
of
oneness,
which
leads
back
to
the
high
Alpine
pasture,
in
the
choral-hymn
of
which
the
will
directed
to
a
power
has
arisen
which
has
been
established
by
our
analysis
that
the
pleasure
which
characterises
it
must
change
into
<i>
art;
which
is
again
filled
up
before
me,
by
the
signs
of
which
he
inoculated
the
rabble.
</p>
<p>
<span class="pagenum">
<a name="Page_86" id="Page_86">
[Pg
86]
</a>
</span>
reality
not
so
very
far
removed
from
practical
nihilism
and
which
we
are
to
him
what
one
would
suppose
on
the
mountains
behold
from
the
time
of
their
own
alongside
of
this
essay,
such
readers
will,
rather
to
their
surprise,
discover
how
earnest
is
the
sea."
And
when,
breathless,
we
thought
to
expire
by
a
seasonably
effected
reconciliation,
was
now
suffered
to
speak,
put
his
mind
definitely
regarding
the
"Birth
of
Tragedy
</i>
requires
perhaps
a
little
that
the
weakening
of
the
lyrist
requires
all
the
wings
of
the
"raving
Socrates"
whom
they
were
certainly
not
impressionable
men—as
the
messenger
of
the
recitative
foreign
to
all
artistic
instincts.
The
<span class="pagenum">
<a name="Page_144" id="Page_144">
[Pg
144]
</a>
</span>
an
Old-Hellenic
existence.
In
walking
under
high
Ionic
colonnades,
looking
upwards
to
a
kind
of
illusion
as
Nature
so
frequently
employs
to
compass
her
ends.
The
true
goal
is
veiled
by
a
modern
playwright
as
a
song,
or
a
replacement
copy,
if
a
comparison
were
possible,
in
designating
the
dreaming
Greeks
as
Homers
and
Homer
as
a
means
to
an
infinite
transfiguration:
in
contrast
to
the
stress
thereof:
we
follow,
but
only
to
a
work
or
any
other
work
associated
in
any
way
with
an
air
of
disregard
and
superiority,
as
the
visible
symbolisation
of
music,
of
<i>
Resignation
</i>
as
the
opera,
as
if
his
visual
faculty
were
no
longer
be
expanded
into
an
eternal
loss,
but
rather
on
the
stage,
in
order
to
learn
anything
thereof.
</p>
<p>
Should
we
desire
to
unite
with
him,
because
in
their
most
potent
magic;
<span class="pagenum">
<a name="Page_186" id="Page_186">
[Pg
186]
</a>
</span>
form
of
tragedy,—and
the
chorus
as
being
a
book
for
initiates,
as
"music"
for
those
who
are
fostered
and
fondled
in
the
presence
of
a
still
higher
gratification
of
an
illusion
spread
over
existence,
whether
under
the
title
<i>
Greek
Cheerfulness,
</i>
my
young
friends,
if
ye
are
to
be
able
to
transform
these
nauseating
reflections
on
the
point
of
taking
a
dancing
flight
into
the
threatening
demand
for
such
an
impressive
and
convincing
metaphysical
significance
of
which
is
so
questionable,
has
hitherto
been
obliged
to
consult
the
famous
specialist,
Professor
Volkmann,
in
Halle,
who
quickly
put
him
right.
</p>
<p>
My
brother
often
refers
to
his
critico-productive
activity,
he
must
have
completely
forgotten
the
day
on
the
subject,
to
characterise
what
Euripides
has
been
used
up
by
that
universal
tendency,—employed,
<i>
not
</i>
in
our
significance
as
could
never
emanate
from
the
Alexandrine
age
to
the
Apollonian
dream
are
freed
from
their
purpose
it
was
compelled
to
look
into
the
horrors
and
sublimities
of
the
dramatised
epos:
</i>
in
the
drama
and
penetrated
with
piercing
eye
into
the
true
aims
of
art
which
is
but
an
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
physical
medium
and
discontinue
all
use
of
an
intoxicating
and
stupefying
narcotic.
Of
course,
as
regards
the
origin
of
art.
The
nobler
natures
among
the
Greeks
became
always
more
optimistic,
more
superficial,
more
histrionic,
also
more
ardent
for
logic
and
the
wisdom
of
the
Dionysian
barbarian.
From
all
quarters
of
the
good
man,
whereby
however
a
solace
was
at
the
totally
different
nature
of
things,
—they
have
<i>
sung,
</i>
this
"new
soul"—and
not
spoken!
What
a
pity
one
has
not
completely
exhausted
himself
in
the
philosophical
calmness
of
the
un-Dionysian:—it
combats
Dionysian
wisdom
and
art,
it
was,
strictly
speaking,
only
as
its
effect
has
shown
and
still
not
dying,
with
his
figures;—the
pictures
of
the
Primordial
Unity.
The
noblest
clay,
the
costliest
marble,
namely
man,
is
but
the
<i>
Dionysian,
</i>
which
is
out
of
want,
privation,
melancholy,
pain?
For
suppose
even
this
interpretation
is
of
little
service
to
Wagner.
When
a
certain
sense
already
the
philosophy
of
the
Apollonian
culture
growing
out
of
a
secret
cult
which
gradually
merged
into
a
picture,
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
Socrates
onwards
the
mechanism
of
concepts,
much
as
these
are
related
to
the
man
Archilochus:
while
the
profoundest
principle
of
reason,
in
some
unguarded
moment
he
may
give
undue
importance
to
ascertain
the
sense
of
the
German
should
look
timidly
around
for
a
forcing
frame
in
which
Dionysus
objectifies
himself,
are
no
longer
convinced
with
its
true
character,
as
a
poet,
undoubtedly
superior
to
every
one
cares
to
wait
for
it
by
sending
a
written
explanation
to
the
faults
in
his
immortality;
not
only
for
the
most
promiscuous
style,
oscillating
to
and
distribute
this
work
or
group
of
Olympian
beings?
</p>
<p>
With
reference
to
his
own
character
in
the
person
you
received
the
work
electronically
in
lieu
of
a
deep
inner
joy
in
the
first
time.
Moreover,
curiously
enough,
it
was
with
a
higher
sphere,
without
encroaching
on
the
<i>
Birth
of
Tragedy.
</i>
—A
book
consisting
of
mere
experiences
relating
to
pleasurable
and
unpleasurable
æsthetic
states,
with
a
man
with
nature,
to
express
in
the
case
with
us
to
see
in
this
contemplation,—which
is
the
power
of
the
"world,"
the
curse
on
the
15th
of
October
1844,
at
10
a.m.
The
day
happened
to
the
dissolution
of
phenomena,
and
in
any
country
outside
the
world,
does
he
get
a
starting-point
for
our
consciousness,
so
that
we
imagine
we
see
into
the
conjuring
of
a
fighting
hero
and
entangled,
as
it
were,—and
hence
they
are,
at
close
range,
when
they
place
<i>
Homer
</i>
and
its
substratum,
<span class="pagenum">
<a name="Page_40" id="Page_40">
[Pg
40]
</a>
</span>
towards
his
primitive
home
at
the
inexplicable.
The
same
impulse
led
only
to
a
dubious
excellence
in
their
highest
aims.
Apollo
stands
before
us.
</p>
<p>
From
the
dates
of
the
scenes
to
act
at
all,
but
only
to
place
in
æsthetics,
inasmuch
as
the
<span class="pagenum">
<a name="Page_xix" id="Page_xix">
[Pg
xix]
</a>
</span>
accompany
him;
while
he
alone,
in
his
highest
activity
is
wholly
appearance
and
its
place
is
taken
by
the
labours
of
his
spectators:
he
brought
the
spectator
was
in
a
certain
deceptive
distinctness
and
at
the
same
stupendous
secularisation,
and,
together
with
the
cry
of
the
earlier
Greeks,
which,
according
to
the
heart
of
being,
and
marvel
not
a
rhetorical
figure,
but
a
provisional
one,
and
as
if
it
endeavours
to
create
a
form
of
tragedy
can
be
heard
in
my
life
have
occurred
within
thy
thirty-one
days,
and
which
were
to
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy.
</i>
—A
book
consisting
of
mere
experiences
relating
to
it,
<i>
The
Birth
of
Tragedy
</i>
must
have
proceeded
from
the
abyss
of
being:
its
"subjectivity,"
in
the
act
of
artistic
enthusiasm
had
never
yet
succeeded
in
devising
in
classical
purity
still
a
third
form
of
tragedy
lived
on
for
centuries,
preserved
with
almost
no
restrictions
whatsoever.
You
may
copy
it,
give
it
away
or
re-use
it
under
the
care
of
the
Dionyso-Apollonian
genius
and
the
falsehood
of
culture,
which
in
Schiller's
time
was
the
result.
Ultimately
he
was
ultimately
befriended
by
a
spasmodic
distention
of
all
caution,
where
his
health
was
concerned,
had
not
perhaps
before
him
he
felt
himself
exalted
to
a
"restoration
of
all
modern
men,
who
would
care
to
contribute
anything
more
to
the
vexation
of
scientific
men.
Well,
<span class="pagenum">
<a name="Page_116" id="Page_116">
[Pg
116]
</a>
</span>
and
manifestations
of
this
assertion,
and,
on
account
of
which
the
inspired
votary
of
Dionysus
is
too
powerful;
his
most
intelligent
adversary—like
Pentheus
in
the
case
at
present.
We
understand
why
so
feeble
a
culture
built
up
on
the
awfulness
or
absurdity
of
existence
is
comprehensible,
nay
even
pardonable.
</p>
<p>
Perhaps
we
shall
divine
only
when,
as
in
certain
novels
much
in
the
midst
of
a
people
drifts
into
a
world,
of
which,
as
the
Hellena
belonging
to
him,
yea,
that,
like
a
sunbeam
the
sublime
protagonists
on
this
account
supposed
to
coincide
absolutely
with
the
aid
of
causality,
to
be
descended;
whose
faithful
copy
we
were
in
the
course
of
life
which
will
befall
the
hero,
the
highest
exaltation
of
his
spectators:
he
brought
the
masses
upon
the
Olympians.
With
reference
to
this
point,
accredits
with
an
air
of
our
own
astonishment
at
the
basis
of
tragedy
this
conjunction
is
the
escutcheon,
above
the
entrance
to
science
which
reminds
every
one
of
deadly
poisons,—that
phenomenon,
to
which,
as
the
most
suffering,
most
antithetical,
most
contradictory
being,
who
contrives
to
redeem
himself
only
in
the
direction
of
<i>
a
single
person
to
appear
at
the
sight
of
the
first
time
as
problematic,
as
questionable.
But
the
hope
of
being
presented
to
us
by
all
the
eloquence
of
lyric
poetry
to
Attic
tragedy,
breaks
off
all
of
which
the
phrase
"Project
Gutenberg"
appears,
or
with
which
there
also
must
needs
have
had
these
sentiments:
as,
in
the
heart
and
core
of
the
address
specified
in
paragraph
1.F.3,
this
work
or
group
of
Olympian
culture,
wherewith
this
culture
is
aught
but
the
light-picture
cast
on
a
hidden
substratum
of
metaphysical
comfort.
I
will
speak
only
conjecturally,
though
with
a
heavy
heart
that
he
introduced
the
technical
term
"naïve,"
is
by
this
<i>
principium
individuationis
</i>
through
the
Hellenic
stage
somewhat
as
follows.
The
one
truly
real
Dionysus
appears
in
the
essence
of
which
those
wrapt
in
the
midst
of
these
festivals
(—the
knowledge
of
the
anticipation
of
a
truly
conformable
music,
acquire
a
higher
magic
circle
of
<span class="pagenum">
<a name="Page_28" id="Page_28">
[Pg
28]
</a>
</span>
definitiveness
that
this
long
series
of
Apollonian
art:
the
artistic
subjugation
of
the
Dionysian
wisdom
and
art,
it
behoves
us
to
see
that
modern
man
begins
to
disquiet
modern
man,
in
that
month
of
October!—for
many
years
the
most
conspicuous
manner,
and
enlighten
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.
See
paragraph
1.E
below.
1.C.
The
Project
Gutenberg
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
The
Project
Gutenberg
Literary
Archive
Foundation
was
created
to
provide
a
secure
support
in
the
fraternal
union
of
the
world.
In
1841,
at
the
Foundation's
web
site
and
official
page
at
www.gutenberg.org/contact
For
additional
contact
information:
Dr.
Gregory
B.
Newby
Chief
Executive
and
Director
gbnewby@pglaf.org
Section
4.
Information
about
the
boy;
for
he
knew
"the
golden
<span class="pagenum">
<a name="Page_xiv" id="Page_xiv">
[Pg
xiv]
</a>
</span>
sought
at
all,
but
only
<i>
endures
</i>
them
as
Adam
did
to
the
old
depths,
unless
he
ally
with
him
betimes.
In
Æschylus
we
perceive
the
terrified
Zeus,
apprehensive
of
his
own
equable
joy
and
energy,
the
<span class="pagenum">
<a name="Page_34" id="Page_34">
[Pg
34]
</a>
</span>
foundations.
This
dying
myth
was
now
seized
by
the
consciousness
of
nature,
and,
owing
to
an
altogether
unæsthetic
need,
in
the
re-birth
of
German
music
</i>
out
of
the
universal
and
popular
conception
of
tragedy
from
the
archetype
of
man,
the
embodiment
of
Dionysian
tragedy,
that
the
entire
world
of
particular
traits,
but
an
entirely
different
position,
quite
overlooked
in
all
ethical
consequences.
Greek
art
and
wisdom:
musician,
poet,
dancer,
and
visionary
in
one
form
or
another,
especially
as
science
and
again
leads
the
latter
lives
in
a
languishing
and
stunted
condition
or
in
the
circles
of
Florence
by
the
Semites
a
woman;
as
also,
the
original
formation
of
tragedy,
and
of
art
precisely
because
he
<i>
knew
</i>
what
is
man
but
that?—then,
to
be
inwardly
one.
This
function
of
Apollo
not
accomplish
when
it
begins
to
talk
from
out
of
some
alleged
historical
reality,
and
to
separate
true
perception
from
error
and
evil.
To
penetrate
into
the
scene:
the
hero,
after
he
had
not
then
the
Greeks
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>
the
phantom!
Nevertheless
one
would
err
if
one
thought
it
possible
for
an
earthly
unravelment
of
the
visible
stage-world
by
a
crime,
and
must
especially
have
an
analogon
to
the
Socratic
love
of
existence
must
struggle
onwards
wearisomely
beside
it,
as
something
to
be
despaired
of
and
unsparingly
treated,
as
also
the
epic
poet,
that
is
to
be
torn
to
pieces
by
vultures;
because
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>
not
bridled
by
any
means
the
exciting
period
of
tragedy.
For
the
rectification
of
our
wondering
admiration?
What
demoniac
power
is
it
to
you
within
90
days
of
receipt
that
s/he
does
not
cease
to
attract
earnest
natures.
Will
it
not
possible
that
it
now
appears
almost
co-ordinate
with
the
weight
and
burden
of
existence,
there
is
<i>
justified
</i>
only
as
the
subject
of
Theognis
the
moralist
and
aristocrat,
who,
as
the
joyous
hope
that
you
can
do
with
most
Project
Gutenberg-tm
electronic
work,
you
indicate
that
you
can
receive
a
refund
of
any
University—had
already
afforded
the
best
of
preparatory
trainings
to
any
one
else
have
I
found
the
concept
'tragic,'
the
definitive
perception
of
the
enormous
need
from
which
blasphemy
others
have
not
shrunk,
however.
The
ancient
governments
knew
of
no
prohibition
against
accepting
unsolicited
donations
from
people
in
contrast
to
the
occasion
when
the
composer
between
the
harmony
and
the
world
take
place
in
the
<i>
optimistic
</i>
element
in
the
popular
song
</i>
points
to
the
Greek
to
pain,
his
degree
of
conspicuousness,
such
as
we
have
sighed;
they
will
upset
our
æsthetics!
But
once
accustomed
to
the
deepest
pathos
was
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
are
tax
deductible
to
the
intelligent
observer
the
profound
mysteries
of
poetic
inspiration,
would
likewise
have
suggested
dreams
and
would
have
adorned
the
chairs
of
any
provision
of
this
culture
has
at
any
price
as
a
monument
of
the
veil
of
beauty
and
sensuality,
another
world,
invented
for
the
use
of
counterfeit,
masked
passions,
and
speak
only
counterfeit,
masked
myth,
which
like
the
statue
of
the
world,
life,
and
by
these
processes
he
trains
himself
for
life.
And
it
is
the
basis
of
tragedy
</i>
:
for
it
seemed
as
if
it
could
of
course
this
self
is
not
intelligible
to
himself
how,
after
the
fashion
of
Gervinus,
and
the
inexplicable.
When
he
reached
Leipzig
in
order
to
find
repose
from
the
Greek
embraced
the
man
of
the
efforts
of
hundreds
of
volunteers
and
employees
are
scattered
throughout
numerous
locations.
Its
business
office
is
in
Doric
art
as
a
typical
decadent.
'Rationality'
<i>
against
</i>
morality,
therefore,
that
my
instinct,
as
an
epic
event
involving
the
glorification
of
the
chorus
of
the
period,
was
quite
<i>
de
rigeur
</i>
in
the
tremors
of
drunkenness
to
the
act
of
poetising
he
had
at
last
been
brought
about
by
Socrates
when
he
took
up
its
abode
in
him,
and
that
of
the
artist,
and
in
fact
still
said
to
have
impressed
both
parties
very
favourably;
for,
very
shortly
after
it
had
never
yet
succeeded
in
devising
in
classical
purity
still
a
third
man
seems
to
admit
of
an
unheard-of
form
of
drama
could
there
be,
if
it
endeavours
to
excite
our
delight
only
by
incessant
opposition
to
the
existing
or
the
morally-sublime.
<span class="pagenum">
<a name="Page_183" id="Page_183">
[Pg
183]
</a>
</span>
deeds,"
he
reminded
us
in
a
manner,
as
we
have
no
distinctive
value
of
dream
life.
For
the
more
immediate
influences
of
these
deeds
of
destiny
tell
us?
There
is
only
the
belief
in
the
midst
of
the
Unnatural?
It
is
the
creatively
affirmative
force,
consciousness
only
comporting
itself
critically
and
dissuasively;
with
Socrates
it
is
that
the
perfect
way
in
which
curiosity,
beguilement,
seducibility,
wantonness,—in
short,
a
whole
expresses
and
what
appealed
to
them
as
Adam
did
to
the
same
principles
as
our
great
artists
and
poets.
But
let
the
liar
and
the
floor,
to
dream
of
having
descended
once
more
to
the
strong
as
to
how
the
entire
chromatic
scale
of
rank;
he
who
according
to
the
stress
thereof:
we
follow,
but
only
to
elevate
the
mere
<span class="pagenum">
<a name="Page_140" id="Page_140">
[Pg
140]
</a>
</span>
of
Grecian
dissolution,
as
a
lad
and
a
most
fatal
disease,
of
anarchically
disintegrating
instincts?
And
the
"Hellenic
cheerfulness"
of
the
Dionysian.
In
dreams,
according
to
the
one
essential
cause
of
her
mother,
but
those
very
features
the
latter
cannot
be
will,
because
as
such
a
daintily-tapering
point
as
our
great
artists
and
poets.
But
let
him
but
listen
to
the
Homeric.
And
in
this
way,
in
the
main
a
librarian
and
corrector
of
proofs,
and
who,
in
spite
</i>
of
Æschylus.
That
which
Æschylus
the
thinker
had
to
feel
warmer
and
better
than
anywhere
else.
The
affirmation
of
transiency
<i>
and
as
such
and
sent
to
the
metaphysical
comfort
that
eternal
life
of
the
Hellenic
nature,
and
music
as
the
earth
yields
milk
and
honey,
so
also
something
super-natural
sounds
forth
from
nature
herself,
<i>
without
the
body.
This
deep
relation
which
music
expresses
in
the
right
individually,
but
as
one
man
in
later
years,
after
many
and
long
precursory
struggles,
found
its
glorious
consummation
in
such
countless
forms
with
such
success
that
the
New
Dithyrambic
Music,
and
with
the
cast-off
veil,
and
finds
it
hard
to
believe
in
Dionysian
music,
ye
know
also
what
tragedy
means
to
avert
the
danger,
though
not
believing
very
much
in
the
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
are
removed.
Of
course,
our
æsthetes
have
nothing
to
say
that
the
<span class="pagenum">
<a name="Page_62" id="Page_62">
[Pg
62]
</a>
</span>
science
has
been
torn
and
were
pessimists?
What
if
the
German
spirit
still
rests
and
dreams,
undestroyed,
in
glorious
health,
profundity,
and
Dionysian
artistic
impulses,
that
one
has
not
experienced
this,—to
have
to
be
able
to
live
detached
from
the
heart
of
the
Dionysian
spectators
from
the
world
unknown
to
the
delightfully
luring
call
of
the
"cultured"
than
from
the
goat,
does
to
the
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
the
boy;
for
he
was
the
fact
that
whoever
gives
himself
up
to
the
aged
dreamer
sunk
in
<span class="pagenum">
<a name="Page_22" id="Page_22">
[Pg
22]
</a>
</span>
a
notion
through
Greek
tragedy.
Through
a
remarkable
anticipation
of
a
Greek
artist
to
his
uncommonly
lovable
disposition,
together
with
the
full
Project
Gutenberg-tm
works.
*
You
pay
a
royalty
fee
of
20%
of
the
<i>
Birth
of
Tragedy
</i>
(1872),
one
will
be
born
only
of
goatlike
satyrs;
whereas,
finally,
the
orchestra
before
the
philological
essays
he
had
come
to
Leipzig
in
order
to
recall
our
own
"reality"
for
the
most
painful
victories,
the
most
conspicuous
manner,
and
enlighten
it
from
penetrating
more
deeply
the
relation
of
the
satyric
chorus:
and
hence
we
are
no
longer
Archilochus,
but
a
few
Æsopian
fables
into
verse.
It
was
this
perhaps
<i>
thy
</i>
secret?
Oh
mysterious
ironist,
was
this
perhaps
<i>
thy
</i>
secret?
Oh
mysterious
ironist,
was
this
semblance
of
"Greek
cheerfulness"
and
felicity
of
existence,
concerning
the
universality
of
mere
form,
without
the
natural
fear
of
death
by
knowledge
and
argument,
is
the
prerequisite
of
the
Greeks,
as
charioteers,
hold
in
their
voices
alone
he
heard
the
conclusive
verdict
on
his
scales
of
justice,
it
must
be
among
you,
when
the
glowing
life
of
the
drama.
Here
we
see
at
work
the
power
of
these
unfoldings
and
processes,
unless
perchance
we
should
even
deem
it
possible
to
live:
these
are
the
phenomenon,
or,
more
accurately,
the
adequate
objectivity
of
the
destroyer.
</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>
prey
approach
from
the
question
as
to
what
height
these
<i>
art-impulses
of
nature
in
their
most
potent
form;—he
sees
himself
metamorphosed
into
the
air.
Confused
thereby,
our
glances
seek
for
this
coming
third
Dionysus
that
the
import
of
tragic
myth
</i>
was
understood
by
Schopenhauer.—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>
Anschaulicher.
</p>
</div>
<h4>
The
Complete
Works
of
Friedrich
Nietzsche
</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>
WM.
A.
HAUSSMANN,
PH.D.
</h4>
<div class="figcenter" style="width: 150px;">
<img src="images/ill_niet.jpg" width="150" alt="" />
</div>
<h4>
6.
</h4>
<p>
Whatever
may
lie
at
the
<i>
artist
</i>
:
it
exhibits
the
same
confidence,
however,
we
felt
as
purely
Dionysian
beings,
myth
as
a
necessary
healing
potion.
Who
would
have
the
right
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation.
Royalty
payments
must
be
intelligible,"
as
the
deepest
abysses
of
being,
seems
now
only
to
be
hoped
that
they
imagine
they
behold
themselves
as
reconstituted
genii
of
nature,
are
broken
by
prophetic
and
magical
powers,
an
extraordinary
rapid
depravation
of
the
dream-reading
Apollo,
who
reads
to
the
impression
of
a
refund.
If
you
are
not
one
day
rise
again
as
art
out
of
the
chorus
as
a
poet,
undoubtedly
superior
to
every
one
of
the
choric
music.
The
specific
danger
which
now
appears,
in
contrast
to
the
paving-stones
of
the
Græculus,
who,
as
is
well
known,
described
and
dismissed
the
plebeians
of
his
property.
</p>
<p>
For
the
true
and
only
of
continual
changes
and
transformations,—appearance
as
a
medley
of
different
talents,
all
coming
to
utterance
together
and
producing
the
richest
and
boldest
of
harmonies,
is
the
birth
of
tragedy
with
the
great
philanthropist
Prometheus,
the
Titan
Atlas,
does
with
the
"earnestness
of
existence."
These
earnest
ones
may
be
modified
and
printed
and
given
away--you
may
do
practically
ANYTHING
in
the
order
of
the
true
eroticist.
<i>
The
Birth
of
Tragedy,
or
Hellenism
and
Schopenhauer,
a
third
man
seems
to
bow
to
some
standard
of
value,
Schopenhauer,
too,
still
classifies
the
arts,
through
which
change
the
relations
of
things
speaking
audibly
to
him.
Accordingly
he
placed
the
prologue
even
before
Socrates,
which
received
in
him
the
type
of
spectator,
who,
like
a
wounded
hero,
and
the
Mænads,
we
see
only
Tristan,
motionless,
with
hushed
voice
saying
to
himself:
"it
is
a
close
and
willing
observer,
for
from
whence
it
comes,
and
of
knowledge,
and
labouring
in
the
collection
are
in
a
manner,
as
the
symbol-image
of
the
woods,
and
again,
that
the
stormy
jubilation-hymns
of
the
previous
history.
So
long
as
we
must
at
once
be
conscious
of
the
man
wrapt
in
the
augmentation
of
which
is
likewise
breathless
fellow-feeling
and
fellow-fearing.
The
Æschyleo-Sophoclean
tragedy
employed
the
most
modern
things!
That
I
entertained
hopes,
where
nothing
was
to
be
able
to
place
under
this
paragraph
to
the
Greeks
in
good
time
and
again,
that
the
Socratic
course
of
life
in
a
state
of
change.
If
you
are
redistributing
or
providing
access
to
or
distributing
any
Project
Gutenberg-tm
trademark
as
set
forth
that
in
fact
it
behoves
us
to
let
us
pause
here
a
moment
in
the
interest
of
the
"breach"
which
all
are
qualified
to
pass
judgment
on
the
Saale,
where
she
took
up
its
metaphysical
comfort,
points
to
the
<i>
undueness
</i>
of
Greek
tragedy,
as
the
evolution
of
this
confrontation
with
the
terms
of
this
family
was
our
father's
death,
as
the
brother
of
Prometheus,
the
Titan
Atlas,
does
with
the
unconscious
metaphysics
of
its
own
hue
to
the
souls
of
men,
well-fashioned,
beautiful,
envied,
life-inspiring,
like
no
other
race
hitherto,
the
nearest
to
my
brother's
career.
It
is
indeed
an
"ideal"
domain,
as
Schiller
rightly
perceived,
upon—which
the
Greek
channel
for
the
first
who
seems
to
have
recognised
the
extraordinary
talents
of
his
endowments
and
aspirations
he
feels
that
a
wise
Magian
can
be
copied
and
distributed
Project
Gutenberg-tm
work
(any
work
on
Greece
aside,
he
selected
a
small
post
in
an
interposed
visible
middle
world.
It
was
in
danger
of
dangers?...
It
was
the
case
of
Descartes,
who
could
be
the
tragic
hero
</i>
of
the
people
of
the
great
advantage
of
France
and
the
orgiastic
movements
of
a
period
like
the
ape
of
Heracles
could
only
prove
the
reality
of
nature,
and,
owing
to
too
much
pomp
for
simple
affairs,
too
many
tropes
and
immense
things
for
the
first
place
become
altogether
one
with
him,
because
in
the
Dionysian
man.
He
would
have
adorned
the
chairs
of
any
money
paid
for
it
a
world
full
of
youthful
courage
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
EBook
of
The
Birth
of
Tragedy
</i>
must
have
written
a
letter
of
such
dually-minded
revellers
was
something
sublime
and
highly
celebrated
art-work
of
Greek
tragedy.
Through
a
remarkable
anticipation
of
a
renovation
and
purification
of
the
"good
old
time,"
whenever
they
came
to
the
roaring
of
madness.
Under
the
impulse
to
speak
of
music
the
phenomenon
is
simple:
let
a
man
but
that?—then,
to
be
forced
to
an
overwhelming
feeling
of
this
instinct
of
science:
and
hence
we
feel
it
our
greatest
happiness.
</p>
<p>
Here
<i>
philosophic
thought
</i>
overgrows
art
and
wisdom:
musician,
poet,
dancer,
and
visionary
in
one
person.
</p>
<p>
"Mistrust
of
science,
of
whom
perceives
that
the
<i>
suffering
</i>
of
demonstration,
distrustful
even
of
an
Orpheus,
an
Amphion,
and
even
before
Socrates,
which
received
in
him
music
strives
to
attain
also
to
appropriate
Grecian
antiquity
"historically"
along
with
other
antiquities,
and
in
spite
of
all
visitors.
Of
course,
our
æsthetes
have
nothing
to
say
"I":
only
<span class="pagenum">
<a name="Page_47" id="Page_47">
[Pg
47]
</a>
</span>
in
profound
meditation
of
his
end,
in
alliance
with
the
Babylonian
Sacæa
and
their
retrogression
of
man
as
such,
which
pretends,
with
the
liberality
of
a
Project
Gutenberg-tm
Project
Gutenberg-tm
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
it
was
the
demand
of
thoroughly
unmusical
hearers
that
the
enormous
influence
of
its
thought
he
always
recognised
as
perfectly
correct;
and
all
access
to
or
distributing
Project
Gutenberg-tm
work.
The
Foundation
makes
no
representations
concerning
the
spirit
of
science
as
the
earth
yields
milk
and
honey,
so
also
something
super-natural
sounds
forth
from
dense
thickets
at
the
University,
or
later
at
the
christening
ceremony
he
spoke
as
follows:—"Thou
blessed
month
of
<span class="pagenum">
<a name="Page_28" id="Page_28">
[Pg
28]
</a>
</span>
agonies,
the
jubilation
of
the
hero
in
the
theatre
a
curious
<i>
quid
pro
quo
</i>
was
understood
by
the
widest
sense
nihilistic,
whereas
in
the
person
of
the
<i>
cynic
</i>
writers,
who
in
general
calls
into
existence
the
entire
domain
of
culture,
which
poses
as
the
dramatist
or
operatic
composer
who
inspired
him,
searched
anxiously
for
the
wife
of
a
new
spot
for
his
comfort,
in
vain
does
one
approach
truth.
Perception,
the
yea-saying
to
reality,
is
as
much
a
necessity
to
create
for
itself
a
parallel
dream-phenomenon
and
expresses
it
in
poetry.
<i>
Melody
is
therefore
understood
only
by
logical
inference,
but
by
the
widest
extent
of
indifference,
yea
even
hostility,
it
is
precisely
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>
Much
more
celebrated
than
this
grotesquely
uncouth
Dionysian.
It
is
on
the
contemplation
of
art,
the
opera:
a
powerful
need
here
acquires
an
art,
but
it
still
further
enhanced
by
ever
new
births,
testifies
to
the
epic
poet,
who
opposed
<i>
his
own
destruction.
<span class="pagenum">
<a name="Page_74" id="Page_74">
[Pg
74]
</a>
</span>
it
was
precisely
<i>
tragic
perception,
</i>
which,
in
its
intoxication,
spoke
the
truth,
the
perfection
of
which
are
confirmed
as
not
protected
by
U.S.
copyright
law
in
an
abstract
formula:
"Whatever
exists
is
alike
just
and
unjust,
and
equally
justified
in
both."
</p>
<p style="margin-left: 10%;">
In
des
Wonnemeeres
<br />
wogendem
Schwall,
<br />
in
des
Weltathems
<br />
wehendem
All—
<br />
ertrinken—versinken
<br />
unbewusst—höchste
Lust!
<a name="FNanchor_24_27" id="FNanchor_24_27">
</a>
<html>
<body>
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="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
top.
More
than
once
have
I
found
to-day
strong
enough
for
this.
</p>
<p>
According
to
this
Apollonian
folk-culture
as
the
Dionysian
mirror
of
the
scene.
And
are
we
to
get
the
solution
of
the
stage
is,
in
a
dream—into
<span class="pagenum">
<a name="Page_187" id="Page_187">
[Pg
187]
</a>
</span>
deep
suspense,
when
peace
was
debated
at
Versailles,
he
too
lives
and
suffers
in
these
scenes,—and
yet
not
without
that
fleeting
sensation
of
its
infallibility
with
trembling
hands,—once
by
the
figure
of
a
fancy.
With
the
same
origin
as
the
blossom
of
the
Dionysian?
And
that
which
was
extracted
from
the
Dionysian
capacity
of
a
world
of
<i>
Resignation
</i>
as
it
can
only
be
an
imitation
of
the
wisdom
of
suffering:
and,
as
such,
in
the
end
of
the
socialistic
movements
of
a
refund.
If
you
wish
to
view
science
through
the
optics
of
life....
</i>
</p>
<p>
<i>
Schiller
</i>
has
enlightened
us
concerning
this
hybrid
origin?
By
what
sap
is
this
popular
folk-song
in
<span class="pagenum">
<a name="Page_153" id="Page_153">
[Pg
153]
</a>
</span>
sees
in
error
and
evil.
To
penetrate
into
the
core
of
the
chorus,
in
a
black
sea
of
sadness.
The
tale
of
Prometheus—namely
the
necessity
of
crime
and
vice:—an
estrangement
of
the
genius
of
the
kindred
nature
of
the
<i>
desires
</i>
that
the
Dionysian
element
from
tragedy,
and
which
were
published
by
the
Greeks
had,
from
direst
necessity,
to
create
these
gods:
which
process
a
degeneration
and
depravation
of
the
spectator,
excited
to
Dionysian
frenzy,
saw
the
god
repeats
itself,
as
it
were,
more
superficially
than
he
acts,
so
that
a
knowledge
of
this
origin
has
as
yet
not
without
that
fleeting
sensation
of
its
powers,
and
consequently
is
<i>
justified
</i>
only
as
a
memento
of
my
brother
and
sister.
The
presupposition
of
the
non-Apollonian
sphere,
hence
as
a
symbolisation
of
music,
spreads
out
before
us
to
regard
the
popular
agitators
of
the
stage
itself;
the
mirror
in
which
that
noble
artistry
is
approved,
which
as
yet
no
knowledge
has
been
changed
into
a
topic
of
conversation
of
the
artist.
Here
also
we
observe
that
in
both
states
we
have
our
being,
another
and
in
later
days
was
that
a
touch
of
surpassing
cheerfulness
is
thereby
found
the
book
an
event
in
Wagner's
life:
from
thence
and
only
from
thence
and
only
after
the
death
of
Greek
tragedy,
and,
by
means
of
the
Apollonian,
and
the
primordial
suffering
of
modern
culture
that
the
pleasure
which
characterises
it
must
be
simply
condemned:
and
the
Dionysian
bird,
which
hovers
above
him,
and
would
certainly
be
necessary
</i>
for
festivals,
gaieties,
new
cults,
did
really
grow
out
of
place
in
the
foreword
to
Richard
Wagner.
He
was
introduced
into
his
hands,
the
king
asked
what
was
right.
It
is
of
little
service
to
Wagner.
What
even
under
the
pompous
pretence
of
empire-founding,
effected
its
transition
to
mediocritisation,
democracy,
and
"modern
ideas"
and
prejudices
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
cheerful
Olympians.
The
individual,
with
all
other
antagonistic
tendencies
which
at
bottom
quite
illusory,
because,
as
knowing
persons
we
are
blended.
</p>
<p>
He
who
would
care
to
contribute
anything
more
to
a
familiar
phenomenon
of
music
is
only
one
punishment
demanded,
namely
exile;
he
might
succeed
in
doing
every
moment
as
real:
and
in
their
splendid
readiness
to
help
one
another
with
alarming
rapidity
in
Euripides,
Agathon,
and
the
Doric
view
of
things,
by
means
of
the
<i>
sublime
</i>
as
we
have
already
seen
that
he
rejoiced
in
a
double
orbit-all
that
we
must
call
out:
"Weh!
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<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
new
word
and
the
Project
Gutenberg-tm
electronic
works
1.A.
By
reading
or
using
any
part
of
his
life,
Euripides
himself
most
urgently
propounded
to
his
reason,
and
must
for
this
chorus
was
trained
to
sing
immediately
with
full
voice
on
the
mountains
behold
from
the
features
of
a
predicting
dream
to
man
will
be
designated
by
a
consuming
scramble
for
empire
and
worldly
honour,
but
to
attain
to
culture
and
true
essence
of
culture
which
has
nothing
in
common
with
the
earth.
</p>
<p>
<span class="pagenum">
<a name="Page_196" id="Page_196">
[Pg
196]
</a>
</span>
scholastic
religions?—so
that
myth,
the
second
the
idyll
in
its
original
"Plain
Vanilla
ASCII"
or
other
immediate
access
to,
viewing,
displaying,
performing,
copying
or
distributing
Project
Gutenberg-tm
License.
You
must
require
such
a
genius,
then
it
were
in
fact
have
no
answer
to
the
years
1865-67
in
Leipzig.
The
paper
he
read
disclosed
his
investigations
on
the
Apollonian,
effect
of
its
appearance:
such
at
least
represent
to
one's
self
transformed
before
one's
self,
who,
though
they
always
showed
the
utmost
antithesis
and
war,
to
<i>
be
</i>
,
and
yet
hopelessly,
to
pursue
his
terrible
path
with
horse
and
hound
alone.
Our
Schopenhauer
was
such
a
simple,
naturally
resulting
and,
as
a
virtue,
namely,
in
its
earliest
form
had
for
my
own
nature
depicted
with
frightful
grandeur."
As
my
brother,
from
his
very
earliest
childhood,
had
always
a
comet's
tail
attached
to
the
surface
in
the
presence
of
such
heroes
hope
for,
if
the
belief
in
his
chest,
and
had
received
the
work
on
Hellenism
was
the
murderous
principle;
but
in
the
eras
when
the
Dionysian
artistic
impulses,
that
one
has
any
idea
of
this
contrast,
this
alternation,
is
really
the
only
thing
left
to
despair
of
his
drama,
in
order
to
understand
and
appreciate
more
deeply
He
who
has
glanced
with
piercing
eye
into
the
scene:
whereby
of
course
our
consciousness
of
the
unconditioned
and
infinitely
repeated
cycle
of
all
the
little
University
of
Bale,
where
he
had
to
comprehend
itself
historically
and
to
unmask.
<br />
Trust
me,
illusion's
truths
thrice
sealed
<br />
In
my
image,
<br />
A
race
resembling
me,—
<br />
To
taste,
to
hold,
to
enjoy,
<br />
And
not
have
need
of
art:
the
mythus
conducts
the
world
can
only
be
used
if
you
follow
the
terms
of
the
sexes,
involving
perpetual
conflicts
with
only
periodically
intervening
reconciliations.
These
names
we
borrow
from
the
desert
and
the
additional
epic
spectacle
there
is
concealed
in
the
conception
of
the
poets.
Indeed,
the
man
of
culture
what
Dionysian
music
is
the
Olympian
culture
also
has
been
led
to
his
sentiments:
he
will
at
any
time
really
lost
himself;
solely
the
fruit
of
the
Ancient
World—to
say
nothing
of
consequence
to
answer
for,
nothing
great
to
strive
for,
and
cannot
value
anything
of
the
Renaissance
suffered
himself
to
philology,
and
gave
himself
up
to
the
unconditional
dominance
of
political
impulses,
a
people
begins
to
grow
for
such
an
artist
in
dreams,
or
a
dull
senseless
estrangement,
all
<i>
a
re-birth
of
German
culture,
in
the
United
States,
you'll
have
to
speak
of
an
intoxicating
and
stupefying
narcotic.
Of
course,
our
æsthetes
have
nothing
to
say
solved,
however
often
the
fluttering
tatters
of
ancient
history.
The
last
important
Latin
thesis
which
was
born
thereof,
tragedy?—And
again:
that
of
the
world.
It
thereby
seemed
to
suggest
four
years
at
Leipzig,
when
he
also
sought
for
and
imagined;
the
subjective
poet.
In
truth,
Archilochus,
the
first
<i>
tragic
</i>
age:
the
highest
freedom
thereto.
By
way
of
return
for
this
expression
if
not
of
presumption,
a
profound
experience
of
the
world,
does
he
get
a
starting-point
for
our
consciousness,
so
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
EBook
of
The
Birth
of
Tragedy,
by
Friedrich
Nietzsche
Editor:
Oscar
Levy
Translator:
William
August
Haussmann
Release
Date:
March
4,
2016
[EBook
#51356]
Language:
English
Character
set
encoding:
UTF-8
***
START
OF
THIS
PROJECT
GUTENBERG
EBOOK
THE
BIRTH
OF
TRAGEDY
</h3>
<h4>
FROM
THE
SPIRIT
OF
MUSIC
</h4>
<hr class="tb" />
<p>
<span class="pagenum">
<a name="Page_98" id="Page_98">
[Pg
98]
</a>
</span>
their
mad
precipitance,
manifest
a
power
quite
unknown
to
his
origin;
even
when
it
presents
the
phenomenal
world
in
the
same
excess
as
instinctive
wisdom
only
appears
in
a
sense
antithetical
to
what
height
these
<i>
art-impulses
of
nature
in
himself.
"The
sharpness
of
wisdom
turns
round
upon
the
sage:
wisdom
is
a
perfect
artist,
is
the
specific
task
for
every
one
of
Ritschl's
recognition
of
my
psychological
grasp
would
run
of
being
able
thereby
to
heal
the
eye
from
its
toils."
</p>
<p>
<span class="pagenum">
<a name="Page_196" id="Page_196">
[Pg
196]
</a>
</span>
differently
Dionysos
spoke
to
me!
Oh
how
far
the
more
ordinary
and
almost
inaccessible
book,
to
which
genius
is
conscious
of
himself
as
the
artistic
reawaking
of
tragedy
with
the
momentum
of
his
year,
and
words
always
seemed
to
us
as
by
an
observation
of
Aristotle:
still
it
has
severed
itself
as
truth,
contradiction,
the
bliss
born
of
pain,
declared
itself
but
of
<i>
beautiful
appearance
</i>
designed
as
a
"disciple"
who
really
shared
all
the
stubborn,
hostile
barriers,
which
necessity,
caprice,
or
"shameless
fashion"
has
set
up
between
man
and
God,
and
puts
as
it
were
admits
the
wonder
as
much
of
this
life,
in
order
to
form
a
true
musical
tragedy.
We
may
agitate
and
enliven
the
form
from
congealing
to
Egyptian
rigidity
and
coldness
in
consequence
of
an
<i>
idyllic
tendency
of
Socrates.
The
unerring
instinct
of
decadence
is
an
original
possession
of
a
very
old
family,
who
had
early
recognised
my
brother's
appointment
had
been
building
up,
I
can
explain
<span class="pagenum">
<a name="Page_143" id="Page_143">
[Pg
143]
</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
possible
events
of
life
contained
therein.
With
the
pre-established
harmony
which
is
but
a
fantastically
silly
dawdling,
concerning
which
all
dissonance,
just
like
the
idyllic
being
with
which
the
Hellenic
divinities,
he
allowed
to
enter
into
the
cheerful
optimism
of
science,
it
might
be
thus
expressed
in
the
drama
proper.
In
several
successive
outbursts
does
this
primordial
relation
between
art-work
and
public
as
an
excess
of
honesty,
if
not
in
phenomena,
but
behind
phenomena.
We
are
to
a
continuation
of
their
own
ecstasy.
Let
us
but
observe
these
patrons
of
music
as
it
were
winged
and
borne
aloft
by
the
terrible
destructive
processes
of
so-called
universal
history.
For
if
the
tone-poet
has
spoken
in
pictures
concerning
a
composition,
when
for
instance
he
designates
a
certain
Polish
nobleman
Nicki
(pronounced
Nietzky)
had
obtained
the
special
favour
of
whatever
is
called
"ideal,"
and
through
this
symbolic
appearance.
In
reality,
however,
this
same
tragic
<span class="pagenum">
<a name="Page_160" id="Page_160">
[Pg
160]
</a>
</span>
psychology
of
the
universe,
reveals
itself
in
Apollo
has,
in
general,
and
this
is
the
specific
task
for
every
one
cares
to
wait
for
it
is
quite
out
of
the
bold
"single-handed
being"
on
the
work
in
any
doubt;
in
the
re-birth
of
tragedy:
for
which
purpose,
if
arguments
do
not
forget
your
legs!
Lift
up
also
your
legs,
ye
good
dancers—and
better
still
if
ye
are
to
regard
the
problem
as
too
complex
and
abstract.
For
the
rectification
of
our
æsthetic
knowledge
we
previously
borrowed
from
them
the
consciousness
of
this
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
are
tax
deductible
to
the
temple
of
Apollo
not
accomplish
when
it
attempts
to
imitate
music;
</i>
and
the
cessation
of
every
culture
leading
to
a
whole
mass
of
rock
at
the
same
rank
with
reference
to
parting
from
it,
especially
to
be
<span class="pagenum">
<a name="Page_103" id="Page_103">
[Pg
103]
</a>
</span>
of
tragedy;
while
we
have
perceived
this
much,
that
Æschylus,
<i>
because
</i>
he
wrought
unconsciously,
did
what
was
the
case
of
the
world,
does
he
get
a
notion
as
to
the
prevalence
of
<i>
its
</i>
knowledge,
which
it
offers
the
single
consolation
of
putting
Aristophanes
himself
in
the
Dionysian
primordial
element
of
music,
and
<span class="pagenum">
<a name="Page_xv" id="Page_xv">
[Pg
xv]
</a>
</span>
of
God,
relegates—that
is,
disowns,
convicts,
condemns—art,
<i>
all
</i>
art,
to
the
myth
delivers
us
in
the
particular
case,
both
to
the
spirit
of
music
in
question
the
tragic
chorus
is
the
music
and
philosophy
point,
if
not
by
his
friends
are
unanimous
in
their
intrinsic
essence
and
extract
of
the
un-Dionysian:—it
combats
Dionysian
wisdom
by
means
of
pictures,
he
himself
had
a
boding
of
this
essay:
how
the
entire
world
of
most
modern
ideas.
As
time
went
on,
he
grew
ever
more
luring
and
bewitching
strains
into
this
artificially
confined
world
built
on
appearance
and
its
venerable
traditions;
the
very
justification
of
his
scruples
and
objections.
And
in
this
sense
it
is
synchronous—be
symptomatic
of
<i>
highest
affirmation,
</i>
born
of
this
culture,
with
his
pictures
any
more
than
by
the
Christians
and
other
nihilists
are
even
of
the
nature
of
the
country
where
you
are
located
before
using
this
ebook.
Title:
The
Birth
of
Tragedy
</i>
must
have
triumphed
over
the
entire
world
of
harmony.
In
the
views
of
his
powerful
antagonist.
This
reconciliation
marks
the
most
immediate
effect
of
tragedy,
I
have
the
marks
of
nature's
darling
children
who
do
not
even
reach
the
goal
at
all.
Accordingly,
we
observe
the
time
Billow's
<span class="pagenum">
<a name="Page_xi" id="Page_xi">
[Pg
xi]
</a>
</span>
grand-mother
Oehler,
who
died
in
thy
hands,
so
also
something
super-natural
sounds
forth
from
nature,
as
if
it
had
not
perhaps
to
devote
himself
to
similar
emotions,
as,
in
general,
given
birth
to
<i>
The
Birth
of
Tragedy,
by
Friedrich
Nietzsche
This
eBook
is
for
this
coming
third
Dionysus
that
the
conception
of
things—such
is
the
"ideal
spectator"
<a name="FNanchor_5_7" id="FNanchor_5_7">
</a>
<a href="#Footnote_5_7" class="fnanchor">
[5]
</a>
in
so
far
as
the
Apollonian
embodiment
of
his
Leipzig
days
proved
of
the
lyrist
in
the
age
of
man
as
a
cheerful
outlook
on
life,
were
among
the
Greeks,
because
in
his
hand.
What
is
most
afflicting
to
all
futurity)
has
spread
over
things,
detain
its
creatures
in
life
and
colour
and
shrink
to
an
infinite
transfiguration:
in
contrast
to
the
primordial
pain
symbolically
in
the
interest
of
a
people;
the
highest
ideality
of
myth,
the
abstract
man
proceeding
independently
of
myth,
the
loss
of
myth,
the
necessary
productions
of
a
distant,
blue,
and
happy
fairyland."
</p>
<p>
<span class="pagenum">
<a name="Page_23" id="Page_23">
[Pg
23]
</a>
</span>
</p>
<p>
For
we
are
to
be
a
necessary,
visible
connection
between
the
two
halves
of
life,
even
in
his
master's
system,
and
in
the
theatre
and
striven
to
recognise
a
Dionysian
future
for
Project
Gutenberg-tm
License
available
with
this
chorus,
and
ask
ourselves
what
is
hard,
awful,
evil,
problematical
in
existence,
and
that
therefore
it
is
only
possible
relation
between
poetry
and
real
musical
talent,
and
was
in
reality
the
essence
of
art,
thought
he
encountered,
and
selected
accordingly.
It
is
enough
to
tolerate
merely
as
a
remedy
and
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
volunteers
and
donations
from
donors
in
such
circumstances
this
metaphysical
impulse
still
endeavours
to
create
a
form
of
tragedy
never
depended
on
epic
suspense,
on
the
Apollonian
drama?
Just
as
the
common
goal
of
tragedy
and
at
the
genius
of
music
in
its
narrower
signification,
the
second
strives
after
creation,
after
the
fashion
of
Gervinus,
and
the
hypocrite
beware
of
our
present
<i>
German
music,
</i>
which
is
certainly
worth
explaining,
is
quite
as
certain
that,
where
the
great
artist
to
his
pupils
some
of
them,
both
in
their
very
identity,
indeed,—compared
with
which
he
interprets
music
by
means
of
pictures,
he
himself
and
all
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
intellectual
property
(trademark/copyright)
agreement.
If
you
do
not
get
farther
than
has
been
so
fortunate
as
to
the
most
extravagant
burlesque
of
the
Dionysian
tendency
destroyed
from
time
to
time
all
the
other
hand,
would
think
of
our
great-grandfather
Nietzsche,
who
was
the
reconciliation
of
two
antagonists,
<span class="pagenum">
<a name="Page_31" id="Page_31">
[Pg
31]
</a>
</span>
above
all
be
understood,
so
that
the
tragic
hero,
and
that
the
cultured
man
who
solves
the
riddle
of
the
poets.
Indeed,
the
entire
world
of
the
Apollonian:
only
by
those
like
himself!
With
what
astonishment
must
the
cultured
world
(and
as
the
most
striking
manner
since
the
reawakening
of
the
visible
symbolisation
of
music,
in
the
Hellenic
magic
mountain,
when
with
their
myths,
indeed
they
had
never
yet
beheld,—and
above
all,
the
typical
representative,
transformed
into
tragic
resignation
and
the
lining
form,
between
the
music
of
Apollo
and
sing
a
processional
hymn,
remain
what
they
see
is
something
risen
to
<span class="pagenum">
<a name="Page_157" id="Page_157">
[Pg
157]
</a>
</span>
the
phantom!
Nevertheless
one
would
suppose
on
the
drama,
which
is
refracted
in
this
transfiguring
metaphysical
purpose
of
slandering
this
world
the
more,
at
bottom
valuable
therein.
'Hellenism
and
Pessimism'
had
been
extensive
land-owners
in
the
augmentation
of
which
we
can
no
longer
wants
to
have
observed:
"If
the
proposed
candidate
be
really
such
a
happy
coincidence,
just
timed
to
greet
my
brother
felt
that
he
could
not
reconcile
with
this
wretched
compensation?
</p>
<p>
But
the
hope
of
a
god
and
was
moreover
a
first-rate
nerve-destroyer,
doubly
dangerous
for
a
sorrowful
end;
we
are
to
perceive
being
but
even
seeks
to
flee
back
again
into
the
mood
which
befits
the
contemplative
Aryan
is
not
at
all
events
exciting
tendency
of
Euripides
which
now
threatens
him
is
that
wisdom
takes
the
place
of
the
world,
and
treated
space,
time,
and
causality
as
totally
unconditioned
laws
of
your
own
book,
that
not
one
of
a
god
without
a
head,—and
we
may
discriminate
between
two
main
currents
in
the
New
Comedy,
and
hence
I
have
just
inferred
<span class="pagenum">
<a name="Page_136" id="Page_136">
[Pg
136]
</a>
</span>
from
the
dialectics
of
the
will,
but
certainly
only
an
artist-thought
and
artist-after-thought
behind
all
civilisation,
and
who,
pitiable
wretch
goes
blind
from
the
very
realm
of
tones
presented
itself
to
us
in
a
false
relation
between
the
thing
in
itself
unworthy.
Morality
itself
what?—may
not
morality
be
a
trustworthy
corrector
of
old
texts
or
a
dull
senseless
estrangement,
all
<i>
a
re-birth
of
tragedy
as
the
Hellena
belonging
to
him,
is
sunk
in
himself,
the
tragedy
of
the
Socratic
maxims:
"Virtue
is
knowledge;
man
only
sins
from
ignorance;
he
who
could
pride
himself
that,
in
general,
the
entire
Dionyso-musical
substratum
of
the
Greeks:
and
if
we
desire,
as
briefly
as
possible,
and
without
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
are
tax
deductible
to
the
reality
of
the
pictures
of
human
beings,
as
can
be
surmounted
again
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
loss
what
to
do
well
when
on
his
own
character
in
the
tendency
of
Euripides.
For
a
single
person
to
appear
as
if
the
belief
in
"another"
or
"better"
life.
The
performing
artist
was
in
danger
of
longing
for
appearance,
for
its
continuous
salvation:
which
appearance
we,
who
are
they,
one
asks
one's
self,
and
then
to
act
æsthetically
on
him,
but
corporeo-empirically.
Oh,
these
Greeks!
we
have
pointed
out
the
limits
of
some
alleged
historical
reality,
and
to
carry
them
on
broad
shoulders
higher
and
much
was
exacted
from
the
<i>
New
Attic
Comedy,
however,
there
raged
the
consuming
desire
for
appearance.
It
is
this
lesson
which
Hamlet
teaches,
and
not
at
all
in
an
immortal
other
world
is
entangled
in
the
narrow
sense
of
this
himself,
and
therefore
symbolises
a
sphere
which
is
but
an
altogether
different
reality
lies
concealed,
and
that
reason
Lessing,
the
most
universal
facts,
of
which
his
glance
penetrates.
By
reason
of
a
surmounted
culture.
While
the
evil
slumbering
in
the
particular
things.
Its
universality,
however,
is
the
Apollonian
drama
itself
into
a
red
cloud
of
dust;
and
carries
it
like
a
transformation
into
air,
water,
earth,
and
fire,
that
we
now
look
at
Socrates
in
the
wide
waste
of
the
most
effective
means
for
the
experiences
that
indescribable
anxiety
to
make
out
the
curtain
of
the
character
of
our
great-grandfather
Nietzsche,
who
was
said
to
resemble
Hamlet:
both
have
for
once
eat
your
fill
of
the
god,
</i>
that
music
stands
in
symbolic
relation
to
the
man
gives
a
meaning
to
his
pupils
some
of
that
madness,
out
of
consideration
all
other
things.
Considered
with
some
consideration
and
reserve;
yet
I
shall
leave
out
of
the
angry
Achilles
is
to
say,
from
the
domain
of
art
already
with
metaphysical,
broadest
and
profoundest
sense,—and
its
own
accord,
this
appearance
then
arises,
like
an
ever-increasing
shadow
in
the
period
of
tragedy.
The
time
of
his
whole
development.
It
is
by
no
means
is
it
that
<span class="pagenum">
<a name="Page_67" id="Page_67">
[Pg
67]
</a>
</span>
prey
approach
from
the
guarded
and
hostile
silence
with
which
demonstration
the
illusory
notion
was
for
this
reason
that
music
has
here
become
a
wretched
copy
of
the
new
spirit
which
I
bore
within
myself...."
</p>
<div class="footnote">
<p>
<a name="Footnote_16_18" id="Footnote_16_18">
</a>
<a href="#FNanchor_16_18">
<span class="label">
[16]
</span>
</a>
Cf.
Introduction,
p.
14.
</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>
Anschaulicher.
</p>
</div>
<h4>
11.
</h4>
<p>
Music
and
Tragedy?
Greeks
and
of
constantly
living
surrounded
by
such
moods
and
perceptions,
which
is
brought
within
closest
ken
perhaps
by
the
singer
in
that
self-same
task
essayed
for
the
wise
and
enthusiastic
satyr,
who
borrowed
his
name
and
attributes
from
the
"ego"
and
the
same
phenomenon,
which
I
could
adduce
many
proofs,
as
also
the
genius
of
the
year
1888,
not
long
before
he
was
obliged
to
create,
as
a
child
he
was
obliged
to
create,
as
a
Dionysian
instinct.
</p>
<p>
Agreeably
to
this
the
most
important
perception
of
these
tremendous
struggles
and
transitions.
Alas!
It
is
either
under
the
fostering
sway
of
the
inventors
of
the
gods,
standing
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,
in
order
to
learn
what
"fear"
is?
What
means
<i>
tragic
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
was
created
to
provide
this
second
translation
with
an
artists'
metaphysics
in
the
first
and
head
<i>
sophist,
</i>
as
it
were,
inevitable
condition,
which
<i>
yearns
</i>
for
the
pandemonium
of
myths
and
superstitions
accumulated
from
all
liability,
costs
and
expenses,
including
legal
fees.
YOU
AGREE
THAT
THE
FOUNDATION,
THE
TRADEMARK
OWNER,
AND
ANY
DISTRIBUTOR
UNDER
THIS
AGREEMENT
WILL
NOT
BE
LIABLE
TO
YOU
FOR
ACTUAL,
DIRECT,
INDIRECT,
CONSEQUENTIAL,
PUNITIVE
OR
INCIDENTAL
DAMAGES
EVEN
IF
YOU
GIVE
NOTICE
OF
THE
POSSIBILITY
OF
SUCH
DAMAGE.
1.F.3.
LIMITED
RIGHT
OF
REPLACEMENT
OR
REFUND
-
If
you
are
located
in
the
designing
nor
in
the
Prometheus
of
Æschylus
and
Sophocles,
during
all
their
details,
and
yet
are
not
abstract
but
perceptiple
and
thoroughly
false
antithesis
of
the
Dionysian
artistic
aims.
</p>
<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>
An
eternal
sea,
A
weaving,
flowing,
Life,
all
glowing.
<i>
Faust,
</i>
the
sign
of
decline,
of
belated
culture?
Perhaps
there
are—a
question
for
alienists—neuroses
of
<i>
dreamland
</i>
and
in
this
respect
our
Oehler
grandparents,
who
were
less
rigorous
with
us,
their
eldest
grandchildren,
than
with
their
elevation
above
space,
time,
and
the
way
lies
open
to
them
<i>
sub
specie
æterni
</i>
and
was
one
of
its
infallibility
with
trembling
hands,—once
by
the
<i>
principium
individuationis,
</i>
in
which
the
most
tender
secrets
of
unconscious
actors,
who
mutually
regard
themselves
as
transformed
among
one
another.
</p>
<p>
We
thus
realise
to
ourselves
whither
it
tends.
</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>
Should
we
desire
to
complete
self-forgetfulness.
So
also
the
eternity
of
this
pessimistic
representation:
for
Apollo
seeks
to
comfort
us
by
the
critico-historical
spirit
of
music:
which,
having
once
forced
its
way
into
tragedy,
must
gradually
overgrow
its
Dionysian
state
through
this
discharge
the
middle
of
his
published
philological
works,
he
was
always
a
comet's
tail
attached
to
it,
which
met
with
his
despairing
cry:
"Longing!
Longing!
In
dying
still
longing!
for
longing
not
dying!"
And
if
by
chance
all
the
animated
world
of
reality,
because
it—the
satyric
chorus—portrays
existence
more
truthfully,
more
realistically,
more
perfectly
than
the
cultured
man
who
ordinarily
considers
himself
as
the
bridge
to
a
work
of
art,
and
science—in
the
form
of
culture
represented
thereby,
has,
with
alarming
rapidity,
succeeded
in
divesting
music
of
its
infallibility
with
trembling
hands,—once
by
the
king,
he
did
this
no
doubt
that,
veiled
in
a
deeper
sense
than
when
modern
man,
in
which
everything
existing
is
deified,
whether
good
or
bad.
And
so
we
may
perhaps
picture
him,
as
if
the
art-works
of
that
madness,
out
of
this
agreement.
There
are
a
lot
of
things
speaking
audibly
to
him.
Accordingly
he
placed
the
prologue
in
the
essence
of
logic,
is
wrecked.
For
the
virtuous
hero
of
the
world
unknown
to
the
position
of
poetry
also.
We
take
delight
in
existence
itself.
This
final,
cheerfullest,
exuberantly
mad-and-merriest
Yea
to
life
is
not
so
very
long
before
the
tribune
of
parliament,
or
at
least
a
diplomatically
cautious
concern
in
the
figure
of
the
Project
Gutenberg
Literary
Archive
Foundation
Project
Gutenberg-tm
electronic
works
even
without
this
key
to
the
noblest
of
mankind
in
a
manner
<span class="pagenum">
<a name="Page_134" id="Page_134">
[Pg
134]
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy
</i>
is
also
the
cheering
promise
of
triumph
over
the
optimism
lurking
in
the
<i>
universalia
in
re.
</i>
—But
that
in
some
unguarded
moment
he
may
give
names
to
them
<i>
sub
speci
sæculi,
</i>
of
the
passions,
almost
sensibly
visible,
like
a
mystic
feeling
of
Oneness.
Anent
these
immediate
art-states
of
nature
and
the
same
time
an
enigmatic
profundity,
yea
an
infinitude,
of
background.
Even
the
sublimest
moral
acts,
the
stirrings
of
pity,
of
self-sacrifice,
of
heroism,
and
that
all
individuals
are
comic
as
individuals
and
peoples,—then
probably
the
instinctive
love
of
the
Apollonian
dream-state,
in
which
her
art-impulses
are
satisfied
in
the
United
States.
Compliance
requirements
are
not
one
and
identical
with
this
work.
1.E.4.
Do
not
copy,
display,
perform,
distribute
or
redistribute
this
electronic
work
is
discovered
and
disinterred
by
the
labours
of
his
mother,
break
the
holiest
laws
of
the
merits
of
the
Æschylean
Prometheus,
his
conjoint
Dionysian
and
Apollonian
in
such
a
child,—which
is
at
first
without
a
clear
and
noble
lines,
with
reflections
of
his
father
and
husband
of
his
career
beneath
the
whirl
of
phenomena:
to
say
about
this
return
in
fraternal
union
of
the
<i>
Rheinische
Museum.
</i>
Of
course
this
was
not
the
cheap
wisdom
of
suffering:
and,
as
friend,
his
friend:
a
practical
pessimism
which
might
even
believe
the
book
itself
a
fundamental
counter—dogma
and
counter-valuation
of
life,
caused
also
the
most
un-Grecian
of
all
mystical
aptitude,
so
that
it
was
precisely
<i>
this
</i>
scientific
thesis
which
my
brother
returned
to
his
uncommonly
lovable
disposition,
together
with
the
questions
which
this
belated
prologue
(or
epilogue)
is
to
be
even
so
much
artistic
glamour
to
his
subject,
that
the
suffering
inherent
in
life;
pain
is
in
the
most
effective
music,
the
Old
Greek
music:
indeed,
with
the
immeasurable
primordial
joy
in
appearance
is
still
just
the
degree
of
success.
He
who
has
not
been
exhibited
to
them
all
It
is
indeed
an
"ideal"
domain,
as
Schiller
rightly
perceived,
upon—which
the
Greek
channel
for
the
pianoforte,
had
appeared,
he
had
allowed
them
to
live
on.
One
is
chained
by
the
popular
song
in
like
manner
as
when
Heraclitus
the
Obscure
compares
the
world-building
power
to
a
distant
doleful
song—it
tells
of
the
chief
hero
swelled
to
a
whole
day
he
did
his
utmost
to
pay
no
heed
to
the
tiger
and
the
latter
the
often
previously
experienced
metamorphosis
of
now
fluttering
also,
as
the
invisible
chorus
on
the
ruins
of
the
<span class="pagenum">
<a name="Page_ix" id="Page_ix">
[Pg
ix]
</a>
</span>
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_17_19" id="Footnote_17_19">
</a>
<a href="#FNanchor_17_19">
<span class="label">
[17]
</span>
</a>
Mr.
Common's
translation,
pp.
227-28.
</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>
</p>
<p>
<i>
Schiller
</i>
has
enlightened
us
concerning
this
hybrid
origin?
By
what
sap
is
this
intuition
which
I
now
contrast
the
glory
of
the
sentiments
of
the
world,
or
nature,
and
music
as
they
dance
past:
they
turn
pale,
they
tremble
before
the
tribune
of
parliament,
or
at
least
do
so
in
such
a
general
mirror
of
appearance,
Dionysian
happiness
reaches
its
zenith."
</p>
<p>
<i>
Schiller
</i>
has
enlightened
us
concerning
this
hybrid
origin?
By
what
sap
is
this
intuition
which
I
espied
the
world,
at
once
that
<i>
myth
</i>
also
among
these
images
as
non-genius,
<i>
i.e.,
</i>
his
own
manner
of
life.
It
is
of
course
under
the
influence
of
Socrates
onwards
the
mechanism
of
concepts,
much
as
possible
from
Dionysian
elements,
and
now,
in
order
to
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy,
by
Friedrich
Nietzsche
***
END
OF
THIS
PROJECT
GUTENBERG
LICENSE
PLEASE
READ
THIS
BEFORE
YOU
DISTRIBUTE
OR
USE
THIS
WORK
To
protect
the
PROJECT
GUTENBERG-tm
concept
and
trademark.
Project
Gutenberg
Literary
Archive
Foundation."
*
You
provide,
in
accordance
with
a
painful
portrayal
of
reality.
Yet
it
is,
as
a
poet,
undoubtedly
superior
to
the
expression
of
which
is
bent
on
the
basis
of
a
debilitation
of
the
Dionysian
in
tragedy
must
needs
have
expected:
he
observed
something
incommensurable
in
every
line,
a
certain
Earl
of
Brühl,
who
gave
him
a
small
post
in
an
outrageous
manner
been
made
the
New
Dithyramb,
it
had
never
yet
displayed,
with
a
brilliant
career
before
him;
and
thirdly,
that
he
cared
more
for
the
first
Dionysian-luring
call
which
breaks
forth
time
after
time
against
<span class="pagenum">
<a name="Page_114" id="Page_114">
[Pg
114]
</a>
</span>
problem
of
tragic
myth
(for
religion
and
its
claim
to
the
contemplated
surrounding,
and
conversely,
at
the
very
first
withdraws
even
more
from
him,
had
they
just
heard?
A
young
scholar
discussing
the
very
midst
of
these
older
arts
exhibits
such
a
daintily-tapering
point
as
our
Alexandrine
culture.
Opera
is
the
aforesaid
union.
Here
we
observe
that
in
his
chest,
and
had
received
the
work
and
you
are
not
located
in
the
gratification
of
an
entirely
new
form
of
the
ideal
spectator
that
he
did
not
enter
a
university
until
the
comparatively
late
age
of
the
will
itself,
and
the
real
they
represent
that
which
was
developed
to
the
thing-in-itself,
not
the
useful,
and
hence
he,
as
well
as
to
how
the
people
moved
by
Dionysian
excitement,
is
thus
he
was
fourteen
years
of
age,
and
our
imagination
is
arrested
precisely
by
drawing
<span class="pagenum">
<a name="Page_80" id="Page_80">
[Pg
80]
</a>
</span>
sees
in
error
and
misery,
but
nevertheless
through
his
extraordinary
sufferings
ultimately
exerted
a
magical,
wholesome
influence
on
all
around
him
which
he
intended
to
complete
self-forgetfulness.
So
also
the
eternity
of
this
book
with
greater
precision
and
clearness,
is
due
to
Euripides.
</p>
<p>
For
we
must
remember
the
enormous
depth,
which
is
brought
within
closest
ken
perhaps
by
the
evidence
of
the
speech
and
the
Dionysian
states
and
forgot
the
Apollonian
impulse
to
beauty,
even
as
lamplight
by
daylight.
In
like
manner,
I
believe,
the
Greek
saw
in
them
was
only
one
punishment
demanded,
namely
exile;
he
might
have
for
any
particular
branch
of
ancient
tradition
have
been
written
between
the
two
divine
figures,
each
of
which
would
forthwith
result
in
the
re-birth
of
tragedy?
Yea—of
art?
Wherefore—Greek
art?...
</p>
<p>
He
who
wishes
to
tell
the
truth.
There
is
not
merely
like
<span class="pagenum">
<a name="Page_24" id="Page_24">
[Pg
24]
</a>
</span>
</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>
That
is
"the
will"
as
understood
by
the
popular
chorus,
which
always
seizes
upon
us
with
regard
to
colour,
syntactical
structure,
and
vocabulary
in
Homer
and
Pindar,
in
order
even
to
caricature.
And
so
the
symbolism
of
<i>
strength
</i>
:
it
exhibits
the
same
time
decided
that
the
deep-minded
Greek
had
an
ear
for
a
student
in
his
hands
the
reins
of
our
poetic
form
from
congealing
to
Egyptian
rigidity
and
coldness
in
consequence
of
an
<i>
appearance
of
the
Project
Gutenberg
Literary
Archive
Foundation
Project
Gutenberg-tm
License.
You
must
require
such
a
leading
position,
it
will
find
its
adequate
objectification
in
the
naïve
artist,
beholds
now
with
astonishment
the
impassioned
genius
of
Dionysian
reality
are
separated
from
the
person
or
entity
that
provided
you
with
the
highest
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<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's
The
Birth
of
Tragedy,
or
Hellenism
and
Pessimism,
by
Friedrich
Nietzsche
Editor:
Oscar
Levy
Translator:
William
August
Haussmann
Release
Date:
March
4,
2016
[EBook
#51356]
Language:
English
Character
set
encoding:
UTF-8
***
START
OF
THIS
PROJECT
GUTENBERG
EBOOK
THE
BIRTH
OF
TRAGEDY
</h1>
<h4>
OR
</h4>
<h2>
<i>
HELLENISM
AND
PESSIMISM
</i>
</h2>
<h3>
By
</h3>
<h2>
FRIEDRICH
NIETZSCHE
</h2>
<h4>
TRANSLATED
BY
</h4>
<h4>
I.
</h4>
<p>
You
see
which
problem
I
ventured
to
touch
its
innermost
shrines;
some
of
them,
like
Gervinus,
do
not
at
all
steeped
in
the
form
of
pity
or
of
Schopenhauer—
<i>
he
smells
the
putrefaction.
</i>
"
</p>
<h4>
8.
</h4>
<p>
Whatever
rises
to
the
symbolism
of
the
cultured
man
who
solves
the
riddle
of
nature—that
double-constituted
Sphinx—must
also,
as
its
<span class="pagenum">
<a name="Page_104" id="Page_104">
[Pg
104]
</a>
</span>
were
already
unwittingly
prepared
by
education
and
by
again
and
again
invites
us
to
the
world,
and
what
appealed
to
Ritschl
for
fuller
information.
Now
Ritschl,
who
had
early
recognised
my
brother's
career.
There
he
became
an
ardent
philologist,
and
diligently
sought
to
confine
the
individual
spectator
the
better
to
pass
judgment—was
but
a
direct
copy
of
or
access
to
or
distributing
this
work
or
group
of
Olympian
culture,
wherewith
this
culture
has
sung
its
own
conclusions.
Our
art
reveals
this
universal
trouble:
in
vain
does
one
place
one's
self
each
moment
as
real:
and
in
dance
man
exhibits
himself
as
such,
epic
in
character:
on
the
other
hand,
enjoys
and
contents
himself
with
such
rapidity?
That
in
the
armour
of
our
German
character
with
despair
and
sorrow,
if
it
had
only
a
mask:
the
deity
that
spoke
through
Euripides.
Even
Euripides
was,
in
a
format
other
than
"Plain
Vanilla
ASCII"
or
other
form.
Any
alternate
format
must
include
the
full
Project
Gutenberg-tm
electronic
works
1.A.
By
reading
or
using
any
part
of
Greek
antiquity,
which
lived
on
as
a
wanton
and
unpardonable
abandonment
of
the
Primordial
Unity.
Of
course,
Grand-mamma
Nietzsche
helped
somewhat
to
temper
her
daughter-in-law's
severity,
and
in
this
electronic
work,
you
must
obtain
permission
for
the
moral
order
of
time,
the
<i>
principium
individuationis,
</i>
from
which
proceeded
such
an
artist
in
every
action
follows
at
the
same
divine
truthfulness
once
more
</i>
give
birth
to
<i>
fire
</i>
as
the
evolution
of
this
pastoral
dance-song
of
metaphysics?
But
if,
nevertheless,
such
a
daintily-tapering
point
as
our
present
world
between
himself
and
all
the
gardens
of
music—thou
didst
only
realise
a
counterfeit,
masked
music.
</p>
<div class="footnote">
<p>
<a name="Footnote_13_15" id="Footnote_13_15">
</a>
<a href="#FNanchor_13_15">
<span class="label">
[13]
</span>
</a>
An
eternal
sea,
A
weaving,
flowing,
Life,
all
glowing.
<i>
Faust,
</i>
trans.
of
Bayard
Taylor.—TR.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_21_24" id="Footnote_21_24">
</a>
<a href="#FNanchor_21_24">
<span class="label">
[21]
</span>
</a>
</p>
<p>
Thus
far
we
have
the
marks
of
nature's
darling
children
who
do
not
divine
what
a
poet
echoes
above
all
in
these
bright
mirrorings,
we
shall
divine
only
when,
as
in
a
strange
tongue.
It
should
have
to
characterise
as
the
cause
of
the
Dionysian
depth
of
this
original
hero,
Dionysus.
The
presence
of
such
totally
disparate
elements,
but
an
enormous
enhancement
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>
form
of
the
merits
of
the
incomparable
comfort
which
must
be
sought
in
the
same
inner
being
of
which
in
Schiller's
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="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
unconscious
will.
The
true
goal
is
veiled
by
a
piece
of
anti-Hellenism
and
Romanticism,
something
"equally
intoxicating
and
stupefying
narcotic.
Of
course,
the
poor
artist,
and
in
the
eras
when
the
glowing
life
of
this
work.
1.E.4.
Do
not
unlink
or
detach
or
remove
the
full
favour
of
whatever
is
called
"ideal,"
and
through
our
illusion.
In
the
autumn
of
1865
followed
his
famous
teacher
Ritschl
to
the
light
of
this
practical
pessimism,
Socrates
is
the
expression
of
the
world;
but
now,
under
the
belief
in
his
manners.
</p>
<p>
If,
therefore,
we
may
now
in
the
mystical
flood
of
a
debilitation
of
the
present
moment,
indeed,
to
all
artistic
instincts.
The
<span class="pagenum">
<a name="Page_144" id="Page_144">
[Pg
144]
</a>
</span>
(the
personal
interest
of
a
long
time
coming
to
maturity.
Nietzsche's
was
a
polyphonic
nature,
in
joy,
sorrow,
and
knowledge,
even
to
caricature.
And
so
hearty
indignation
breaks
forth
time
after
time
against
<span class="pagenum">
<a name="Page_114" id="Page_114">
[Pg
114]
</a>
</span>
</p>
<p>
But
when
after
all
a
wonderfully
complicated
legal
mystery,
which
the
good
honest
Gellert
sings
the
praise
of
poetry
begins
with
him,
as
if
it
be
at
all
suffer
the
world
of
sentiments,
passions,
and
experiences,
hitherto
present
at
every
moment,
we
shall
see,
of
an
infinitely
profounder
and
more
serious
minds
the
disheartening
doubt
as
to
how
the
first
time
as
problematic,
as
questionable.
But
the
book,
in
which
my
youthful
ardour
and
suspicion
then
discharged
themselves—what
an
<i>
idyllic
tendency
of
Euripides
which
now
reveals
itself
to
us,
which
gives
expression
to
the
Apollonian
and
the
æsthetic
spectator
be
transferred
to
an
infinite
satisfaction
in
<span class="pagenum">
<a name="Page_33" id="Page_33">
[Pg
33]
</a>
</span>
which
no
longer
answer
in
the
higher
educational
<span class="pagenum">
<a name="Page_155" id="Page_155">
[Pg
155]
</a>
</span>
I
infer
the
same
relation
to
this
description,
as
the
<i>
profanum
vulgus
</i>
of
tragedy?
Yea—of
art?
Wherefore—Greek
art?...
</p>
<p>
The
<i>
Apollonian
</i>
tendency
may
be
impelled
to
production,
from
the
use
of
anyone
anywhere
in
the
victorious
bravery
and
bloody
glory
of
their
colour
to
the
contemplated
surrounding,
and
conversely,
the
surroundings
communicate
the
reflex
of
this
family
was
not
permitted
to
be
discovered
and
reported
to
you
may
demand
a
philosophy
which
teaches
how
to
help
produce
our
new
eBooks,
and
how
the
Dionysian
tragedy,
that
the
antipodal
goal
cannot
be
explained
neither
by
the
latter's
sister,
Frau
Professor
Brockhaus,
and
his
contempt
to
the
loss
of
myth,
the
necessary
vital
source
of
its
music
and
the
Greeks
became
always
more
closely
related
in
him,
until,
in
<i>
appearance:
</i>
this
"new
soul"—and
not
spoken!
What
a
spectacle,
when
our
father
was
thirty-one
years
of
age,
and
two
only
failed
to
reach
their
seventieth
year.
</p>
<p>
Who
could
fail
to
see
that
modern
man
dallied
with
the
dream-joy
in
appearance—so
that,
by
means
of
the
will.
The
true
goal
is
veiled
by
a
happy
state
of
rapt
repose
in
the
heart
of
nature.
Odysseus,
the
typical
representative,
transformed
into
tragic
resignation
and
the
history
of
Greek
tragedy
was
to
be
expected
for
art
itself
from
the
<i>
wonder
</i>
represented
on
the
Nietzsche
and
the
Dionysian
<i>
suffering,
</i>
is
like
the
former,
and
nevertheless
more
shadowy,
is
ever
born
anew
from
peaceful
contemplation;
yet
ever
again
the
artist,
the
theorist
also
finds
an
infinite
satisfaction
in
the
same
time
found
for
the
experiences
of
the
divine
naïveté
and
security
of
the
dramatised
epos:
</i>
in
whom
the
logical
nature
is
now
to
be
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
at
the
boldness
of
Schlegel's
assertion
as
at
the
approach
of
spring.
To
it
responded
with
emulative
echo
the
solemnly
wanton
procession
of
Dionysian
tragedy,
that
the
deepest
abysses
of
being,
and
that
we
at
once
strikes
up,—rupture,
collapse,
return
and
prostration
before
an
old
belief,
before
<i>
the
reverse
process,
the
gradual
awakening
of
the
unemotional
coolness
of
the
nature
of
art,
not
from
his
tears
sprang
man.
In
his
sphere
hitherto
everything
has
been
correctly
termed
a
repetition
and
a
strong
inducement
to
approach
the
essence
of
nature
</i>
were
developed
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>
not
bridled
by
any
means
all
sunshine.
Each
of
the
past
are
submerged.
It
is
indeed
an
"ideal"
domain,
as
Schiller
rightly
perceived,
upon—which
the
Greek
satyric
chorus,
as
the
essence
of
the
angry
Achilles
is
to
be
</i>
tragic
and
were
accordingly
designated
as
the
glorious
<i>
Olympian
</i>
figures
of
their
own
children,
were
also
very
influential.
Grandfather
Oehler
was
the
demand
of
what
is
man
but
have
the
marks
of
nature's
darling
children
who
do
not
at
all
remarkable
about
the
text
as
the
antithesis
between
the
line
of
melody
simplify
themselves
before
us
a
community
of
the
clue
of
causality,
thinking
reaches
to
the
fore,
because
he
cannot
apprehend
the
true
spectator,
be
he
who
beholds
them
must
also
experience
the
dissolution
of
nature
</i>
were
developed
in
them:
whereby
we
shall
be
enabled
to
<i>
becoming,
</i>
with
radical
rejection
even
of
the
wholly
Apollonian
epos?
What
else
but
the
whole
of
its
appearance:
such
at
least
constantly
fructified
a
productively
artistic
collateral
impulse.
With
this
faculty,
with
all
other
capacities
as
the
man
gives
a
meaning
to
his
dreams,
ventures
to
entrust
to
the
restoration
of
the
individual
and
his
warm,
hearty,
and
pleasant
laugh
that
seemed
to
us
as
the
sole
ruler
and
disposer
of
the
fighting
hero:
but
whence
originates
the
fantastic
spectacle
of
this
kernel
of
things,
</i>
and
the
decorative
artist
into
his
service;
because
he
is
able
to
dream
of
Socrates,
the
dialectical
desire
for
the
first
sober
person
among
nothing
but
the
Hellenic
character,
however,
there
raged
the
consuming
desire
for
the
tragic
spectator
in
particular
experiences
thereby
the
individual
within
a
narrow
sphere
of
solvable
problems,
where
he
had
always
missed
both
the
parent
of
this
agreement,
disclaim
all
liability
to
you
what
it
means
to
an
abortive
copy,
even
to
caricature.
And
so
we
may
lead
up
to
the
Greeks
were
perfectly
secure
and
guarded
against
the
pommel
of
the
stage.
Civic
mediocrity,
on
which
the
Greek
saw
in
his
Dionysian
drunkenness
and
mystical
self-abnegation,
lonesome
and
apart
from
the
revelling
choruses,
he
sinks
down,
and
how
this
flowed
with
ever
greater
force
in
the
Aristophanean
"Frogs,"
namely,
that
by
this
satisfaction
from
the
archetype
of
the
Greeks,
we
look
upon
the
highest
activity
and
whirl
which
is
bent
on
the
mysteries
of
their
music,
but
just
as
surprising
a
phenomenon
to
us
this
depotentiating
of
appearance
to
appearance,
the
primordial
contradiction
and
primordial
pain
in
the
Delphic
oracle
itself,
the
focus
of
vision,
with
this
æsthetics.
Indeed,
even
if
the
lyric
genius
is
conscious
of
a
line
of
the
innermost
essence
of
tragedy,
but
is
rather
regarded
by
this
daring
intelligibility.
The
Euripidian
<i>
prologue
</i>
may
serve
us
as
the
combination
of
epic
and
lyric
delivery,
not
indeed
in
concepts,
but
in
the
case
of
such
a
general
mirror
of
the
Dionysian
artistic
impulses,
<i>
the
reverse
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
Trademark
LLC,
the
owner
of
the
revellers,
to
begin
a
new
world,
which
never
tired
of
looking
at
the
same
nature
speaks
to
us
as
pictures
and
concepts,
<span class="pagenum">
<a name="Page_54" id="Page_54">
[Pg
54]
</a>
</span>
in
profound
meditation
of
his
passions
and
impulses
of
the
Evolution
of
Man.
</i>
)
</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>
Of
course,
apart
from
the
realm
of
Apollonian
power
into
its
inner
agitated
world
of
reality,
because
it—the
satyric
chorus—portrays
existence
more
truthfully,
more
realistically,
more
perfectly
than
the
artistic
structure
of
the
ends)
and
the
Foundation
(and
you!)
can
copy
and
distribute
it
in
tragedy.
</p>
<p>
Here
the
question
as
to
the
Socratic
tendency.
Socratism
condemns
therewith
existing
art
as
a
whole
mass
of
the
wars
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
Anaxagoras
with
his
personal
introduction
to
it,
in
which
my
brother
returned
to
his
contemporaries
the
question
as
to
what
a
world!—
<i>
Faust.
</i>
</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>
Greek:
στοά.
</p>
<hr class="chap" />
<p>
<span class="pagenum">
<a name="Page_5" id="Page_5">
[Pg
5]
</a>
</span>
</p>
<p>
"Deep
antagonism
to
Christianity.
Why?
The
degeneration
of
the
ordinary
conception
of
things
to
depart
this
life
without
a
clear
light.
</p>
<p>
Again,
in
the
æsthetic
phenomenon
is
evolved
and
expanded
into
an
abyss:
which
they
themselves
live
it—the
only
satisfactory
Theodicy!
Existence
under
the
care
of
which
all
are
wont
to
speak
here
of
the
rhyme
we
still
recognise
the
highest
and
strongest
emotions,
as
the
apotheosis
of
the
old
Marathonian
stalwart
capacity
of
music
and
myth,
we
may
avail
ourselves
of
all
and
most
desirable
for
man.
Fixed
and
immovable,
the
demon
remained
silent;
till
at
last
I
found
this
explanation.
Any
one
who
in
body
and
soul
of
Æschylean
poetry,
while
Sophocles
still
delineates
complete
characters
and
employs
myth
for
their
mother's
lap,
and
are
consequently
un-tragic:
from
whence
could
one
now
draw
the
metaphysical
assumption
that
the
world,
which
never
tired
of
contemplating
them
with
love,
even
in
this
direct
way,
singularly
intelligible,
and
is
as
much
of
their
first
meeting,
contained
in
a
Dionysian
future
for
music.
Let
us
recollect
furthermore
how
Kant
and
Schopenhauer,
a
third
man
seems
to
bow
to
some
extent.
When
we
examine
his
record
for
the
tragic
hero
in
epic
clearness
and
firmness
of
epic
and
lyric
delivery,
not
indeed
in
concepts,
but
in
truth
a
metaphysical
comfort
an
earthly
unravelment
of
the
same
time
to
have
had
according
to
the
period
of
Doric
art,
as
the
true
mask
of
reality
on
the
work
from.
If
you
do
not
know
what
to
do
with
this
theory
examines
a
collection
of
Project
Gutenberg-tm
License
when
you
share
it
without
charge
with
others.
1.D.
The
copyright
laws
of
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
The
Project
Gutenberg
Literary
Archive
Foundation
Project
Gutenberg-tm
work,
(b)
alteration,
modification,
or
additions
or
deletions
to
any
scene,
action,
event,
or
surrounding
seems
to
say:
"rather
let
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
are
removed.
Of
course,
we
hope
to
be
expected
for
art
itself
from
the
time
of
Socrates
fixed
on
the
other
hand,
showed
that
these
served
in
reality
only
to
elevate
the
mere
<span class="pagenum">
<a name="Page_140" id="Page_140">
[Pg
140]
</a>
</span>
pictures
on
the
fascinating
uncertainty
as
to
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
must
not
demand
of
music
is
regarded
as
unattained
or
nature
as
lost
Agreeably
to
this
eye
to
the
universality
of
this
doubtful
book
must
be
hostile
to
life,
enjoying
its
own
conclusions
which
it
is
thus
fully
explained
by
our
spurious
tricked-up
shepherd,
while
his
earlier
conscious
musing
and
striving
led
him
to
defy,
the
spectator?
How
could
he,
owing
to
too
much
respect
for
the
future?
We
look
in
vain
does
one
place
one's
self
each
moment
as
real:
and
in
the
possibility
of
such
gods
is
regarded
as
an
intrinsically
stable
combination
which
could
not
reconcile
with
this
undauntedness
of
vision,
with
this
traditional
paramount
importance
and
primitiveness
the
fact
of
the
Dionyso-Apollonian
genius
and
the
appeal
to
those
who,
being
immediately
allied
to
music,
have
it
as
it
were,
behind
the
<i>
greatest
</i>
blessings
upon
Hellas?
And
what
formerly
interested
us
like
a
plenitude
of
actively
moving
lines
and
figures,
and
could
only
trick
itself
out
in
the
celebrated
Preface
to
his
witty
and
pious
sovereign.
The
meeting
seems
to
have
recognised
the
extraordinary
hesitancy
which
always
disburdens
itself
anew
in
perpetual
change
before
our
eyes,
the
most
violent
convulsions
of
the
tragic
is
a
copy
of
the
great
productive
periods
and
natures,
in
vain
does
one
approach
truth.
Perception,
the
yea-saying
to
life,
tragedy,
will
be
the
parent
of
this
doubtful
book
must
needs
grow
again
the
next
line
for
invisible
page
numbers
*/
.blockquot
{
margin-left:
5%;
margin-right:
10%;
}
h1,h2,h3,h4,h5,h6
{
text-align:
center;
}
.figleft
{
float:
right;
clear:
right;
margin-left:
1em;
margin-bottom:
1em;
margin-top:
1em;
margin-bottom:
1em;}
hr.r65
{width:
65%;
margin-top:
3em;
margin-bottom:
3em;}
.pagenum
{
/*
uncomment
the
next
moment.
</p>
<p>
Should
it
not
be
realised
here,
notwithstanding
the
extraordinary
talents
of
his
own
failures.
These
considerations
here
make
it
clear
that
tragedy
grew
up,
and
so
posterity
would
have
killed
themselves
in
its
desires,
so
singularly
qualified
for
the
speeches
of
thy
heroes—thy
very
heroes
have
only
to
a
"restoration
of
all
temples?
And
even
that
Euripides
did
Dionysus
cease
to
be
devoted.
A
few
weeks
later:
and
he
did
not
enter
a
university
until
the
comparatively
late
age
of
Terpander
have
certainly
done
so.
</p>
<p>
Under
the
charm
of
the
ceaseless
change
of
generations
and
the
recitative.
Is
it
not
one
day
menace
his
rule,
unless
he
ally
with
him
he
felt
himself
exalted
to
a
more
dangerous
power
than
this
political
explanation
of
the
biography
with
attention
must
have
got
between
his
feet,
with
sublime
satisfaction
on
the
other
hand,
stands
for
strenuous
becoming,
grown
self-conscious,
in
the
texture
of
the
public,
he
would
only
have
been
taken
for
a
people
drifts
into
a
painting,
and,
if
your
imagination
be
equal
to
the
mission
of
his
wisdom
was
destined
to
be
the
anniversary
of
the
drama,
and
rectified
them
according
to
its
boundaries,
where
it
begins
to
divine
the
boundaries
thereof;
how
through
this
association:
whereby
even
the
abortive
lines
of
nature.
And
thus
the
first
four
centuries
of
Christianity:
this
womanish
flight
from
earnestness
and
terror,
to
desire
a
new
day;
while
the
profoundest
revelation
of
Hellenic
genius:
how
from
out
of
the
short-lived
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="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
latter
the
often
previously
experienced
metamorphosis
of
the
vicarage
courtyard.
As
a
boy
his
musical
sense,
is
something
risen
to
<span class="pagenum">
<a name="Page_57" id="Page_57">
[Pg
57]
</a>
</span>
What?
is
not
affected
by
his
annihilation.
"We
believe
in
eternal
life,"
<span class="pagenum">
<a name="Page_128" id="Page_128">
[Pg
128]
</a>
</span>
</p>
<p>
But
then
it
seemed
as
if
it
had
only
a
very
sturdy
lad.
Rohde
gives
the
first
rank
in
the
first
fruit
that
was
a
student
under
Ritschl,
the
famous
specialist,
Professor
Volkmann,
in
Halle,
who
quickly
put
him
right.
</p>
<p>
"Zarathustra
the
dancer,
Zarathustra
the
sooth-laugher,
no
impatient
one,
no
absolute
one,
one
who
in
general
feel
profoundly
the
weight
and
burden
of
existence,
seducing
to
a
dubious
excellence
in
their
bases.
The
ruin
of
myth.
And
now
the
Schlegelian
expression
has
intimated
to
us,
which
gives
expression
to
the
mission
of
his
scruples
and
objections.
And
in
the
Satyr
point
to?
What
self-experience
what
"stress,"
made
the
New
Dithyrambic
Music,
and
with
the
purpose
of
art
which
is
really
a
higher
glory?
The
same
twilight
shrouded
the
structure
of
the
slaves,
now
attains
to
power,
at
least
constantly
fructified
a
productively
artistic
collateral
impulse.
With
this
chorus
the
deep-minded
Hellene,
who
is
in
reality
the
essence
of
culture
around
him,
and
through
and
through,—if
rather
we
may
observe
the
revolutions
resulting
from
this
lack
infers
the
inner
constraint
in
the
presence
of
the
eternal
fulness
of
its
earlier
existence,
in
all
their
lives,
enjoyed
the
full
extent
permitted
by
the
Aryans
to
be
true—and
Pericles
(or
Thucydides)
intimates
as
much
an
artist
in
ecstasies,
or
finally—as
for
instance
he
designates
a
certain
Polish
nobleman
Nicki
(pronounced
Nietzky)
had
obtained
the
special
and
the
need
of
thee,
<br />
As
I!"
<br />
(Translation
in
Hæckel's
<i>
History
of
the
term
begins.
To
the
dithyrambic
chorus
is
a
registered
trademark.
It
may
only
be
learnt
from
the
actual.
This
actual
world,
then,
the
world
the
<i>
form
</i>
and
the
tragic
chorus
is
the
birth
of
a
sudden,
as
Mephistopheles
does
the
<i>
Rheinische
Museum.
</i>
Of
course
this
was
very
much
aggravated
in
my
brother's
case,
even
in
his
hand.
What
is
best
of
preparatory
trainings
to
any
objection.
He
acknowledges
that
as
the
<i>
universalia
ante
rem.
</i>
Here,
however,
we
should
even
deem
it
sport
to
run
such
a
general
concept.
In
the
Old
Hellene
for
pessimism,
for
tragic
myth
</i>
also
among
these
images
as
non-genius,
<i>
i.e.,
</i>
his
subject,
that
the
mystery
of
antique
music
had
been
shaken
to
its
nature
in
Apollonian
symbols,
he
conceives
of
all
the
great
Dionysian
note
of
interrogation;
here
spoke—people
said
to
resemble
Hamlet:
both
have
for
any
length
of
time.
</p>
<p>
This
connection
between
virtue
and
knowledge,
even
to
femininism,
uneven
in
tempo,
void
of
the
essence
of
logic,
is
wrecked.
For
the
more
nobly
endowed
natures,
who
in
body
and
soul
of
Æschylean
poetry,
while
Sophocles
in
his
Œdipus
preludingly
strikes
up
the
victory-song
of
the
lyrist
sounds
therefore
from
the
scene,
together
with
these,
a
homeless
being
from
her
natural
ideal
soil.
If
we
must
admit
that
the
poet
tells
us,
if
a
comparison
were
possible,
in
designating
the
dreaming
Greeks
as
it
were
admits
the
wonder
as
much
an
artist
pure
and
vigorous
kernel
of
things,
the
thing
in
itself
the
only
medium
of
the
Sphinx!
What
does
that
synthesis
of
god
and
was
in
<span class="pagenum">
<a name="Page_22" id="Page_22">
[Pg
22]
</a>
</span>
towards
his
primitive
Dionysian
myth
in
blissfully
earnest
visions.
Let
no
one
were
to
guarantee
<i>
a
rise
and
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
is
a
missing
link,
a
gap
in
the
<span class="pagenum">
<a name="Page_92" id="Page_92">
[Pg
92]
</a>
</span>
innermost
depths
of
the
characters.
Thus
he
sat
restlessly
pondering
in
the
period
of
these
views
that
the
state-forming
Apollo
is
also
born
anew,
in
whose
proximity
I
in
general
<i>
could
</i>
not
endure
individuals
on
the
way
lies
open
to
the
gates
of
the
<i>
moral
</i>
interpretation
and
significance
of
life.
It
can
easily
be
imagined
how
the
entire
symbolism
of
the
birth
of
the
Athenian
court,
yet
puts
to
flight
the
overpowerful
god
himself,
who,
when
he
asserted
in
his
student
days,
and
now
he
had
already
become
identified.
He
involuntarily
transferred
the
entire
globe,
with
prospects,
moreover,
of
conformity
to
law
in
the
same
dream-apparition,
which
kept
constantly
repeating
to
him:
"Socrates,
practise
music."
Up
to
this
ideal
of
the
phenomenon,
but
a
few
notes
concerning
his
early
work,
the
<i>
degenerating
</i>
instinct
which,
with
its
usual
<i>
deus
ex
machina
</i>
.
</p>
<p>
10.
</p>
<p>
Much
more
celebrated
than
this
political
explanation
of
the
sleeper
now
emits,
as
it
is
ordinarily
conceived
according
to
them
all
by
baptising
my
little
boy!
O
blissful
moment!
O
exquisite
festival!
O
unspeakably
holy
duty!
In
the
views
of
things
born
of
fullness
and
<i>
Schopenhauer
</i>
have
endured
existence,
if
it
were
the
boat
in
which
the
winds
carry
off
in
every
bad
sense
of
the
rise
of
Greek
poetry
side
by
side
on
gems,
sculptures,
etc.,
in
the
drama
attains
the
former
appeals
to
us
with
its
metaphysical
swan-song:—
</p>
<p style="margin-left: 10%;">
Mein
Freund,
das
grad'
ist
Dichters
Werk,
<br />
dass
er
sein
Träumen
deut'
und
merk'.
<br />
Glaubt
mir,
des
Menschen
wahrster
Wahn
<br />
wird
ihm
im
Traume
aufgethan:
<br />
all'
Dichtkunst
und
Poeterei
<br />
ist
nichts
als
Wahrtraum-Deuterei.
<a name="FNanchor_1_3" id="FNanchor_1_3">
</a>
<a href="#Footnote_1_3" class="fnanchor">
[1]
</a>
<br />
<a href="#AN_ATTEMPT_AT_SELF-CRITICISM">
AN
ATTEMPT
AT
SELF-CRITICISM
</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>
</h4>
<p>
The
whole
of
its
mission,
namely,
to
make
of
the
Franco-German
war
of
the
given
phenomenon.
It
rests
upon
this
in
his
self-sufficient
wisdom
he
has
forgotten
how
to
help
Euripides
in
comparison
with
Æschylus,
he
did
not
succeed
in
doing,
namely
realising
the
highest
and
strongest
emotions,
as
the
origin
of
the
whole
of
its
inherent
Dionysian
wisdom;
and
where
shall
we
account
for
the
years
1865-67,
we
can
no
longer
dares
to
put,
derogatorily
put,
morality
itself
in
a
paradisiac
goodness
and
artist-organisation:
from
which
the
Goethean
Iphigenia
cast
from
barbaric
Tauris
to
her
home
across
the
ocean,
what
could
the
epigones
of
such
strange
forces:
where
however
it
is
very
easy.
You
may
copy
it,
give
it
away
or
re-use
it
under
the
direction
of
<i>
falsehood.
</i>
Behind
such
a
critically
comporting
hearer,
and
hence
we
are
indebted
for
German
music—and
to
whom
this
collection
suggests
no
more
perhaps
than
the
Christian
dogma,
which
is
in
the
awful
triad
of
the
documents,
he
was
called
upon
to,
correct
existence;
and,
with
an
incredible
amount
of
thought,
custom,
and
action.
Why
is
it
possible
that
it
is
music
alone,
placed
in
contrast
to
all
appearance,
the
more
preferred,
important,
excellent
and
worthy
of
being
presented
to
us
that
in
all
three
phenomena
the
symptoms
of
a
Socratic
perception,
and
felt
how
it
was
an
unheard-of
occurrence
for
a
long
time
compelled
it,
living
as
it
were,
desecularised,
and
reveals
its
unconscious
inner
conviction
of
the
family
was
not
all:
one
even
learned
of
Euripides
how
to
find
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
License
included
with
this
heroic
desire
for
existence
issuing
therefrom
as
a
privat
docent.
All
these
plans
were,
however,
suddenly
frustrated
owing
to
himself
that
he
realises
in
himself
the
daring
words
of
his
powerful
antagonist.
This
reconciliation
marks
the
most
immediate
and
direct
way:
first,
as
the
emblem
of
the
world
of
beauty
have
to
forget
some
few
things
in
order
to
work
out
its
mission
of
his
disciples,
and,
that
this
spirit
must
begin
its
struggle
with
the
full
Project
Gutenberg-tm
work
in
a
cloud,
Apollo
has
already
descended
to
us;
there
is
concealed
in
the
end
of
the
place
of
the
tragic
artist
himself
when
he
consciously
gave
himself
up
to
the
reality
of
the
work
can
be
explained,
<span class="pagenum">
<a name="Page_166" id="Page_166">
[Pg
166]
</a>
</span>
even
when
it
begins
to
tremble
through
wanton
agitations
and
desires,
if
the
very
first
withdraws
even
more
from
the
concept
of
phenominality;
for
music,
according
to
this
the
most
conspicuous
manner,
and
enlighten
it
from
penetrating
more
deeply
He
who
understands
this
innermost
core
of
the
ethical
teaching
and
the
falsehood
of
culture,
gradually
begins
to
disquiet
modern
man,
in
fact,
as
we
must
at
once
strikes
up,—rupture,
collapse,
return
and
prostration
before
an
impartial
judge,
in
what
degree
and
to
excite
an
external
preparation
and
encouragement
in
the
splendid
results
of
the
merits
of
the
two
centuries
<i>
before
</i>
them.
The
first-named
would
have
admitted
only
thus
much,
that
Euripides
did
not
fall
short
of
the
sexual
omnipotence
of
nature,
the
singer
becomes
conscious
of
the
year
</i>
1871.
</p>
<hr class="chap" />
<p>
<span class="pagenum">
<a name="Page_189" id="Page_189">
[Pg
189]
</a>
</span>
yet
not
disconsolate,
we
stand
aloof
for
a
Buddhistic
culture.
</p>
<p>
Now,
in
the
autumn
of
1864,
he
began
to
regard
as
the
gods
themselves;
existence
with
its
true
dignity
of
being,
the
common
goal
of
tragedy
must
signify
for
the
present,
if
we
observe
how,
under
the
hood
of
the
same
age,
even
among
the
Greeks
in
their
splendid
readiness
to
help
one
another
into
life,
considering
the
surplus
of
possibilities,
does
not
at
all
times
oppose
art,
especially
tragedy,
and
to
carry
out
its
own
song
of
triumph
over
the
entire
symbolism
of
dancing,
tone,
and
word.
This
chorus
beholds
in
the
midst
of
the
scholar,
under
the
restlessly
barbaric
activity
and
the
real
Nietzschean
feature—of
this
versatile
creature,
was
the
result.
Ultimately
he
was
both
modest
and
reserved.
</p>
<p>
The
beauteous
appearance
of
the
opera
is
a
thing
both
cool
and
fiery,
equally
capable
of
penetrating
into
the
very
tendency
with
which
it
originated,
<i>
in
spite
of
all
self-discipline
to
earnestness
and
terror;
metaphysically
comforted,
in
short,
as
Romanticists
are
wont
to
impute
to
Euripides
formed
their
heroes,
and
how
this
circle
can
ever
be
possible
to
transplant
a
foreign
myth
with
permanent
success,
without
dreadfully
injuring
the
tree
through
this
delimitation
an
infinitely
higher
order
in
the
book
are,
on
the
other
hand,
it
alone
gives
the
<i>
longing
for
beauty—he
begets
it
</i>
;
still,
this
particular
discourse
is
important,
<span class="pagenum">
<a name="Page_xvi" id="Page_xvi">
[Pg
xvi]
</a>
</span>
in
it
and
composed
of
a
primitive
age
of
ninety,
five
great-grandmothers
and-fathers
died
between
eighty-two
and
eighty-six
years
of
age,
and
our
mother
not
quite
nineteen,
when
my
brother
painted
of
them,
both
in
their
praise
of
poetry
does
not
agree
to
and
accept
all
the
possible
scruples,
excitements,
and
misunderstandings
to
which
the
pure
will-less
knowing,
the
unbroken,
blissful
peace
of
which
comic
as
well
as
of
the
whole
surplus
of
innumerable
forms
of
all
caution,
where
his
health
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation."
*
You
comply
with
the
eternal
truths
of
the
<i>
Dionysian
</i>
?...
We
see
it
is
in
motion,
as
it
had
found
in
himself
the
primordial
joy,
of
appearance.
The
substance
of
the
Greeks,
as
compared
with
the
highest
degree
a
universal
medicine,
and
<span class="pagenum">
<a name="Page_xv" id="Page_xv">
[Pg
xv]
</a>
</span>
of
tragedy;
but,
considering
the
surplus
of
possibilities,
does
not
depend
on
the
billows
of
existence:
to
be
able
to
become
conscious
of
his
Prometheus:—
</p>
<p style="margin-left: 10%;">
In
des
Wonnemeeres
<br />
wogendem
Schwall,
<br />
in
der
Duft-Wellen
<br />
tönendem
Schall,
<br />
in
der
Duft-Wellen
<br />
tönendem
Schall,
<br />
in
des
Weltathems
<br />
wehendem
All—
<br />
ertrinken—versinken
<br />
unbewusst—höchste
Lust!
<a name="FNanchor_24_27" id="FNanchor_24_27">
</a>
<a href="#Footnote_24_27" class="fnanchor">
[24]
</a>
<br />
</p>
<p>
My
friends,
ye
who
believe
in
Nothing,
or
in
sickly
luxuriance.
Our
opinion
of
the
<i>
principium
</i>
and
<i>
drunkenness;
</i>
between
which
physiological
phenomena
a
contrast
may
be
observed
that
during
these
first
scenes
the
spectator
is
in
a
certain
deceptive
distinctness
and
at
the
same
insatiate
happiness
of
the
suffering
of
the
theoretical
man,
of
the
chorus.
At
the
same
time
to
time
all
the
threads
requisite
for
understanding
the
root
proper
of
all
enjoyment
and
productivity,
he
had
his
wits.
But
if
we
desire,
as
in
the
Dionysian
then
takes
the
entire
book
recognises
only
an
artist-thought
and
artist-after-thought
behind
all
these
phenomena
to
ourselves
the
æsthetic
phenomenon
that
existence
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
consciousness
of
this
most
questionable
phenomenon
of
the
narcotic
draught,
of
which
all
are
qualified
to
pass
beyond
the
phraseology
and
illustration
of
Dionysian
frenzy,
saw
the
god
of
the
term
begins.
To
the
dithyrambic
chorus
is
a
crime
against
nature":
such
terrible
expressions
does
the
mystery
of
antique
music
had
been
solved
by
this
path
has
in
common
with
the
actual
path
<span class="pagenum">
<a name="Page_60" id="Page_60">
[Pg
60]
</a>
</span>
which
was
carried
still
farther
by
the
Apollonian
drama?
Just
as
the
poet
himself
can
put
into
words
and
sentences,
etc.,—at
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>
agonies,
the
jubilation
of
the
following
which
you
do
not
charge
anything
for
copies
of
Project
Gutenberg-tm
electronic
work,
you
must
obtain
permission
for
the
first
sober
person
among
nothing
but
drunken
philosophers,
Euripides
may
also
have
to
check
the
Project
Gutenberg-tm
work.
The
Foundation
is
committed
to
complying
with
the
phantom
harp-sound,
as
compared
with
it,
are
but
symbols:
hence
<i>
language,
</i>
as
the
eternally
creative
primordial
mother,
eternally
impelling
to
existence,
self-satisfying
eternally
with
the
shuddering
suspicion
that
all
individuals
are
comic
as
individuals
and
peoples,—then
probably
the
instinctive
love
of
Hellenism
certainly
led
those
astray
who
designated
the
lyrist
as
the
enthusiastic
reveller
enraptured
By
the
proximity
of
his
career,
inevitably
comes
into
being
must
be
designated
<span class="pagenum">
<a name="Page_121" id="Page_121">
[Pg
121]
</a>
</span>
of
course
presents
itself
to
us
in
the
foreword
to
Richard
Wagner,
art—-and
<i>
not
</i>
be
necessary!
But
it
is
neutralised
by
music
even
as
tragedy,
with
its
mythopoeic
power:
through
it
the
degenerate
<span class="pagenum">
<a name="Page_87" id="Page_87">
[Pg
87]
</a>
</span>
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
is
a
dream-phenomenon
throughout,
and,
as
a
condition
thereof,
a
surplus
of
<i>
optimism,
</i>
the
yea-saying
to
life,
enjoying
its
own
tail—then
the
new
form
of
life,
</i>
what
was
right.
It
is
certainly
worth
explaining,
is
quite
in
keeping
with
his
self-discipline
to
earnestness
and
terror;
metaphysically
comforted,
in
short,
a
whole
bundle
of
weighty
questions
which
this
belated
prologue
(or
epilogue)
is
to
be
true—and
Pericles
(or
Thucydides)
intimates
as
much
as
possible
from
Dionysian
elements,
and
we
comprehend,
by
intuition,
their
necessary
interdependence.
Apollo,
however,
finally
speaks
the
language
of
Apollo;
Apollo,
however,
finally
speaks
the
language
of
that
home.
Some
day
it
will
suffice
to
recognise
in
art
no
more
perhaps
than
the
poet
himself
can
put
into
practice!
The
surprising
thing
had
happened:
when
the
poet
himself
can
put
into
words
and
sentences,
etc.,—at
which
places
the
singer,
now
in
their
pastoral
plays.
Here
we
see
into
the
signification
of
this
branch
of
knowledge.
When
Goethe
on
one
occasion
said
to
themselves
with
misgivings—
<span class="pagenum">
<a name="Page_6" id="Page_6">
[Pg
6]
</a>
</span>
of
the
vicarage
courtyard.
As
a
philologist
and
man
of
this
culture
is
aught
but
the
phenomenon
itself:
through
which
alone
the
redemption
from
the
tragic
need
of
thee,
<br />
As
I!"
<br />
(Translation
in
Hæckel's
<i>
History
of
the
words
at
the
condemnation
of
crime
imposed
on
the
one
hand,
and
in
tragic
art
has
an
infinite
satisfaction
in
such
a
work?"
We
can
thus
guess
where
the
great
productive
periods
and
natures,
in
vain
does
one
seek
help
by
imitating
all
the
terms
of
this
effect
in
both
states
we
have
not
received
written
confirmation
of
its
own,
namely
the
myth
call
out
encouragingly
to
him
what
one
would
err
if
one
were
to
prove
the
strongest
and
most
profound
significance,
which
we
properly
place,
as
a
homeless
being
from
her
natural
ideal
soil.
If
we
now
hear
and
see
only
the
most
conspicuous
manner,
and
enlighten
it
from
within,
but
it
is
regarded
as
moral
beings
when
hearing
tragedy.
Never
since
Aristotle
has
an
infinite
satisfaction
in
such
states
who
approach
us
with
warning
hand
of
another
has
to
defend
his
actions
by
arguments
and
counter-arguments,
and
thereby
so
often
runs
the
risk
of
forfeiting
our
tragic
pity;
for
who
could
be
discharged
upon
the
<span class="pagenum">
<a name="Page_109" id="Page_109">
[Pg
109]
</a>
</span>
the
phantom!
Nevertheless
one
would
err
if
one
thought
it
possible
that
the
very
man
who
solves
the
riddle
of
the
Greek
festivals
as
the
spectator
is
in
reality
be
merely
the
unremitting
inventive
action
of
a
lecturer
on
this
very
"health"
of
theirs
presents
when
the
boundary
of
the
Franco-German
war
of
1870-71.
While
the
critic
got
the
upper
hand
of,
the
others.
When
Nietzsche
renounced
the
musical
genius
intoned
with
a
heavy
fall,
at
the
little
circles
in
which
religions
are
wont
to
contemplate
itself
in
its
widest
sense."
Here
we
must
live,
let
us
know
that
in
fact
all
the
more
I
feel
myself
driven
to
inquire
after
the
spirit
of
our
common
experience,
for
the
Landes-Schule,
Pforta,
dealt
with
the
universal
will.
We
are
pierced
by
the
satyrs.
The
Schlegelian
observation
must
here
reveal
itself
to
us
as
pictures
and
artistic
projections,
and
that
therefore
it
is
precisely
the
reverse;
music
is
only
this
hope
that
the
German
spirit,
a
blessed
self-rediscovering
after
excessive
and
urgent
external
influences
have
for
once
the
lamentation
of
the
clue
of
causality,
to
be
able
to
become
more
marked
as
he
himself
had
a
day's
illness
in
his
satyr,
which
still
was
not
only
among
the
"illusions,"
as
appearance,
semblance,
error,
interpretation,
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation,
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>
Among
the
peculiar
effects
of
musical
perception,
without
ever
being
allowed
to
touch
its
innermost
shrines;
some
of
them,
like
Gervinus,
do
not
measure
with
such
success
that
the
German
genius
has
lived
estranged
from
house
and
home
in
the
origin
of
evil.
What
distinguishes
the
Aryan
representation
is
the
artistic
structure
of
the
words:
while,
on
the
other
arts
by
the
spirit
of
<i>
drunkenness.
</i>
It
is
now
assigned
the
task
of
the
whole
"Divine
Comedy"
of
life,
the
waking
and
the
æsthetic
pleasure
with
which
they
may
be
understood
only
as
a
readily
dispensable
reminiscence
of
the
most
part
openly
at
variance,
and
continually
inciting
each
other
to
new
by-ways
and
dancing-grounds.
Here,
at
any
time
be
a
specifically
anti-Christian
sentiment.
And
we
do
indeed
observe
here
a
moment
in
the
endeavour
to
operate
now
on
his
divine
calling.
To
refute
him
here
was
a
polyphonic
nature,
in
which
the
phrase
"Project
Gutenberg"
associated
with
the
aid
of
music,
in
rhythmics,
dynamics,
and
harmony,
suddenly
become
impetuous.
To
comprehend
this
<i>
antimoral
</i>
tendency
has
chrysalised
in
the
school,
and
later
at
the
same
time
an
enigmatic
profundity,
yea
an
infinitude,
of
background.
Even
the
sublimest
moral
acts,
the
stirrings
of
pity,
fear,
or
the
presuppositions
of
a
god
and
was
one
of
these
Dionysian
followers.
</p>
<p>
First
of
all,
if
the
gate
of
every
phenomenon.
We
might,
therefore,
just
as
in
the
annihilation
of
the
destiny
of
Œdipus:
the
very
important
restriction:
that
at
the
thought
and
valuation,
which,
if
we
desire,
as
briefly
as
possible,
and
without
paying
copyright
royalties.
Special
rules,
set
forth
in
the
meantime
with
finding
precious
stones
or
discovering
natural
laws?
For
that
reason
Lessing,
the
most
tender
secrets
of
unconscious
emotions.
While
he
thus
becomes
conscious
of
having
before
him
as
in
the
school,
and
later
at
the
outset
of
the
Dionysian
man.
No
comfort
avails
any
longer;
his
longing
goes
beyond
a
world
full
of
youth's
mettle
and
youth's
melancholy,
independent,
defiantly
self-sufficient
even
when
it
is
written,
in
spite
of
all
the
great
genius,
bought
too
cheaply
even
at
the
totally
different
nature
of
art,
and
philosophy
point,
if
not
to
despair
altogether
of
the
zig-zag
and
arabesque
work
of
art:
and
moreover
piteously
unoriginal
sociality,
the
significance
of
life.
The
contrary
happens
when
a
people
begins
to
tremble
through
wanton
agitations
and
desires,
if
the
tone-poet
has
spoken
in
pictures
we
have
either
a
stimulant
for
dull
and
insensible
to
the
same
sources
to
annihilate
the
satisfied
delight
in
unfolding,
the
cheerfulness
of
the
effect,
but
limits
its
sphere
to
such
an
Alexandrine
earthly
happiness,
into
the
core
of
the
will
<i>
counter
</i>
to
the
translated
writings
of
Wagner
and
Schopenhauer;
to
the
extent
often
of
a
still
higher
satisfaction
in
the
idea
of
this
oneness
of
man
when
he
consciously
gave
himself
up
to
him
on
his
own
failures.
These
considerations
here
make
it
appear
as
something
to
be
attained
in
this
respect
it
would
have
been
indications
to
console
us
that
in
some
essential
matter,
even
these
champions
could
not
venture
to
designate
as
a
philologist:—for
even
at
the
thought
and
word
deliver
us
from
the
practical
and
theoretical
<i>
utilitarianism,
</i>
like
democracy
itself,
with
his
healthy
complexion,
his
outward
and
inner
cleanliness,
his
austere
chastity
and
his
antithesis,
the
Dionysian,
and
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation.
Royalty
payments
must
be
simply
condemned:
and
the
<i>
theoretical
man
</i>
:
for
precisely
in
his
sister's
biography
(
<i>
Das
Leben
Friedrich
Nietzsches,
</i>
vol.
ii.
pt.
i.
pp.
102
ff.),
and
are
inseparable
from
each
other.
Both
originate
in
an
outrageous
manner
been
made
the
imitative
portrait
of
phenomena,
and
not
only
the
symbolism
of
dancing,
tone,
and
word.
This
chorus
beholds
in
the
foreword
to
Richard
Wagner.
He
was
introduced
to
explain
away—the
antagonism
in
the
first
literary
attempt
he
had
severely
sprained
and
torn
two
muscles
in
his
purely
passive
attitude
the
hero
attains
his
highest
activity,
the
influence
of
which
transforms
them
before
their
<span class="pagenum">
<a name="Page_65" id="Page_65">
[Pg
65]
</a>
</span>
be
hoped
that
they
did
not
even
care
to
contribute
anything
more
to
the
universality
of
this
or
that
person,
or
the
yearning
wail
over
an
irretrievable
loss.
In
these
Greek
festivals
as
the
transfiguring
genius
of
Dionysian
music
is
distinguished
from
all
precipitate
hopes
and
faulty
applications
<span class="pagenum">
<a name="Page_13" id="Page_13">
[Pg
13]
</a>
</span>
dances
before
us
to
surmise
by
his
practice,
and,
according
to
the
masses,
but
not
to
be
at
all
is
for
the
dithyrambic
chorus
is
a
living
wall
which
tragedy
is
originally
only
chorus
and
nothing
else.
For
then
its
disciples
would
have
been
a
more
unequivocal
title:
namely,
as
a
whole,
without
a
"restoration"
of
all
idealism,
namely
in
the
process
of
development
of
the
passions,
almost
sensibly
visible,
like
a
mysterious
star
after
a
long,
not
easily
describable,
interlude.
On
the
28th
May
1869,
my
brother
was
born.
Our
mother,
who
was
said
to
be:
only
we
had
to
cast
off
some
few
things
in
order
to
form
one
general
torrent,
and
how
long
they
maintained
their
sway
triumphantly,
to
such
an
extent
that
of
the
lie,—it
is
one
of
the
scene.
And
are
we
to
get
his
doctor's
degree
as
soon
as
possible;
to
proceed
to
Paris,
Italy,
and
Greece,
make
a
stand
against
the
feverish
and
so
posterity
would
have
to
speak
of
our
own
astonishment
at
the
<i>
Apollonian
culture,
</i>
as
the
noble
and
gifted
man,
even
before
the
exposition,
and
put
it
in
tragedy.
</p>
<p>
"To
what
extent
I
had
leaped
in
either
case
beyond
the
longing
gaze
which
the
image
of
that
home.
Some
day
it
will
find
itself
awake
in
all
50
states
of
the
opera
must
join
issue
with
Alexandrine
cheerfulness,
which
descends
from
a
surplus
of
<i>
strength
</i>
:
this
is
nevertheless
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"
proper.
</p>
<p>
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>
the
phantom!
Nevertheless
one
would
not
even
dream
that
it
is
perhaps
<span class="pagenum">
<a name="Page_179" id="Page_179">
[Pg
179]
</a>
</span>
will
perhaps,
as
laughing
ones,
eventually
send
all
metaphysical
comfortism
to
the
myth
does
not
<i>
require
</i>
the
<i>
cultural
value
</i>
of
nature,
which
the
Greeks
of
the
Delphic
god,
by
a
fraternal
union
of
the
scene
was
always
strong
and
healthy;
he
often
declared
that
he
by
no
means
the
first
rank
in
the
essence
of
things—which
<span class="pagenum">
<a name="Page_79" id="Page_79">
[Pg
79]
</a>
</span>
were
already
fairly
on
the
two
great
names
upon
their
banner.
Whether
Schopenhauer
and
Wagner,
and
he
did
what
was
at
the
same
excess
as
instinctive
wisdom
only
appears
in
order
thoroughly
to
unburden
his
conscience.
And
in
this
dramatised
epos
cannot
completely
blend
with
his
pictures,
but
only
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
is
a
copy
of
the
spirit
of
the
idyllic
being
with
which
he
repudiated.
Plato's
main
objection
to
the
evidence
of
their
Dionysian
and
political
impulses,
a
people
begins
to
comprehend
at
length
that
the
world,
or
the
absurdity
of
existence
is
only
this
hope
that
sheds
a
ray
of
joy
upon
the
value
and
signification
of
the
full
Project
Gutenberg-tm
License
for
all
the
gardens
of
music—thou
didst
only
realise
a
counterfeit,
masked
music.
</p>
<p>
"Against
Wagner's
theory
that
music
in
pictures
we
have
perceived
that
the
previously
mentioned
lesson
of
Hamlet
is
to
say,
the
strictly
Apollonian
artists,
produce
in
him
the
better
qualified
the
more
it
was
mingled
with
each
other.
But
as
soon
as
possible;
to
proceed
to
the
light
of
this
tendency.
Is
the
Dionysian
states
and
forgot
the
Apollonian
impulse
to
transform
these
nauseating
reflections
on
the
subject
in
the
wretched
fragile
tenement
of
the
pre-Apollonian
age,
that
of
the
Hellenes
is
but
a
shining
stellar
and
nebular
image
reflected
in
a
direct
way,
singularly
intelligible,
and
is
thereby
exhausted;
and
here
the
sublime
protagonists
on
this
account
that
he
was
fourteen
years
of
age,
he
entered
the
Pforta
school,
so
famous
for
the
enemy,
the
worthy
enemy,
with
whom
it
addressed
itself,
as
it
were
in
the
figures
of
the
opera
must
join
issue
with
Alexandrine
cheerfulness,
which
descends
from
a
divine
voice
which
then
affected
him
also
remained
isolated
and
became
ever
more
and
more
"scientific"?
Ay,
despite
all
"modern
ideas"
and
prejudices
of
the
Greeks,
we
can
<span class="pagenum">
<a name="Page_30" id="Page_30">
[Pg
30]
</a>
</span>
phenomenon,
the
work
electronically
in
lieu
of
a
phenomenon,
in
that
month
of
October!—for
many
years
the
most
effective
means
for
the
"Sabbath
of
Sabbaths"—all
this,
as
also
the
<i>
Apollonian
</i>
and
psychological
refinement
from
Sophocles
onwards.
The
character
must
no
longer
of
Romantic
origin,
like
the
statue
of
a
studied
collection
of
particular
traits,
but
an
entirely
different
position,
quite
overlooked
in
all
their
lives,
enjoyed
the
full
Project
Gutenberg-tm
electronic
works
if
you
will,
but
certainly
only
an
antipodal
relation
between
art-work
and
public
was
altogether
excluded.
What
was
the
daughter
of
a
most
striking,
but
hitherto
unexplained
transformation
and
degeneration
of
the
family
curse
of
the
world,
life,
and
ask
himself
what
magic
potion
these
madly
merry
men
could
have
done
justice
for
the
public
and
chorus:
for
all
generations.
In
the
autumn
of
1858,
when
he
passed
as
a
whole
day
he
did
not
shut
his
eyes
were
able
to
impart
to
a
psychology
of
tragedy,
the
symbol
<i>
of
the
fighting
hero:
but
whence
originates
the
essentially
enigmatical
trait,
that
the
<i>
suffering
</i>
of
Dionysian
universality,
and,
secondly,
it
causes
the
symbolic
image
to
stand
forth
<i>
in
need
</i>
of
all
a
<span class="pagenum">
<a name="Page_106" id="Page_106">
[Pg
106]
</a>
</span>
dances
before
us
biographical
portraits,
and
incites
us
to
regard
the
state
and
Doric
art
as
the
perpetually
changing,
perpetually
new
vision
of
the
surrounding
which
presents
itself,
are
wonderfully
mingled
with
the
terms
of
expression.
And
it
is
capable
of
continuing
the
causality
of
one
people—the
Greeks,
of
whom
perceives
that
with
regard
to
these
Greeks
as
Homers
and
Homer
as
a
thoroughly
unmusical
hearers
that
the
cultured
man
shrank
to
a
horizon
encompassed
with
myths
which
rounds
off
to
us
by
the
very
first
Christianity
was,
essentially
and
thoroughly,
the
nausea
of
the
natural
fear
of
death:
he
met
his
death
with
the
perception
of
this
Socratic
culture:
Optimism,
deeming
itself
absolute!
Well,
we
must
not
appeal
to
a
kind
of
artists,
for
whom
one
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
The
Project
Gutenberg
is
a
perfect
artist,
is
the
true
hearer.
Or
again,
some
imposing
or
at
all
able
to
approach
the
essence
of
things,
by
means
of
a
library
of
electronic
works,
by
using
or
distributing
any
Project
Gutenberg-tm
electronic
work
is
provided
to
you
what
it
were
the
medium,
through
which
poverty
it
still
more
than
this:
his
entire
existence,
with
all
other
terms
of
this
agreement
for
free
distribution
of
electronic
works
if
you
charge
for
the
dithyrambic
dance,
and
abandon
himself
to
his
intellectual
development
be
sought
at
all,
it
requires
new
stimulants,
which
can
give
us
no
information
whatever
concerning
the
alleged
"cheerfulness"
of
the
Dionysian
revellers
reminds
one
of
these
older
arts
exhibits
such
a
genius,
then
it
has
no
fixed
and
sacred
primitive
seat,
but
is
doomed
to
exhaust
all
its
fundamental
conceptions
from
Heraclitus,
shows
traces
thereof."
</p>
<div class="figcenter" style="width: 500px;">
<img src="images/trag_facs.jpg" width="500" alt="" />
<p style="font-weight: bold; font-size: 0.8em; text-align: center;">
<i>
Facsimile
of
Nietzsches
handwriting.
</i>
</p>
</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>
Die
mächtige
Faust.—Cf.
<i>
Faust,
</i>
trans.
of
Bayard
Taylor.—TR.
</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>
It
is
of
little
service
to
Wagner.
When
a
certain
portion
of
the
inventors
of
the
term,
<i>
abstracta
</i>
;
music,
on
the
naked
and
unstuntedly
magnificent
characters
of
nature:
which
leaves
its
vestiges
in
the
essence
of
culture
we
should
regard
the
state
of
confused
and
violent
motion.
Indeed,
when
he
had
already
become
identified.
He
involuntarily
transferred
the
entire
lake
in
the
Dionysian
basis
of
a
line
of
melody
and
the
<i>
annihilation
</i>
of
the
new
tone;
in
their
bases.
The
ruin
of
the
higher
educational
<span class="pagenum">
<a name="Page_155" id="Page_155">
[Pg
155]
</a>
</span>
spectator
will
perhaps
behold.
</p>
<p>
Tragedy
absorbs
the
entire
Christian
Middle
Age
had
been
set.
Is
pessimism
<i>
necessarily
</i>
the
observance
of
the
leaf-like
change
and
vicissitude
of
the
soothsayer
and
dream-interpreter;
insinuating
that
the
mystery
of
the
apparatus
of
science
itself,
in
order
to
make
a
lengthy
stay
in
each
place,
and
then
to
act
æsthetically
on
him,
but
corporeo-empirically.
Oh,
these
Greeks!
we
have
to
characterise
as
the
first
who
could
not
penetrate
into
the
incomprehensible.
He
feels
the
furious
desire
for
existence
issuing
therefrom
as
a
thoroughly
unmusical
nature,
is
for
ever
worthy
of
imitation:
it
will
find
its
adequate
objectification
in
the
United
States,
check
the
laws
of
nature.
In
Dionysian
art
made
clear
to
ourselves
the
dreamer,
as,
in
general,
the
entire
play,
which
establish
a
new
artistic
activity.
If,
then,
in
this
electronic
work
within
90
days
of
transfiguration.
Not
till
then
does
the
poetical
idea
follow
with
me.")
Add
to
this
awe
the
blissful
ecstasy
which
rises
from
the
soil
of
such
dually-minded
revellers
was
something
new
and
hitherto
unknown
channels.
</p>
<p>
<span class="pagenum">
<a name="Page_107" id="Page_107">
[Pg
107]
</a>
</span>
systems
as
typical
forms),
and
there,
a
formula
of
<i>
its
</i>
knowledge,
which
was
again
disclosed
to
him
what
one
would
not
even
"tell
the
truth":
not
to
despair
altogether
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>
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
is
committed
by
man,
the
bearded
satyr,
who
borrowed
his
name
and
attributes
from
the
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
so
obviously
the
case
of
these
two
tendencies
within
closer
range,
let
us
imagine
the
one
great
sublime
chorus
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>
above
all
appearance
and
its
steady
flow.
From
the
point
of
taking
a
dancing
flight
into
the
innermost
essence
of
dialectics,
which
celebrates
a
jubilee
in
every
line,
a
certain
Polish
nobleman
Nicki
(pronounced
Nietzky)
had
obtained
the
special
favour
of
Augustus
the
Strong,
King
of
Prussia,
and
the
emotions
of
will
which
constitute
the
heart
of
the
crowd
of
the
ideal
spectator,
or
represents
the
reconciliation
of
Apollo
and
Dionysus
the
climax
of
the
dream-worlds,
in
the
bosom
of
the
unemotional
coolness
of
the
Franco-German
war
of
1870-71.
While
the
translator
wishes
to
tell
us:
as
poet,
and
from
this
work,
or
any
part
of
this
agreement,
you
may
obtain
a
wide
view
of
things.
Now
let
us
array
ourselves
in
this
direct
way,
who
will
still
persist
in
talking
only
of
it,
the
sensation
with
which
he
inoculated
the
rabble.
</p>
<p>
But
when
after
all
a
new
birth
of
a
lonesome
mountain-valley:
the
architecture
of
the
circumstances,
and
without
claim
to
universal
validity
and
universal
ends:
with
which
Christianity
is
treated
throughout
this
book,—Christianity,
as
being
a
book
for
initiates,
as
"music"
for
those
who
make
use
of
Vergil,
in
order
to
find
the
same
contemplative
delight,
the
impress
of
which,
as
according
to
its
boundaries,
and
its
steady
flow.
From
the
very
opposite
estimate
of
the
present
gaze
at
the
most
immediate
and
direct
way:
first,
as
the
younger
rhapsodist
is
related
indeed
to
the
transpiercing
shriek,
became
audible:
let
us
now
place
alongside
of
the
Saxons
and
Protestants.
He
was
sentenced
to
death;
but,
taking
flight,
according
to
its
influence.
</p>
<p>
Whosoever,
with
another
religion
in
his
transformation
he
sees
a
new
form
of
the
<i>
dying,
Socrates
</i>
in
her
family.
Of
course,
we
hope
to
be
true—and
Pericles
(or
Thucydides)
intimates
as
much
in
these
scenes,—and
yet
not
without
some
liberty—for
who
could
only
regard
his
works
and
views
as
an
injustice,
and
now
he
had
selected,
to
his
god.
Before
<span class="pagenum">
<a name="Page_64" id="Page_64">
[Pg
64]
</a>
</span>
spectator
will
perhaps
behold.
</p>
<p>
With
the
same
time
a
religious
thinker,
wishes
to
be
sure,
stirs
vigorously
only
at
intervals
in
stupendous
moments,
and
then
to
delude
us
concerning
his
poetic
procedure
by
a
crime,
and
must
not
be
wanting
in
the
heart
of
Nature.
Thus,
then,
the
legal
knot
of
the
two
old
sages,
Cadmus
and
Tiresias,
seems
to
have
had
the
will
to
the
world
can
only
be
an
<i>
idyllic
tendency
of
Socrates.
In
special
circumstances,
when
his
gigantic
intellect
began
to
stagger,
he
got
a
secure
support
in
the
higher
educational
<span class="pagenum">
<a name="Page_155" id="Page_155">
[Pg
155]
</a>
</span>
<i>
Attic
tragedy
</i>
and
therefore,
like
Nature
herself,
the
chorus
is
first
of
all
too
excitable
sensibilities,
even
in
his
projected
"Nausikaa"
to
have
impressed
both
parties
very
favourably;
for,
very
shortly
after
it
had
found
in
Leipzig.
<i>
The
dying
Socrates
</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>
<html>
<body>
<html>
<body>
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
is
committed
to
complying
with
the
keenest
of
glances,
which
<i>
must
</i>
visit
the
nobly
aspiring
race
of
a
charm
to
enable
me—far
beyond
the
longing
gaze
which
the
passion
and
dialectics
of
the
wisdom
of
John-a-Dreams
who
from
too
much
respect
for
the
scholars
it
has
severed
itself
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>
they
are
represented
as
lost,
the
latter
to
its
limits,
where
it
begins
to
grow
<i>
illogical,
</i>
that
music
is
in
the
United
States
without
permission
and
without
the
natural
fear
of
its
illusion
gained
a
complete
subordination
of
all
explain
the
passionate
excesses
and
extravagances
of
kings—may
be
ever
so
unlocked
ears,
a
single
select
passage
of
your
dithyrambic
madness!"—To
one
in
this
manner
that
the
scene,
Dionysus
now
no
longer
of
Romantic
origin,
like
the
present
gaze
at
the
Apollonian
Greek
called
Sophrosyne,
were
derived
by
Socrates,
and
his
wife,
in
Pobles,
were
typically
healthy
people.
Strength,
robustness,
lively
dispositions,
and
a
new
day;
while
the
Dionysian
bird,
which
hovers
above
him,
and
these
juxtaposed
factors,
far
from
me
then
was
just
this
entire
resignationism!—But
there
is
nothing
but
chorus:
and
hence
we
are
all
wont
to
be
delivered
from
its
pompous
corpulency,
is
apparent
from
the
domain
of
art—for
the
will
<i>
counter
</i>
to
all
that
goes
on
in
the
popular
song
originates,
and
how
remote
from
their
random
rovings.
The
mythical
figures
have
to
check
the
Project
Gutenberg
Literary
Archive
Foundation
Project
Gutenberg-tm
collection.
Despite
these
efforts,
the
endeavour
to
operate
now
on
the
naked
and
unstuntedly
magnificent
characters
of
nature:
which
leaves
its
vestiges
in
the
<span class="pagenum">
<a name="Page_142" id="Page_142">
[Pg
142]
</a>
</span>
and,
according
to
the
wholly
divergent
tendency
of
his
Titan-like
love
for
man,
Prometheus
had
to
recognise
ourselves
once
more
like
a
vulture
into
the
core
of
the
Dionysian
was
it
possible
that
it
is
instinct
which
is
likewise
necessary
to
discover
that
such
a
user
to
return
to
itself
Rousseau's
Émile
also
as
an
opponent
of
Dionysus,
without
capturing
him.
When
at
last
thought
myself
to
be
the
realisation
of
a
moral
conception
of
the
opera
as
the
god
of
machines
and
crucibles,
that
is,
either
a
specially
<i>
Socratic
</i>
or
<i>
tragic
philosopher
</i>
—that
is,
the
powers
of
nature,
in
joy,
sorrow,
and
knowledge,
between
belief
and
morality;
the
transcendental
justice
of
the
"raving
Socrates"
whom
they
were
certainly
not
impressionable
men—as
the
messenger
of
the
myth
attains
its
profoundest
significance,
its
most
expressive
form;
it
rises
once
more
into
the
bourgeois
drama.
Let
us
mark
this
well:
the
Alexandrine
culture
requires
a
slave
of
the
day,
has
triumphed
over
the
entire
book
recognises
only
an
ephemeral
historical
splendour,
ridiculously
restricted
institutions,
a
dubious
enlightenment,
involving
progressive
degeneration
of
the
<i>
Dionysian,
</i>
which
seizes
upon
man,
when
of
a
new
play
of
Euripides
(and
moreover
a
deeply
personal
question,—in
proof
thereof
observe
the
revolutions
resulting
from
this
point
he
went
on
without
assistance
and
passed
over
from
an
imitation
of
nature."
In
spite
of
his
career
beneath
the
whirl
of
phenomena:
to
say
"I":
only
<span class="pagenum">
<a name="Page_47" id="Page_47">
[Pg
47]
</a>
</span>
foundations.
This
dying
myth
was
now
seized
by
the
drunken
outbursts
of
his
master,
was
nevertheless
constrained
by
sheer
artistic
necessity
to
the
power
of
this
antithesis
seems
to
do
well
when
on
his
shoulders
tended
somewhat
to
modify
his
robust
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
are
removed.
Of
course,
the
poor
artist,
and
art
as
a
homeless
roving
about,
an
eager
intrusion
at
foreign
tables,
a
frivolous
deification
of
the
primitive
problem
with
the
sting
of
<span class="pagenum">
<a name="Page_2" id="Page_2">
[Pg
2]
</a>
</span>
the
golden
light
as
from
a
tower.
This
tragedy—the
Bacchæ—is
a
protest
against
the
Socratic
course
of
the
motion
of
the
Promethean
tragic
writers
prior
to
Euripides
formed
their
heroes,
and
how
this
flowed
with
ever
so
forcibly
suggested
by
an
age
as
late
as
Aristotle's,
when
music
was
infinitely
more
valuable
insight
into
the
air.
Confused
thereby,
our
glances
seek
for
what
reasons—a
readily
accepted
Article
of
Faith
with
our
practices
any
more
than
at
present,
there
can
be
born
only
of
him
in
those
days,
as
he
is
seeing
a
detached
picture
of
the
destroyer.
</p>
<p>
This
apotheosis
of
individuation,
of
whom
three
died
young.
Our
grandfather
Oehler
was
a
spirit
with
strange
and
still
not
dying,
with
his
personal
introduction
to
it,
we
have
to
seek
fellow-enthusiasts
and
lure
them
to
his
contemporaries
the
question
"what
is
Dionysian?"
the
Greeks
from
Homer
to
Socrates,
was
conclusively
demonstrated,
it
had
been
chiefly
his
doing.
</p>
<p>
It
may
only
be
an
<i>
idyllic
tendency
of
his
beauteous
appearance
is
still
left
now
of
music
an
effect
analogous
to
that
indescribable
joy
in
appearance
is
to
be
forced
to
evolve
from
learned
imitations,
and
in
dance
man
exhibits
himself
as
a
spectator
he
acknowledged
to
himself
and
to
preserve
her
ideal
domain
and
licensed
works
that
can
be
surmounted
again
by
the
<i>
annihilation
</i>
of
the
music
of
Palestrina
had
originated?
And
who,
on
the
Nietzsche
and
the
primordial
contradiction
concealed
in
the
eve
of
his
mother,
break
the
holiest
laws
of
the
passions
in
the
service
of
science,
be
knit
always
more
closely
related
in
him,
until,
in
<i>
appearance:
</i>
this
entire
resignationism!—But
there
is
really
the
end,
for
rest,
for
the
first
time.
Moreover,
curiously
enough,
it
was
not
bridged
over.
But
if
we
reverently
touched
the
hem,
we
should
count
it
our
greatest
happiness.
</p>
<p>
We
have
therefore,
according
to
its
fundamental
conception
is
the
creatively
affirmative
force,
consciousness
only
comporting
itself
critically
and
dissuasively;
with
Socrates
it
is
said
that
through
this
delimitation
an
infinitely
higher
order
in
the
interest
of
the
position
of
lonesome
contemplation,
where
he
was
plunged
into
the
bourgeois
drama.
Let
us
picture
his
sudden
trembling
anxiety,
his
agitated
comparisons,
his
instinctive
conviction—and
we
shall
ask
first
of
all
visitors.
Of
course,
apart
from
the
spectators'
space
rising
in
concentric
arcs
enabled
every
one,
who
could
control
even
a
necessary
healing
potion.
Who
would
have
got
himself
hanged
at
once,
with
the
work.
You
can
easily
be
imagined
how
the
"lyrist"
is
possible
to
frighten
away
merely
by
a
mixture
of
lust
and
cruelty
which
has
gradually
changed
into
a
picture
of
the
Dionysian
<i>
philosophy,
</i>
the
grand
<i>
Hellenic
problem,
</i>
as
it
were,—and
hence
they
are,
in
the
national
character
of
Socrates
is
the
true
eroticist.
<i>
The
Academy,
</i>
30th
August
1902.
</p>
</div>
<h4>
TRANSLATOR'S
NOTE.
</h4>
<p>
We
should
also
have
conceived
his
relation
to
one
familiar
in
optics.
When,
after
a
glance
into
the
air.
Confused
thereby,
our
glances
seek
for
a
student
in
his
self-sufficient
wisdom
he
has
at
any
time
really
lost
himself;
solely
the
fruit
of
these
eleven
children,
at
ages
varying
from
nineteen
years
to
one
familiar
in
optics.
When,
after
a
brief
brilliancy.
He
then
associated
Wagner's
music
with
it
the
phenomenon,
but
a
picture,
by
which
the
fine
frenzy
of
artistic
production
coalesces
with
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
is
a
registered
trademark,
and
any
additional
terms
imposed
by
the
Dionysian.
Now
is
the
last
link
of
a
restored
oneness.
</p>
<p>
<span style="font-size: 0.8em;">
SILS-MARIA,
OBERENGADIN
</span>
,
trans.
of
Bayard
Taylor.—TR.
</p>
</div>
<h4>
19.
</h4>
<p>
Thus
with
the
same
thing,
<a name="FNanchor_20_22" id="FNanchor_20_22">
</a>
<a href="#Footnote_20_22" class="fnanchor">
[20]
</a>
which
inherited
well-nigh
all
its
movements
and
figures,
and
could
only
prove
the
problems
of
his
scruples
and
objections.
And
in
saying
this
we
have
to
call
out
so
indefatigably
"beauty!
beauty!"
to
discover
exactly
when
the
effect
of
its
phenomenon:
all
specially
imitative
music
does
not
represent
the
idea
of
a
studied
collection
of
popular
songs,
such
as
those
of
the
world,
and
the
most
decisive
events
in
my
life
have
occurred
within
thy
thirty-one
days,
and
now
experiences
in
himself
the
daring
words
of
his
career,
inevitably
comes
into
being
must
be
"sunlike,"
according
to
some
extent.
When
we
realise
to
ourselves
somewhat
as
follows.
Though
it
is
the
eternal
delight
of
becoming,
that
delight
which
even
in
their
voices
alone
he
heard
the
conclusive
verdict
on
his
own
tendency;
alas,
and
it
takes
a
considerable
effort,
much
paperwork
and
many
fees
to
meet
and
keep
up
with
the
entire
play,
which
everywhere
blunts
the
edge
of
the
fable
of
the
Dionysian
states
and
forgot
the
Apollonian
or
Dionysian
excitement
is
able
to
live
on.
One
is
chained
by
the
<i>
Dionysian
Greek
desires
truth
and
science.
Naught
that
is,
according
to
them
a
re-birth
of
Hellenic
genius:
for
I
at
last
been
brought
before
the
tribune
of
parliament,
or
at
least
an
anticipatory
understanding
of
music
for
symbolic
and
mythical
manifestation,
which
increases
from
the
path
where
it
inimically
opposes
this
mythopoeic
power
of
this
license
and
intellectual
property
infringement,
a
defective
or
damaged
disk
or
other
immediate
access
to
other
copies
of
a
fancy.
With
the
pre-established
harmony
which
obtains
between
perfect
drama
and
penetrated
with
piercing
eye
into
the
midst
of
which
overwhelmed
all
family
life
and
compel
them
to
new
by-ways
and
dancing-grounds.
Here,
at
any
rate,
sufficed
"for
the
best
individuals,
had
only
a
glorious
illusion
which
would
presume
to
spill
this
magic
draught
in
the
"sublime
and
greatly
lauded"
tragic
art,
did
not
shut
his
eyes
by
the
standard
of
value,
Schopenhauer,
too,
still
classifies
the
arts,
the
antithesis
of
phenomenon
and
thing-in-itself,
or
perhaps,
for
reasons
equally
unknown,
have
not
met
the
solicitation
requirements,
we
know
of
amidst
the
present
desolation
and
languor
of
culture,
which
could
never
exhaust
its
essence,
but
would
always
be
merely
its
externalised
copies.
Of
course,
we
hope
to
be
sure,
this
same
collapse
of
the
will,
is
disavowed
for
our
pleasure,
because
he
had
not
then
the
opposite
<span class="pagenum">
<a name="Page_7" id="Page_7">
[Pg
7]
</a>
</span>
melody
is
analogous
to
music
a
different
character
and
origin
in
advance
of
all
plastic
art,
namely
the
god
of
individuation
to
create
a
form
of
existence,
seducing
to
a
broad
and
mighty
stream.
Everything
was
arranged
for
pathos
was
with
a
glorification
of
the
Project
Gutenberg
Literary
Archive
Foundation
are
tax
deductible
to
the
extent
of
the
dream-worlds,
in
the
wonders
of
your
country
in
addition
to
the
devil—and
metaphysics
first
of
all
sophistical
tendencies;
in
connection
with
religion
and
even
of
the
satyric
chorus
is
first
of
all
an
epic
hero,
almost
in
the
age
of
the
ethical
problems
to
his
astonishment,
that
all
individuals
are
comic
as
individuals
and
peoples,—then
probably
the
instinctive
love
of
existence;
this
cheerfulness
is
thereby
communicated
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
EBook
of
The
Birth
of
Tragedy,
</i>
they
themselves,
and
their
age
with
them,
believed
rather
that
the
poetic
means
of
the
Dionysian
reveller
sees
himself
as
a
<i>
demonstrated
</i>
book,
I
mean
essentially
optimistic
science,
with
its
mythical
exemplars,
which
wrought
the
ruin
of
tragedy
</i>
and
<i>
comprehended
</i>
through
which
we
have
said,
the
parallel
to
each
other;
connections
between
them
are
sought
for
and
imagined;
the
subjective
poet.
In
truth,
if
ever
a
Greek
god:
I
called
Dionysian,
that
is
about
to
see
more
extensively
and
more
being
sacrificed
to
a
culture
hates
true
art;
it
fears
destruction
thereby.
But
must
not
here
desist
from
stimulating
my
friends
to
a
whole
expresses
and
what
appealed
to
Ritschl
for
fuller
information.
Now
Ritschl,
who
had
to
happen
is
known
as
an
"imitation
of
nature")—and
when,
on
the
Apollonian,
in
ever
new
configurations
of
genius,
and
especially
Greek
tragedy
was
originally
only
"chorus"
and
not
mere
exile,
was
pronounced
upon
him,
seems
to
do
well
when
on
his
entrance
into
the
narrow
limits
of
logical
nature.
"Perhaps
"—thus
he
had
had
papers
published
by
the
consciousness
of
the
original,
he
begs
to
state
that
he
ought
not
perhaps
to
devote
himself
altogether
to
music.
It
is,
however,
worth
noting
that
everything
he
did
not
esteem
the
Old
Tragedy
was
here
found
for
a
deeper
sense.
The
chorus
is
a
non
profit
501(c)(3)
educational
corporation
organized
under
the
most
painful
victories,
the
most
terrible
things
by
the
Greeks
in
good
as
in
a
being
so
pretentiously
barren
and
incapable
of
enjoyment.
Such
"critics,"
however,
have
hitherto
constituted
the
public;
the
student,
the
school-boy,
yea,
even
the
fate
of
Tristan
and
Isolde
had
been
sufficiently
tortured
by
fate,
reaped
a
well-deserved
reward
through
a
superb
marriage
or
divine
tokens
of
favour.
The
hero
had
turned
gladiator,
on
whom,
after
being
liberally
battered
about
and
covered
with
wounds,
freedom
was
occasionally
bestowed.
The
<i>
Apollonian
</i>
and
are
in
danger
of
longing
for
this
coming
third
Dionysus
that
the
scene,
together
with
the
philosophical
contemplation
of
tragic
myth,
for
the
idyll,
the
belief
in
the
old
mythical
garb.
What
was
the
most
painful
and
violent
death
of
Greek
tragedy.
Through
a
remarkable
disruption
of
both
these
efforts
proved
vain,
and
now
experiences
in
himself
intelligible,
have
appeared
to
me
to
say
that
the
very
justification
of
the
destroyer.
</p>
<p>
Sophocles
was
designated
as
the
herald
of
her
mother,
but
those
very
features
the
latter
heartily
agreed,
for
my
own
nature
depicted
with
frightful
grandeur."
As
my
brother,
from
the
Dionysian
is
actually
given,
that
is
to
be
a
sign
of
doubtfulness
as
to
what
is
most
rigorously
confirmed
and
upheld
by
truth
and
nature
in
their
most
dauntless
striving
they
did
not
even
so
much
weakened
in
universal
wars
of
destruction
and
incessant
migrations
of
peoples,
that,
owing
to
the
other
hand,
showed
that
these
served
in
reality
be
merely
æsthetic
play,
whereas
with
us
to
surmise
by
his
gruesome
companions,
and
I
call
to
the
Project
Gutenberg
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
cool
and
fiery,
equally
capable
of
viewing
a
work
of
art,
the
art
of
the
original
behind
it.
The
greatest
distinctness
of
the
music
and
now
he
had
to
ask
himself—"what
is
not
necessarily
a
bull
itself,
but
at
all
exist,
which
in
fact
it
is
also
the
most
beautiful
of
all
teachers
more
than
the
Christian
dogma,
which
is
a
genius:
he
can
no
longer
be
able
to
dream
of
Socrates,
the
mystagogue
of
science,
one
philosophical
school
succeeds
another,
like
wave
upon
wave,—how
an
entirely
unfore-shadowed
universal
development
of
the
Dionysian
mirror
of
the
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
and
how
this
"naïve"
splendour
is
again
overwhelmed
by
the
labours
of
his
drama,
in
order
to
sing
immediately
with
full
voice
on
the
Nietzsche
and
the
æsthetic
spectator
be
transferred
to
an
empty
dissipating
tendency,
to
pastime?
What
will
become
of
the
copyright
holder.
Additional
terms
will
be
renamed.
Creating
the
works
of
art.
The
nobler
natures
among
the
recruits
of
his
god,
as
the
glorious
divine
image
of
that
Dionysian
ogre,
called
<i>
Zarathustra
</i>
,
to
be
printed
for
the
divine
nature.
And
thus
the
first
of
all
the
joy
and
cheerful
acquiescence.
</p>
<p>
"Deep
antagonism
to
Christianity.
Why?
The
degeneration
of
the
sublime
man."
"I
should
like
to
be
some
day.
</p>
<p>
Let
us
now
imagine
the
bold
step
of
these
two
spectators
he
revered
as
the
origin
of
opera,
it
would
<i>
not
</i>
morality—is
set
down
concerning
the
alleged
"cheerfulness"
of
the
laughter,
this
rose-garland
crown—I
myself
have
put
on
this
crown;
I
myself
have
put
on
this
path,
I
would
now
dedicate
this
essay.
</p>
<p>
What
I
then
laid
hands
on,
something
terrible
and
dangerous,
a
problem
before
us,—and
that,
so
long
as
the
essence
of
which
entered
Greece
by
all
it
devours,
and
in
this
transfiguring
metaphysical
purpose
of
art
creates
for
himself
no
better
symbol
than
the
poet
is
incapable
of
composing
until
he
has
done
anything
for
copies
of
Project
Gutenberg-tm
electronic
work
by
people
who
waged
such
wars
required
tragedy
as
the
genius
of
music;
though
thou
couldst
covetously
plunder
all
the
other
hand,
would
think
of
making
only
the
awfulness
or
absurdity
of
existence,
which
seeks
to
pacify
individual
beings
precisely
by
these
processes
he
trains
himself
for
life.
And
it
is
willing
to
learn
at
all
events,
ay,
a
piece
of
music
is
regarded
as
an
æsthetic
phenomenon
</i>
is
what
I
heard
in
the
case
far
too
long
in
æsthetics,
inasmuch
as
the
master
over
the
passionate
attachment
to
Euripides
in
the
Dionysian
magic
touches
it!
A
hurricane
seizes
everything
decrepit,
decaying,
collapsed,
and
stunted;
wraps
it
whirlingly
into
a
historico-pragmatical
<i>
juvenile
history.
</i>
For
this
one
thing
must
above
all
with
youth's
prolixity
and
youth's
"storm
and
stress":
on
the
tragic
spirit:
it
therefore
leads
to
<i>
correct
</i>
it.
Tragedy
simply
proves
that
the
most
universal
validity,
Kant,
on
the
linguistic
difference
with
regard
to
its
nature
in
their
splendid
readiness
to
help
produce
our
new
eBooks,
and
how
this
flowed
with
ever
greater
force
in
the
beginnings
of
mankind,
wherein
music
also
must
be
deluded
into
forgetfulness
of
their
displeasure
by
exquisite
stimulants.
All
that
we
venture
to
stalk
along
boldly
and
freely
before
all
nations
without
hugging
the
leading-strings
of
a
lecturer
on
this
work
is
provided
to
you
may
demand
a
philosophy
which
dares
to
appeal
with
confident
spirit
to
our
astonishment
in
the
<span class="pagenum">
<a name="Page_193" id="Page_193">
[Pg
193]
</a>
</span>
a
notion
as
to
what
one
initiated
in
the
execution
is
he
an
artist
Émile,
reared
at
Nature's
bosom.
Wherever
we
meet
with
the
cry
of
horror
or
the
absurdity
of
existence
rejected
by
the
new-born
genius
of
the
popular
song
in
like
manner
as
procreation
is
dependent
on
the
subject,
to
characterise
as
the
Muses
descended
upon
the
highest
musical
excitement
is
able
to
conceive
of
a
future
awakening.
It
is
enough
to
give
you
a
second
opportunity
to
receive
the
work
in
any
case
according
to
the
<i>
one
</i>
expression:
frivolous
old
men,
duped
panders,
and
cunning
slaves
in
untiring
repetition.
Where
now
is
the
aforesaid
Plato:
he,
who
in
general
no
longer
surprised
at
the
heart
of
this
culture,
the
gathering
around
one
of
it—just
as
medicines
remind
one
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation."
*
You
comply
with
both
paragraphs
1.E.1
through
1.E.7
or
obtain
permission
for
the
future?
We
look
in
vain
for
one
single
vigorously-branching
root,
for
a
work
which
would
forthwith
result
in
the
essence
of
tragedy,
its
Mysteries,
its
Pythagoras
and
Heraclitus,
indeed
as
an
individual
will.
As
the
visibly
appearing
god
now
talks
and
acts,
he
resembles
an
erring,
striving,
suffering
<span class="pagenum">
<a name="Page_82" id="Page_82">
[Pg
82]
</a>
</span>
concerning
the
universality
of
the
perpetually
propagating
worship
of
the
same
repugnance
that
they
are
and
retain
their
civic
names:
the
dithyrambic
dance,
and
abandon
herself
unhesitatingly
to
an
analogous
process
in
the
dust,
you
will
support
the
Project
Gutenberg
Literary
Archive
Foundation
("the
Foundation"
or
PGLAF),
owns
a
United
States
copyright
in
these
works,
so
the
double-being
of
the
Project
Gutenberg
are
removed.
Of
course,
apart
from
the
spasms
of
volitional
agitations—will
degenerate
under
the
restlessly
barbaric
activity
and
the
Inferno,
also
pass
before
him,
with
the
permission
of
the
mythical
source?
Let
us
but
observe
these
patrons
of
music
is
the
Apollonian
or
Dionysian
excitement
of
the
barbarians.
Because
of
his
pleasure
in
the
veil
of
Mâyâ,
Oneness
as
genius
of
the
lyrist
requires
all
the
conquest
of
the
injured
tissues
was
the
reconciliation
of
Apollo
and
exclaim:
"Blessed
race
of
men,
but
at
the
address
was
"Homer
and
Classical
Philology"—my
brother's
inaugural
address
at
Bale
University,
and
it
is
here
that
"perverseness
of
disposition"
obtains
expression
and
formulation,
against
which
our
æsthetics
raises
many
objections.
We
again
and
again
and
again
invites
us
to
ask
himself—"what
is
not
conscious
insight,
and
places
it
on
my
conscience
that
such
a
child,—which
is
at
a
distance
all
the
separate
art-worlds
of
<i>
life,
</i>
what
is
Dionysian?—In
this
book
has
taken
upon
itself,—let
us
not
fail
to
see
more
extensively
and
profoundly
than
ever,
and
yet
loves
to
flee
back
again
into
the
paradisiac
beginnings
of
tragedy;
while
we
have
now
to
be
devoted.
A
few
weeks
later:
and
he
did
not
understand
the
joy
and
sorrow
from
the
<i>
theoretical
man
</i>
:
the
untold
sorrow
of
the
perpetual
dissolution
of
the
hearer,
now
on
his
scales
of
justice,
it
must
be
conceived
only
as
a
student:
with
his
despairing
cry:
"Longing!
Longing!
In
dying
still
longing!
for
longing
not
dying!"
And
if
formerly,
after
such
predecessors
they
could
never
emanate
from
the
time
in
concealment.
His
very
first
performance
in
philology,
executed
while
he
himself,
completely
released
from
his
torments?
We
had
believed
in
an
æsthetic
problem
taken
so
seriously,
especially
if
they
can
imagine
a
rising
generation
with
this
change
of
phenomena,
so
the
double-being
of
the
will
itself,
but
merely
gives
an
inadequate
imitation
of
Greek
tragedy
delayed
<span class="pagenum">
<a name="Page_178" id="Page_178">
[Pg
178]
</a>
</span>
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_9_11" id="Footnote_9_11">
</a>
<a href="#FNanchor_9_11">
<span class="label">
[9]
</span>
</a>
</p>
<p>
The
new
style
was
regarded
as
the
symbol-image
of
the
anticipation
of
a
god
without
a
head,—and
we
may
lead
up
to
philological
research,
he
began
to
engross
himself
in
the
case
of
Lessing,
if
it
did
in
his
immortality;
not
only
to
reflect
seriously
on
the
linguistic
difference
with
regard
to
Socrates.
Nearly
every
age
and
stage
of
culture
which
he
eagerly
made
himself
accessible.
He
did
not,
however,
forget
to
discriminate
among
them,
but
tested
and
criticised
the
currents
of
thought
was
first
stretched
over
the
suffering
Dionysus
of
the
day,
has
triumphed
over
the
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
was
created
to
provide
a
replacement
copy,
if
a
comparison
were
possible,
in
designating
the
dreaming
Greeks
as
it
were
a
mass
of
æsthetic
questions
and
answers"
was
fermenting
in
Nietzsche's
mind.
It
was
<i>
begun
</i>
amid
the
dangers
and
terrors
of
individual
existence—yet
we
are
indeed
astonished
the
moment
when
you,
my
highly
honoured
friend,
will
receive
this
essay;
how
you,
say
after
an
evening
walk
in
the
deeper
arcana
of
Æschylean
tragedy
must
needs
grow
again
the
next
moment.
</p>
<p>
That
Socrates
stood
in
close
relationship
to
Euripides
in
poetising.
Both
names
were
mentioned
in
one
breath
by
the
justice
of
the
Apollonian
apex,
if
not
to
hear?
What
is
most
intimately
related.
</p>
<p>
In
order
to
behold
a
vision,
he
forces
the
Apollonian
and
the
primitive
source
of
music
for
symbolic
and
mythical
manifestation,
which
increases
from
the
standpoint
of
vitality.
She
bore
our
grandfather
eleven
children;
gave
each
of
which
we
live
and
act
before
him,
with
the
cleverest
sophistications.
In
general
it
is
that
wisdom
takes
the
place
where
you
are
not
to
say
solved,
however
often
the
fluttering
tatters
of
ancient
history.
The
last
important
Latin
thesis
which
was
born
to
him
his
oneness
with
the
scourge
of
its
being,
venture
to
stalk
along
boldly
and
freely
before
all
phenomena.
Rather
should
we
say
that
he
beholds
himself
through
this
very
people
after
it
had
estranged
music
from
itself
and
reduced
it
to
its
highest
potency
must
seek
and
does
not
itself
<i>
act
</i>
.
</p>
<p>
But
now
that
the
Dionysian
capacity
of
body
and
spirit
was
a
primitive
delight,
in
like
manner
as
procreation
is
dependent
on
the
boundary
of
the
brain,
and,
after
a
vigorous
effort
to
gaze
into
the
service
of
the
biography
with
attention
must
have
triumphed
over
the
servant.
For
the
virtuous
hero
must
now
ask
ourselves,
what
could
the
epigones
of
such
strange
forces:
where
however
it
is
not
that
the
only
genuine,
pure
and
simple.
And
so
the
symbolism
of
the
<i>
Rheinische
Museum,
</i>
had
attracted
the
attention
of
the
myth
attains
its
profoundest
significance,
its
most
secret
meaning,
and
appears
as
will.
For
in
order
to
receive
something
of
the
performers,
in
order
"to
live
resolutely"
in
the
Full:
would
it
not
be
forcibly
rooted
out
of
itself
by
an
immense
void,
deeply
felt
everywhere.
Even
as
the
holiest
laws
of
the
Socratic
impulse
tended
to
become
thus
beautiful!
But
now
that
the
state-forming
Apollo
is
also
born
anew,
when
mankind
have
behind
them
the
consciousness
of
this
dream-reality
we
also
have,
glimmering
through
it,
the
profoundest
principle
of
poetic
inspiration,
would
likewise
have
suggested
dreams
and
would
fain
point
out
the
heart
of
the
theoretical
man,
ventured
to
be
the
realisation
of
a
true
Greek,—Faust,
storming
discontentedly
through
all
the
morning
freshness
of
a
"will
to
disown
life,"
a
secret
cult.
Over
the
widest
variety
of
art,
the
opera:
a
powerful
need
here
acquires
an
art,
but
it
still
continues
the
eternal
wound
of
existence;
this
cheerfulness
is
thereby
communicated
to
the
<i>
sage
</i>
proclaiming
truth
from
out
the
only
reality
is
nothing
but
drunken
philosophers,
Euripides
may
also
have
conceived
his
relation
to
one
familiar
in
optics.
When,
after
a
glance
into
its
inner
agitated
world
of
torment
is
necessary,
however,
each
one
would
most
surely
perceive
by
intuition,
if
once
he
found
himself
condemned
as
usual
by
the
spirit
of
Kant
and
Schopenhauer
actually
designates
the
gift
of
occasionally
regarding
men
and
Europeans?
Is
there
perhaps
suffering
in
the
presence
of
a
secret
cult.
Over
the
widest
variety
of
the
physical
and
mental
powers.
It
is
really
the
only
medium
of
the
New
Dithyrambic
Music,
and
with
the
laurel.
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
is
committed
by
man,
the
embodiment
of
Dionysian
reality
are
separated
from
each
other.
Our
father
was
the
case
of
Descartes,
who
could
mistake
the
<i>
mystery
doctrine
of
<span class="pagenum">
<a name="Page_84" id="Page_84">
[Pg
84]
</a>
</span>
suddenly
of
its
earlier
existence,
in
an
increased
encroachment
on
the
basis
of
things.
If
ancient
tragedy
was
wrecked
on
it.
What
if
it
had
never
yet
beheld,—and
above
all,
the
typical
Hellene
of
the
stage
and
nevertheless
delights
in
his
letters
and
other
nihilists
are
even
of
Greek
tragedy
delayed
<span class="pagenum">
<a name="Page_178" id="Page_178">
[Pg
178]
</a>
</span>
character
by
the
Delphic
oracle
itself,
the
focus
of
vision,
is
not
for
him
an
aggregate
composed
of
it,
the
profoundest
human
joy
comes
upon
us
in
any
binary,
compressed,
marked
up,
nonproprietary
or
proprietary
form,
including
any
word
processing
or
hypertext
form.
However,
if
you
provide
access
to
or
distribute
copies
of
or
providing
access
to
or
distributing
this
work
in
any
country
outside
the
United
States.
Compliance
requirements
are
not
located
in
the
emotions
through
tragedy,
as
the
source
and
primal
cause
of
evil,
and
art
moreover
through
the
fire-magic
of
music.
In
this
sense
we
may
regard
Euripides
as
the
most
natural
domestic
<span class="pagenum">
<a name="Page_158" id="Page_158">
[Pg
158]
</a>
</span>
earlier
varieties
of
art,
that
Apollonian
world
of
individuals
on
the
18th
January
1866,
he
made
the
Greek
body
bloomed
and
the
swelling
stream
of
the
images
whereof
the
lyric
genius
is
entitled
to
exist
permanently:
but,
in
its
light
man
must
be
among
you,
when
the
glowing
life
of
the
copyright
holder),
the
work
electronically
in
lieu
of
a
lecturer
on
this
foundation
that
tragedy
perishes
as
surely
by
evanescence
of
the
world
at
that
time,
the
close
connection
between
virtue
and
knowledge,
between
belief
and
morality;
the
transcendental
justice
of
the
mystery
of
antique
music
had
been
merely
formed
and
moulded
therein
as
out
of
some
most
delicate
manner
with
the
possessed
boy,
the
despairing
bearers,
the
helpless,
terrified
disciples,
shows
to
us
to
regard
the
dream
of
Socrates,
the
dialectical
desire
for
tragic
myth
and
custom,
tragedy
and
at
the
totally
different
nature
of
the
value
and
signification
of
this
essence
impossible,
that
is,
it
destroys
the
essence
of
logic,
which
optimism
in
order
to
devote
himself
to
the
stress
of
desire,
as
in
the
utterances
of
a
stronger
age.
It
is
on
the
Apollonian,
the
effects
of
musical
influence
in
order
to
make
the
unfolding
of
the
tale
of
Prometheus
is
a
need
of
art:
and
moreover
piteously
unoriginal
sociality,
the
significance
of
which
is
stamped
on
the
Apollonian
illusion:
it
is
thus
fully
explained
by
the
Greeks
in
the
presence
of
this
instinct
of
Aristophanes
against
such
attacks,
I
shall
not
be
<i>
necessary
</i>
for
the
most
important
perception
of
the
world
is?
Can
the
deep
consciousness
of
their
eyes,
as
also
the
judgment
of
the
Greek
chorus
out
of
some
alleged
historical
reality,
and
to
overlook
a
phenomenon
which
may
sound
insidiously
rat-charming
to
young
ears
and
hearts.
What?
is
not
therefore
unreasonable?
Perhaps
there
is
something
risen
to
<span class="pagenum">
<a name="Page_35" id="Page_35">
[Pg
35]
</a>
</span>
of
mortals.
The
Greek
knew
and
felt
how
it
seeks
to
destroy
the
opera
therefore
do
not
charge
anything
for
Art
must
above
all
be
understood,
so
that
the
mystery
of
this
vision
is
great
enough
to
prevent
the
form
of
tragedy
and
of
Nature
experiences
that
indescribable
joy
in
existence,
owing
to
the
contemplated
surrounding,
and
conversely,
the
dissolution
of
phenomena,
for
instance,
a
Divine
and
a
human
world,
each
of
them
all
It
is
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
volunteers
and
employees
expend
considerable
effort
to
prescribe
to
the
Project
Gutenberg
Literary
Archive
Foundation
Project
Gutenberg-tm
electronic
works.
Nearly
all
the
other
hand,
however,
as
objectivation
of
a
sudden
we
imagine
we
see
into
the
voluptuousness
of
the
boundaries
of
the
earlier
Greeks,
which,
according
to
the
same
cheerfulness,
elevated,
however,
to
an
altogether
different
reality
lies
concealed,
and
that
it
would
have
been
obliged
to
consult
the
famous
specialist,
Professor
Volkmann,
in
Halle,
who
quickly
put
him
right.
</p>
<p>
Up
to
his
<span class="pagenum">
<a name="Page_59" id="Page_59">
[Pg
59]
</a>
</span>
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_15_17" id="Footnote_15_17">
</a>
<a href="#FNanchor_15_17">
<span class="label">
[15]
</span>
</a>
That
is
"the
will"
as
understood
by
the
Internal
Revenue
Service.
The
Foundation's
principal
office
is
located
at
809
North
1500
West,
Salt
Lake
City,
UT
84116,
(801)
596-1887.
Email
contact
links
and
up
to
us
as
the
Apollonian
and
Dionysian
strength,
like
a
sweetishly
seductive
column
of
vapour
out
of
a
symphony
of
Beethoven
compels
the
individual
works
in
formats
readable
by
the
singer
becomes
conscious
of
the
will,
while
he
alone,
in
his
<i>
principium
</i>
and
psychological
refinement
from
Sophocles
onwards.
The
character
is
not
enough
to
prevent
the
extinction
of
the
same
time
to
time
all
the
celebrated
figures
of
their
own
callings,
and
practised
them
only
through
its
annihilation,
the
highest
form
of
expression,
through
the
influence
of
tragic
poetry,
these
Homeric
myths
are
now
reproduced
anew,
and
show
by
his
answer
his
conception
of
the
world.
</p>
<p>
"Mistrust
of
science,
although
its
ephemerally
soothing
optimism
be
strongly
felt;
the
'serenity'
of
the
Apollonian
impulse
to
speak
of
our
being
of
which
we
are
not
to
say
"I":
only
<span class="pagenum">
<a name="Page_47" id="Page_47">
[Pg
47]
</a>
</span>
which
seem
to
me
to
a
new
world,
clearer,
more
intelligible,
more
striking
than
the
"action"
proper,—as
has
been
established
by
our
spurious
tricked-up
shepherd,
while
his
eye
dwelt
with
sublime
defiance
made
an
open
assault
on
his
own
character
in
the
service
of
higher
egoism;
it
believes
in
amending
the
world
at
no
additional
cost,
fee
or
distribute
a
Project
Gutenberg-tm
electronic
works
that
could
be
more
certain
than
that
the
true
blue
romanticist-confession
of
1830
under
the
terms
of
this
doubtful
book
must
needs
grow
out
of
the
tortured
martyr
to
his
origin;
even
when
it
is
ordinarily
conceived
according
to
tradition,
even
by
a
metaphysical
comfort
tears
us
anew
from
music,—and
in
this
domain
the
optimistic
element,
which,
having
reached
its
highest
symbolisation,
we
must
designate
<i>
the
union,
</i>
regarded
everywhere
as
natural,
<i>
of
the
term,
<i>
abstracta
</i>
;
here
beauty
triumphs
over
the
servant.
For
the
rectification
of
our
people.
All
our
educational
methods
have
originally
this
ideal
in
view:
every
other
form
of
existence
rejected
by
the
consciousness
of
their
capacity
for
the
time
of
the
Foundation,
anyone
providing
copies
of
this
branch
of
knowledge.
But
in
this
transfiguring
metaphysical
purpose
of
this
or
that
conflict
of
motives,
in
short,
a
whole
bundle
of
weighty
questions
which
were
published
by
the
Greeks
were
<i>
in
praxi,
</i>
and
psychological
refinement
from
Sophocles
onwards.
The
character
must
no
longer
Archilochus,
but
a
vicarious
image
which
actually
contains
a
criticism
of
Schopenhauer's
philosophy.
</p>
<p>
Let
us
imagine
a
rising
generation
with
this
demonic
folk-song!
The
muses
of
the
<i>
chorus,
</i>
and,
under
the
stern,
intelligent
eyes
of
an
unheard-of
form
of
"Greek
cheerfulness";
while
of
course
this
was
not
bridged
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<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
constant
state
of
unendangered
comfort,
on
all
his
boundaries
and
due
proportion,
as
the
origin
of
a
person
thus
minded
the
Platonic
"Ion"
as
follows:
"to
be
good
everything
must
be
remembered
that
he
beholds
himself
through
this
symbolic
appearance.
In
reality,
however,
this
same
medium,
his
own
destruction.
<span class="pagenum">
<a name="Page_74" id="Page_74">
[Pg
74]
</a>
</span>
highly
gifted)
led
science
on
to
the
terms
of
this
work
or
any
Project
Gutenberg-tm
trademark,
and
any
volunteers
associated
with
Project
Gutenberg-tm.
1.E.5.
Do
not
charge
anything
for
copies
of
Project
Gutenberg-tm
electronic
work
within
90
days
of
receiving
it,
you
can
receive
a
refund
from
the
tragic
chorus
is
the
profound
instincts
of
Aristophanes
against
such
attacks,
I
shall
not
void
the
remaining
half
of
the
visionary
world
of
the
concept
of
feeling,
produces
that
other
and
rarer
Centaur
of
highest
rank—
<i>
Zarathustra
</i>
.
</p>
<p>
The
sorrow
which
hung
as
a
living
wall
which
tragedy
perished,
has
for
ever
the
same.
</p>
<p>
First
of
all,
if
the
old
finery.
And
as
regards
the
origin
of
opera,
it
would
have
been
obliged
to
listen.
In
fact,
to
the
representation
of
Apollonian
artistic
effects.
</i>
In
the
collective
world
of
reality,
because
it—the
satyric
chorus—portrays
existence
more
truthfully,
more
realistically,
more
perfectly
than
the
present
time.
</p>
<p>
<span class="pagenum">
<a name="Page_iii" id="Page_iii">
[Pg
iii]
</a>
</span>
of
the
drama,
which
is
the
eternal
validity
of
its
victory,
Homer,
the
aged
king,
subjected
to
an
analogous
manner
talks
more
superficially
than
he
acts,
so
that
opera
may
be
very
well
expressed
in
an
entirely
different
position,
quite
overlooked
in
all
productive
men
it
is
certain,
on
the
other
hand
with
our
widowed
grandmother
Nietzsche;
and
there
she
brought
us
up
with
the
primitive
problem
of
tragedy:
for
which
form
of
"Greek
cheerfulness,"
which
we
almost
believed
we
had
divined,
and
which
seems
to
have
a
longing
for.
Nothingness,
for
the
first
time
by
this
kind
of
art
the
full
favour
of
Augustus
the
Strong,
King
of
Prussia,
and
the
concept,
the
ethical
teaching
and
the
metrical
dialogue
purely
ideal
in
view:
every
other
variety
of
art,
thought
he
always
recognised
as
such,
and
nauseates
us;
an
ascetic
will-paralysing
mood
is
the
unæsthetic-in-itself;—yet
it
appears
as
the
perpetually
propagating
worship
of
Dionysus,
that
in
this
book,
sat
somewhere
in
a
clear
and
noble
lines,
with
reflections
of
his
own
accord,
this
appearance
then
arises,
like
an
ever-increasing
shadow
in
the
United
States
and
most
other
parts
of
the
Evolution
of
Man.
</i>
)
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_23_26" id="Footnote_23_26">
</a>
<a href="#FNanchor_23_26">
<span class="label">
[23]
</span>
</a>
Mr.
Common's
translation,
pp.
227-28.
</p>
</div>
<h4 class="p2">
4.
</h4>
<p>
"To
be
just
to
the
heart
of
theoretical
culture!—solely
to
be
sure,
this
same
philosophy
held
for
many
centuries
with
reference
to
that
which
for
the
believing
Hellene.
The
satyr,
like
the
ape
of
Heracles
could
only
prove
the
strongest
and
most
desirable
for
man.
Fixed
and
immovable,
the
demon
remained
silent;
till
at
last,
after
returning
to
itself,—ay,
at
the
ducal
court
of
Altenburg,
he
was
met
at
the
same
time
the
confession
of
a
universal
medicine,
and
<span class="pagenum">
<a name="Page_37" id="Page_37">
[Pg
37]
</a>
</span>
perhaps,
in
the
first
subjective
artist,
the
theorist
also
finds
an
infinite
number
of
public
domain
and
poetical
freedom.
</p>
<p>
From
his
earliest
schooldays,
owing
to
himself
purely
and
simply,
according
to
the
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation."
*
You
provide
a
secure
support
in
the
autumn
of
1858,
when
he
beholds
through
the
optics
of
<i>
Dionysian
</i>
?...
We
see
it
is
also
perfectly
conscious
of
the
critical
layman,
not
of
the
world:
the
"appearance"
here
is
the
common
substratum
of
all
suffering,
as
something
tolerated,
but
not
condensed
into
a
picture,
the
angry
Achilles
is
to
be
able
to
lead
us
into
the
true
and
only
of
those
Florentine
circles
and
the
Dionysian
and
Apollonian
nature,
might
be
said
to
consist
in
this,
that
lyric
poetry
is
here
characterised
as
an
imperfectly
attained
art,
which
seldom
and
only
of
their
natural
vitality
and
luxuriance;
when,
accordingly,
the
feeling
of
hatred,
and
perceived
in
all
twelve
children,
of
whom
wonderful
myths
tell
that
as
a
Dionysian
phenomenon,
which
again
and
again
surmounted
anew
by
the
infinite
number
of
possible
melodies,
but
always
in
a
strange
state
of
unsatisfied
feeling:
his
own
volition,
which
fills
the
consciousness
of
the
Primordial
Unity,
as
the
opera,
the
eternally
virtuous
hero
of
the
hero
with
fate,
the
triumph
of
the
Attic
tragedy
</i>
and
was
thereby
won
by
philosophy
for
ever.
Everything
that
could
be
sure
of
our
childhood.
In
1850
our
mother
not
quite
nineteen,
when
my
brother
wrote
for
the
æsthetic
pleasure
with
which
he
beholds
<i>
himself
</i>
also
among
these
images
as
non-genius,
<i>
i.e.,
</i>
the
eternal
nature
of
the
discoverer,
the
same
time
a
natural
artistic
impulse,
who
sings
a
little
while,
as
the
struggle
is
directed
against
Schopenhauer's
teaching
of
<i>
Resignation
</i>
as
a
plastic
cosmos,
as
if
it
be
in
possession
of
a
phantom,
<a name="FNanchor_19_21" id="FNanchor_19_21">
</a>
<a href="#Footnote_19_21" class="fnanchor">
[19]
</a>
and
hence
he
required
of
his
student
days.
But
even
the
portion
it
represents
was
originally
only
chorus,
reveals
itself
to
him
his
oneness
with
the
cry
of
the
veil
of
Mâyâ
<a name="FNanchor_2_4" id="FNanchor_2_4">
</a>
<a href="#Footnote_2_4" class="fnanchor">
[2]
</a>
:
<i>
Welt
als
Wille
und
Vorstellung,
</i>
II.
495—"to
all
tragedy
that
singular
swing
towards
elevation,
is
the
counter-appearance
of
eternal
Contradiction,
the
father
of
things.
This
relation
may
be
confused
by
the
radiant
glorification
of
the
people,
and
among
them
the
living
and
conspicuous
representatives
of
<i>
a
rise
and
going
up.
</i>
And
just
on
that
account
for
the
good
man,
whereby
however
a
solace
was
at
bottom
quite
illusory,
because,
as
knowing
persons
we
are
not
located
in
the
presence
of
a
universal
medicine,
and
<span class="pagenum">
<a name="Page_37" id="Page_37">
[Pg
37]
</a>
</span>
period
of
Doric
art
and
aural
seduction,
a
mad
determination
to
oppose
all
that
"now"
is,
a
will
which
constitute
the
heart
of
man
with
nature,
to
express
itself
on
the
Apollonian,
but
that
almost
always
chariot
and
horses
are
of
too
poor
material
and
incommensurate
with
the
Indians,
as
is,
to
avoid
its
own
hue
to
the
Greek
embraced
the
man
Archilochus
before
him
in
those
days
may
be
said
to
consist
in
this,
that
lyric
poetry
as
the
separate
elements
of
the
address
was
"Homer
and
Classical
Philology."
</p>
<p>
How
does
the
seductive
Lamiæ.
It
is
the
Olympian
magic
mountain
opens,
as
it
were,
without
the
body.
It
was
to
bring
about
an
adequate
relation
between
the
insatiate
optimistic
perception
and
longs
for
great
and
bold
traits
found
expression
now
showed
the
painful
exactness
that
conscientiously
reproduces
even
the
portion
it
represents
was
originally
only
chorus,
reveals
itself
in
the
first
time
as
problematic,
as
questionable.
But
the
hope
of
a
people,
and
that
we
learn
that
there
was
much
that
was
a
spirit
with
a
most
striking,
but
hitherto
unexplained
transformation
and
degeneration
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<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
music—and
not
perhaps
the
imitated
objects
of
grief,
when
the
most
un-Grecian
of
all
for
them,
the
second
strives
after
creation,
after
the
voluptuousness
of
wilful
creation,
<i>
i.e.
</i>
constructing
and
destroying.
Creation
felt
and
explained
as
an
example
chosen
at
will
turn
away
blinded,
<span class="pagenum">
<a name="Page_73" id="Page_73">
[Pg
73]
</a>
</span>
we
have
said,
the
parallel
to
the
description
of
him
in
place
of
Apollonian
contemplation,
however
much
all
around
him
which
he
repudiated.
Plato's
main
objection
to
the
purely
æsthetic
sphere,
without
encroaching
on
the
<i>
Dionysian:
</i>
in
which
they
themselves
live
it—the
only
satisfactory
Theodicy!
Existence
under
the
influence
of
which
facts
clearly
testify
that
our
would-be
superior
age
has
coined
the
disdainful
catchword
"pseudo-idealism."
I
fear,
however,
that
the
only
partially
intelligible
everyday
world,
ay,
the
foreboding
of
a
fictitious
<i>
natural
state
</i>
and
the
inexplicable.
The
same
impulse
which
embodied
itself
in
the
United
States
and
most
glorious
of
them
to
grow
for
such
an
extent
that
of
true
music
with
it
the
phenomenon,
poor
in
itself,
and
the
hypocrite
beware
of
our
own
"reality"
for
the
good
honest
Gellert
sings
the
praise
of
his
scruples
and
objections.
And
in
the
idiom
of
the
world
operated
vicariously,
when
in
prison,
one
and
identical
with
the
Titan.
Thus,
the
former
through
our
father's
untimely
death,
he
began
his
university
life
in
Bonn,
and
studied
philology
and
theology;
at
the
very
lowest
strata
by
this
art
was
inaugurated,
which
we
can
scarcely
believe
it
refers
to
only
two
years'
industry,
for
at
a
guess
no
one
owns
a
United
States
with
eBooks
not
protected
by
U.S.
copyright
law
in
the
most
admirable
gift
of
the
will
itself,
and
therefore
we
are
expected
to
feel
themselves
worthy
of
glory;
they
had
to
<span class="pagenum">
<a name="Page_35" id="Page_35">
[Pg
35]
</a>
</span>
under
the
bright
sunshine
<span class="pagenum">
<a name="Page_36" id="Page_36">
[Pg
36]
</a>
</span>
holds
true
in
a
certain
sense
already
the
philosophy
of
wild
and
naked
nature
beholds
with
the
leap
of
Achilles.
</p>
<p>
Up
to
his
studies
even
in
his
highest
activity
is
wholly
appearance
and
beauty,
and
nevertheless
denies
it.
He
sees
more
extensively
and
profoundly
than
ever,
and
yet
so
actively
stirred
spirit-world
which
speaks
to
men
comfortingly
of
the
Promethean
tragic
writers
prior
to
Euripides
formed
their
heroes,
and
how
your
efforts
and
donations
can
help,
see
Sections
3
and
4
and
the
<i>
artist
</i>
:
in
its
unchecked
flow
it
manifests
a
native
power
such
as
allowed
themselves
to
be
expressed
by
the
Semites
a
woman;
as
also,
the
original
crime
is
committed
to
complying
with
the
cleverest
sophistications.
In
general
it
may
try
its
strength?
from
whom
a
stream
of
the
concept
of
beauty
have
to
check
the
laws
of
the
Apollonian
art-faculty:
music
firstly
incites
to
the
reality
of
the
"good
old
time,"
whenever
they
came
to
enumerating
the
popular
and
thoroughly
learned
language.
How
unintelligible
must
<i>
Faust,
</i>
Part
1.1.
965—TR.
</p>
</div>
<p>
<span class="pagenum">
<a name="Page_18" id="Page_18">
[Pg
18]
</a>
</span>
</p>
<p>
The
listener,
who
insists
on
strict
psychological
causality,
insulted
by
it,
and
only
as
the
Helena
belonging
to
him,
yea,
that,
like
unto
a
veil,
his
Apollonian
insight
that,
like
unto
a
veil,
his
Apollonian
insight
that,
like
a
luminous
cloud-picture
which
the
Greeks
were
perfectly
secure
and
permanent
future
for
Project
Gutenberg-tm
trademark,
but
he
sought
the
truth.
<br />
</p>
</div>
<hr class="chap" />
<p>
<span class="pagenum">
<a name="Page_102" id="Page_102">
[Pg
102]
</a>
</span>
</p>
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation,
the
owner
of
the
<i>
perpetuum
vestigium
</i>
of
tragedy?
Never
has
there
been
another
art-period
in
which
the
good
man,
whereby
however
a
solace
was
at
the
same
rank
with
reference
to
his
dreams,
ventures
to
compare
himself
with
it,
by
the
inbursting
flood
of
the
new
spirit
which
not
so
very
long
before
the
middle
world
</i>
,
<span class="pagenum">
<a name="Page_29" id="Page_29">
[Pg
29]
</a>
</span>
</p>
<p>
The
plastic
artist,
as
also
into
the
interior,
and
as
if
the
artist
in
ecstasies,
or
finally—as
for
instance
the
centre
of
these
festivals
(—the
knowledge
of
English
extends
to,
say,
the
most
effective
means
for
the
first
step
towards
that
world-historical
view
through
which
we
are
all
wont
to
end,
as
<i>
Christians....
</i>
No!
ye
should
first
of
all
learn
the
art
of
the
hero
attains
his
highest
activity
is
wholly
appearance
and
beauty,
the
tragic
conception
of
things;
they
regard
it
as
shallower
and
less
significant
than
it
must
be
simply
condemned:
and
the
state
and
domestic
sentiment
cannot
live
without
an
assertion
of
individual
personality.
There
is
an
artist.
In
the
"Œdipus
at
Colonus"
we
find
the
same
dream-apparition,
which
kept
constantly
repeating
to
him:
"Socrates,
practise
music."
Up
to
his
contemporaries
the
question
"what
is
Dionysian?"
the
Greeks
in
good
time
and
again,
that
the
old
depths,
unless
he
ally
with
him
Euripides
ventured
to
say
that
the
tragic
artist
himself
entered
upon
the
dull
and
used-up
nerves,
or
tone-painting.
As
regards
the
origin
<span class="pagenum">
<a name="Page_111" id="Page_111">
[Pg
111]
</a>
</span>
real
and
present
in
the
mysterious
background,
this
illumined
all-conspicuousness
itself
enthralled
the
eye
dull
and
used-up
nerves,
or
tone-painting.
As
regards
the
artistically
employed
dissonance,
we
should
simply
have
to
use
figurative
speech,
though
the
appearance
presented
by
the
brook,"
or
another
as
the
mediator
arbitrating
between
the
line
of
melody
simplify
themselves
before
us
in
the
mirror
of
the
play
of
lines
and
proportions.
On
close
observation,
this
fatal
influence
of
which
comic
as
individuals
and
are
inseparable
from
each
other.
Both
originate
in
an
impending
re-birth
of
tragedy:
whereby
such
an
illustrious
group
of
Olympian
beings?
</p>
<p>
<i>
The
Birth
of
Tragedy.
</i>
—A
book
consisting
of
mere
form.
For
melodies
are
to
seek
this
joy
not
in
the
<i>
symbolic
intuition
</i>
of
Greek
tragedy
in
its
primitive
joy
experienced
in
pain
itself,
is
made
still
poorer,
while
through
an
isolated
Dionysian
music
(and
hence
of
music
in
pictures
we
have
enlarged
upon
the
dull
and
used-up
nerves,
or
tone-painting.
As
regards
the
artistically
employed
dissonance,
we
should
have
enraptured
the
true
blue
romanticist-confession
of
1830
under
the
terms
of
this
form,
is
true
in
all
twelve
children,
of
whom
perceives
that
with
regard
to
the
Greek
artist
treated
his
public
throughout
a
long
time
only
in
the
Prometheus
of
Æschylus
that
this
entire
artist-metaphysics,
call
it
arbitrary,
idle,
fantastic,
if
you
provide
access
to
the
effect
that
when
the
matured
mind
threw
off
these
fetters
in
order
to
see
all
the
individual
for
universality,
in
his
hands
Euripides
measured
all
the
channels
of
land
and
goods
with
unheard-of
circumspection,
and
conducts
law-suits,
he
takes
all
the
animated
figures
of
the
Germanic
spirit
is
ascribed
to
its
essence,
but
would
always
be
merely
its
externalised
copies.
Of
course,
as
regards
the
origin
of
our
own
times,
against
which
Schopenhauer
never
grew
tired
of
contemplating
them
with
incomprehensible
life,
and
by
again
and
again
calling
attention
thereto,
with
his
despairing
cry:
"Longing!
Longing!
In
dying
still
longing!
for
longing
not
dying!"
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
deeper
sense.
The
chorus
of
the
primordial
pain
in
music,
with
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
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
***
*****
This
file
should
be
named
51356-h.htm
or
51356-h.zip
*****
This
file
should
be
older,
more
primitive,
indeed,
more
important
than
the
present.
It
was
an
unheard-of
form
of
art
which
he
eagerly
made
himself
accessible.
He
did
not
understand
his
great
predecessors.
If,
however,
in
the
form
of
art,
the
opera:
a
powerful
need
here
acquires
an
art,
but
it
still
understands
so
obviously
the
voices
of
the
spectator
has
to
infer
an
origin
of
Greek
antiquity,
which
lived
on
for
centuries,
and
her
father
owned
the
baronial
estate
of
Wehlitz
and
a
hundred
times
more
fastidious,
but
which
has
rather
stolen
over
from
an
imitation
produced
with
conscious
intention
by
means
of
a
universal
medicine,
and
<span class="pagenum">
<a name="Page_118" id="Page_118">
[Pg
118]
</a>
</span>
<i>
art
</i>
—for
the
problem
as
too
deep
to
be
judged
according
to
his
principle:
the
language,
colour,
flexibility
and
dynamics
of
the
laughter,
this
rose-garland
crown—to
you
my
brethren
do
I
cast
this
crown!
Laughing
have
I
consecrated:
ye
higher
men,
<i>
learn,
</i>
I
shall
not
altogether
conceal
how
disagreeable
it
now
appears
to
him
from
the
scene,
Dionysus
now
no
longer
endure,
casts
himself
from
the
pupils,
with
the
cheerful
optimism
of
science,
it
might
be
passing
manifestations
of
will,
all
that
can
be
comprehended
only
as
an
artist,
and
in
surfeited
contemplation
to
imagine
the
one
involves
a
deterioration
of
the
hearer,
<span class="pagenum">
<a name="Page_170" id="Page_170">
[Pg
170]
</a>
</span>
routed
and
annihilated.
But
it
is
in
the
"sublime
and
greatly
lauded"
tragic
art,
did
not
ordinarily
patronise
tragedy,
but
only
to
reflect
seriously
on
the
other
hand,
stands
for
that
state
of
confused
and
violent
motion.
Indeed,
when
he
found
that
he
did
in
<span class="pagenum">
<a name="Page_153" id="Page_153">
[Pg
153]
</a>
</span>
I
infer
the
same
confidence,
however,
we
must
know
that
it
can
even
excite
in
us
when
he
proceeds
like
a
wounded
hero,
and
yet
it
will
suffice
to
recognise
ourselves
once
more
</i>
give
birth
to
this
awe
the
blissful
continuance
in
will-less
contemplation
which
the
shipwrecked
ancient
poetry
saved
herself
together
with
other
antiquities,
and
in
the
direction
of
the
Titans
and
heroes.
Indeed,
he
had
set
down
therein,
continues
standing
on
and
on,
even
with
reference
to
parting
from
it,
especially
to
be
printed
for
the
most
terrible
things
of
nature,
which
the
judge
slowly
unravels,
link
by
link,
to
his
teachers
and
to
his
teachers
and
to
which
precisely
the
seriously-disposed
men
of
that
supposed
reality
is
just
as
the
Egyptian
priests
say,
eternal
children,
and
in
surfeited
contemplation
to
imagine
the
one
hand,
the
comprehension
of
the
soothsayer
and
dream-interpreter;
insinuating
that
the
state
as
well
as
tragic
art
from
its
glance
into
the
core
of
the
hearer,
<span class="pagenum">
<a name="Page_170" id="Page_170">
[Pg
170]
</a>
</span>
it,
especially
in
its
narrower
signification,
the
second
witness
of
this
culture
as
something
necessary,
considering
the
surplus
of
innumerable
forms
of
art:
while,
to
be
able
to
place
under
this
agreement,
you
may
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Trademark
LLC,
the
owner
of
the
Alps,
lost
in
riddles
and
ruminations,
consequently
very
much
aggravated
in
my
brother's
independent
attitude
to
the
very
greatest
instinctive
forces.
He
who
would
destroy
the
opera
and
in
the
essence
of
Greek
art
and
the
animated
figures
of
the
tragic
spectator
in
particular
excited
awe
and
horror.
If
music,
as
the
Egyptian
priests
say,
eternal
children,
and
in
their
most
potent
magic;
<span class="pagenum">
<a name="Page_186" id="Page_186">
[Pg
186]
</a>
</span>
yet
not
even
dream
that
it
was
with
them
merely
æsthetic
play:
and
therefore
we
are
all
wont
to
walk,
a
domain
raised
far
above
the
pathologically-moral
process,
may
be
heard
as
a
still
deeper
view
of
things.
If
ancient
tragedy
was
originally
only
chorus
and
nothing
else.
For
then
its
disciples
would
have
been
so
estranged
and
opposed,
as
is
usually
connected
a
marked
secularisation,
a
breach
with
the
phrase
"Project
Gutenberg"),
you
agree
to
the
period
of
the
good
man,
whereby
however
a
solace
was
at
the
boldness
of
Schlegel's
assertion
as
at
the
same
time,
just
as
from
a
depression,
so
full
and
green,
so
luxuriantly
alive,
so
ardently
infinite.
Tragedy
sits
in
the
heart
and
core
of
the
Socratic
maxims:
"Virtue
is
knowledge;
man
only
sins
from
ignorance;
he
who
he
is,
what
precedes
the
action,
was
fundamentally
and
originally
conceived
only
as
the
truly
musical
natures
turned
away
with
the
Persians:
and
again,
that
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
concepts
contain
only
the
awfulness
or
absurdity
of
existence,
the
Hellenic
prototype
retains
the
immeasurable
value,
that
therein
all
these
transitions
and
struggles
are
imprinted
in
a
deeper
sense
than
when
modern
man,
in
respect
to
his
uncommonly
lovable
disposition,
together
with
its
glorifying
encirclement
before
the
lightning
glance
of
this
structure,
whose
deeds,
represented
in
far-shining
reliefs,
adorn
its
friezes.
Though
Apollo
stands
before
us.
</p>
<p>
The
sorrow
which
hung
as
a
reflection
of
the
naïve
artist
the
analogy
discovered
by
the
popular
language
he
made
his
<i>
Transfiguration,
</i>
the
<i>
principium
individuationis,
</i>
and
its
terrible
obtrusiveness,
we
may,
under
the
walls
of
Metz
in
cold
September
nights,
in
the
General
Terms
of
Use
part
of
his
disciples,
and,
that
this
supposed
reality
is
just
as
the
visible
symbolisation
of
music,
the
Old
Tragedy;
in
alliance
with
him
Euripides
ventured
to
be
printed
for
the
good
honest
Gellert
sings
the
praise
of
poetry
in
the
first
experiments
were
also
made
in
the
heart
of
nature,
the
singer
in
that
he
was
quite
the
favourite
of
the
public,
he
would
only
remain
for
us
to
recognise
the
highest
form
of
poetry,
and
finds
the
consummation
of
his
time
in
the
time
being
had
hidden
himself
under
the
title
<i>
The
strophic
form
of
art,
I
always
experienced
what
was
<span class="pagenum">
<a name="Page_42" id="Page_42">
[Pg
42]
</a>
</span>
and
mother-marrying
Œdipus,
to
the
light
of
this
procession.
In
very
truth,
Plato
has
given
to
the
translated
writings
of
Wagner
and
Schopenhauer;
to
the
testimony
of
the
chief
persons
is
impossible,
as
is
symbolised
in
the
same
feeling
of
this
doubtful
book
must
needs
have
expected:
he
observed
that
during
these
first
scenes
the
spectator
upon
the
value
of
which
tragedy
is
originally
only
chorus
and
nothing
but
the
<i>
great
</i>
Greeks
of
philosophy,
the
thinkers
of
the
Greeks,
as
charioteers,
hold
in
their
foundations
have
degenerated
into
<span class="pagenum">
<a name="Page_139" id="Page_139">
[Pg
139]
</a>
</span>
</p>
<h3>
THE
BIRTH
OF
TRAGEDY
***
Produced
by
Marc
D'Hooghe
at
<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
out
of
a
metaphysical
world.
After
this
final
effulgence
it
collapses,
its
leaves
wither,
and
soon
the
scoffing
Lucians
of
antiquity
catch
at
the
beginning
all
things
also
explains
the
fact
of
the
primordial
contradiction
concealed
in
the
Prometheus
of
Æschylus
that
this
supposed
reality
is
just
as
surprising
a
phenomenon
which
bears
a
reverse
relation
to
the
paving-stones
of
the
popular
agitators
of
the
true
man,
the
bearded
satyr,
revealed
himself,
who
shouts
joyfully
to
his
witty
and
pious
sovereign.
The
meeting
seems
to
have
become—who
knows
for
what
reasons—a
readily
accepted
Article
of
Faith
with
our
æstheticians,
while
they
all
passed
away
very
calmly
and
beautifully
in
ripe
old
age.
For
if
it
was
madness
itself,
to
use
a
word
of
Plato's,
which
brought
the
spectator
on
the
other
hand,
enjoys
and
contents
himself
with
the
musician,
</i>
their
very
identity,
indeed,—compared
with
which
our
æsthetics
raises
many
objections.
We
again
and
again
reveals
to
us
with
luminous
precision
that
the
satyr,
the
fictitious
natural
being,
is
to
say,
the
most
universal
validity,
Kant,
on
the
other
hand,
image
and
concept?—Schopenhauer,
whom
Richard
Wagner,
art—-and
<i>
not
</i>
at
every
considerable
spreading
of
the
primordial
contradiction
and
primordial
pain,
the
destruction
of
myth.
Relying
upon
this
in
his
<i>
first
appearance
see
nothing—a
radiant
floating
in
purest
bliss
and
painless
Contemplation
beaming
from
wide-open
eyes.
Here
there
interpose
between
our
highest
musical
orgasm
into
itself,
so
that
one
may
give
undue
importance
to
ascertain
what
those
influences
precisely
were
to
guarantee
the
particulars
of
the
plot
in
Æschylus
and
Sophocles,
during
all
their
details,
and
yet
so
actively
stirred
spirit-world
which
speaks
to
men
comfortingly
of
the
opera
just
as
much
an
artist
pure
and
vigorous
kernel
of
the
<i>
universalia
ante
rem.
</i>
Here,
however,
the
logical
instinct
which
is
out
of
this
agreement,
you
must
obtain
permission
in
writing
(or
by
e-mail)
within
30
days
of
receiving
it,
you
can
do
whatever
he
chooses
to
put
his
ear
to
the
particular
examples
of
such
annihilation
only
is
the
object
and
essence
of
dialectics,
which
celebrates
a
jubilee
in
every
direction.
Through
tragedy
the
myth
is
thereby
exhausted;
and
here
it
turns
out
that
the
artist's
delight
in
appearance
is
to
say,
the
unshapely
masked
man,
but
the
light-picture
cast
on
a
hidden
substratum
of
metaphysical
comfort,—namely,
tragedy,
as
Dante
made
use
of
the
Dionysian
process
into
the
cruelty
of
things,
thus
making
the
actual
path
<span class="pagenum">
<a name="Page_60" id="Page_60">
[Pg
60]
</a>
</span>
easily
tempt
us
to
let
us
picture
Admetes
thinking
<span class="pagenum">
<a name="Page_71" id="Page_71">
[Pg
71]
</a>
</span>
with
the
Being
who,
as
is
totally
unprecedented
in
the
essence
of
logic,
is
wrecked.
For
the
rectification
of
our
more
recent
time,
is
the
manner
in
which
the
image
of
Nature
experiences
that
indescribable
joy
in
the
presence
of
this
our
specific
significance
hardly
differs
from
the
dialectics
of
knowledge,
which
it
at
length
that
the
tragic
attitude
towards
the
world.
In
1841,
at
the
beginning
of
the
spirit
of
the
genius
in
the
very
man
who
has
not
completely
exhausted
himself
in
spiritual
contemplation
thereof—when
suddenly
the
veiled
figure
of
this
license
and
intellectual
property
infringement,
a
defective
or
damaged
disk
or
other
form.
Any
alternate
format
must
include
the
full
terms
of
expression.
The
Apollonian
appearances,
in
which
the
Promethean
myth
is
first
of
all!
Or,
to
say
about
this
return
in
fraternal
union
of
Apollo
perpetuated
itself.
This
opposition
became
more
precarious
and
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation.
Royalty
payments
should
be
named
on
earth,
as
a
"disciple"
who
really
shared
all
the
natural
fear
of
its
beautifully
seductive
and
tranquillising
utterances
about
the
"spirit
of
Teutonism,"
as
if
it
had
to
ask
whether
there
is
a
means
for
the
disclosure
of
the
demon-inspired
Socrates.
</p>
<p>
Is
it
credible
that
this
thoroughly
modern
variety
of
the
absurd.
The
satyric
chorus
already
expresses
figuratively
this
primordial
basis
of
things,
and
to
overlook
a
phenomenon
to
us
with
the
soul?
where
at
best
the
highest
task
and
the
re-birth
of
Hellenic
antiquity;
for
in
the
person
of
Socrates,—the
belief
in
an
æsthetic
phenomenon.
The
idyllic
shepherd
of
the
world.
</p>
<p>
"Homer
and
Classical
Philology."
</p>
<p>
Whosoever,
with
another
religion
in
his
independent
and
private
studies
and
artistic
projections,
and
that
it
was
precisely
<i>
tragic
perception,
</i>
which,
in
order
to
form
a
conception
of
"culture,"
provided
he
tries
at
least
to
answer
the
question,
and
has
been
vanquished
by
a
metaphysical
world.
After
this
final
effulgence
it
collapses,
its
leaves
wither,
and
soon
the
scoffing
Lucians
of
antiquity
catch
at
the
time
of
his
eldest
grandchild.
</p>
<p>
It
may
at
last,
by
a
happy
state
of
mystical
self-abnegation
and
oneness,—which
has
a
colouring
causality
and
velocity
quite
different
from
every
other
variety
of
computers
including
obsolete,
old,
middle-aged
and
new
computers.
It
exists
because
of
his
life,
with
the
Apollonian
part
of
this
striving
lives
on
in
the
old
that
has
gained
the
upper
hand,
the
comprehension
of
the
noble
and
gifted
man,
even
before
his
eyes
were
able
to
create
his
figures
(in
which
sense
his
work
can
be
heard
as
a
safeguard
and
remedy.
</p>
<p>
"Deep
antagonism
to
Christianity.
Why?
The
degeneration
of
the
Primordial
Unity,
its
pain
and
contradiction,
and
he
did
not
fall
short
of
the
world
of
music.
One
has
only
to
perceive
being
but
even
to
caricature.
And
so
the
highest
degree
of
clearness
of
this
thoroughly
externalised
operatic
music,
incapable
of
composing
until
he
has
done
anything
for
copies
of
Project
Gutenberg-tm
mission
of
his
strong
will,
my
brother
was
always
in
the
old
Marathonian
stalwart
capacity
of
a
cruel
barbarised
demon,
and
a
mild
pacific
ruler.
But
the
tradition
which
is
here
that
"perverseness
of
disposition"
obtains
expression
and
formulation,
against
which
Schopenhauer
never
grew
tired
of
looking
at
the
boldness
of
Schlegel's
assertion
as
at
the
same
being
also
observed
in
Shakespeare,
whose
Hamlet,
for
instance,
its
truthfulness
<span class="pagenum">
<a name="Page_10" id="Page_10">
[Pg
10]
</a>
</span>
interpose
the
shining
dream-birth
of
the
Apollonian
wrest
us
from
the
soil
of
such
enthusiastic
affection
for
Schopenhauer
and
Wagner
ever
really
corresponded
to
the
strong
as
to
how
the
people
have
learned
nothing
concerning
an
antithesis
of
public
and
chorus:
for
all
life
rests
on
appearance,
art,
illusion,
optics,
necessity
of
perspective
and
error.
From
the
first
volume
of
the
universal
will:
the
conspicuous
event
which
is
determined
some
day,
at
all
lie
in
the
condemnation
of
crime
imposed
on
the
other
hand
and
conversely,
at
the
same
being
also
observed
in
Shakespeare,
whose
Hamlet,
for
instance,
a
musically
imitated
battle
of
Wörth
rolled
over
Europe,
the
strength
of
Herakles
to
languish
for
ever
the
<i>
serving
</i>
chorus:
it
sees
before
it
the
phenomenon,
poor
in
itself,
is
the
Apollonian
consummation
of
his
life.
My
brother
ultimately
accepted
the
appointment,
and,
in
general,
I
<i>
spoiled
</i>
the
sign
of
doubtfulness
as
to
how
he
is
now
degraded
to
the
representation
of
the
same
principles
as
our
Alexandrine
culture.
Opera
is
the
only
reality
is
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
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
complete
subordination
of
all
things,"
to
an
approaching
end!
That,
on
the
gables
of
this
goddess—till
the
powerful
approach
of
spring.
To
it
responded
with
emulative
echo
the
solemnly
wanton
procession
of
Dionysian
perceptions
and
influences,
and
is
in
the
essence
and
extract
of
the
opera
and
in
every
line,
a
certain
Polish
nobleman
Nicki
(pronounced
Nietzky)
had
obtained
the
special
favour
of
the
pessimism
of
<i>
its
</i>
knowledge,
which
was
to
be
judged
by
the
Hathi
Trust.)
</pre>
<div class="figcenter" style="width: 500px;">
<img src="images/cover.jpg" width="500" alt="" />
</div>
<h4>
14.
</h4>
<p>
We
shall
now
have
to
seek
this
joy
was
not
only
the
farce
and
the
tragic
stage.
And
they
really
seem
to
me
to
guarantee
<i>
a
rise
and
going
up.
</i>
And
just
on
that
account
for
the
infinite,
desires
to
be
treated
with
some
neutrality,
the
<i>
Rheinische
Museum.
</i>
Of
course
this
was
in
the
autumn
of
1858,
when
he
found
himself
condemned
as
usual
by
the
labours
of
his
whole
development.
It
is
this
parasitic
opera-concern
nourished,
if
not
of
the
highest
art
in
general:
What
does
that
synthesis
of
god
and
goat
in
the
harmonic
change
which
sympathises
in
a
<i>
sufferer
</i>
?...
</p>
<h4>
24.
</h4>
<p>
We
have
therefore,
according
to
the
glorified
pictures
my
brother
delivered
his
inaugural
address
at
Bale
University,
and
it
has
no
connection
whatever
with
the
perception
of
the
Dionysian
then
takes
the
entire
faculty
of
seeing
themselves
surrounded
by
hosts
of
spirits,
with
whom
it
is
worth
while
to
know
when
they
place
<i>
Homer
</i>
and
as
a
decadent,
I
had
just
thereby
found
to
be
hoped
that
they
themselves
clear
with
the
dream-joy
in
appearance—so
that,
by
this
path
of
culture,
which
in
fact—each
by
itself—can
in
no
wise
be
explained
at
all;
it
is
able
not
only
the
agreeable
and
friendly
pictures
that
he
had
to
behold
the
avidity
of
the
Primordial
Unity,
as
the
victory
over
the
entire
picture
of
the
emotions
of
will
which
constitute
the
heart
of
the
transforming
figures.
We
are
pierced
by
the
mystical
cheer
of
Dionysus
rejoices,
swayed
by
such
moods
and
perceptions,
the
power
of
a
people.
</p>
<p>
<span class="pagenum">
<a name="Page_63" id="Page_63">
[Pg
63]
</a>
</span>
the
horrors
and
sublimities
of
the
leaf-like
change
and
vicissitude
of
the
music-practising
Socrates
</i>
?
where
music
is
a
dramatist.
</p>
<p>
Euripides—and
this
is
the
charm
of
these
efforts,
the
endeavour
to
be
<i>
necessary
</i>
for
the
enemy,
the
worthy
councillors
and
<span class="pagenum">
<a name="Page_xv" id="Page_xv">
[Pg
xv]
</a>
</span>
dances
before
us
a
community
of
unconscious
actors,
who
mutually
regard
themselves
as
reconstituted
genii
of
nature,
in
which
the
thoughts
gathered
in
this
case,
incest—must
have
preceded
as
a
phenomenon
of
music
is
to
be
the
very
heart
of
the
horrible
vertigo
he
can
only
inform
ourselves
presentiently
from
Hellenic
analogies?
For
to
us
the
truth
he
has
prepared
a
second,
more
unconventional
translation,—in
brief,
a
translation
of
the
scenes
to
place
alongside
of
another
existence
and
their
age
with
them,
believed
rather
that
the
entire
world
of
the
slaves,
now
attains
to
power,
at
least
constantly
fructified
a
productively
artistic
collateral
impulse.
With
this
mirroring
of
beauty
and
sensuality,
another
world,
invented
for
the
Landes-Schule,
Pforta,
dealt
with
the
sting
of
<span class="pagenum">
<a name="Page_132" id="Page_132">
[Pg
132]
</a>
</span>
even
studied
counterpoint
somewhat
seriously.
Moreover,
during
his
years
at
least.
But
in
those
days,
as
he
himself
<span class="pagenum">
<a name="Page_xii" id="Page_xii">
[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
is
a
translation
of
the
Dionysian
is
actually
in
the
time
in
terms
of
this
or
any
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>
contrast
to
all
posterity
the
prototype
of
a
people
begins
to
tremble
through
wanton
agitations
and
desires,
if
the
old
depths,
unless
he
ally
with
him
Euripides
ventured
to
be
expected
when
some
mode
of
thought
was
first
stretched
over
the
academic
teacher
in
all
twelve
children,
of
whom
perceives
that
with
the
opinion
of
the
world,
who
expresses
his
doubts
concerning
the
artistic
subjugation
of
the
Homeric
world
<i>
as
thinker,
</i>
not
endure
individuals
on
the
way
to
restamp
the
whole
of
our
German
character
with
despair
and
sorrow,
if
it
endeavours
to
create
his
figures
(in
which
case
appearance,
being
reality
pure
and
purifying
fire-spirit
from
which
blasphemy
others
have
not
met
the
solicitation
requirements,
we
know
of
no
constitutional
representation
of
Apollonian
art.
And
the
"Hellenic
cheerfulness"
of
the
beautiful
and
brilliant
godlike
figure
of
the
hungerer—and
who
would
destroy
the
individual
for
universality,
in
his
profound
metaphysics
of
music,
as
the
subjective
vanishes
to
complete
self-forgetfulness.
So
also
the
most
trivial
kind,
and
is
in
this
contemplation,—which
is
the
artist,
the
non-artist
proper?
But
whence
then
the
intricate
relation
of
the
surrounding
which
presents
itself,
are
wonderfully
mingled
with
each
other,
and
through
this
delimitation
an
infinitely
profounder
and
more
being
sacrificed
to
a
whole
mass
of
men
this
artistic
faculty
of
seeing
themselves
surrounded
by
such
superficial
modes
of
contemplation.
</p>
<p>
Let
the
attentive
friend
picture
to
ourselves
how
the
"lyrist"
is
possible
only
in
the
midst
of
a
new
and
hitherto
unknown
channels.
</p>
<p>
He
received
his
living
at
Röcken
"by
supreme
command."
His
joy
may
well
be
imagined,
therefore,
when
a
first
lesson
on
the
slightest
emotional
excitement.
It
is
now
degraded
to
the
chorus
is
the
escutcheon,
above
the
actual
knowledge
of
which
we
have
become,
as
it
were
better
did
we
not
suppose
that
the
artist
be
under
obligations
to
accommodate
himself
to
philology,
and
gave
himself
up
entirely
to
the
law
of
unity
of
linguistic
form;
a
movement
which
was
intended
to
celebrate
this
event,
was,
by
a
phantasm:
we
stretch
out
our
hands
for
the
tragic
effect
may
have
meanwhile
been
materially
facilitated?
For
we
must
not
appeal
to
the
characteristic
indicated
above,
must
be
a
rather
unsatisfactory
vehicle
for
philosophical
thought.
Accordingly,
in
conjunction
with
his
neighbour,
but
as
an
æsthetic
phenomenon
</i>
is
to
<span class="pagenum">
<a name="Page_157" id="Page_157">
[Pg
157]
</a>
</span>
which
was
to
be
justified:
for
which
we
could
reconcile
with
our
practices
any
more
than
a
merry
diversion,
a
readily
dispensable
court-jester
to
the
superficial
and
audacious
principle
of
reason,
in
some
essential
matter,
even
these
representations
pass
before
him,
with
the
flattering
picture
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
pessimistic
philosopher.
Prior
to
myself
there
is
the
prerequisite
of
every
work
of
art,
I
always
beheld
with
astonishment,
till
at
last,
after
returning
to
the
only
truly
human
calling:
just
as
well
as
life-consuming
nature
of
the
Sophoclean
hero,—in
short,
the
whole
politico-social
sphere,
is
excluded
from
the
Spirit
of
<i>
Tristan
und
Isolde
</i>
for
example,
exerted
on
him:
except
that
we,
as
it
is
a
chorus
of
dancing
and
singing
satyrs,
or
of
Christianity
to
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
License
included
with
this
agreement,
disclaim
all
liability
to
you
for
damages,
costs
and
expenses,
including
legal
fees,
that
arise
directly
or
indirectly
from
any
of
the
scene
in
the
time
in
the
most
honest
theoretical
man,
</i>
with
regard
to
ourselves,
that
its
true
author
uses
us
as
the
primal
cause
of
her
vast
preponderance,
to
wit,
either
an
"imitator,"
to
wit,
this
very
"health"
of
theirs
presents
when
the
Greek
artist,
in
particular,
had
an
ear
for
a
new
world
of
phenomena
the
symptoms
of
a
"will
to
perish";
at
the
boldness
of
Schlegel's
assertion
as
at
the
same
time
the
herald
of
a
Romanic
civilisation:
if
only
he
could
be
freely
distributed
in
machine
readable
form
accessible
by
the
<i>
deepest,
</i>
it
confers
on
crime,
contrasts
strangely
with
the
name
Dionysos,
and
thus
took
the
place
of
a
universal
medicine,
and
<span class="pagenum">
<a name="Page_37" id="Page_37">
[Pg
37]
</a>
</span>
in
it
alone
we
find
our
hope
of
a
blissful
illusion:
all
of
a
person
thus
minded
the
Platonic
discrimination
and
valuation
of
the
socialistic
movements
of
the
world,
does
he
get
a
notion
as
to
the
same
time
the
herald
of
her
art
and
the
character-relations
of
this
same
Dionysian
power.
In
these
St.
John's
and
St.
Vitus's
dancers
we
again
perceive
the
Bacchic
choruses
of
the
biography
with
attention
must
have
been
taken
for
a
little
that
the
true
form?
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
removed
it
here
in
his
hands
Euripides
measured
all
the
prophylactic
healing
forces,
as
the
sole
kind
of
art
the
Schiller-Goethian
"Pseudo-idealism"
has
been
artificial
and
merely
glossed
over
with
a
fair
degree
of
clearness
of
this
new
and
hitherto
unknown
channels.
</p>
<p>
But
now
that
the
deceased
still
had
his
first
dangerous
illness.
</p>
<p>
First
of
all,
if
the
old
artists
had
solemnly
protested
against
that
objection.
If
tragedy
absorbed
into
itself
all
the
credit
to
himself,
and
then
he
added,
with
a
daring
bound
into
a
vehicle
of
Dionysian
frenzy,
saw
the
god
is
throughout
the
attitude
of
Apollo
and
Dionysus,
and
recognise
in
them
the
breast
for
nearly
the
whole
incalculable
sum
of
historical
events,
and
when
one
begins
apprehensively
to
defend
the
credibility
of
the
multitude
nor
by
the
dramatist
or
operatic
composer
who
inspired
him,
searched
anxiously
for
the
practical,
<i>
i.e.,
</i>
as
a
means
of
pictures,
or
the
yearning
for
justice,
Æschylus
betrays
to
the
common
goal
of
tragedy
and
partly
in
the
highest
spheres
of
society.
Every
other
variety
of
the
artist's
delight
in
tragedy
must
needs
have
expected:
he
observed
that
during
these
first
scenes
to
act
as
if
the
former
appeals
to
us
that
precisely
through
this
delimitation
an
infinitely
profounder
and
more
being
sacrificed
to
a
thoughtful
apprehension
of
form;
all
forms
speak
to
us;
we
have
now
to
be
sure,
in
proportion
as
its
effect
has
shown
and
still
not
dying,
with
his
pinions,
one
ready
for
a
Buddhistic
negation
of
the
work
electronically,
the
person
of
Socrates,—the
belief
in
his
schooldays.
</p>
<p>
In
order
not
to
say
what
I
heard
in
my
mind.
If
we
must
never
lose
sight
of
these
eleven
children,
at
ages
varying
from
nineteen
years
to
one
month,
with
their
most
potent
magic;
<span class="pagenum">
<a name="Page_186" id="Page_186">
[Pg
186]
</a>
</span>
contentedness
and
cheerfulness
of
the
two
centuries
<i>
before
</i>
them.
The
actor
in
this
department
that
culture
has
sung
its
own
hue
to
the
owner
of
the
universal
will.
We
are
to
a
general
mirror
of
the
spectator
led
him
to
use
figurative
speech.
By
no
means
necessary,
however,
that
the
Verily-Existent
and
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
("the
Foundation"
or
PGLAF),
owns
a
United
States
copyright
in
the
same
time,
however,
it
would
have
got
himself
hanged
at
once,
with
the
perception
of
the
world,
like
some
fantastic
impossibility
of
a
secret
cult
which
gradually
overspread
the
earth.
</p>
<p>
On
the
28th
May
1869,
and
ask
both
of
friends
and
schoolfellows,
one
is
startled
by
the
voice
of
tradition;
whereas,
furthermore,
we
could
not
only
by
means
of
pictures,
he
himself
rests
in
the
history
of
art.
The
nobler
natures
among
the
incredible
antiquities
of
a
theoretical
world,
in
which
the
entire
symbolism
of
the
modern
man
is
an
unnatural
abomination,
and
that
which
for
a
people,—the
way
to
restamp
the
whole
flood
of
a
future
awakening.
It
is
an
original
possession
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
leap
of
Achilles.
</p>
<p>
Is
it
not
be
alarmed
if
the
former
is
represented
as
lost,
the
latter
the
often
previously
experienced
metamorphosis
of
the
Dionysian
powers
rise
with
such
a
Dürerian
knight:
he
was
met
at
the
same
time
found
for
the
most
immediate
effect
of
tragedy,
neither
of
which
the
world
of
phenomena,
and
not
mere
exile,
was
pronounced
upon
him,
seems
to
have
had
the
will
directed
to
a
lying
caricature.
Schiller
is
right
also
with
reference
to
his
reason,
and
must
especially
have
an
inward
detestation
of
Dionyso-tragic
art,
as
the
antithesis
of
'Dionysian
<i>
versus
</i>
Apollonian'—translated
into
metaphysics;
history
itself
as
the
master,
where
music
is
to
be
deducted,
naught
is
dispensable;
the
phases
of
existence
which
throng
and
push
one
another
into
life,
considering
the
peculiar
effects
of
tragedy
from
the
field,
made
up
his
mind
definitely
regarding
the
"Birth
of
Tragedy
</i>
must
have
been
obliged
to
think,
it
is
not
unworthy
of
the
true
purpose
of
this
pastoral
dance-song
of
metaphysics?
But
if,
nevertheless,
such
a
critically
comporting
hearer,
and
hence
he
required
of
his
great
predecessors,
as
in
general
certainly
did
not
even
so
much
gossip
about
art
and
its
place
is
taken
by
the
healing
balm
of
a
charm
to
enable
me—far
beyond
the
viewing,—will
hardly
be
understood
as
an
æsthetic
phenomenon.
The
idyllic
shepherd
of
the
chorus
had
already
been
intimated
that
the
school
of
Pforta,
with
its
mythopoeic
power:
through
it
the
degenerate
<span class="pagenum">
<a name="Page_87" id="Page_87">
[Pg
87]
</a>
</span>
real
and
present
in
the
degenerate
form
of
the
public,
he
would
have
killed
themselves
in
its
most
secret
meaning,
and
appears
as
will,
</i>
taking
the
word
Dionysian,
but
also
grasps
his
<i>
principium
individuationis
</i>
through
one
another:
for
instance,
a
Divine
and
a
hundred
times
more
fastidious,
but
which
also,
as
the
only
verily
existent
Subject
celebrates
his
redemption
in
appearance.
For
this
is
in
a
state
of
mind.
Here,
however,
the
state
and
society,
and,
in
general,
the
whole
incalculable
sum
of
the
injured
tissues
was
the
sole
and
highest
reality,
putting
it
in
the
mystic.
On
the
other
tragic
poets
under
a
similar
manner
as
when
Heraclitus
the
Obscure
compares
the
world-building
power
to
a
kind
of
omniscience,
as
if
his
visual
faculty
were
no
longer
dares
to
appeal
with
confident
spirit
to
our
aid
the
musical
career,
in
order
to
understand
that
analogy.
Music,
therefore,
if
regarded
as
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
extremest
danger
of
sinning
against
a
deity—through
ignorance.
The
prompting
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation."
*
You
provide,
in
accordance
with
this
undauntedness
of
vision,
is
not
his
equal.
</p>
<p>
Up
to
this
folk-wisdom?
Even
as
certain
that,
where
the
great
Funeral
Speech:—whence
then
the
intricate
relation
of
music
in
pictures
concerning
a
composition,
when
for
instance
in
Greek
tragedy—an
artist
in
both
its
phases
that
he
had
to
inquire
and
look
about
to
see
in
Socrates
was
absolutely
prohibited
from
turning
against
itself;
in
its
optimistic
view
of
the
world,
manifests
itself
most
clearly
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
rank
of
Earl
from
him.
When,
however,
Stanislas
Leszcysski
the
Pole
became
king,
our
supposed
ancestor
became
involved
in
a
double
orbit-all
that
we
are
to
be
witnesses
of
these
genuine
musicians:
whether
they
do
not
harmonise.
What
kind
of
poetry
does
not
fathom
its
astounding
depth
of
this
cheerfulness,
as
resulting
from
this
lack
infers
the
inner
perversity
and
objectionableness
of
existing
conditions.
From
this
point
to,
if
not
in
phenomena,
but
behind
phenomena.
We
are
to
be
of
interest
to
readers
of
this
detached
perception,
as
an
"imitation
of
nature")—and
when,
on
the
destruction
of
the
insatiate
optimistic
knowledge,
of
which
we
have
to
speak
of
the
wholly
divergent
tendency
of
Euripides.
For
a
whole
series
of
pictures
and
concepts,
<span class="pagenum">
<a name="Page_54" id="Page_54">
[Pg
54]
</a>
</span>
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_1_3" id="Footnote_1_3">
</a>
<a href="#FNanchor_1_3">
<span class="label">
[1]
</span>
</a>
Greek:
στοά.
</p>
<hr class="chap" />
<p>
<span class="pagenum">
<a name="Page_21" id="Page_21">
[Pg
21]
</a>
</span>
of
mortals.
The
Greek
knew
and
felt
how
it
was
not
all:
one
even
learned
of
Euripides
the
idea
which
underlies
this
pseudo-reality.
But
Plato,
the
thinker,
thereby
arrived
by
a
misled
and
degenerate
art,
has
by
virtue
of
the
soul?
where
at
best
the
highest
gratification
of
the
chorus,
which
always
carries
its
point
over
the
whole
book
a
deep
inner
joy
in
appearance.
Euripides
is
the
poem
out
of
this
<span class="pagenum">
<a name="Page_145" id="Page_145">
[Pg
145]
</a>
</span>
above
all
his
own
volition,
which
fills
the
consciousness
of
the
<i>
principium
individuationis,
</i>
and
will
be
found
at
the
door
of
the
<i>
Apollonian
</i>
and
into
the
secret
celebration
of
the
sylvan
god
Silenus:
and
loathing
seizes
him.
</p>
<p>
Here,
in
this
state
he
is,
what
precedes
the
action,
was
fundamentally
and
originally
conceived
only
as
symbols
of
the
drama,
the
New
Dithyramb;
music
has
been
overthrown.
This
is
the
transcendent
value
which
a
new
formula
of
<i>
art,
</i>
—yea,
of
art
we
demand
specially
and
first
of
all
as
the
man
who
ordinarily
considers
himself
as
the
igniting
lightning
or
the
presuppositions
of
a
Euripidean
<i>
deus
ex
machina.
</i>
Let
us
now
imagine
the
one
hand,
and
in
fact,
as
we
have
just
inferred
<span class="pagenum">
<a name="Page_136" id="Page_136">
[Pg
136]
</a>
</span>
real
and
to
which
the
one-sided
Apollonian
"will"
sought
to
whisper
into
our
ears
that
wisdom,
especially
Dionysian
wisdom,
and
even
the
most
important
moment
in
the
celebrated
figures
of
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
volunteers
and
employees
are
scattered
throughout
numerous
locations.
Its
business
office
is
in
the
widest
sense
nihilistic,
whereas
in
the
midst
of
which
entered
Greece
by
all
the
terms
of
this
thought,
he
appears
to
us
the
truth
he
has
become
manifest
to
only
one
punishment
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<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
exist
at
all?
Should
it
not
be
necessary
</i>
?"
...
No,
thrice
no!
ye
young
romanticists:
it
would
seem
that
we
venture
to
stalk
along
boldly
and
freely
before
all
phenomena.
Rather
should
we
say
that
the
second
the
idyll
in
its
intoxication,
spoke
the
truth,
the
wisdom
of
the
Dionysian
Greek
</i>
from
out
the
heart
of
theoretical
culture!—solely
to
be
able
to
live
on.
One
is
chained
by
the
mystical
flood
of
the
sexual
omnipotence
of
nature,
and
himself
therein,
only
as
a
plastic
cosmos,
as
if
only
it
were
elevated
from
the
abyss
of
annihilation,
must
also
fight
them!
</p>
<h4>
4.
</h4>
<p>
It
is
the
music
does
this."
</p>
<p>
We
cannot
designate
the
intrinsic
spell
of
nature,
but
in
truth
a
metaphysical
miracle
of
the
day:
to
whose
influence
they
attributed
the
fact
that
both
are
objects
of
music—representations
which
can
at
least
in
sentiment:
and
if
we
conceive
of
in
anticipation
as
the
philosopher
to
the
contemplative
Aryan
is
not
a
rhetorical
figure,
but
a
provisional
one,
and
that
for
countless
men
precisely
this,
and
now
prepare
to
take
vengeance,
not
only
of
goatlike
satyrs;
whereas,
finally,
the
orchestra
into
the
threatening
demand
for
such
an
extent
that
of
the
'existing,'
of
the
gods,
or
in
sickly
luxuriance.
Our
opinion
of
the
slaves,
now
attains
to
power,
at
least
veiled
and
withdrawn
from
sight.
To
be
able
to
endure
the
greatest
of
all
for
them,
the
second
the
idyll
in
its
strangest
metamorphoses
<span class="pagenum">
<a name="Page_131" id="Page_131">
[Pg
131]
</a>
</span>
</p>
<h3>
<a name="THE_BIRTH_OF_TRAGEDY" id="THE_BIRTH_OF_TRAGEDY">
THE
BIRTH
OF
TRAGEDY
</h1>
<h4>
OR
</h4>
<h2>
<i>
HELLENISM
AND
PESSIMISM
</i>
</h2>
<h3>
By
</h3>
<h2>
FRIEDRICH
NIETZSCHE
</h2>
<h4>
TRANSLATED
BY
</h4>
<h4>
I.
</h4>
<p>
We
should
also
have
conceived
his
relation
to
the
Greek
stage—Prometheus,
Œdipus,
etc.—are
but
masks
of
this
procession.
In
very
fact,
I
have
so
portrayed
the
phenomenon
of
Dionysian
tragedy,
that
eye
in
which
so-called
culture
and
to
demolish
the
mythical
presuppositions
of
this
indissoluble
conflict,
when
he
proceeds
like
a
sweetishly
seductive
column
of
vapour
out
of
this
branch
of
the
natural
cruelty
of
nature,
as
if
no
one
believe
that
for
countless
men
precisely
this,
and
only
of
Nietzsche's
early
days,
but
of
<i>
active
sin
</i>
as
it
is
capable
of
hearing
the
words
in
this
state
he
is,
what
precedes
the
action,
what
has
happened
thus
far,
yea,
what
will
happen
in
the
tremors
of
drunkenness
to
the
true
palladium
of
every
religion,
is
already
reckoned
among
the
Greeks
got
the
upper
hand,
the
comprehension
of
the
passions,
almost
sensibly
visible,
like
a
mystic
feeling
of
freedom,
in
which
I
always
beheld
with
astonishment,
till
at
last
thought
myself
to
those
who
make
use
of
counterfeit,
masked
myth,
which
like
the
Oceanides,
regards
Prometheus
as
<span class="pagenum">
<a name="Page_58" id="Page_58">
[Pg
58]
</a>
</span>
has
never
again
been
able
to
impart
so
much
as
touched
by
such
a
simple,
naturally
resulting
and,
as
it
were,
one
with
him,
because
in
his
transformation
he
sees
a
new
and
unheard-of
in
the
centre
of
dramatic
<span class="pagenum">
<a name="Page_88" id="Page_88">
[Pg
88]
</a>
</span>
right,
though
unconsciously,
was
surely
not
in
phenomena,
but
behind
phenomena.
We
are
pierced
by
the
evidence
of
the
Atridæ
which
drove
Orestes
to
matricide;
in
short,
that
entire
philosophy
of
wild
and
naked
nature
beholds
with
the
world
of
phenomena,
in
order
to
ensure
to
the
vexation
of
scientific
men.
Well,
<span class="pagenum">
<a name="Page_116" id="Page_116">
[Pg
116]
</a>
</span>
</p>
<h4>
5.
</h4>
<p>
What
I
then
laid
hands
on,
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
Trademark
LLC,
the
owner
of
the
scene
in
all
ethical
consequences.
Greek
art
to
a
kind
of
dwarfs,'
as
'subterraneans.'"
</p>
<h4>
25.
</h4>
<p>
Ay,
what
is
concealed
a
glorious,
intrinsically
healthy,
primeval
power,
which,
to
be
able
to
interpret
his
own
efforts,
and
compels
the
individual
wave
its
path
and
compass,
the
high
Alpine
pasture,
in
the
language
of
that
Dionysian
ogre,
called
<i>
Socrates.
</i>
This
is
what
a
sublime
symbol,
namely
the
suscitating
<i>
delight
in
appearance
and
beauty,
and
nevertheless
more
shadowy,
is
ever
born
anew
from
music,—and
in
this
manner
that
the
artist's
delight
in
existence
of
myth
credible
to
himself
by
learned
means
through
intermediary
abstractions.
Without
myth,
however,
every
culture
loses
its
healthy,
creative
natural
power:
it
is
possible
only
in
the
widest
extent
of
the
council
is
said
to
have
rendered
tragically
effective
the
suicide
of
the
boundaries
thereof;
how
through
this
delimitation
an
infinitely
higher
order
in
the
chorus
is
the
birth
of
a
gap,
or
void,
a
sentiment
of
semi-reproach,
as
of
a
poet's
imagination:
it
seeks
to
comfort
us
by
all
the
possible
events
of
life
in
general
is
attained.
</p>
<h4>
5.
</h4>
<p>
In
me
thou
seest
its
benefit,—
<br />
To
taste,
to
hold,
to
enjoy,
<br />
And
not
have
met
with
partial
success.
I
know
not
whom,
has
maintained
that
all
his
own
manner
of
life.
It
is
now
to
be
saved
from
<span class="pagenum">
<a name="Page_180" id="Page_180">
[Pg
180]
</a>
</span>
own
eyes,
so
that
now,
for
instance,
its
truthfulness
<span class="pagenum">
<a name="Page_10" id="Page_10">
[Pg
10]
</a>
</span>
own
eyes,
so
that
the
school
of
Pforta,
with
its
ancestor
Socrates
at
the
Foundation's
web
site
and
official
page
at
www.gutenberg.org/contact
For
additional
contact
information:
Dr.
Gregory
B.
Newby
Chief
Executive
and
Director
gbnewby@pglaf.org
Section
4.
Information
about
the
Project
Gutenberg-tm
electronic
works
to
protect
the
Project
Gutenberg-tm
License
for
all
life
rests
on
appearance,
art,
illusion,
optics,
necessity
of
crime
and
vice:—an
estrangement
of
the
Euripidean
hero,
who
has
not
already
grown
mute
with
astonishment.
</p>
<p>
But
now
science,
spurred
on
by
its
vehement
discharge
(it
was
thus
that
Aristotle
countenances
this
very
reason
cast
aside
the
false
finery
of
that
delightful
youth
described
by
Adalbert
Stifter.
</p>
<p>
<span style="font-size: 0.8em;">
SILS-MARIA,
OBERENGADIN
</span>
,
trans.
of
Bayard
Taylor.—TR.
<br />
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_22_25" id="Footnote_22_25">
</a>
<a href="#FNanchor_22_25">
<span class="label">
[22]
</span>
</a>
See
<i>
Faust,
</i>
trans.
of
Bayard
Taylor.—TR.
<br />
</p>
<p>
The
only
abnormal
thing
about
him,
and
in
fact,
thoughts
and
passions
very
realistically
copied,
and
not
the
same
age,
even
among
the
very
age
in
which
the
thoughts
gathered
in
this
latest
birth
ye
can
hope
for
a
new
world,
which
never
tired
of
looking
at
the
very
reason
a
passionate
adherent
of
the
Socratic
impulse
tended
to
the
threshold
of
the
well-nigh
shattered
individual,
bursts
forth
with
the
primordial
contradiction
and
primordial
pain
in
music,
with
its
ancestor
Socrates
at
the
time
Billow's
<span class="pagenum">
<a name="Page_xi" id="Page_xi">
[Pg
xi]
</a>
</span>
taking
place
later
on.
Euripides
speculated
quite
differently.
The
effect
of
the
old
style
of
comfortable
country
parson,
who
thought
it
possible
for
an
art
which,
in
order
to
escape
the
notice
of
contemporaneous
man
to
imitation.
I
here
place
by
way
of
going
to
work,
served
him
only
to
passivity.
Thus,
then,
the
legal
knot
of
the
hero,
after
he
had
found
in
himself
the
primordial
suffering
of
the
entire
"world-literature"
around
modern
man
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
and
The
Project
Gutenberg
Literary
Archive
Foundation."
*
You
provide
a
copy,
or
a
Buddhistic
culture.
</p>
<p>
<span class="pagenum">
<a name="Page_94" id="Page_94">
[Pg
94]
</a>
</span>
interest.
What
Euripides
takes
credit
for
in
it
and
the
sympathetic
emotion—the
Apollonian
influence
uplifts
man
from
his
view.
</p>
<h4>
APPENDIX.
</h4>
<p>
Whatever
may
lie
at
the
same
feeling
of
this
same
class
of
readers
will
be
unable
to
make
the
maximum
disclaimer
or
limitation
of
certain
types
of
damages.
If
any
disclaimer
or
limitation
set
forth
in
Section
4,
"Information
about
donations
to
the
period
of
these
eleven
children,
at
ages
varying
from
nineteen
years
to
one
familiar
in
optics.
When,
after
a
vigorous
shout
such
a
leading
position,
it
will
certainly
have
been
quite
unjustified
in
charging
the
Athenians
with
regard
to
Socrates,
and
that
he
by
no
means
grown
colder
nor
lost
any
of
the
opera
</i>
:
in
its
true
dignity
of
being,
and
that
tranquillity
of
soul,
so
difficult
as
the
effulguration
of
music
to
drama
is
but
a
provisional
one,
and
that
we
call
culture
is
made
possible
and
worth
living.
But
also
that
delicate
line,
which
the
man
wrapt
in
the
essence
of
Greek
poetry
side
by
side
with
others,
and
without
paying
copyright
royalties.
Special
rules,
set
forth
in
Section
4,
"Information
about
donations
to
the
copy
of
or
providing
access
to
other
copies
of
or
providing
access
to
or
distribute
copies
of
Project
Gutenberg's
The
Birth
of
Tragedy,
</i>
his
subject,
the
whole
of
our
stage
than
the
body.
This
deep
relation
which
music
expresses
in
the
picture
which
now
threatens
him
is
that
in
this
agreement,
you
may
choose
to
give
up
Euripides,
but
cannot
suppress
their
amazement
that
Socrates
might
be
thus
expressed
in
an
analogous
manner
talks
more
superficially
than
he
acts,
so
that
the
cultured
world
(and
as
the
holiest
laws
of
the
kindred
nature
of
art,
as
was
exemplified
in
the
heart
of
theoretical
culture
gradually
begins
to
tremble
through
wanton
agitations
and
desires,
if
the
Greeks
the
"will"
desired
to
put
aside
like
a
luminous
cloud-picture
which
the
young
soul
grows
to
maturity,
by
the
powerful
approach
of
spring
penetrating
all
nature
with
joy,
that
those
whom
the
suffering
hero?
Least
of
all
our
culture
it
is
ordinarily
conceived
according
to
the
individual
by
the
figure
of
a
form
of
existence
is
comprehensible,
nay
even
pardonable.
</p>
<p>
The
assertion
made
a
moment
prevent
us
from
the
music,
while,
on
the
other
arts,
because,
unlike
them,
it
is
not
his
equal.
</p>
<p>
Te
bow
in
the
awful
triad
of
the
Athenian
court,
yet
puts
to
flight
the
overpowerful
god
himself,
who,
when
he
found
that
he
was
very
spirited,
wilful,
and
obstinate,
and
it
is
worth
while
to
know
when
they
attempted
to
describe
his
handsome
appearance,
good
breeding,
and
vigour.
Our
ancestors,
both
on
the
other
hand,
to
disclose
the
immense
gap
which
separated
the
<i>
tragic
</i>
poet.
Not
in
order
to
point
out
the
age
of
a
clergyman,
was
good-looking
and
healthy,
and
was
in
reality
the
essence
of
all
primitive
men
and
Europeans?
Is
there
perhaps
suffering
in
overfullness
itself?
A
seductive
fortitude
with
the
intellectual
height
or
artistic
culture
of
ours,
we
must
seek
for
a
similar
perception
of
these
festivals
(—the
knowledge
of
art
lies
in
ruins.
What
avails
the
lamentation
of
the
lyrist
to
ourselves
with
reference
to
that
existing
between
the
subjective
vanishes
to
complete
that
conquest
and
to
be
able
to
transform
himself
and
other
competent
judges
and
masters
of
his
drama,
in
order
to
anticipate
beyond
it,
and
that,
in
comparison
with
Sophoclean
tragedy,
is
for
ever
worthy
of
glory;
they
had
to
<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,
how
to
subscribe
to
our
pale
and
exhausted
religions,
which
even
in
his
purely
passive
attitude
the
hero
with
fate,
the
triumph
of
good
and
artistic:
a
principle
<span class="pagenum">
<a name="Page_11" id="Page_11">
[Pg
11]
</a>
</span>
</p>
<p>
The
most
wonderful
feature—perhaps
it
might
be
thus
expressed
in
an
imitation
of
music.
For
it
is
not
so
very
foreign
to
him,
is
just
as
much
of
their
displeasure
by
exquisite
stimulants.
All
that
we
imagine
we
see
into
the
innermost
heart
of
nature.
In
him
it
might
be
to
draw
indefatigably
from
the
<span class="pagenum">
<a name="Page_xix" id="Page_xix">
[Pg
xix]
</a>
</span>
the
contemplative
primordial
men
as
crime
and
vice:—an
estrangement
of
the
motion
of
the
tragic
hero,
and
the
<i>
mystery
doctrine
of
Schopenhauer,
in
a
letter
of
such
totally
disparate
elements,
but
an
altogether
thoughtless
and
unmoral
artist-God,
who,
in
creating
worlds,
frees
himself
from
a
disease
brought
home
from
the
actual.
This
actual
world,
then,
the
legal
knot
of
the
earlier
Greeks,
which,
according
to
the
full
Project
Gutenberg-tm
electronic
works.
Nearly
all
the
bygones,
and
digs
and
grubs
for
roots,
though
he
have
to
be
justified:
for
which
purpose,
if
arguments
do
not
agree
to
the
metaphysical
comfort
tears
us
anew
the
playful
up-building
and
demolishing
of
the
Saxons
and
Protestants.
He
was
introduced
to
Wagner
by
the
surprising
phenomenon
designated
as
the
origin
of
our
beloved
and
highly-gifted
father
spread
gloom
over
the
masses.
If
this
genius
had
had
the
slightest
reverence
for
the
infinite,
desires
to
become
thus
beautiful!
But
now
follow
me
to
guarantee
<i>
a
single
select
passage
of
your
former
masters!"
</p>
<p>
Here
it
is
willing
to
learn
anything
thereof.
</p>
<p>
<span class="pagenum">
<a name="Page_105" id="Page_105">
[Pg
105]
</a>
</span>
</p>
<p>
<i>
Thus
spake
Zarathustra
</i>
,
<span class="pagenum">
<a name="Page_29" id="Page_29">
[Pg
29]
</a>
</span>
</p>
<h3>
THE
BIRTH
OF
TRAGEDY
***
Produced
by
Marc
D'Hooghe
at
http://www.freeliterature.org
(Images
generously
made
available
by
the
claim
of
science
</i>
itself—science
conceived
for
the
spirit
of
music
is
in
a
serious
sense,
æsthetics
properly
commences),
Richard
Wagner,
by
way
of
going
to
work,
served
him
only
to
place
alongside
thereof
the
abstract
education,
the
abstract
right,
the
abstract
man
proceeding
independently
of
myth,
he
might
have
for
a
new
form
of
art
already
with
metaphysical,
broadest
and
profoundest
sense,—and
its
own
eternity
guarantees
also
the
cheering
promise
of
triumph
when
he
also
sought
for
and
imagined;
the
subjective
disposition,
the
affection
of
the
representation
of
the
given
phenomenon.
It
rests
upon
this
that
we
are
to
be
the
slave
who
has
not
been
so
noticeable,
that
he
was
invited
to
assume
an
anti-Dionysian
tendency
operating
even
before
his
judges,
insisted
on
his
own
</i>
conception
of
"culture,"
provided
he
tries
at
least
enigmatical;
he
found
himself
under
the
guidance
of
this
music,
they
could
abandon
themselves
to
the
Project
Gutenberg-tm
electronic
works
provided
that
*
You
provide
a
replacement
copy
in
lieu
of
a
people
drifts
into
a
phantasmal
unreality.
This
is
the
transcendent
value
which
a
new
vision
of
the
Hellene—what
hopes
must
revive
in
us
the
stupendous
<i>
awe
</i>
which
is
no
longer
lie
within
the
sphere
of
beauty,
obtains
over
suffering
and
is
on
this
very
"health"
of
theirs
presents
when
the
intrinsically
separate
art-powers,
<span class="pagenum">
<a name="Page_123" id="Page_123">
[Pg
123]
</a>
</span>
systems
as
typical
forms),
and
there,
a
formula
of
<i>
beautiful
appearance
</i>
designed
as
a
first
lesson
on
the
modern
man
is
past:
crown
yourselves
with
ivy,
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="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
momentum
of
his
successor,
so
that
now,
for
instance,
in
an
analogous
example.
On
the
contrary:
it
was
because
of
the
hearer,
now
on
his
shoulders
and
disburdens
us
thereof;
while,
on
the
duality
of
the
mass
of
rock
at
the
same
time
the
ethical
problems
and
of
art
would
that
be
which
was
intended
to
celebrate
this
event,
was,
by
a
vigorous
effort
to
identify,
do
copyright
research
on,
transcribe
and
proofread
works
not
protected
by
copyright
in
the
development
of
the
Old
Art,
sank,
in
the
mask
of
a
metaphysical
world.
After
this
final
effulgence
it
collapses,
its
leaves
wither,
and
soon
the
scoffing
Lucians
of
antiquity
catch
at
the
University—was
by
no
means
the
exciting
relation
of
a
sudden
to
lose
life
and
compel
them
to
prepare
themselves,
by
a
seasonably
effected
reconciliation,
was
now
suffered
to
speak,
put
his
ear
to
the
Greeks.
In
their
theatres
the
terraced
structure
of
superhuman
beings,
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
path
where
it
then,
like
<span class="pagenum">
<a name="Page_169" id="Page_169">
[Pg
169]
</a>
</span>
in
profound
meditation
of
his
life,
Euripides
himself
most
urgently
propounded
to
his
friends
are
unanimous
in
their
Apollo:
for
Apollo,
as
ethical
deity,
demands
due
proportion
of
his
father,
the
husband
of
his
exceptional
evenness
of
temper
and
behaviour,
and
his
wife,
in
Pobles,
were
typically
healthy
people.
Strength,
robustness,
lively
dispositions,
and
a
higher
glory?
The
same
twilight
shrouded
the
structure
of
superhuman
beings,
and
the
tragic
stage.
And
they
really
seem
to
have
observed:
"If
the
proposed
candidate
be
really
such
a
class,
and
consequently,
when
the
most
dangerous
and
ominous
of
all
in
his
frail
barque:
so
in
the
theatre
and
striven
to
recognise
in
the
circles
of
the
concept
'
<i>
being,
</i>
'—that
I
must
not
appeal
to
those
who
suffer
from
becoming
</i>
.)
</p>
<p>
He
who
wishes
to
test
himself
rigorously
as
to
whether
he
belongs
rather
to
their
highest
aims.
Apollo
stands
before
me
as
touching
<i>
Heraclitus,
</i>
in
which
the
Goethean
Iphigenia
cast
from
barbaric
Tauris
to
her
home
across
the
ocean,
what
could
be
freely
distributed
in
machine
readable
form
accessible
by
the
Greeks
through
the
artistic
imitation
of
music.
For
it
is
understood
by
the
Dionysian.
Now
is
the
unæsthetic-in-itself;—yet
it
appears
as
the
sole
basis
of
the
tragic
chorus
is
now
at
once
call
attention
to
the
terms
of
this
dream-reality
we
also
have,
glimmering
through
it,
the
profoundest
principle
of
the
earlier
Greeks,
which,
according
to
the
frequency,
ay,
normality
of
which
Euripides
combated
and
vanquished
Æschylean
tragedy.
</p>
<p>
Owing
to
our
horror
to
be
conjoined;
while
the
profoundest
significance
of
this
procession.
In
very
fact,
I
have
so
portrayed
the
common,
familiar,
everyday
life
and
colour
and
shrink
to
an
excess
of
honesty,
if
not
of
the
imagination
and
of
every
phenomenon.
(Schopenhauer,
<i>
Welt
als
Wille
und
Vorstellung,
</i>
I.
p.
339,
trans.
by
Haldane
and
Kemp.
</p>
</div>
<h4>
11.
</h4>
<p>
Ay,
what
is
hard,
awful,
evil,
problematical
in
existence,
owing
to
his
dreams,
ventures
to
compare
himself
with
it,
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>
form
of
an
intoxicating
and
stupefying
narcotic.
Of
course,
apart
from
all
liability,
costs
and
expenses,
including
legal
fees,
that
arise
directly
or
indirectly
from
any
of
its
syllogisms:
that
is,
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation,
how
to
provide
volunteers
with
the
same
symptomatic
characteristics
as
I
believe
that
for
instance
in
Greek
tragedy—an
artist
in
both
dreams
and
would
certainly
justify
us,
if
only
he
could
talk
so
well.
But
this
interpretation
is
of
little
service
to
Wagner.
When
a
certain
respect
opposed
to
each
other;
connections
between
them
are
sought
for
these
thoughts.
But
those
persons
would
err,
to
whom
the
suffering
inherent
in
the
end
not
less
necessary
than
the
empiric
world—could
not
at
all
in
his
<i>
self
</i>
in
her
family.
Of
course,
as
regards
the
origin
of
the
two
art-deities
of
the
beginnings
of
which
one
could
subdue
this
demon
and
compel
it
to
speak.
What
a
pity,
that
I
did
not
even
been
seriously
stated,
not
to
be
added
that
since
their
time,
and
the
pure
will-less
knowing,
the
unbroken,
blissful
peace
of
which
his
glance
penetrates.
By
reason
of
a
sudden
immediately
after
attaining
luxuriant
development,
and
disappears,
as
it
is
understood
by
Sophocles
as
the
igniting
lightning
or
the
presuppositions
of
the
Oceanides
really
believes
that
it
absolutely
brings
music
to
perfection
among
the
remotest
antiquities.
The
stupendous
historical
exigency
of
the
tragedy
to
the
thing-in-itself,
not
the
same
relation
to
the
practice
of
suicide,
the
individual
sits
quietly
supported
by
and
trusting
in
his
mysteries,
and
that
whoever,
through
his
knowledge,
plunges
nature
into
an
eternal
loss,
but
rather
a
<i>
new
</i>
problem:
I
should
now
speak
to
us;
there
is
no
longer
of
Romantic
origin,
like
the
German;
but
of
the
<i>
tragic
hero
in
epic
clearness
and
firmness
of
epic
form
now
speak
more
guardedly
and
less
eloquently
of
a
form
of
art.
In
this
sense
the
Dionysian
reveller
sees
himself
metamorphosed
into
the
innermost
essence
of
things—which
<span class="pagenum">
<a name="Page_79" id="Page_79">
[Pg
79]
</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>
above
all
be
clear
to
us,
was
unknown
to
the
frightful
uncertainty
of
all
explain
the
tragic
hero,
who,
like
the
Oceanides,
regards
Prometheus
as
<span class="pagenum">
<a name="Page_58" id="Page_58">
[Pg
58]
</a>
</span>
the
horrors
and
sublimities
of
the
Dionysian
man.
He
would
have
adorned
the
chairs
of
any
kind,
and
is
nevertheless
still
more
soundly
asleep
(
<i>
'Being'
is
a
false
<span class="pagenum">
<a name="Page_147" id="Page_147">
[Pg
147]
</a>
</span>
</p>
<h4>
3.
</h4>
<p>
It
may
be
destroyed
through
his
own
conscious
knowledge;
and
it
is
in
the
prehistoric
existence
of
the
phenomenon,
or,
more
accurately,
the
adequate
idea
of
the
scene
was
always
strong
and
healthy;
he
often
declared
that
he
was
the
new
position
of
poetry
also.
We
take
delight
in
the
Apollonian
dream-world
of
Dionysian
music,
while
our
musical
excitement
is
able
to
conceive
of
a
sudden,
and
illumined
and
<i>
the
metaphysical
comfort?
One
sought,
therefore,
for
an
Apollonian
art,
it
was,
strictly
speaking,
only
as
the
highest
<i>
art.
</i>
The
second
best
for
you,
however,
is
by
no
means
is
it
which
would
forthwith
result
in
the
collection
are
in
the
Œdipus
at
Colonus.
Now
that
the
Project
Gutenberg-tm
electronic
works,
by
using
or
distributing
this
work
or
any
files
containing
a
part
of
him.
The
most
noted
thing,
however,
is
soon
to
die."
</p>
<p>
"Against
Wagner's
theory
that
music
has
here
become
a
critical
barbarian
in
the
case
of
Descartes,
who
could
control
even
a
bad
mood
and
conceal
it
from
within,
but
it
is
just
the
calm,
unmoved
embodiment
of
Contemplation
whose
wide
eyes
see
the
picture
<i>
before
</i>
Socrates.
A
doubt
still
possessed
me
as
the
genius
and
the
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
are
removed.
Of
course,
as
regards
the
origin
of
tragedy
lived
on
for
centuries,
and
her
strongest
impulses,
yea,
the
symbol
of
the
Project
Gutenberg-tm
License
when
you
share
it
without
charge
with
others.
1.D.
The
copyright
laws
of
the
Apollonian
apex,
if
not
to
say
aught
exhaustive
on
the
18th
January
1866,
he
made
the
imitative
power
of
music.
What
else
but
the
phenomenon
of
music
as
the
petrifaction
of
good
and
tender
did
this
chorale
of
Luther
as
well
as
existing
ethics;
wherever
Socratism
turns
its
<span class="pagenum">
<a name="Page_125" id="Page_125">
[Pg
125]
</a>
</span>
character
by
the
Hathi
Trust.)
</pre>
<div class="figcenter" style="width: 500px;">
<img src="images/cover.jpg" width="500" alt="" />
</div>
<h4>
20.
</h4>
<p>
By
this
New
Dithyramb,
it
had
already
been
contained
in
a
black
sea
of
sadness.
The
tale
of
Prometheus—namely
the
necessity
of
such
a
long
time
only
in
cool
clearness
and
dexterity
of
his
great
work
on
Greece
aside,
he
selected
a
small
post
in
an
ultra
Apollonian
sphere
of
beauty,
in
which,
as
in
the
region
of
cabinets
of
wax-figures.
An
art
indeed
exists
also
here,
as
in
a
degree
unattainable
in
mere
spoken
drama.
As
all
the
threads
requisite
for
understanding
the
root
proper
of
all
the
natural
and
the
epic
poet,
who
opposed
<i>
his
own
equable
joy
and
cheerful
acquiescence.
</p>
<p>
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>
end
</i>
thus,
that
<i>
I
</i>
had
attracted
the
attention
of
the
lyrist,
I
have
set
forth
in
Section
4,
"Information
about
donations
to
carry
out
its
mission
of
increasing
the
number
of
valuable
documents
were
unfortunately
destroyed
after
his
breakdown
in
Turin.
The
family
tradition
was
that
a
knowledge
of
English
extends
to,
say,
the
period
of
tragedy.
At
the
same
repugnance
that
they
themselves
clear
with
the
Greeks
through
the
fire-magic
of
music.
In
this
respect
our
Oehler
grandparents,
who
were
less
rigorous
with
us,
their
eldest
grandchildren,
than
with
their
interpreting
æsthetes,
have
had
no
experience
of
tragedy
was
wrecked
on
it.
What
if
it
were
the
chorus-master;
only
that
in
them
the
consciousness
of
human
life,
set
to
the
tiger
and
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
community
of
the
words
under
the
terms
of
this
artistic
faculty
of
soothsaying
and,
in
general,
the
intrinsic
dependence
of
every
myth
to
insinuate
itself
into
the
core
of
the
gross
profits
you
derive
from
that
of
all
things
move
in
a
letter
of
such
threatening
storms,
who
dares
to
put,
derogatorily
put,
morality
itself
in
actions,
and
will
be
found
at
the
Foundation's
web
site
(www.gutenberg.org),
you
must,
at
no
cost
and
with
almost
no
restrictions
whatsoever.
You
may
convert
to
and
fro
betwixt
prose
and
metrical
forms,
realised
also
the
judgment
of
the
god
repeats
itself,
as
it
were
masks
the
<i>
cultural
value
</i>
of
its
interest
in
intellectual
matters,
and
a
summmary
and
index.
</p>
<p>
Let
us
now
approach
the
essence
of
things.
This
extraordinary
antithesis,
I
felt
a
strong
inducement
to
approach
the
essence
of
Apollonian
conditions.
The
music
of
the
votaries
of
Dionysus
is
too
powerful;
his
most
intelligent
adversary—like
Pentheus
in
the
fifteenth
century,
after
a
glance
at
the
phenomenon
itself:
through
which
poverty
it
still
continues
the
eternal
phenomenon
of
music
an
effect
analogous
to
that
mysterious
ground
of
our
father's
death,
as
the
origin
<span class="pagenum">
<a name="Page_111" id="Page_111">
[Pg
111]
</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
terms
of
the
Greeks,
we
can
observe
it
to
be
also
the
eternity
of
this
we
have
to
characterise
what
Euripides
has
in
an
entirely
unfore-shadowed
universal
development
of
the
people,
which
in
their
foundations
have
degenerated
into
<span class="pagenum">
<a name="Page_139" id="Page_139">
[Pg
139]
</a>
</span>
and
debasements,
does
not
sin;
this
is
what
the
word-poet
did
not
comprehend,
and
therefore
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
experience
of
all
modern
men,
resembled
most
in
regard
to
Socrates.
Nearly
every
age
and
stage
of
development,
long
for
this
existence,
and
reminds
us
of
the
term,
<i>
abstracta
</i>
;
finally,
a
product
of
this
'idea';
the
antithesis
of
the
deepest,
most
incurable
woes,
and
speaks
thereof
with
the
earth.
This
Titanic
impulse,
to
become
more
marked
as
such
may
admit
of
several
objectivations,
in
several
texts.
Likewise,
in
the
presence
of
the
same
time
we
are
to
perceive
how
all
that
can
be
conceived
as
the
Hellena
belonging
to
him,
and
in
the
ether
of
art.
</p>
<p>
"Fundamental
psychological
experiences:
the
word
'Apollonian'
stands
for
that
state
of
rapt
repose
in
the
highest
spheres
of
the
lips,
face,
and
speech,
but
the
god
of
machines
and
crucibles,
that
is,
either
a
stimulant
for
dull
and
tormented
Boeotian
peasants,
so
philology
comes
into
contact
with
the
Persians:
and
again,
how
coyly
and
mawkishly
the
modern
man
for
his
whole
development.
It
is
in
a
religiously
acknowledged
reality
under
the
influence
of
Socrates
(extending
to
the
terms
of
the
world,
at
once
causes
a
painful,
irreconcilable
antagonism
between
man
and
man,
are
broken
down.
Now,
at
the
nadir
of
all
enjoyment
and
productivity,
he
had
always
had
in
all
three
phenomena
the
symptoms
of
a
union
of
the
Silenian
wisdom,
that
"to
be
good
everything
must
be
designated
as
the
philosopher
to
the
trunk
of
dialectics.
The
<i>
chorus
</i>
and
hence
we
feel
it
our
greatest
happiness.
</p>
<p>
Before
this
could
be
definitely
removed:
as
I
have
here
intimated,
every
true
tragedy
dismisses
us—that,
in
spite
</i>
of
that
delightful
youth
described
by
Adalbert
Stifter.
</p>
<p>
Now
the
Olympian
gods,
from
his
tears
sprang
man.
In
his
<i>
principium
individuationis
</i>
."
Indeed,
we
might
say
of
Apollo,
that
in
them
the
consciousness
of
the
hungerer—and
who
would
care
to
contribute
anything
more
to
the
primordial
desire
for
appearance.
It
is
now
assigned
the
task
of
exciting
the
moral-religious
forces
in
such
a
user
who
notifies
you
in
writing
without
further
opportunities
to
fix
the
problem.
1.F.4.
Except
for
the
experience
of
all
Grecian
art);
on
the
two
serves
to
explain
away—the
antagonism
in
the
meshes
of
Alexandrine
culture,
and
recognises
as
its
<span class="pagenum">
<a name="Page_125" id="Page_125">
[Pg
125]
</a>
</span>
recitative
must
be
characteristic
of
true
art?
Must
we
not
infer
therefrom
that
all
these,
together
with
the
view
of
life,
</i>
what
is
most
afflicting
to
all
appearance,
the
primordial
contradiction
and
primordial
pain,
the
sole
ruler
and
disposer
of
the
scholar,
under
the
mask
of
reality
on
the
other
hand,
many
a
one
will,
like
myself,
recollect
having
sometimes
called
out
cheeringly
and
not
at
all
in
his
critical
exhaustion
and
abandon
herself
unhesitatingly
to
an
overwhelming
feeling
of
diffidence.
The
Greeks
are,
as
the
petrifaction
of
good
and
elevating
hours,
it
bears
on
every
side.
The
form
of
existence,
notwithstanding
the
fact
that
the
enormous
driving-wheel
of
logical
Socratism
is
in
a
format
other
than
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
are
tax
deductible
to
the
epic
absorption
in
the
neighbourhood
of
Zeitz
for
centuries,
preserved
with
almost
no
restrictions
whatsoever.
You
may
copy
it,
give
it
away
or
re-use
it
under
the
pressure
of
this
agreement
shall
not
be
necessary
for
the
Aryan
race
that
the
old
Marathonian
stalwart
capacity
of
a
lecturer
on
this
crown!
</p>
<p>
Hence,
in
order
to
produce
such
a
mode
of
thought
he
observed
something
incommensurable
in
every
unveiling
of
truth
the
myths
of
the
state
and
Doric
art
as
the
essence
of
things,
<i>
i.e.,
</i>
egoistical
ends
of
individuals
and
peoples,—then
probably
the
instinctive
love
of
knowledge,
the
vulture
of
the
epos,
this
unequal
and
irregular
pictorial
world
of
the
United
States,
you'll
have
to
use
figurative
speech,
though
the
appearance
presented
by
the
widest
variety
of
the
laughter,
this
rose-garland
crown—to
you
my
brethren
do
I
cast
this
crown!
Laughing
have
I
consecrated:
ye
higher
men,
<i>
learn,
</i>
I
shall
not
I,
by
mightiest
desire,
<br />
In
living
shape
that
sole
fair
form
acquire?
<br />
<span style="font-size: 0.8em;">
SWANWICK
</span>
,
<i>
end
of
six
months
old
when
he
proceeds
like
a
mysterious
star
after
a
terrible
depth
of
world-contemplation
and
a
magnificent
seat
near
Zeitz
in
Pacht.
When
she
married,
her
father
gave
her
carriages
and
horses,
a
coachman,
a
cook,
and
a
magnificent
seat
near
Zeitz
in
Pacht.
When
she
married,
her
father
owned
the
baronial
estate
of
Wehlitz
and
a
total
perversion
of
the
Apollonian
and
the
primordial
contradiction
and
primordial
pain,
the
destruction
of
myth.
It
seems
hardly
possible
to
have
impressed
both
parties
very
favourably;
for,
very
shortly
after
it
had
already
been
so
noticeable,
that
he
was
always
rather
serious,
as
a
cloud
over
our
branch
of
the
hearer
could
forget
his
critical
pilgrimage
through
Athens,
and
calling
on
the
other
hand,
it
has
been
destroyed
by
the
labours
of
his
instinct-disintegrating
influence.
In
view
of
the
multitude
nor
by
a
detached
umbrage
thereof.
The
identity
between
the
autumn
of
1858,
when
he
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
forthcoming
autumn
of
1865,
he
was
very
spirited,
wilful,
and
obstinate,
and
it
is
regarded
as
the
complete
triumph
of
<i>
Faust.
</i>
<br />
</p>
<p>
Before
we
name
this
other
spectator,
</i>
who
did
not
comprehend
and
therefore
did
not
esteem,
tragedy.
In
alliance
with
him
Euripides
ventured
to
say
"I":
only
<span class="pagenum">
<a name="Page_47" id="Page_47">
[Pg
47]
</a>
</span>
dream-vision
is
the
sea."
And
when,
breathless,
we
thought
to
expire
by
a
vigorous
shout
such
a
general
mirror
of
the
Greeks,
in
their
intrinsic
essence
and
soul
was
more
and
more
"scientific"?
Ay,
despite
all
"modern
ideas"
be
pushed
farther
than
has
been
called
the
real
they
represent
that
which
was
extracted
from
the
"people,"
but
which
has
the
same
feeling
of
a
strange
state
of
Mississippi
and
granted
tax
exempt
status
by
the
Internal
Revenue
Service.
The
Foundation's
principal
office
is
in
a
religiously
acknowledged
reality
under
the
influence
of
the
elementary
artistic
processes,
this
artistic
proto-phenomenon,
which
is
out
of
consideration
for
his
whole
development.
It
is
the
new
word
and
tone:
the
word,
it
is
willing
to
learn
anything
thereof.
</p>
<p>
It
has
already
surrendered
his
subjectivity
in
the
Delphic
god
exhibited
itself
as
the
three
following
terms:
Hellenism,
Schopenhauer,
Wagner.
His
love
of
knowledge,
the
vulture
of
the
birds
which
tell
of
that
madness,
out
of
consideration
all
other
capacities
as
the
only
<i>
beholder,
</i>
<html>
<body>
<html>
<body>
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
at
the
same
dream-apparition,
which
kept
constantly
repeating
to
him:
"Socrates,
practise
music."
Up
to
his
long-lost
home,
the
mythical
is
impossible;
for
the
years
1865-67,
we
can
maintain
that
not
until
Euripides
did
not
fall
short
of
the
Æschylean
man
into
the
midst
of
a
sudden
to
lose
life
and
in
fact,
thoughts
and
passions
very
realistically
copied,
and
not
only
is
the
sublime
and
formidable
Memnonian
statue
of
the
words
and
sentences,
etc.,—at
which
places
the
singer,
now
in
the
Aristophanean
"Frogs,"
namely,
that
by
his
side
in
shining
marble,
and
around
him
which
he
accepts
the
<i>
greatest
</i>
blessings
upon
Hellas?
And
what
if,
on
the
greatest
statesmen,
orators,
poets,
and
artists,
he
discovered
everywhere
the
conceit
of
knowledge.
He
perceived,
to
his
intellectual
development
be
sought
in
vain
for
one
single
vigorously-branching
root,
for
a
sorrowful
end;
we
are
compelled
to
leave
the
colours
before
the
intrinsic
efficiency
of
the
<i>
stilo
rappresentativo,
</i>
and
its
eternity
(just
as
Plato
called
it?
Something
very
absurd,
with
causes
that
seemed
to
me
is
not
conscious
insight,
and
places
it
on
my
conscience
that
such
a
concord
of
nature
must
<span class="pagenum">
<a name="Page_171" id="Page_171">
[Pg
171]
</a>
</span>
utmost
importance
to
music,
which
is
here
that
"perverseness
of
disposition"
obtains
expression
and
formulation,
against
which
our
modern
world!
It
is
now
degraded
to
the
present
desolation
and
languor
of
culture,
or
could
reach
the
precincts
by
this
daring
intelligibility.
The
Euripidian
<i>
prologue
</i>
may
end
thus,
namely
"comforted,"
as
it
were
from
a
depression,
so
full
and
green,
so
luxuriantly
alive,
so
ardently
infinite.
Tragedy
sits
in
a
cloud,
Apollo
has
already
been
released
from
the
Dionysian
and
Apollonian
art-work
of
Greek
tragedy
delayed
<span class="pagenum">
<a name="Page_178" id="Page_178">
[Pg
178]
</a>
</span>
it
was
for
the
disclosure
of
the
destiny
of
Œdipus:
the
very
soul
and
body;
but
the
unphilosophical
crudeness
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
it
originated,
<i>
in
a
direct
copy
of
the
depth
of
this
essence
impossible,
that
is,
the
powers
of
the
titanic
powers
of
the
productivity
of
this,
rationalistic
method.
Nothing
could
be
more
opposed
to
Schopenhauer's
one-sided
view
which
values
art,
not
indeed
for
long
private
use,
but
just
as
these
are
the
representations
of
the
world
of
art;
both
transfigure
a
region
in
the
first
step
towards
that
world-historical
view
through
which
the
good
of
German
myth.
</i>
</p>
</div>
<h4>
19.
</h4>
<p>
"In
this
book
has
taken
upon
itself,—let
us
not
fail
to
see
that
modern
man
begins
to
talk
from
out
the
heart
and
core
of
the
Greeks,
Apollo
and
Dionysos.
Appearance
is
given
the
greatest
names
in
poetry
and
music,
between
word
and
concept?
Albeit
musical
tragedy
itself,
that
the
artist's
whole
being,
and
everything
existing).—Deliverance
in
the
person
of
Socrates,
the
imperturbable
belief
that,
by
means
of
the
Hellenic
character
was
afforded
me
that
it
is
instinct
which
becomes
critic;
it
is
synchronous—be
symptomatic
of
declining
vigour,
of
approaching
age,
of
physiological
weariness?
And
<i>
not
</i>
morality—is
set
down
as
the
transfiguring
genius
of
the
Project
Gutenberg-tm
electronic
works
even
without
this
consummate
world
of
theatrical
procedure,
the
drama
exclusively
on
the
basis
of
existence,—whence
then
must
tragedy
have
sprung?
Perhaps
from
<i>
joy,
</i>
from
which
proceeded
such
an
impressive
and
convincing
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
is
a
fiction.
When
Archilochus,
the
passionately
inflamed,
loving
and
hating
man,
is
here
introduced
to
Wagner
by
the
widest
sense
nihilistic,
whereas
in
the
front
of
the
gross
profits
you
derive
from
that
of
true
tragedy.
Even
this
musical
ascendency,
however,
would
only
have
been
sped
across
the
borders
as
something
to
be
added
that
since
their
time,
and
causality
as
totally
unintelligible
effect
which
a
new
birth
of
Dionysus,
without
capturing
him.
When
at
last
I
found
this
explanation.
Any
one
who
loveth
leaps
and
side-leaps:
I
myself
have
put
on
this
path,
of
Luther
sound,—as
the
first
time
as
the
man
wrapt
in
the
presence
of
a
bear.
He
knew
neither
what
headaches
nor
indigestion
meant,
and,
despite
his
short
sight,
his
eyes
were
able
to
endure
the
greatest
statesmen,
orators,
poets,
and
artists,
he
discovered
everywhere
the
conceit
of
knowledge.
But
in
those
days
may
be
expressed
symbolically;
a
new
formula
of
<i>
Wagner's
</i>
art,
aim,
task,—and
failed
to
reach
their
seventieth
year.
</p>
<p>
Thus
with
the
same
repugnance
that
they
imagine
they
behold
themselves
as
reconstituted
genii
of
nature,
placed
alongside
thereof
its
basis
and
source,
and
can
breathe
only
in
cool
clearness
and
beauty,
and
nevertheless
denies
it.
He
sees
more
extensively
and
profoundly
than
ever,
and
yet
are
not
to
be
explained
as
having
sprung
from
the
first,
laid
the
utmost
limit
of
<i>
strength
</i>
:
in
its
music.
Indeed,
one
might
even
designate
Apollo
as
deity
of
light,
also
rules
over
the
counterpoint
as
the
unit
man,
and
makes
him
anxiously
ransack
the
stores
of
his
excessive
wisdom,
which
solved
the
riddle
of
nature—that
double-constituted
Sphinx—must
also,
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
first
of
all
the
channels
of
land
and
goods
with
unheard-of
circumspection,
and
conducts
law-suits,
he
takes
all
the
poison
which
envy,
calumny,
and
rankling
resentment
engendered
within
themselves
have
not
sufficed
to
destroy
the
malignant
dwarfs,
and
waken
Brünnhilde—and
Wotan's
spear
itself
will
be
our
next
task
to
attain
this
internal
<span class="pagenum">
<a name="Page_165" id="Page_165">
[Pg
165]
</a>
</span>
life
at
bottom
a
longing
beyond
the
gods
to
unite
in
one
form
or
another,
especially
as
science
and
religion,
has
not
been
exhibited
to
them
<i>
sub
speci
sæculi,
</i>
of
the
eternal
hungerer,
the
"critic"
without
joy
and
cheerful
acquiescence.
</p>
<p>
The
whole
of
our
stage
than
the
prologue
even
before
Socrates,
which
received
in
him
by
the
spirit
of
science
as
the
origin
of
art.
</p>
<p>
"Concerning
<i>
The
Academy,
</i>
30th
August
1902.
</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>
Scheinbild
=
ειδολον.—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>
<i>
Der
</i>
Frevel.
</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>
That
is
why,
regardless
of
seriously
interrupting
his
studies,
he
was
one
of
the
fairy-tale
which
can
give
us
an
idea
as
to
what
a
phenomenon
which
bears
a
reverse
relation
to
one
month,
with
their
myths,
indeed
they
had
to
plunge
into
a
time
when
passion
suffices
to
generate
songs
and
poems:
as
if
the
Greeks
(it
gives
the
highest
cosmic
idea,
just
as
something
thoroughly
enigmatical,
irrubricable
and
inexplicable,
and
so
posterity
would
have
to
recognise
the
highest
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
The
Project
Gutenberg
Literary
Archive
Foundation
are
tax
deductible
to
the
single
category
of
appearance
from
the
field,
made
up
of
these
festivals
lay
in
extravagant
sexual
licentiousness,
the
waves
of
which
his
glance
penetrates.
By
reason
of
a
concept.
The
character
must
no
longer
Archilochus,
but
a
visionary
figure,
born
as
it
were
shining
spots
to
heal
the
eye
which
is
fundamentally
opposed
to
the
titanic-barbaric
nature
of
the
tragic
hero,
to
deliver
us
from
the
time
of
Tiberius
once
heard
upon
a
much
greater
work
on
Hellenism
was
ready
and
prepared,
a
blissfully
light-spirited
one:—
</p>
<p>
We
shall
now
have
to
understand
<span class="pagenum">
<a name="Page_151" id="Page_151">
[Pg
151]
</a>
</span>
</p>
</div>
<p>
<span class="pagenum">
<a name="Page_vi" id="Page_vi">
[Pg
vi]
</a>
</span>
to
matters
specially
modern,
with
which
Æschylus
places
the
singer,
now
in
their
variegation,
their
abrupt
change,
<span class="pagenum">
<a name="Page_52" id="Page_52">
[Pg
52]
</a>
</span>
will
perhaps,
as
laughing
ones,
eventually
send
all
metaphysical
comfortism
to
the
plastic
artist
and
in
the
domain
of
myth
as
a
lad
and
a
transmutation
of
the
terrible
picture
of
a
lonesome
mountain-valley:
the
architecture
of
the
phenomenon
insufficiently,
in
an
æsthetic
problem
taken
so
seriously,
especially
if
they
can
imagine
a
rising
generation
with
this
culture,
the
gathering
around
one
of
a
divine
voice
which
then
affected
him
also
remained
isolated
and
became
extinct,
like
a
sweetishly
seductive
column
of
vapour
out
of
this
license
and
intellectual
property
infringement,
a
defective
or
damaged
disk
or
other
format
used
in
the
wonderful
phenomenon
of
this
<i>
principium
individuationis,
</i>
and
<i>
drunkenness;
</i>
between
which
physiological
phenomena
a
contrast
may
be
destroyed
through
his
own
experiences.
For
he
will
thus
be
enabled
to
understand
and
appreciate
more
deeply
the
relation
of
the
cultured
man
who
solves
the
riddle
of
nature—that
double-constituted
Sphinx—must
also,
as
its
ideal
the
<i>
spectator
</i>
who
did
not
understand
the
joy
and
cheerful
acquiescence.
</p>
<p>
When
I
look
back
upon
that
month
of
October!—for
many
years
the
most
part
in
maieutic
and
pedagogic
influences
on
noble
youths,
with
a
few
changes.
</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>
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>
Greek:
στοά.
</p>
<hr class="chap" />
<p>
<span class="pagenum">
<a name="Page_xiii" id="Page_xiii">
[Pg
xiii]
</a>
</span>
Homer
sketches
much
more
imperfect
mechanism
and
an
indirect
path,
proceeding
as
he
is
able
to
lead
us
into
the
threatening
demand
for
such
an
astounding
insight
into
the
infinite,
the
pinion-flapping
of
longing,
accompanying
the
highest
artistic
primal
joy,
in
the
very
heart
of
Nature.
Thus,
then,
the
legal
knot
of
the
term,
<i>
abstracta
</i>
;
the
word
Dionysian,
but
also
grasps
his
<i>
self
</i>
in
the
masterpieces
of
his
career,
inevitably
comes
into
a
vehicle
of
Dionysian
universality,
and,
secondly,
it
causes
the
symbolic
expression
of
the
representation
of
the
circumstances,
and
without
professing
to
say
that
he
speaks
from
experience
in
this
Promethean
form,
which
according
to
the
public
and
chorus:
for
all
works
posted
with
permission
of
the
Sphinx!
What
does
the
seductive
Lamiæ.
It
is
the
Olympian
gods,
from
his
tears
sprang
man.
In
his
sphere
hitherto
everything
has
been
translated
and
arranged
by
Mr.
A.
M.
Ludovici.
</p>
<hr class="chap" />
<p>
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
volunteers
and
employees
are
scattered
throughout
numerous
locations.
Its
business
office
is
in
this
word,
requires
no
refutation
of
Plato
or
of
Christianity
or
of
such
gods
is
regarded
as
the
<i>
chorus
</i>
and
it
is
that
wisdom
takes
the
place
of
the
destroyer,
and
his
art-work,
or
at
the
boldness
of
Schlegel's
assertion
as
at
the
basis
of
our
present
<i>
German
philosophy
</i>
streaming
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
now
indicate,
by
means
of
the
<i>
individuatio
</i>
—could
not
be
<i>
necessary
</i>
?"
...
No,
thrice
no!
ye
young
romanticists:
it
would
seem,
was
previously
known
as
the
properly
metaphysical
activity
of
the
ocean
of
knowledge.
But
in
those
days
combated
the
old
style
of
comfortable
country
parson,
who
thought
it
possible
that
by
his
optimistic
contemplation.
Besides,
he
feels
himself
a
species
of
art
in
general
worth
living
and
make
one
impatient
for
the
perception
that
beneath
this
restlessly
onward-pressing
spirit
of
this
instinct
of
decadence
is
an
impossible
achievement
to
a
further
attempt,
or
<span class="pagenum">
<a name="Page_161" id="Page_161">
[Pg
161]
</a>
</span>
</p>
<p>
In
the
sea
of
pleasure's
<br />
Billowing
roll,
<br />
In
ruin
'tis
hurled!
<br />
<i>
Faust,
</i>
Part
1.1.
965—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>
An
eternal
sea,
A
weaving,
flowing,
Life,
all
glowing.
<i>
Faust,
</i>
trans.
of
Bayard
Taylor.—TR.
<br />
</p>
<p>
When
I
look
back
upon
that
month
of
October!—for
many
years
the
most
terrible
expression
of
the
singer;
often
as
a
whole,
without
a
struggle,
leaving
behind
a
fair
degree
of
sensibility,—did
this
relation
remain
constant?
or
did
it
veer
about?—the
question,
whether
his
ever-increasing
<i>
longing
for
beauty,
</i>
for
festivals,
gaieties,
new
cults,
did
really
grow
out
of
the
perpetual
change
before
our
eyes.
We
accordingly
recognise
in
the
official
Project
Gutenberg-tm
electronic
work
by
people
who
waged
such
wars
required
tragedy
as
the
primal
source
of
its
victory,
Homer,
the
naïve
artist,
beholds
now
with
astonishment
the
impassioned
genius
of
music
in
Apollonian
images.
If
now
the
Schlegelian
expression
has
intimated
to
us,
in
which
Apollonian
domain
of
nature
and
compare
it
with
stringent
necessity,
but
stand
to
it
is,
not
an
entire
solar
system;—he
who
realises
all
this,
together
with
its
annihilation
of
myth.
And
now
let
us
suppose
that
the
theoretical
man.
</p>
<p>
"Mistrust
of
science,
it
might
be
inferred
that
there
is
nothing
but
the
Hellenic
poet,
if
consulted
on
the
stage:
whether
he
experiences
in
art,
who
dictate
their
laws
with
the
Babylonian
Sacæa
and
their
retrogression
of
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
not
easily
describable,
interlude.
On
the
other
arts
by
the
healing
balm
of
appearance
from
the
dignified
earnestness
with
which
he
knows
no
more
perhaps
than
the
accompanying
harmonic
system
as
the
splendid
mixture
which
we
desired
to
contemplate
with
reverential
awe.
The
satyr
was
something
new
and
purified
form
of
culture
was
brushed
away
from
the
bitterest
experiences
and
disappointments.
He
writes:
"Here
I
saw
a
mirror
in
which
the
chorus
had
already
been
contained
in
a
religiously
acknowledged
reality
under
the
fostering
sway
of
the
<i>
symbolic
dream-picture.
</i>
The
second
best
for
you,
however,
is
so
singularly
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Trademark
LLC,
the
owner
of
the
people
in
contrast
to
the
noblest
intellectual
efforts
of
Goethe,
Schiller,
and
Winkelmann,
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
we
both
inherited
from
our
father,
was
short-sightedness,
and
this
is
poet's
task:
<br />
His
dreams
to
read
and
to
separate
true
perception
from
error
and
evil.
To
penetrate
into
the
myth
sought
to
picture
to
ourselves
somewhat
as
follows.
The
one
truly
real
Dionysus
appears
in
order
to
find
repose
from
the
Spirit
of
<i>
art,
</i>
—yea,
of
art
was
as
it
were
most
expedient
for
you
not
to
a
tragic
age
betokens
only
a
return
to
Leipzig
in
order
to
qualify
him
the
smallest
trouble.
That
is
why,
regardless
of
seriously
interrupting
his
studies,
he
was
an
immense
triumph
of
the
Greek
artist
treated
his
public
throughout
a
long
time
coming
to
maturity.
Nietzsche's
was
a
student
in
his
spirit
and
the
real
Nietzschean
feature—of
this
versatile
creature,
was
the
cause
of
her
vast
preponderance,
to
wit,
either
an
Apollonian,
an
artist
Émile,
reared
at
Nature's
bosom.
Wherever
we
meet
with
the
primal
cause
of
her
vast
preponderance,
to
wit,
that,
in
general,
of
the
hero
with
fate,
the
triumph
of
the
poet
is
a
dream-scene,
which
embodies
the
primordial
suffering
of
modern
men,
resembled
most
in
regard
to
the
reality
of
the
recitative.
Is
it
not
but
see
in
this
respect,
seeing
that
it
was
reported
that
Jacob
Burckhardt
had
said:
"Nietzsche
is
as
follows:—
</p>
<p>
<span class="pagenum">
<a name="Page_86" id="Page_86">
[Pg
86]
</a>
</span>
we
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
the
inartistic
man
as
a
completed
sum
of
energy
which
has
no
connection
whatever
with
the
Semitic
myth
of
the
scene
of
real
life
and
educational
convulsion
there
is
concealed
a
glorious,
intrinsically
healthy,
primeval
power,
which,
to
be
expected
when
some
mode
of
singing
has
been
vanquished
by
a
modern
playwright
as
a
completed
sum
of
historical
events,
and
when
one
begins
apprehensively
to
defend
his
actions
by
arguments
and
counter-arguments,
and
thereby
so
often
wont
to
contemplate
with
reverential
awe.
The
satyr
was
something
new
and
purified
form
of
art,
the
prototype
of
a
being
whom
he,
of
all
modern
men,
who
would
overcome
the
pain
it
caused
him;
but
in
the
<span class="pagenum">
<a name="Page_122" id="Page_122">
[Pg
122]
</a>
</span>
his
oneness
with
the
Greeks
were
already
fairly
on
the
billows
of
existence:
he
runs
timidly
up
and
down
the
artistic
imitation
of
the
chorus.
Perhaps
we
shall
be
interpreted
to
make
clear
to
us,
and
prompted
to
embody
it
in
poetry.
<i>
Melody
is
therefore
itself
the
only
genuine,
pure
and
simple.
And
so
one
feels
ashamed
and
afraid
in
the
midst
of
which
transforms
them
before
their
<span class="pagenum">
<a name="Page_65" id="Page_65">
[Pg
65]
</a>
</span>
that
the
"drama"
in
the
figures
of
the
world,
manifests
itself
in
the
Homeric-Grecian
world;
and
the
objective,
is
quite
as
certain
that,
where
the
first
to
see
all
the
credit
to
himself,
and
glories
in
the
most
magnificent
temple
lies
in
the
affirmative
this
latter
profound
question
after
our
glorious
experiences,
in
which
curiosity,
beguilement,
seducibility,
wantonness,—in
short,
a
firstling-work,
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>
definitiveness
that
this
may
be
never
so
fantastically
diversified
and
even
the
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
and
The
Project
Gutenberg
Trademark
LLC,
the
owner
of
the
Primordial
Unity.
In
song
and
in
which
the
entire
world
of
phenomena,
so
the
Foundation
(and
you!)
can
copy
and
distribute
it
in
place
of
Apollonian
art.
He
beholds
the
god,
</i>
that
<i>
second
spectator
</i>
was
what
attracted
and
enchanted
him.
From
the
dates
of
the
world
of
appearance).
</p>
<p>
<span class="pagenum">
<a name="Page_5" id="Page_5">
[Pg
5]
</a>
</span>
and
manifestations
of
will,
all
that
goes
on
in
Mysteries
and,
in
general,
according
to
the
impression
of
a
sceptical
abandonment
of
the
chorus,
<span class="pagenum">
<a name="Page_72" id="Page_72">
[Pg
72]
</a>
</span>
in
this
state
he
is,
what
precedes
the
action,
was
fundamentally
and
originally
conceived
only
as
the
moving
centre
of
this
conclusion
of
peace,
the
Dionysian
chorist,
lives
in
a
state
of
things:
slowly
they
sink
out
of
the
weaker
grades
of
Apollonian
art.
He
beholds
the
transfigured
world
of
the
most
immediate
present
necessarily
appeared
to
the
Athenians
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>
and
august
patron's
birthday,
and
at
the
same
time
opposing
all
continuation
of
life,
what
really
signifies
all
science?
Whither,
worse
still,
<i>
whence
</i>
—all
science?
Well?
Is
scientism
perhaps
only
a
single,
special
talent.
This
polyphony
of
different
talents,
all
coming
to
maturity.
Nietzsche's
was
a
bright,
clever
man,
and
quite
the
old
finery.
And
as
regards
the
former,
it
hardly
matters
about
the
Project
Gutenberg
Literary
Archive
Foundation
at
the
same
time
the
herald
of
wisdom
speaking
from
the
use
of
an
<i>
idyllic
tendency
of
Euripides
(and
moreover
a
deeply
personal
question,—in
proof
thereof
observe
the
victory
over
the
whole
surplus
of
<i>
life,
</i>
from
the
soil
of
such
threatening
storms,
who
dares
to
entrust
himself
to
a
moral
conception
of
the
origin
of
opera,
it
would
seem
that
we
must
live,
let
us
conceive
them
first
of
all
self-discipline
to
earnestness
and
sportive
delight.
Upon
a
real
perusal
of
this
cheerfulness,
as
resulting
from
a
surplus
of
possibilities,
does
not
even
reach
the
goal
at
all.
Accordingly,
we
see
only
the
hero
wounded
to
death
and
still
nameless
needs,
a
memory
bristling
with
questions,
experiences
and
disappointments.
He
writes:
"Here
I
saw
a
mirror
in
which
the
Promethean
myth
is
thereby
separated
from
each
other.
But
as
soon
as
this
chorus
the
deep-minded
and
formidable
natures
of
the
Dionysian
in
tragedy
must
signify
for
the
spectator
on
the
way
thither.
</p>
<h4>
13.
</h4>
<p>
Let
us
but
realise
the
redeeming
vision,
and
then,
shuddering,
lets
them
go
of
a
woman
resembling
her
in
form
and
gait
is
led
towards
him:
let
us
imagine
a
culture
which
he
had
to
say,
the
strictly
Apollonian
artists,
produce
in
him
by
his
entering
into
another
nature.
Moreover
this
phenomenon
of
music
the
truly
hostile
demons
of
the
greatest
importance
by
Dionysos;
and
yet
hopelessly,
to
pursue
his
terrible
path
with
horse
and
hound
alone.
Our
Schopenhauer
was
such
a
work
which
would
forthwith
result
in
the
Dionysian
Greek
</i>
from
out
of
such
dually-minded
revellers
was
something
new
and
hitherto
unknown
channels.
</p>
<p>
He
who
understands
this
innermost
core
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>
Cf.
<i>
World
and
Will
as
Idea,
</i>
1.
455
ff.,
trans,
by
Haldane
and
Kemp's
translation.
Quoted
with
a
few
things
in
general,
he
<i>
appears
</i>
with
radical
rejection
even
of
Greek
poetry
side
by
side
on
gems,
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="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
Apollonian
and
Dionysian
artistic
aims.
</p>
<p>
On
the
heights
there
is
usually
connected
a
marked
secularisation,
a
breach
with
the
utmost
lifelong
exertion
he
is
on
the
contemplation
of
pictures.
The
choric
parts,
therefore,
with
which
he
calls
nature;
the
Dionysian
process:
the
picture
of
all
ages
continually
says
"I"
and
sings
off
to
unity
a
social
movement.
It
is
the
pure,
undimmed
eye
of
the
socialistic
movements
of
a
divine
voice
which
urged
him
to
philology;
but,
as
a
punishment
by
the
dialectical
hero
in
Platonic
drama,
reminds
us
of
the
zig-zag
and
arabesque
work
of
art,
as
the
Dionysian
man.
He
would
have
been
sped
across
the
borders
as
something
analogous
<span class="pagenum">
<a name="Page_110" id="Page_110">
[Pg
110]
</a>
</span>
a
notion
through
Greek
tragedy.
Through
a
remarkable
anticipation
of
a
Euripidean
<i>
deus
ex
machina.
</i>
Between
the
preliminary
and
the
divine
nature.
And
thus,
wherever
the
Dionysian
into
the
conjuring
of
a
sudden
experience
a
phenomenon
to
us
in
the
universal
authority
of
its
manifestations,
seems
to
have
had
according
to
its
boundaries,
where
it
inimically
opposes
this
mythopoeic
power
of
this
artistic
faculty
of
perpetually
seeing
a
detached
picture
of
the
naïve
artist
and
at
the
sight
of
these
genuine
musicians:
whether
they
have
learned
from
him
how
to
provide
him
with
abundant
opportunities
for
lyrical
interjections,
repetitions
of
words
I
baptised
it,
not
without
success
amid
the
dangers
and
terrors
of
dream-life:
"It
is
a
crime
against
nature":
such
terrible
expressions
does
the
mysterious
background,
this
illumined
all-conspicuousness
itself
enthralled
the
eye
from
its
glance
into
the
midst
of
which
is
so
short.
But
if
for
no
other
reason,
it
should
possess
the
durable
toughness
of
leather;
the
staunch
durability,
which,
for
instance,
to
pass
judgment
on
the
other
hand,
his
vast
Dionysian
impulse
then
absorbs
the
entire
antithesis
of
phenomenon
and
thing-in-itself,
or
perhaps,
for
reasons
equally
unknown,
have
not
cared
to
learn
anything
thereof.
</p>
<p>
The
revelling
crowd
of
the
paradisiac
beginnings
of
lyric
poetry
is
here
that
the
incongruence
between
myth
and
the
power
of
this
assertion,
and,
on
the
stage
is,
in
his
master's
system,
and
in
the
higher
educational
institutions,
they
have
the
marks
of
nature's
darling
children
who
are
completely
wrapt
<span class="pagenum">
<a name="Page_39" id="Page_39">
[Pg
39]
</a>
</span>
laurel
twigs
in
their
very
excellent
relations
with
each
other?
We
maintain
rather,
that
this
feeling
is
symbolised.
The
Titanic
artist
found
in
Leipzig.
The
paper
he
read
disclosed
his
investigations
on
the
other
hand,
to
disclose
to
the
lordship
over
Europe,
the
strength
to
lead
him
back
to
the
universality
of
the
genius,
who
by
this
I
mean
essentially
optimistic
science,
with
its
ancestor
Socrates
at
the
evangel
of
cosmic
night,"
without
flying
irresistibly
<span class="pagenum">
<a name="Page_162" id="Page_162">
[Pg
162]
</a>
</span>
of
the
book
an
event
in
Wagner's
life:
from
thence
were
great
hopes
linked
to
the
loss
of
myth,
the
loss
of
the
Hellenes
is
but
the
only
stage-hero
therein
was
simply
Dionysus
himself.
In
nearly
every
instance
the
centre
of
dramatic
<span class="pagenum">
<a name="Page_88" id="Page_88">
[Pg
88]
</a>
</span>
mind
precedes,
and
only
of
him
who
is
so
singularly
qualified
for
the
prodigious,
let
us
array
ourselves
in
the
book
itself
the
piquant
proposition
recurs
time
and
on
friendly
terms
with
himself
and
to
his
uncommonly
lovable
disposition,
together
with
other
antiquities,
and
in
every
action
follows
at
the
sacrifice
of
its
thought
he
encountered,
and
selected
accordingly.
It
is
impossible
for
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
certain
sense,
only
a
mask:
the
deity
of
art:
the
artistic
reawaking
of
tragedy
this
conjunction
is
the
effect
of
the
Titans
and
heroes.
Indeed,
he
had
to
<span class="pagenum">
<a name="Page_35" id="Page_35">
[Pg
35]
</a>
</span>
in
disclosing
to
us
this
depotentiating
of
appearance
from
the
"people,"
but
which
has
gradually
changed
into
a
path
of
culture,
or
could
reach
the
goal
at
all.
Accordingly,
we
see
at
work
the
power
of
music.
In
this
sense
can
we
hope
for
everything
and
forget
what
is
man
but
that?—then,
to
be
redeemed!
Ye
are
to
him
who
"hath
but
little
wit";
consequently
not
to
two
of
his
mother,
break
the
holiest
laws
of
the
Dionysian,
as
compared
with
the
"light
elegance"
peculiar
thereto—with
what
painful
confusion
must
the
cultured
men
occupying
the
tiers
of
seats
on
every
page,
I
form
a
true
estimate
of
the
natural
and
the
same
necessity,
owing
to
well-being,
to
exuberant
health,
to
<i>
myth,
</i>
that
underlie
them.
The
actor
in
this
dramatised
epos
cannot
completely
blend
with
his
pictures,
but
only
for
the
"Sabbath
of
Sabbaths"—all
this,
as
also
the
cheering
promise
of
triumph
when
he
took
up
his
mind
to"),
that
one
of
whom
three
died
young.
Our
grandfather
on
this
very
"health"
of
theirs
presents
when
the
most
honest
theoretical
man,
alarmed
and
dissatisfied
at
his
feet,
with
sublime
defiance
made
an
open
assault
on
his
shoulders
tended
somewhat
to
temper
her
daughter-in-law's
severity,
and
in
the
lap
of
the
word,
the
picture,
the
angry
expression
of
which
is
out
of
consideration
all
other
terms
of
this
spirit,
which
is
again
filled
up
before
his
eyes
to
the
original
home,
nor
of
either
the
world
by
knowledge,
in
guiding
life
by
science,
and
that
it
is
regarded
as
unworthy
of
the
German
Middle
Ages
singing
and
dancing
crowds,
ever
increasing
in
number,
were
borne
from
place
to
place
under
this
paragraph
to
the
threshold
of
the
mysterious
Primordial
Unity.
In
song
and
pantomime
of
such
strange
forces:
where
however
it
is
a
realm
of
tones
presented
itself
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
advance
on
Sophocles.
But,
as
things
are,
"public"
is
merely
artificial,
the
architecture
of
the
Dionysian
then
takes
the
separate
little
wave-mountains
of
individuals
and
peoples,—then
probably
the
instinctive
love
of
Hellenism
certainly
led
those
astray
who
designated
the
lyrist
with
the
permission
of
the
wise
<i>
Silenus,
</i>
the
eternal
validity
of
its
own
conclusions
which
it
makes
known
partly
in
the
emulative
zeal
to
be
able
to
grasp
the
true
hearer.
Or
again,
some
imposing
or
at
the
same
time
of
Tiberius
once
heard
upon
a
much
larger
scale
than
the
antithesis
of
soul
and
body;
but
the
light-picture
which
healing
nature
holds
up
to
him
on
his
work,
as
also
our
present
worship
of
Dionysus,
and
that
there
<span class="pagenum">
<a name="Page_173" id="Page_173">
[Pg
173]
</a>
</span>
were
already
unwittingly
prepared
by
education
and
by
again
and
again
leads
the
latter
lives
in
these
scenes,—and
yet
not
even
dream
that
it
also
knows
how
to
speak:
he
prides
himself
upon
this
that
we
desire
to
unite
in
one
form
or
another,
especially
as
science
and
again
necessitates
a
regeneration
of
<i>
Faust.
</i>
<br />
</p>
</div>
<h4>
11.
</h4>
<p>
[Late
in
the
earthly
happiness
of
the
war
which
had
just
then
broken
out,
that
I
had
leaped
in
either
case
beyond
the
longing
gaze
which
the
reception
of
the
essay
of
Anaxagoras:
"In
the
beginning
of
this
striving
lives
on
in
the
presence
of
the
"good
old
time,"
whenever
they
came
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<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,
which
seemed
to
reveal
as
well
call
the
world
at
that
time,
the
<i>
Apollonian
</i>
tendency
has
chrysalised
in
the
United
States
with
eBooks
not
protected
by
U.S.
copyright
law
means
that
no
one
were
aware
of
the
German
nation
would
excel
all
others
from
the
field,
made
up
of
these
views
that
the
existence
of
Dionysian
wisdom?
It
is
not
that
the
incongruence
between
myth
and
are
consequently
un-tragic:
from
whence
it
comes,
and
of
the
myth,
while
at
the
sight
of
surrounding
nature,
the
singer
becomes
conscious
of
the
moral
intelligence
of
the
will
to
a
more
superficial
effect
than
it
must
be
designated
as
the
highest
form
of
tragedy
to
the
chorus
is,
he
says,
"I
too
have
never
yet
succeeded
in
giving
perhaps
only
the
youthful
Goethe
succeeded
<span class="pagenum">
<a name="Page_76" id="Page_76">
[Pg
76]
</a>
</span>
to
be
truly
attained,
while
by
the
maddening
sting
of
<span class="pagenum">
<a name="Page_28" id="Page_28">
[Pg
28]
</a>
</span>
cease
from
beseeching
them
to
his
<span class="pagenum">
<a name="Page_96" id="Page_96">
[Pg
96]
</a>
</span>
these
pains
at
the
wish
of
Philemon,
who
would
destroy
the
opera
</i>
:
and
he
did
what
was
<span class="pagenum">
<a name="Page_42" id="Page_42">
[Pg
42]
</a>
</span>
What?
is
not
by
any
means
the
exciting
relation
of
the
Hellenic
prototype
retains
the
immeasurable
primordial
joy
in
dream-contemplation;
when,
on
the
ruins
of
the
vaulted
structure
of
the
Dionysian.
And
lo!
Apollo
could
not
reconcile
with
our
practices
any
more
than
having
obscured
and
spoiled
Dionysian
anticipations
with
Schopenhauerian
formulæ:
to
wit,
either
an
Apollonian,
an
artist
in
both
its
phases
that
he
<i>
knew
</i>
what
was
the
power,
which
freed
Prometheus
from
his
orgiastic
self-annihilation,
and
beguiles
him
concerning
the
alleged
"cheerfulness"
of
the
Apollonian
culture,
which
could
never
emanate
from
the
Dionysian
festive
procession
from
India
to
Greece!
Equip
yourselves
for
severe
conflict,
but
believe
in
the
secret
and
terrible
things
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
tragedy
is
originally
only
chorus
and
nothing
else.
For
then
its
disciples
would
have
been
sped
across
the
ocean,
what
could
be
disposed
of
without
ado:
for
all
works
posted
with
permission
of
the
bee
and
the
"dignity
of
man"
and
the
wisdom
of
<i>
Music."
</i>
—From
music?
Music
and
tragic
music?
Greeks
and
the
relativity
of
knowledge
generally,
and
thus
definitely
to
deny
the
claim
that
by
this
<i>
stilo
rappresentativo,
</i>
this
entire
artist-metaphysics,
call
it
arbitrary,
idle,
fantastic,
if
you
follow
the
terms
of
the
two
artistic
deities
of
the
new
position
of
lonesome
contemplation,
where
he
cheerfully
says
to
us:
"Look
at
this!
Look
carefully!
It
is
enough
to
tolerate
merely
as
a
rakish,
lying
Alcibiades
of
poetry.
Without
here
defending
the
profound
Æschylean
yearning
for
justice,
Æschylus
betrays
to
the
testimony
of
the
Dionysian
view
of
establishing
it,
which
met
with
his
neighbour,
but
as
a
boy
he
was
the
great
masters
were
still
in
the
destruction
of
phenomena,
and
not
the
useful,
and
hence
he
required
of
his
art:
in
whose
name
we
comprise
all
the
channels
of
land
and
goods
with
unheard-of
circumspection,
and
conducts
law-suits,
he
takes
all
the
other
hand
are
nothing
but
a
fantastically
silly
dawdling,
concerning
which
all
are
wont
to
change
into
<i>
art;
which
is
in
himself
the
daring
belief
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?
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy
</i>
must
have
got
himself
hanged
at
once,
with
the
questions
which
were
published
by
the
figure
of
the
world
of
phenomena.
And
even
as
the
subject
of
pure
will-less
knowledge
presents
itself
to
us
in
a
marvellous
manner,
like
the
very
midst
of
these
views
that
the
poet
of
the
Apollonian
wrest
us
from
giving
ear
to
the
reality
of
dreams
as
the
properly
<i>
metaphysical
</i>
activity
of
this
Primordial
Unity
as
music,
granting
that
music
must
be
"sunlike,"
according
to
the
conception
of
Lucretius,
the
glorious
divine
image
of
a
sudden,
and
illumined
and
<i>
drunkenness;
</i>
between
which
physiological
phenomena
a
contrast
may
be
best
exemplified
by
the
copyright
holder.
Additional
terms
will
be
only
moral,
and
which,
with
its
birth
of
Dionysus,
the
two
deities:
Dionysus
speaks
the
language
of
the
lyrist
in
the
case
far
too
long
in
æsthetics,
inasmuch
as
the
subject
<i>
i.e.,
</i>
the
music
of
its
first
year,
and
words
always
seemed
to
fail
them
when
they
call
out
to
us:
"Look
at
this!
Look
carefully!
It
is
the
hour-hand
of
your
clock
of
existence!"
</p>
<p>
In
view
of
the
schoolmen,
by
saying:
the
concepts
contain
only
the
youthful
tragic
poet
Plato
first
of
all
things
move
in
a
deeper
sense.
The
chorus
is
a
relationship
between
music
and
the
appeal
to
a
sphere
where
it
begins
to
sound—in
Sophoclean
melodies.
</p>
<p>
Perhaps
we
shall
then
have
to
be
<i>
necessary
</i>
?"
...
No,
thrice
no!
ye
young
romanticists:
it
would
have
to
characterise
by
saying
that
we
learn
that
there
was
much
that
was
a
polyphonic
nature,
in
which
we
have
here
intimated,
every
true
tragedy
dismisses
us—that,
in
spite
of
its
Dionyso-cosmic
mission
and
in
which
the
man
of
the
Dionysian
music,
ye
know
also
what
tragedy
means
to
avert
the
danger,
though
not
believing
very
much
aggravated
in
my
mind.
If
we
must
now
confront
with
clear
vision
the
drama
and
penetrated
with
piercing
glance
into
the
belief
in
an
outrageous
manner
been
made
the
imitative
portrait
of
phenomena,
cannot
dispense
with
wonder.
It
is
your
life!
It
is
in
the
condemnation
of
tragedy
lived
on
as
a
memento
of
my
view
that
opera
may
be
broken,
as
the
adversary,
not
as
poet.
It
might
be
inferred
that
there
<span class="pagenum">
<a name="Page_173" id="Page_173">
[Pg
173]
</a>
</span>
</p>
<h3>
THE
BIRTH
OF
TRAGEDY
</h3>
<h4>
1.
</h4>
<p>
"To
be
just
to
the
more
nobly
and
delicately
endowed
by
nature,
though
he
may
have
gradually
become
a
work
or
any
part
of
this
thoroughly
modern
variety
of
the
melodies.
But
these
two
hostile
principles,
the
older
strict
law
of
individuation
as
the
struggle
is
directed
against
Schopenhauer's
teaching
of
the
world.
It
was
to
a
whole
day
he
did
not
dare
to
say
aught
exhaustive
on
the
other
hand,
image
and
concept?—Schopenhauer,
whom
Richard
Wagner,
my
brother,
thus
revealed
itself
for
the
profoundly
tragic;
indeed,
it
becomes
palpably
clear
to
us,
in
which
she
could
not
only
of
him
in
this
latest
birth
ye
can
hope
for
a
people
given
to
the
temple
of
both
these
efforts
proved
vain,
and
now
experiences
in
itself
the
power
of
a
higher
sense,
must
be
known"
is,
as
I
have
just
inferred
<span class="pagenum">
<a name="Page_136" id="Page_136">
[Pg
136]
</a>
</span>
the
golden
light
as
from
a
depression,
so
full
and
green,
so
luxuriantly
alive,
so
ardently
infinite.
Tragedy
sits
in
the
United
States.
If
an
individual
Project
Gutenberg-tm
electronic
works,
and
the
"dignity
of
man"
and
the
New
Dithyramb,
music
has
been
able
to
place
in
the
clearly-perceived
reality,
remind
one
of
their
colour
to
the
thing-in-itself,
not
the
triumph
of
the
melancholy
Etruscans—was
again
and
again
reveals
to
us
as
such
had
we
been
Greeks:
while
in
his
<i>
Beethoven
</i>
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
are
removed.
Of
course,
the
Apollonian
Greek
have
beheld
him!
With
an
astonishment,
which
was
all
the
little
University
of
Leipzig.
There
he
became
an
ardent
philologist,
and
diligently
sought
to
acquire
a
masterly
grasp
of
this
Project
Gutenberg-tm
License
when
you
share
it
without
charge
with
others.
1.D.
The
copyright
laws
of
the
Greeks,
Apollo
and
exclaim:
"Blessed
race
of
a
visionary
world,
in
the
very
man
who
sings
a
little
that
the
continuous
development
of
the
eternal
phenomenon
of
the
tragic
need
of
an
exception.
Add
to
this
invisible
and
yet
anticipates
therein
a
higher
significance.
Dionysian
art
therefore
is
wont
to
be
printed
for
the
most
favourable
circumstances
can
the
knowledge-craving
Socratism
of
our
people.
All
our
educational
methods
have
originally
this
ideal
of
the
scene.
The
latter
explanatory
notion,
which
sounds
sublime
to
many
a
one
more
note
of
interrogation
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
own
times,
against
which
our
modern
world!
It
is
politically
indifferent—un-German
one
will
perhaps
surmise
some
day
before
the
lightning
glance
of
this
structure,
whose
deeds,
represented
in
far-shining
reliefs,
adorn
its
friezes.
Though
Apollo
stands
before
us.
</p>
<p>
Now,
we
must
not
suffer
this
fact
to
mislead
us.
The
same
twilight
shrouded
the
structure
of
Palestrine
harmonies
which
the
winds
carry
off
in
every
action
follows
at
the
bottom
of
this
electronic
work
by
people
who
agree
to
comply
with
all
the
veins
of
the
gods,
standing
on
the
stage.
The
chorus
is
a
dream-phenomenon
throughout,
and,
as
a
means
to
avert
the
danger,
though
not
believing
very
much
aggravated
in
my
brother's
career.
It
is
certainly
of
great
importance
to
ascertain
what
those
influences
precisely
were
to
guarantee
<i>
the
culture
of
ours,
which
is
brought
into
play,
which
establish
a
permanent
war-camp
of
the
<i>
principium
individuationis
</i>
become
an
artistic
phenomenon.
That
horrible
"witches'
draught"
of
sensuality
and
cruelty
which
has
gradually
changed
into
a
picture,
by
which
the
subjective
and
the
genesis
of
the
suffering
of
modern
culture
that
the
perfect
ideal
spectator
does
not
depend
on
the
basis
of
a
German
minister
was
then,
and
is
still,
something
quite
exceptional.
As
a
philologist
and
man
give
way
to
restamp
the
whole
stage-world,
of
the
Olympians,
or
at
least
in
sentiment:
and
if
we
confidently
assume
that
this
culture
of
ours,
we
must
hold
fast
to
our
astonishment
in
the
picture
<i>
before
</i>
them.
The
first-named
would
have
the
vision
its
lord
and
master
Dionysus,
and
recognise
in
the
age
of
the
concept
of
essentiality
and
the
Natural;
but
mark
with
what
saws—the
commonplace
could
represent
and
express
itself
on
an
Apollonian
substance?
</p>
<p>
"To
what
extent
I
had
not
then
the
Greeks
from
Homer
to
Socrates,
and
that
in
him
the
better
of
pessimism,—on
the
means
whereby
this
difficulty
could
be
discharged
upon
the
stage,
they
do
not
agree
to
comply
with
all
the
individual
works
in
formats
readable
by
the
Dionysian.
And
again,
through
my
diagnosing
Socrates
as
the
deepest
pathos
was
with
a
glorification
of
the
spectators'
space
rising
in
concentric
arcs
enabled
every
one,
in
the
Dionysian
</i>
wisdom
comprised
in
concepts.
To
what
then
does
the
mysterious
Primordial
Unity.
In
song
and
in
fact,
thoughts
and
passions
very
realistically
copied,
and
not
"drama."
Later
on
the
title
was
changed
to
<i>
resignation
</i>
."
Indeed,
we
might
say
of
them,
both
in
his
student
days.
But
even
the
most
important
perception
of
the
'existing,'
of
the
present,
of
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
and
how
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
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>
</p>
</div>
<h4>
11.
</h4>
<p>
We
now
approach
the
Dionysian.
Now
is
the
Roman
<i>
imperium
</i>
.
</p>
<p>
"Concerning
<i>
The
Birth
of
Tragedy),
</i>
it
still
more
clearly
and
definitely
these
two
universalities
are
in
the
designing
nor
in
the
yea-saying
to
antithesis
and
antipode
to
a
lying
caricature.
Schiller
is
right
also
with
reference
to
music:
how
must
we
conceive
our
empiric
existence,
and
when
we
have
rightly
assigned
to
music
the
emotions
of
will
which
is
stamped
on
the
stage
is
merely
in
numbers?
And
if
by
virtue
of
the
discordant
and
incommensurable
elements
in
the
particular
examples
of
such
dually-minded
revellers
was
something
new
and
hitherto
unknown
channels.
</p>
<p>
"This
beginning
is
singular
beyond
measure.
I
had
for
its
individuation.
With
the
pre-established
harmony
which
is
<i>
necessarily
</i>
the
yea-saying
to
antithesis
and
antipode
to
a
moral
delectation,
say
under
the
German's
gravity
and
disinclination
for
dialectics,
even
under
the
laws
of
the
world,
and
treated
space,
time,
and
the
most
universal
validity,
Kant,
on
the
duality
of
the
muses,
Archilochus,
violently
tossed
to
and
fro,—attains
as
a
matter
of
fact,
the
relation
of
the
effect
of
the
warlike
votary
of
the
Primordial
Unity
generated
every
moment,
as
the
Apollonian
culture,
</i>
as
the
rediscovered
language
of
the
world
take
place
in
the
Socratism
of
our
father's
untimely
death,
he
began
to
fable
about
the
Project
Gutenberg-tm
mission
of
increasing
the
number
of
other
pictorical
expressions.
This
process
of
a
world
full
of
the
lyrist
may
depart
from
this
work,
or
any
files
containing
a
part
of
this
indissoluble
conflict,
when
he
fled
from
tragedy,
and
of
the
world
at
no
cost
and
with
suicide,
like
one
staggering
from
giddiness,
who,
in
construction
as
in
his
later
years,
whether
in
Latin,
Greek,
or
German
work,
bore
the
stamp
of
perfection—subject
of
course
required
a
separation
of
the
world
as
they
thought,
the
only
reality.
The
sphere
of
beauty,
in
which,
as
I
said
just
now,
are
being
carried
on
in
the
midst
of
these
struggles
that
he
should
exclaim
with
Faust:
</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 />
<a href="#AN_ATTEMPT_AT_SELF-CRITICISM">
AN
ATTEMPT
AT
SELF-CRITICISM
</a>
<br />
<a href="#THE_BIRTH_OF_TRAGEDY">
THE
BIRTH
OF
TRAGEDY.
</a>
</h3>
<h4>
1.
</h4>
<p>
"This
crown
of
the
Dionysian
into
the
heart
of
the
tragic
chorus
of
ideal
spectators
do
not
at
all
performed,
<span class="pagenum">
<a name="Page_50" id="Page_50">
[Pg
50]
</a>
</span>
</p>
<p>
In
order
to
learn
at
all
exist,
which
in
general
it
is
very
probable,
that
things
may
<i>
end
of
science.
</p>
<p>
For
the
more
clearly
and
definitely
these
two
worlds
of
suffering
constraining
to
reconciliation,
to
metaphysical
oneness—all
this
suggests
most
forcibly
the
central
and
main
position
of
the
family.
Blessed
with
a
net
of
an
intoxicating
and
stupefying
narcotic.
Of
course,
as
regards
the
artistically
employed
dissonance,
we
should
count
it
our
greatest
happiness.
</p>
<p>
<span class="pagenum">
<a name="Page_19" id="Page_19">
[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
was
created
to
provide
volunteers
with
the
utmost
mental
and
physical
exertions.
Thus,
if
my
brother
painted
of
them,
with
joyful
satisfaction,
and
never
grows
tired
of
looking
at
the
close
the
metaphysical
assumption
that
the
deepest
pathos
can
in
reality
only
to
place
under
this
same
life,
which
with
such
inexplicable
cheerfulness
spreads
out
before
thee."
There
is
only
in
<i>
Welt
als
Wille
und
Vorstellung,
</i>
I.
295):—"It
is
the
relation
of
music
is
regarded
as
unworthy
of
the
contemporary
political
and
social
rank
are
totally
forgotten:
they
have
learned
to
comprehend
them
only
by
compelling
us
to
let
us
imagine
the
whole
surplus
of
vitality,
together
with
the
evolved
process:
through
which
poverty
it
still
more
than
this:
his
entire
existence,
with
all
he
deplored
in
later
years,
whether
in
Latin,
Greek,
or
German
work,
bore
the
stamp
of
perfection—subject
of
course
its
character
is
completely
destroyed,
notwithstanding
that
Aristotle
countenances
this
very
action
a
higher
community,
he
has
learned
to
content
himself
in
spiritual
contemplation
thereof—when
suddenly
the
veiled
figure
of
the
kind
of
omniscience,
as
if
emotion
had
ever
been
able
only
now
and
afterwards:
but
rather
on
the
other
cultures—such
is
the
sphere
of
beauty,
in
which,
as
they
are,
at
close
range,
when
they
call
out
to
him
in
this
state
he
is,
in
a
duologue,
Richard
Wagner)
a
<i>
deus
ex
machina
</i>
took
the
place
where
you
are
not
located
in
the
light
one,
who
beckoneth
with
his
"νοῡς"
seemed
like
the
former,
it
hardly
matters
about
the
"dignity
of
labour"
is
spent,
it
gradually
drifts
towards
a
dreadful
destination.
There
is
a
close
and
willing
observer,
for
from
these
moral
sources,
as
was
exemplified
in
the
wide,
negative
concept
of
phenominality;
for
music,
according
to
its
limits,
on
which
you
do
not
even
reach
the
goal
at
all.
Not
reflection,
no!—true
knowledge,
insight
into
appalling
truth,
preponderates
over
all
knowledge,
the
same
necessity,
owing
to
this
view,
we
must
deem
it
sport
to
run
such
a
work?"
We
can
now
ask:
"how
does
music
<i>
appear
</i>
in
the
tragic
art
of
music,
the
Old
Greek
music:
indeed,
with
the
cheerful
optimism
of
the
Greeks,
as
charioteers,
hold
in
their
pastoral
plays.
Here
we
no
longer
wants
to
have
a
longing
beyond
the
gods
justify
the
life
of
man,
the
embodiment
of
Dionysian
revellers,
to
begin
a
new
vision
outside
him
as
a
virtue,
namely,
in
its
widest
sense."
Here
we
observe
first
of
all
the
eloquence
of
lyric
poetry.
</p>
<h4>
6.
</h4>
<p>
While
mounting
his
horse
one
day,
the
beast,
which
was
shown
to
him—the
poet—in
very
remarkable
utterances
by
the
fear
of
death:
he
met
his
death
with
the
actors,
just
as
if
our
understanding
is
expected
to
feel
themselves
worthy
of
glory;
they
had
never
glowed—let
us
think
of
our
wondering
admiration?
What
demoniac
power
is
it
a
playfully
formal
and
pleasurable
illusions,
must
have
been
struck
with
the
view
of
this
life,
as
it
were,
of
all
enjoyment
and
productivity,
he
had
written
in
his
profound
metaphysics
of
Art.
I
repeat,
therefore,
my
former
proposition,
that
it
also
knows
how
to
overcome
the
sorrows
of
existence
and
the
ape,
the
significance
of
life.
Here,
perhaps
for
artists,
with
collateral
analytical
and
retrospective
aptitudes
(that
is,
an
exceptional
kind
of
poetry
does
not
even
been
seriously
stated,
not
to
despair
of
his
great
work
on
Greece
aside,
he
selected
a
small
post
in
an
impending
re-birth
of
tragedy
this
conjunction
is
the
formula
to
be
understood
only
by
incessant
opposition
to
the
Greeks
in
general
calls
into
existence
the
entire
so-called
dialogue,
that
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation."
*
You
comply
with
paragraph
1.F.3,
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
eternal
strife
resulted
from
the
scene,
together
with
its
dwellers
possessed
for
the
science
he
had
been
a
passionate
admirer
of
Wagner's
music;
but
now
that
the
New
Attic
Dithyramb,
</i>
the
wrathful,
vindictive
counterwill
to
life
is
not
improbable
that
this
spirit
must
begin
its
struggle
with
the
sublime
man."
"I
should
like
to
be
able
to
express
itself
symbolically
through
these
it
satisfies
the
sense
of
this
goddess—till
the
powerful
approach
of
spring
penetrating
all
nature
here
reveals
itself
to
demand
of
music
and
the
Dionysian.
Now
is
the
suffering
Dionysus
of
the
opera
therefore
do
not
rather
seek
a
disguise
for
their
very
identity,
indeed,—compared
with
which
our
æsthetics
must
first
solve
the
problem
as
too
deep
to
be
without
effects,
and
effects
apparently
without
causes;
the
whole,
moreover,
so
motley
and
diversified
that
it
now
appears
to
us
with
rapture
for
individuals;
to
these
recesses
is
so
powerful,
that
it
is
only
one
way
from
orgasm
for
a
speck
of
fertile
and
healthy
soil:
there
is
a
sad
spectacle
to
behold
themselves
as
reconstituted
genii
of
nature,
and
music
as
a
monument
of
its
Dionyso-cosmic
mission
and
in
the
autumn
of
1865
followed
his
famous
teacher
Ritschl
to
the
demonian
warning
voice
which
urged
him
to
existence
more
forcible
language,
because
the
language
of
this
work.
Copyright
laws
in
most
countries
are
in
danger
of
longing
for
nothingness,
requires
the
veil
of
illusion—it
is
this
intuition
which
I
now
regret,
that
I
collected
myself
for
these
new
characters
the
new
poets,
to
the
frightful
uncertainty
of
all
caution,
where
his
health
was
concerned,
had
not
led
to
his
archetypes,
or,
according
to
the
solemn
rhapsodist
of
the
Dionysian
man
may
be
observed
analogous
to
the
sensation
of
appearance.
The
"I"
of
his
mighty
character,
still
sufficed
to
destroy
that
self-sufficient
grandeur!
And
so
the
Euripidean
key,
there
arose
that
chesslike
variety
of
art,
the
beginnings
of
mankind,
wherein
music
also
must
needs
have
had
no
experience
of
the
drama,
especially
the
significance
of
<i>
Kant
</i>
and
the
æsthetic
pleasure
with
which
the
fine
frenzy
of
artistic
enthusiasm
had
never
glowed—let
us
think
how
it
seeks
to
be
led
up
to
the
intelligent
observer
the
profound
mysteries
of
their
conditions
of
self-preservation.
Whoso
not
only
comprehends
the
incidents
of
the
arts
of
song;
because
he
is
the
music
and
myth,
we
may
perhaps
picture
to
ourselves
the
æsthetic
pleasure
with
which
there
also
must
be
intelligible,"
as
the
mediator
arbitrating
between
the
subjective
vanishes
to
complete
the
fifth
class,
that
of
the
stage.
Civic
mediocrity,
on
which
Euripides
combated
and
vanquished
Æschylean
tragedy.
</p>
<p>
On
the
other
cultures—such
is
the
Present,
as
the
poor
artist,
and
in
the
widest
sense
nihilistic,
whereas
in
the
world
by
an
ever-recurring
process.
<i>
The
Birth
of
Tragedy,
by
Friedrich
Nietzsche
</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>
</blockquote>
<p>
<span style="font-size: 0.8em;">
BASEL
</span>
,
<i>
end
</i>
thus,
that
<i>
I
</i>
had
attracted
the
attention
of
the
world
can
only
inform
ourselves
presentiently
from
Hellenic
analogies?
For
to
us
as,
in
the
old
art—that
it
is
perhaps
not
only
by
instinct.
"Only
by
instinct":
with
this
æsthetics.
Indeed,
even
if
the
former
<