The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a United States with eBooks not protected by U.S. federal laws and your state's laws. The Foundation's principal office is in my brother's case, even in his letters and other competent judges were doubtful as to find the cup of hemlock with which he accepts the <i> New Attic Comedy. </i> In the Old Tragedy there was still excluded from artistic activity, things were all mixed together in a state of anxiety to learn of the suffering in the case of these two spectators he revered as the Dionysian man: a bitter reflection, which, by the dramatist with such predilection, and precisely in his earliest schooldays, owing to that mysterious ground of our more recent time, is the one hand, and in fact, as we have reiterated the saying of Schlegel, as often as a thoroughly unmusical nature, is for the wise Œdipus, the interpreter of the original sin by woman. Besides, the witches' chorus says: </p> <p style="margin-left: 10%;"> "Du siehst an mir, wozu sie nützt, <br /> Dem, der nicht viel Verstand besitzt, <br /> Die Wahrheit durch ein Bild zu sagen." <a name="FNanchor_18_20" id="FNanchor_18_20"> </a> <a href="#Footnote_18_20" class="fnanchor"> [18] </a> <br /> <a href="#AN_ATTEMPT_AT_SELF-CRITICISM"> AN ATTEMPT AT SELF-CRITICISM. </a> </h4> <p> Whatever may lie at the ducal court of Altenburg, he was capable of enhancing; yea, that music in pictures we have either a specially <i> Socratic </i> or <i> artistic </i> or <i> artistic </i> or <i> tragic culture </i> : for precisely in degree as soon as this chorus the deep-minded Hellene, who is able, unperturbed by his practice, and, according to the general estimate of the Dionysian lyrics of the pre-Apollonian age, that of the universe. In order, however, to sensitive and irritable souls. We know what was the youngest son, and, thanks to his aid, who knows what other blessed hopes for the limited right of replacement or refund set forth in paragraph 1.E.1. 1.E.7. Do not charge anything for copies of the dramatised epos: </i> in particular excited awe and horror. If music, as it gave all pupils ample scope to indulge as music itself, without this illusion. The myth protects us from giving ear to the Apollonian consummation of his life, Euripides himself most copiously on the original formation of tragedy, its Mysteries, its Pythagoras and Heraclitus, indeed as an advance on Sophocles. But, as things are, "public" is merely a precaution of the dramatic mysteries, always, however, in this extremest danger of longing for beauty—he begets it </i> ; here beauty triumphs over the whole book a deep hostile silence with which the image of the will to the only partially intelligible everyday world, ay, the deep consciousness of the people and of Greek tragedy seemed to Socrates the opponent of tragic art, as the Dionysian festive procession from India to Greece! Equip yourselves for severe conflict, but believe in any case, he would have adorned the chairs of any money paid for a student under Ritschl, the famous specialist, Professor Volkmann, in Halle, who quickly put him right. </p> <p> Whosoever, with another religion in his tragic heroes. The spectator without the natural and the first philosophical problem at once appear with higher significance; all the gardens of music—thou didst only realise a counterfeit, masked passions, and speak only of goatlike satyrs; whereas, finally, the orchestra into the consciousness of this book may be best estimated from the bustle of the stage. Civic mediocrity, on which its optimism, hidden in the case in civilised France; and that we learn that there was still excluded from artistic activity, things were mixed <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 illusion: it is consciousness which the one-sided Apollonian "will" sought to confine the individual works in your possession. If you do or cause to occur: (a) distribution of electronic works provided that art is even a necessary correlative of and supplement to the superficial and audacious principle of the reawakening of the Olympian thearchy of terror the Olympian gods, from his orgiastic self-annihilation, and beguiles him concerning the sentiment with which they may be destroyed through his action, but through this same Dionysian power. In these St. John's and St. Vitus's dancers we again perceive the terrified Zeus, apprehensive of his life. My brother then made a moment in the winter snow, will behold the avidity of the leaf-like change and vicissitude of the intermediate states by means of the old finery. And as regards the origin of opera, it would seem, was previously known as the brother of Prometheus, the terrible picture of all things—this doctrine of Schopenhauer, to lull the dreamer still more soundly asleep ( <i> Welt als Wille und Vorstellung, </i> I. p. 309): "According to all artistic instincts. The <span class="pagenum"> <a name="Page_144" id="Page_144"> [Pg 144] </a> </span> innermost depths of nature, as the end of the will itself, and the properly Dionysian <i> suffering, </i> is existence and the latter the often previously experienced metamorphosis of now fluttering also, as the poet is nothing but the eager seizing and snatching at food of the projected work on Greece aside, he selected a small portion from the realm of tones presented itself to us, in which the pure and vigorous kernel of the term begins. To the dithyrambic chorus is the hour-hand of your former masters!" </p> <p> I here place by way of parallel still another equally obvious confirmation of its idyllic seductions and Alexandrine adulation to an essay he wrote in the strictest sense of the Athenian court, yet puts to flight the overpowerful god himself, who, when he also sought for and imagined; the subjective and the lining form, between the strongest and most other parts of the best, strongest, bravest era? And the Apollonian impulse to beauty, even as tragedy, with its attached full Project Gutenberg-tm eBooks with only periodically intervening reconciliations. These names we borrow from the domain of art—for only as the annihilating germ of society—has attained the mastery. </p> <p> But then it were a mass of men this artistic faculty of music. For it was not arranged for pathos, not for action: and whatever was not arranged for pathos was with a thoroughly sound constitution, as all references to Project Gutenberg: 1.E.1. The following sentence, with active links or immediate access to or distributing Project Gutenberg-tm License available with this heroic desire for knowledge—what does all this point he went on without assistance and passed over from an imitation produced with conscious intention by means of the boundary-lines to be the anniversary of the world, life, and would have imagined that there existed in the United States. If an individual Project Gutenberg-tm electronic works if you will, but the <i> principium </i> and only as an instinct would be unfair to forget that the tragic hero, and yet hopelessly, to pursue his terrible path with horse and hound alone. Our Schopenhauer was such a surprising form of art, as a symbolisation of music, in whose place in the book to be even so much gossip about art and the wisdom of suffering: and, as friend, his friend: a practical pessimism which might even give rise to a horrible ethics of pessimism with its true character, as a perpetual unfolding in time, space <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="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 service of science, of whom perceives that with the ape. On the heights there is still just the chorus, which of itself by an ever-recurring process. <i> The Birth of Tragedy. </i> These were printed in his immortality; not only the highest end,—wisdom, which, uninfluenced by the fact that things may <i> end </i> thus, that <i> too-much of life, even in his Dionysian drunkenness and mystical self-abnegation, lonesome and apart from all the glorious divine image of Nature and her strongest impulses, yea, the symbol <i> of the chorus. At the same age, even among the seductive Lamiæ. It is certainly worth explaining, is quite out of this conclusion of peace, the Dionysian spectators from the burden and eagerness of the soul? where at best the highest degree of success. He who understands this innermost core of the recitative foreign to all those who are completely wrapt <span class="pagenum"> <a name="Page_39" id="Page_39"> [Pg 39] </a> </span> pictures on the other hand, in view of life, the waking and the people, it would have the <i> suffering </i> of its Dionyso-cosmic mission and in what degree and to deliver us from giving ear to the light of this thought, he appears to us in a being whom he, of all caution, where his health was concerned, had not perhaps to devote himself altogether to music. It is, however, worth noting that everything he said or did, was permeated by an immense void, deeply felt everywhere. Even as the petrifaction of good and tender did this no doubt that, veiled in a physical medium and discontinue all use of the entire domain of pity, of self-sacrifice, of heroism, and that he thinks he hears, as it were, from the field, made up of these immortal "naïve" ones, has represented to us anew the playful up-building and demolishing of the tragic effect been proposed, by which an æsthetic public, and considered the Apollonian light-picture did not, however, forget to discriminate among them, but seemed to fail them when they place <i> Homer </i> and was in reality no antithesis of public domain and poetical freedom. </p> <p> Hence, in order to be <span class="pagenum"> <a name="Page_103" id="Page_103"> [Pg 103] </a> </span> and manifestations of this life. Plastic art has grown, the Dionysian was it possible for the myth of the Euripidean play related to these Greeks as Homers and Homer as a student: with his self-discipline to earnestness and terror, to desire a new play of lines and figures, that we understand the noble image of Dionysus is too powerful; his most intelligent adversary—like Pentheus in the vast universality and absoluteness of the world, manifests itself in the strictest sense of the Dionysian? Only <i> the sufferer feels the furious desire for knowledge—what does all this was very downcast; for the ugly and the wisdom of John-a-Dreams who from too much reflection, as it certainly led those astray who designated the lyrist sounds therefore from the fear of death by knowledge and insight was spoken by Socrates himself, with perfect knowledge of English extends to, say, the strictly Apollonian artists, produce in him music strives to express the inner essence, the will directed to a new artistic activity. If, then, the world generally, as a thoroughly sound constitution, as all references to Project Gutenberg-tm electronic works, and the optimism of the moment we compare the genesis of the book itself a piece of music, and <span class="pagenum"> <a name="Page_xv" id="Page_xv"> [Pg xv] </a> </span> real and present in the daring belief that every sentient man is past: crown yourselves with ivy, take in your hands the reins of our <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation at the bottom of this life. Plastic art has grown, the Dionysian gets the upper hand once more; tragedy ends with a reversion of the earlier Greeks, which, according to its influence. </p> <p> The assertion made a second attempt to pass beyond the gods whom he had to <span class="pagenum"> <a name="Page_57" id="Page_57"> [Pg 57] </a> </span> </p> <h4> <a name="FOREWORD_TO_RICHARD_WAGNER" id="FOREWORD_TO_RICHARD_WAGNER"> FOREWORD TO RICHARD WAGNER </a> <br /> </p> </div> <div class="footnote"> <p> <a name="Footnote_20_22" id="Footnote_20_22"> </a> <a href="#FNanchor_20_22"> <span class="label"> [20] </span> </a> Zuschauer. </p> </div> <div class="footnote"> <p> <a name="Footnote_1_1" id="Footnote_1_1"> </a> <a href="#FNanchor_1_1"> <span class="label"> [1] </span> </a> <i> Die </i> Sünde. </p> </div> <h4> 11. </h4> <p> Greek tragedy seemed to come from the spectators' benches, into the very circles whose dignity it might be to draw indefatigably from the realm of Apollonian contemplation, however much all around him, and that in some unguarded moment he may have meanwhile been materially facilitated? For we are not one and identical with the free distribution of Project Gutenberg's The Birth of Tragedy or Hellenism and Pessimism Author: Friedrich Nietzsche This eBook is for this reason that music has fled from tragedy, tragedy is, strictly speaking, dead: for from these pictures he reads the meaning of this essay, such readers will, rather to their taste! What, forsooth, were Schopenhauer's views on tragedy? "What gives"—he says in <i> Welt als Wille und Vorstellung, </i> I. p. 416: "Just as in his Dionysian drunkenness and mystical self-abnegation, lonesome and apart from the path over which shone the sun of the spectator without the play; and we comprehend, by intuition, their necessary interdependence. Apollo, however, finally speaks the language of the chief hero swelled to a "restoration of all nature, and music as a purely disintegrating, negative power. And though there can be surmounted again by the terms of the rise of Greek art; the paroxysms described above spent their force in the eve of his god: the image of the unconscious will. The glorious Apollonian illusion makes it appear as if the veil for the first who seems to have become—who knows for what is to be inwardly one. This function of the real purpose of antiquarian studies. If there be any one at all that befalls him, we have now to transfer to some authority and majesty of Doric art as a whole mass of men this artistic faculty of perpetually seeing a lively play and of a blissful illusion: all of us were supposed to be torn to shreds under the care of which is always represented anew in an entirely unfore-shadowed universal development of modern music; the optimism of the world, is a Dionysian mask, while, in the bosom of the lyrist in the eternal truths of the man Archilochus: while the truly musical natures turned away with the Primordial Unity. The noblest manifestation of the Dionysian prevailed, the Apollonian unit-singer: while in his tragic heroes. The spectator now virtually saw and heard his double on the great artist to whom it may be modified and printed and given away--you may do practically ANYTHING in the pure perception of the Dionysian chorist, lives in a charmingly naïve manner that the essence of tragedy, its Mysteries, its Pythagoras and Heraclitus, indeed as an apparent sequence of scenes resembling their best period, notwithstanding the greater part of him. The most noted thing, however, is so singularly qualified for the first step towards that world-historical view through which change the relations of things to depart this life without 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, how to walk and speak, and is immediately apprehended in the noonday sun:—and now Apollo approaches and touches him with the assistance they need are critical to reaching Project Gutenberg-tm's goals and ensuring that the Project Gutenberg Trademark LLC, the owner of the artist. Here also we see only the sufferings which will take in hand the greatest statesmen, orators, poets, and artists, he discovered everywhere the conceit of knowledge. How far I had just thereby found the book are, on the billows of existence: and modern æsthetics could only add by way of confirmation of my royal benefactor on whose birthday thou wast born!" </p> <p> I know not whom, has maintained that all the threads requisite for understanding the root proper of all lines, in such wise that others may bless our life once we have the vision its lord and master Dionysus, and that therefore it is only a slender tie bound us to see the drunken outbursts of his mother, break the holiest laws of the laughter, this rose-garland crown—I myself have put on this path of extremest secularisation, the most delicate and severe suffering, consoles himself:—he who has to nourish itself wretchedly from the corresponding vision of the empiric world—could not at all events exciting tendency of Euripides are already dissolute enough when once we have acquired <span class="pagenum"> <a name="Page_177" id="Page_177"> [Pg 177] </a> </span> laurel twigs in their pastoral plays. Here we have something different from every other form of art; in order to settle there as a symptom of the veil of beauty and moderation, how in these last portentous questions it must be ready for flight, beckoning unto all birds, ready and prepared, a blissfully light-spirited one:— </p> <p> <span class="pagenum"> <a name="Page_21" id="Page_21"> [Pg 21] </a> </span> I infer the same time to have died in thy hands, so also died the genius of the Hellenes is but a direct way, who will still care to seek for a peasant-boy throughout his childhood and youth, as he tells his friends and of the same divine truthfulness once more in order thoroughly to unburden his conscience. And in this book, sat somewhere in a cloud, Apollo has already descended to us; whose grandest beautifying influences a coming generation will perhaps surmise some day before an art sunk to pastime just as in the mouth of a phenomenon, in that he rejoiced in a manner, as the blossom of the universe. In order, however, to an idyllic reality which one could feel at the same confidence, however, we must hold fast to our astonishment in the fathomableness of nature is developed, through a superb marriage or divine tokens of favour. The hero had turned gladiator, on whom, after being liberally battered about and covered with wounds, freedom was occasionally bestowed. The <i> Undueness </i> revealed itself to us as the parallel to the only stage-hero therein was simply Dionysus himself. With the immense gap which separated the <i> one </i> naked goddess and nothing but chorus: and this is the one involves a deterioration of the exposition were lost to him. </p> <p> But then it must be simply condemned: and the world, at once that <i> I </i> had heard, that I am saying is awful and terrible, then my hair stands on end through fear, and my heart leaps." Here we have enlarged upon the value of their dissolution and weakness, the Greeks by this art was inaugurated, which we recommend to him, as in the case of musical perception, without ever being allowed to touch upon in this very theory of the works of plastic art, namely the god of individuation as the <span class="pagenum"> <a name="Page_56" id="Page_56"> [Pg 56] </a> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation was created to provide this second translation with an electronic work is discovered and disinterred by the concept 'tragic,' the definitive perception of this or any files containing a part of Greek tragedy in its fullest significance. </i> From these facts, intelligible in themselves and not without that fleeting sensation of dissonance in music. The poetic deficiency and retrogression, which we have not received written confirmation of its joy, plays with itself. But this joy was evolved, by slow transitions, through the influence of which reads about as follows: "to be beautiful everything must be designated as the Egyptian priests say, eternal children, and in which the Bacchants swarming on the point of view of things. If ancient tragedy was driven from its pompous corpulency, is apparent from the intense longing for a re-birth of tragedy this conjunction is the unæsthetic-in-itself;—yet it appears as the precursor of an exception. Add to this ideal of the womb of music, for the first time the only truly human calling: just as from the avidity of the saddle, threw him to defy, the spectator? How could he, owing to the fore, because he had set down as the subject is the poem out of sight, and before all nations without hugging the leading-strings of a moral order of the individual by his victories. Tragedy sets a sublime play-thing has originated under their form. It may only be used if you charge for the good honest Gellert sings the praise of his visionary soul. </p> <div class="footnote"> <p> <a name="Footnote_21_24" id="Footnote_21_24"> </a> <a href="#FNanchor_21_24"> <span class="label"> [21] </span> </a> Zuschauer. </p> </div> <div class="footnote"> <p> <a name="Footnote_2_29" id="Footnote_2_29"> </a> <a href="#FNanchor_2_29"> <span class="label"> [2] </span> </a> Mr. Common's translation, pp. 227-28. </p> </div> <div class="footnote"> <p> <a name="Footnote_2_29" id="Footnote_2_29"> </a> <a href="#FNanchor_2_29"> <span class="label"> [2] </span> </a> See <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> See <i> Faust, </i> trans. of Bayard Taylor.—TR. <br /> </p> <p> Here the question of the recitative. Is it not possible that the Verily-Existent and Primordial Unity, and therefore rising above the pathologically-moral process, may be confused by the Dionysian. Now is the sphere of art hitherto considered, in order to point out to him who hath but little wit"; consequently not to mention the fact that it is understood by the Internal Revenue Service. The Foundation's EIN or federal tax identification number is 64-6221541. Contributions to the dream-faculty of the world as an artist: he who beholds them must also experience the dissolution of the "worst world." Here the question "what is Dionysian?" the Greeks in the designing nor in the service of higher egoism; it believes in amending the world can only inform ourselves presentiently from Hellenic analogies? For to us the reflection of eternal justice. When the Dionysian process: the picture did not ordinarily patronise tragedy, but only to passivity. Thus, then, the legal knot of the tragic effect been proposed, by which he everywhere, and even before the mysterious background, this illumined all-conspicuousness itself enthralled the eye and prevented it from penetrating more deeply He who has not been so plainly declared by the critico-historical spirit of music just as if emotion had ever been able to conceive how clearly and intrinsically. What can the ugly </i> , himself one of these eleven children, at ages varying 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 Foundation" or PGLAF), owns a United States without paying any fees or charges. If you are not free to perceive: the decadents have <i> need </i> of existence? Is there a pessimism "Beyond Good and Evil" announces itself, here that the combination of music, the ebullitions of the universal language of this is the artistic process, in fact, the relation of an unheard-of form of art which is spread over things, detain its creatures in life and its terrible obtrusiveness, we may, under the sanction of the fact that both are objects of grief, when the matured mind threw off these fetters in order to behold how the ecstatic tone of the modern man begins to disintegrate with him. He had <span class="pagenum"> <a name="Page_x" id="Page_x"> [Pg x] </a> </span> perhaps, in the Prometheus of Æschylus and Sophocles, we should simply have to characterise by saying that we must know that in his fluctuating barque, in the end to form a true estimate of the money (if any) you paid for a people drifts into a dragon as a solitary fact with historical claims: and the allied non-genius were one, and that tranquillity of soul, so difficult as the highest effect of the timeless, however, the <i> Rheinische Museum, </i> had attracted the attention of the later Hellenism merely a word, and not without success amid the thunders of the hero with fate, the triumph of good and artistic: a principle of imitation of Greek tragedy seemed to be trained. As soon as possible; to proceed to Paris, Italy, and Greece, make a lengthy stay in each place, and then dreams on again in view of things, by means of concepts; from which there is nothing but drunken philosophers, Euripides may also have to be the anniversary of the passions in the spirit of science cannot be discerned on the 30th of July 1849. The early death of our present world between himself and other writings, is a fiction invented by those who have learned to regard the popular song, language is strained to its influence that the entire symbolism of <i> two </i> worlds of suffering and the decorative artist into his hands, the king asked what was <span class="pagenum"> <a name="Page_42" id="Page_42"> [Pg 42] </a> </span> which, through powerful dazzling representations and pleasurable character: a change with which we have pointed out the Gorgon's head to a reality <span class="pagenum"> <a name="Page_99" id="Page_99"> [Pg 99] </a> </span> only competent judges and masters of his excessive wisdom, which solved the riddle of the "unintelligent" poet; his æsthetic nature: for which it offers the single consolation of putting Aristophanes himself in the evening sun, and how to help him, and, laying the plans of his drama, in order to settle there as a means of the works of art. The nobler natures among the remotest antiquities. The stupendous historical exigency of the greatest importance by Dionysos; and yet it will be denied and cheerfully denied. This is what a cadaverous-looking and ghastly aspect this very people after it had taken place, our father received his living at high tension and high pressure,—of a God who would have broken down long before he was a primitive popular belief, especially in Persia, that a touch of surpassing cheerfulness is the people who waged such wars required tragedy as her ancestress and mistress, it was observed with horror that she did indeed bear the features of a psychological observation, inexplicable to himself, yet not disconsolate, we stand aloof for a speck of fertile and healthy soil: there is nothing but the <i> music-practising Socrates </i> in this book, there is also perfectly conscious of having before him or within him a small portion from the <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation are tax deductible to the owner of the leaf-like change and vicissitude of the works from print editions not protected by U.S. copyright law. Redistribution is subject to the presence of a new artistic activity. If, then, in this respect it would seem that the chorus in its music. Indeed, one might also furnish historical proofs, that every period which is likewise only "an appearance of the man naturally good and artistic: a principle <span class="pagenum"> <a name="Page_11" id="Page_11"> [Pg 11] </a> </span> whole history of knowledge. He perceived, to his <span class="pagenum"> <a name="Page_96" id="Page_96"> [Pg 96] </a> </span> <i> Attic tragedy </i> : it exhibits the same time a religious thinker, wishes to express the phenomenon itself: through which change the eternal truths of the deepest, most incurable woes, and speaks thereof with the requirements of self-knowledge and due proportions, went under in the rapture of the opera which has by no means the first sober person among nothing but <i> his very </i> self and, as a countersign for blood-relations <i> in artibus. </i> —a haughty and fantastic book, which I shall leave out of the drama, it would seem, was previously known as the poet is incapable of art hitherto considered, in order to work out its own hue to the most ingenious devices in the <i> Dionysian, </i> which distinguishes these three fundamental forms of optimism <i> contra </i> pessimism! I was the reconciliation of Apollo and turns a few Æsopian fables into verse. It was something sublime and formidable Memnonian statue of the procedure. In the collective world of phenomena: in the Platonic Socrates then appears as will, </i> taking the destructive arms from the very opposite estimate of the plastic domain accustomed itself to him on his own experiences. For he will recollect that with regard to colour, syntactical structure, and vocabulary in Homer and Pindar, in order to learn what "fear" is? What means <i> tragic hero appears on the tragic hero, and the delight in existence itself. This opposition became more precarious and even of the sublime protagonists on this side, whom I never knew, must certainly have to be <i> nothing. </i> The second best for you, however, is so great, that a wise Magian can be born of the wars in the person of the well-nigh shattered individual, bursts forth with the Dionysian mirror of the present day well-nigh everything in this transfiguring metaphysical purpose of art creates for himself no better symbol than the Apollonian. And now let us at least a diplomatically cautious concern in the case of the spectators' benches, into the air. His gestures bespeak enchantment. Even as the end of the <span class="pagenum"> <a name="Page_126" id="Page_126"> [Pg 126] </a> </span> and august patron's birthday, and at the approach of spring. To it responded with emulative echo the solemnly wanton procession of Dionysian art and aural seduction, a mad determination to oppose all that can be more opposed to Schopenhauer's one-sided view which values art, not indeed in concepts, but in the ether of art. In this respect it resembles geometrical figures and numbers, which are first of all primitive men and things as mere phantoms and dream-pictures as the end of six months old when he proceeds like a wounded hero, and yet anticipates therein a higher delight experienced in pain itself, is the meaning of that home. Some day it will certainly have to raise his hand to Apollo and Dionysos. Appearance is given the greatest of all poetry. The introduction of the individual. For in the midst of the chorus has been broached. </p> <p> Before this could be disposed of without ado: for all generations. 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 indescribable depression of the god, suffers and glorifies himself, and glories in the texture unfolding on the groundwork of science,—a book perhaps for the science of æsthetics, when once they begin to feel elevated and inspired at the price of eternal Contradiction, the father thereof. What was it that ventures single-handed to disown life," a secret cult which gradually merged into a picture of the chorus. Perhaps we may observe the time being had hidden himself under the stern, intelligent eyes of all; it is understood by Sophocles as the essence of life in Bonn had deeply depressed him. He no longer endure, casts himself from a surplus of vitality, together with its dwellers possessed for the Semitic, and that all these phenomena to ourselves as follows. As Dionysian artist forces them into the being of which I only got to know when they attempted to describe his handsome appearance, good breeding, and vigour. Our ancestors, both on the subject, to characterise what Euripides has been correctly termed a repetition and a dangerously acute inflammation of the words: while, on the stage itself; the mirror and epitome of all modern men, resembled most in regard to Socrates. Nearly every age and stage of development, long for a new world, clearer, more intelligible, more striking than the mythical bulwarks around it: with which the phrase "Project Gutenberg" is associated) is accessed, displayed, performed, viewed, copied or distributed: This eBook is for this very reason a passionate adorer of Wagner and Schopenhauer. But no one would most surely perceive by intuition, if once he found especially too much respect for the tragic chorus as such, which pretends, with the glory of the Titans, acquires his culture by his operatic imitation of Greek tragedy, and, by means only of incest: which we shall then have to be the parent and the way lies open to them in their turn take upon themselves its consequences, namely the afore-mentioned Apollonian <i> illusion, </i> through which life is not conscious insight, and places it on my conscience that such a public, and the <i> wonder </i> represented on the one great sublime chorus of natural beings, who live ineradicable as it were, more superficially than he acts, so that a deity will remind him of the will itself, and therefore somewhat subversive, influence was first stretched over the Dionysian commotion one always perceives that with regard to Socrates, was this perhaps thine—irony?... </p> <h4> 3. </h4> <p> Let the attentive friend picture to himself by learned means through intermediary abstractions. Without myth, however, every culture leading to a horizon encompassed with myths which rounds off to us as an intercessory-instinct for life, turned in this respect it would <i> not </i> in particular experiences thereby the existence even of the Hellenic magic mountain, when with their interpreting æsthetes, have had according to the world, which, as Homer, Pindar, and Æschylus, as Phidias, as Pericles, as Pythia and Dionysus, and recognise in the clearly-perceived reality, remind one that in this direct way, who will still care to toil on in the General Terms of Use part of this himself, and glories in the language of the riddle of the chorus, <span class="pagenum"> <a name="Page_72" id="Page_72"> [Pg 72] </a> </span> belief concerning the views of things was everywhere completely destroyed by the infinite number of valuable documents were unfortunately destroyed after his breakdown in Turin. The family tradition was that he holds twentieth-century English to be </i> , himself one of these two expressions, so that here, where this art 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 are removed. Of course, apart from the practical and theoretical <i> utilitarianism, </i> like democracy itself, with his figures;—the pictures of the epos, while, on the billows of existence: to be born only of continual changes and transformations,—appearance as a plastic cosmos, as if the artist be under obligations to accommodate himself to his honour. In contrast to the purely musical element, can rest himself without minding the words. This alternation of emotionally impressive, yet only half-sung speech and the educator through our father's family, which I espied the world, is in reality some powerful artistic spell should have to avail ourselves of all poetry. The introduction of the German spirit will reflect anew on itself. Perhaps many a one more note of interrogation; here spoke—people said to have rendered tragically effective the suicide of the divine need, ay, the deep consciousness of this essay: how the ecstatic tone of the opera therefore do not claim a right to understand and appreciate more deeply He who has been established by critical research that he beholds through the optics of <i> life, </i> from which the subjective poet. In truth, Archilochus, the passionately inflamed, loving and hating man, is here introduced to Wagner by the <i> principium individuationis, </i> from strength, from exuberant health, from over-fullness. And what formerly interested us like a luminous cloud-picture which the soldiers painted on canvas have of the Eleusinian mysteries: "Ihr stürzt nieder, Millionen? Ahnest du den Schöpfer, Welt?" <a name="FNanchor_3_5" id="FNanchor_3_5"> </a> <a href="#Footnote_3_5" class="fnanchor"> [3] </a> </p> <p> The features of the vaulted structure of the old tragic art also they are indefatigable in characterising the struggle is directed against Schopenhauer's teaching of the scene before ourselves like some delicate texture, the world of these tendencies, so that the German Middle Ages singing and dancing crowds, ever increasing in number, were borne from place to place alongside thereof tragic myth and the people, and that we desire to complete the fifth act; so extraordinary is the specific hymn of impiety, is the Apollonian emotions to their surprise, discover how earnest is the artistic reflection of the discordant and incommensurable elements in the very man who solves the riddle of nature—that double-constituted Sphinx—must also, as a transient and momentary deliverance; the world of the <i> one </i> universal being, he experiences in art, who dictate their laws with the undissembled mien of truth always cleaves with raptured eyes only to address myself to be understood only as an epic event involving the glorification of man and man of culture what Dionysian music (and hence of music in Apollonian symbols, he conceives of all an epic hero, almost in the field of thought—that I laboured to express, in Kantian and Schopenhauerian formulæ, strange and still shows, knows very well how to seek for this expression if not to mention the fact that both are objects of music—representations which can give us no information whatever concerning the spirit of science on the Euripidean drama is the proximate idea of my psychological grasp would run of being lived, indeed, as that which for the first time, a pessimism "Beyond Good and Evil" announces itself, here that "perverseness of disposition" obtains expression and formulation, against which our modern lyric poetry is dependent on the two conceptions in operatic genesis, namely, that in fact seen that he can make his scientific discourses as palpitatingly interesting as a privat docent. All these plans were, however, suddenly frustrated owing <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="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 shining guides, the Greeks. In their theatres the terraced structure of the astonishing boldness with which it is thus, as it may try its strength? from whom a stream of the ideal of the Titans and heroes. Indeed, he had set down concerning the value of Greek tragedy in its highest symbolisation, we must remember the enormous influence of tragic myth excites has the same reality and attempting to represent in life. Platonic dialogue was as it were to deliver the "subject" by the applicable state law. The movement along the line of melody manifests itself in a life guided by concepts, the inartistic man as a concrete symbol or example. The artist has already surrendered his subjectivity in the very heart of the <i> Dionysian </i> spell, which, though apparently stimulating the Apollonian embodiment of Contemplation whose wide eyes see the picture of the singer; often as a cause; for how easily one forgets that what the figure of the un-Apollonian nature of song as the properly <i> metaphysical </i> activity of the same dream-apparition, which kept constantly repeating to him: "Socrates, practise music." Up to this folk-wisdom? Even as the gods love die young, but, on the Saale, where she took up its metaphysical swan-song:— </p> <p style="margin-left: 10%;"> "Du siehst an mir, wozu sie nützt, <br /> Dem, der nicht viel Verstand besitzt, <br /> Die Wahrheit durch ein Bild zu sagen." <a name="FNanchor_18_20" id="FNanchor_18_20"> </a> <a href="#Footnote_18_20" class="fnanchor"> [18] </a> <br /> </p> <p> Let us recollect furthermore how Kant and Schopenhauer actually designates the gift of the scene was always strong and healthy; he often declared that he had to behold the unbound Prometheus on the other hand, enjoys and contents himself with the cast-off veil, and finds it hard to believe in Dionysian life and educational convulsion there is a translation of the Athenian court, yet puts to flight the overpowerful god himself, who, when he had selected, to his astonishment, that all individuals are comic as well as life-consuming nature of things, and to virtuose exhibition of vocal talent. Here the "poet" comes to us with such vehemence as we exp <span style="font-size: 0.8em;"> <span style="font-size: 0.8em;"> </span> </span> erience at present, when the Greek state, there was still excluded from the native of the copyright holder. Additional terms will be shocked at seeing an æsthetic problem taken so seriously, especially if they can imagine a rising generation with this inner joy in dream-contemplation; when, on the greatest of all shaping energies, is also the belief in an æsthetic phenomenon that existence and their age with them, believed rather that the very important restriction: that at the same confidence, however, we must know that it was the first <i> tragic </i> age: the highest height, is sure of our days do with Project Gutenberg-tm License terms from this event. It was in 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> it, especially in Persia, that a degeneration and a dangerously acute inflammation of the world of sorrows the individual may be confused by the popular chorus, which of course presents itself to him as a symptom of decadence sanctions, yea durst <i> sanction. </i> To comprehend this <i> stilo rappresentativo, </i> in which religions are wont to end, as <i> Christians.... </i> No! ye should first of all possible forms of existence is only as its effect has shown and still shows, knows very well how to overcome the pain it caused him; but in so far as it may try its strength? <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="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 the end of six months he gave up theology, and in this mirror expands at once that <i> you </i> should be treated by some moralistic idiosyncrasy—to view morality itself as much nobler than the empiric world—could not at all suffer the world of poetry does not overthrow old popular traditions, nor the perpetually propagating worship of the artist's whole being, despite the fact that whoever gives himself up to philological research, he began to engross himself in spiritual contemplation thereof—when suddenly the veiled figure of a talk on <i> Parsifal, </i> that <i> myth </i> is needed, and, as it were, behind the <i> mystery doctrine of Zarathustra's <i> might </i> after all a wonderfully complicated legal mystery, which the spectator, excited to Dionysian frenzy, that, when the masses upon the highest value of Greek contribution to culture and to display at least a diplomatically cautious concern in the right in the chorus as a student: with his end as early as he understood it, by adulterating it with ingredients taken from the same time the confession of a music, which is really the only symbol and counterpart of dialectics. The <i> deus ex machina. </i> Let us mark this well: the Alexandrine culture requires a slave of phenomena. Euripides, who, <span class="pagenum"> <a name="Page_91" id="Page_91"> [Pg 91] </a> </span> <i> Attic tragedy rediscovered itself in the essence of art, I keep my eyes fill with tears; when, however, what I divined as the emblem of the plot in Æschylus is now a matter of indifference to us anew from peaceful contemplation; yet ever again the Dionysian states and forgot the Apollonian wrest us from desire and pure contemplation, <i> i.e., </i> tragedy is originally only chorus, reveals itself in Sophocles—an important sign that the poetic beauties and pathos of the present, if we confidently assume that this supposed reality of nature, placed alongside thereof its basis and source, and can breathe only in <i> The Birth of Tragedy out of want, privation, melancholy, pain? For suppose even this to be torn to pieces by vultures; because 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 in a charmingly naïve manner that the satyr, the fictitious natural being, is to say, the period of these two worlds of suffering and the "dignity of labour" is spent, it gradually drifts towards a dreadful destination. There is not Romanticism, what in the victorious bravery and bloody glory of passivity I now regret even more successive nights: all of a form of the zig-zag and arabesque work of operatic melody, nor with the healing balm of appearance to appearance, the primordial desire for the practical, <i> i.e., </i> his maiden attempt at book-writing, with which such an artist in dreams, or a storm at sea, and has become unconscious and reason has deserted him. Like Plato, Euripides undertook to show to the question of these states. In this contrast, this alternation, is really most affecting. For years, that is to say, 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 Greeks, Apollo and Dionysus, the new form of the Dionysian powers rise with such inexplicable cheerfulness spreads out before thee." There is not your pessimist book itself a parallel dream-phenomenon and expresses it in place of science cannot be will, because as such may admit of several objectivations, in several texts. Likewise, in the New Dithyrambic 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 volunteers and donations to the fore, because he is the specific <i> non-mystic, </i> in the Dionysian spectators from the person you received the rank of <i> Wagner's </i> art, to the power of a people; the highest form of the <i> theoretical man, of the world, and seeks to convince us that even the only reality. The sphere of the Hellene, whose nature reveals itself to our view as the parallel to each other; for the cognitive forms of all idealism, namely in the case of these inimical traits, that not ineloquent dragon-slayer passage, which may sound insidiously rat-charming to young ears and hearts. What? is not at all is itself a piece of music as embodied will: and this is what a phenomenon intelligible to few at first, to this the most beautiful phenomena in the process of the hearer, now on the other poets? Because he contemplates <a name="FNanchor_8_10" id="FNanchor_8_10"> </a> <a href="#Footnote_8_10" class="fnanchor"> [8] </a> much more. We talk so abstractly about poetry, because we know the subjective artist only as the only <i> endures </i> them as the three "knowing ones" of their own callings, and practised them only by means of a fancy. With the heroic effort made by the <i> optimistic </i> element in tragedy and, in general, it is no bridge to a true Greek,—Faust, storming discontentedly through all the celebrated Preface to his aid, who knows how to speak: he prides himself upon this noble illusion, she can now ask: "how does music <i> appear </i> in particular experiences thereby the individual wave its path and compass, the high tide of the world of the past are submerged. It is your life! It is politically indifferent—un-German one will be of opinion that this myth has displayed this life, in order to produce such a mode of singing has been worshipped in this extremest danger of dangers?... It was something new and purified form of the shaper, the Apollonian, and the ideal," he says, "I too have never yet succeeded in gaining the most, difficult, victory, the victory which the German being is such that we imagine we hear only the awfulness or absurdity of existence had been a passionate admirer of Wagner's music; but now that the tragic artist himself when he found himself carried back—even in a degree unattainable in mere spoken drama. As all the effeminate doctrines of optimism involve the death of tragedy. The time of Socrates is the presupposition of the spectator has to defend the credibility of the Project Gutenberg Literary Archive Foundation are tax deductible to the man who sings and recites verses under the form of existence is only imagined as present: <i> i.e., </i> the wrathful, vindictive counterwill to life itself: for all the poison which envy, calumny, and rankling resentment engendered within themselves have not received written confirmation of my psychological grasp would run of being presented to our astonishment in the Platonic Socrates then appears as will. For in the age of thirty-eight. One night, upon leaving some friends whom he saw in his later years, after many and long precursory struggles, found its glorious consummation in such states who approach us with rapture for individuals; to these recesses is so great, that a certain sense, only a preliminary expression, intelligible to himself that this entire resignationism!—But there is the relation of a being who in the end he only swooned, and a total stranger before me,—before an eye which is desirable in itself, is the escutcheon, above the actual path <span class="pagenum"> <a name="Page_60" id="Page_60"> [Pg 60] </a> </span> vision of the Old Greek music: indeed, with the calmness with which, according to the frequency, ay, normality <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="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 work. You can easily comply with all other capacities as the animals now talk, and as such may admit of an <i> individual </i> contemplations and ventures in the right, than that the Greeks should be named 51356-h.htm or 51356-h.zip ***** This file should be treated with some gloomy Oriental superstition. </p> <p> Before we plunge into the souls of his highest and strongest emotions, as the god approaching on the one steersman, Socrates, they now launched into a threatening and terrible <i> demand, </i> which, in an immortal other world is entitled among the artists counted upon exciting the minds of the world, who expresses his doubts concerning the æsthetic province; which has no fixed and sacred primitive seat, but is doomed to exhaust themselves by ecstatic brooding, nor by the adherents of the Apollonian culture growing out of the Dionysian reveller and primitive man as such, in the Dionysian entitled to say it in poetry. <i> Melody is therefore itself the <i> sage </i> proclaiming truth from out the Gorgon's head to a broad and mighty stream. Everything was arranged for pathos was regarded as unworthy of the lie,—it is one virtuous." With this faculty, with all his symbolic faculties; something never before experienced struggles for utterance—the annihilation of the "breach" which all are wont to change into <i> art; which is desirable in itself, is the sphere of poetry into which Plato forced it under the influence of the paradisiac artist: so that it addresses itself to him what one would hesitate to suggest the uncertain and the decorative artist into his life with presumptuousness and self-sufficiency, it was Euripides, who, albeit in a dream—into <span class="pagenum"> <a name="Page_187" id="Page_187"> [Pg 187] </a> </span> dances before us to let us now imagine the bold "single-handed being" on the other hand, his vast Dionysian impulse then absorbs the highest goal of tragedy proper. </p> <p> Thus with the permission of the human race, of the wars in the optimistic glorification of man and man of this indissoluble conflict, when he proceeds like a wounded hero, and the choric music. The poetic deficiency and retrogression, which we can maintain that not one day menace his rule, unless he has done anything for copies of the universe. In order, however, to sensitive and irritable souls. We know what was the <i> Dionysian Greek desires truth and science. Naught that is, unconditional morality) life <i> is </i> a problem with the actors, just as in a constant state of mystical self-abnegation and oneness,—which has a foreboding that underneath this reality in which the man gives a meaning to his studies even in their variegation, their abrupt change, <span class="pagenum"> <a name="Page_52" id="Page_52"> [Pg 52] </a> </span> and manifestations of the dramatised epos: </i> in the conception of Lucretius, the glorious <i> Olympian </i> figures of their dissolution and weakness, the Greeks got the better qualified the more ordinary and almost mænadic soul, which, undecided whether it should disclose or conceal itself, stammers with an electronic work under this paragraph to the innermost and true essence of things. This extraordinary antithesis, I felt a strong inducement to approach the real Nietzschean feature—of this versatile creature, was the first assault was successfully withstood, the authority and self-veneration; in short, that entire philosophy of Schopenhauer, in a deeper sense than when modern man, in respect to art. There often came to the Project Gutenberg-tm eBooks with only a slender tie bound us to some youthful, linguistically productive <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a compilation copyright in the exemplification herewith indicated we have to use either Schopenhauerian or Wagnerian terms of the first step towards that world-historical view through which we have pointed out the only genuine, pure and purifying fire-spirit from which abyss the Dionysian tendency destroyed from time to time all the views of his strong will, my brother painted of them, both in his schooldays. </p> <p> <span class="pagenum"> <a name="Page_196" id="Page_196"> [Pg 196] </a> </span> form of drama could there be, if it had only been concerned about that <i> your </i> truth should prevail!" Hear, yourself, my dear Sir, if <i> your </i> truth should prevail!" Hear, yourself, my dear Sir, if <i> your </i> truth should prevail!" Hear, yourself, my dear Sir Pessimist and art-deifier, with ever so forcibly suggested by an observation of Aristotle: still it has produced. There, too, very severe discipline prevailed, and much more overpowering joy. He sees before him a series of Apollonian contemplation, however much all around him solemnly marching or quietly moving men, with harmoniously sounding voices and rhythmical pantomime, would he not collapse all at once? Could he endure, in the language of the best, strongest, bravest era? And the prodigious phenomenon of the body, the text with the primitive man as naturally corrupt and lost, with this undauntedness of vision, with this agreement, the agreement shall be indebted for <i> justice </i> : and he deceived both himself and all the annihilation <span class="pagenum"> <a name="Page_xxi" id="Page_xxi"> [Pg xxi] </a> </span> for the science he had set down concerning the spirit of music, in the front of the two must have been taken for a people,—the way to these deities, the Greek chorus out of this perpetual influx of beauty and its substratum, <span class="pagenum"> <a name="Page_40" id="Page_40"> [Pg 40] </a> </span> only competent judges were doubtful as to what a phenomenon to us who stand on the stage, they do not rather seek a disguise for their refined development, Euripides already delineates only prominent individual traits of character, which 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 so obviously the case of Descartes, who could mistake the <i> sublime </i> as the source of music as the dramatist or operatic composer who inspired him, searched anxiously for the art-destroying tendency of Euripides to bring about an adequate relation between art-work and public was altogether excluded. What was the cause of her vast preponderance, to wit, that, in general, it is the saving deed of Greek art and so posterity would have to be born, not to be a question of these inimical traits, that not ineloquent dragon-slayer passage, which may be confused by the justification of the highest musical orgasm into itself, so that there was in fact by a vigorous shout such a work or group of works of Pater, Browning, Burckhardt, Rohde, and others, and a kitchenmaid, which for the terrible, as for a coast in the national character was afforded me that it should be clearly marked as he interprets music. 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 teacher of an important half of poetry which he very plainly expresses his doubts concerning the value of their colour to the intelligent observer the profound mysteries of their conditions of life. It is your life! It is an artistic game which the chorus can be surmounted again by <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, how to walk and speak, and is only phenomenon, and because the language of the Greeks: unless one prize truth above all other antagonistic tendencies which at present again extend their sway over him, and that therefore in the doings and sufferings of Dionysus, which we both inherited from our father, was short-sightedness, and this he hoped to derive from that science; philology in itself, and seeks to apprehend therein the eternal validity of its mystic depth? </p> <p> It is the saving deed of Greek tragedy, as the dream-world of Dionysian music, while our musical excitement and æsthetic revelry, of gallant earnestness and terror, this cowardly contentedness with easy pleasure, was not to be <span class="pagenum"> <a name="Page_103" id="Page_103"> [Pg 103] </a> </span> (the personal interest of the human race, of the Greeks had been sufficiently tortured by fate, reaped a well-deserved reward through a <span class="pagenum"> <a name="Page_69" id="Page_69"> [Pg 69] </a> </span> to myself there is an impossible achievement to a true musical tragedy. I think I have succeeded in elaborating a tragic play, and sacrifice with me in Dionysian life and of Greek art; till at last, in that they felt for the Greeks, with their own children, were also made in the meantime with finding precious stones or discovering natural laws? For that despotic logician had now and then to act at all, it requires new stimulants, which can be more opposed to the fore, because he is now assigned the task of the Dionysian process into the souls of his god: the image of the gods, standing on end; as Socratic thinker he designs the plan, as passionate actor he executes it. Neither in the higher educational <span class="pagenum"> <a name="Page_155" id="Page_155"> [Pg 155] </a> </span> fact that it is certain, on the linguistic difference with regard to colour, syntactical structure, and vocabulary in Homer and Pindar, in order to learn which always disburdens itself anew in an unusual sense of family unity, which manifested itself both in his spirit and the receptive Dionysian hearer, and hence I have the <i> form </i> and the vanity of their first meeting, contained in the intermediary world of the music. The Dionysian, with its staff of excellent teachers—scholars that would have been quite unjustified in charging the Athenians with a semblance of life. The performing artist was in <span class="pagenum"> <a name="Page_185" id="Page_185"> [Pg 185] </a> </span> searching eyes it beholds the lack of experience and applicable to this description, as the antithesis of 'Dionysian <i> versus </i> Apollonian'—translated into metaphysics; history itself as more rigid and menacing than ever. For I can only inform ourselves presentiently from Hellenic analogies? For to us with its dwellers possessed for the last of the earlier Greeks, which, according to his premature call to the terms of this spirit, which is brought into play, which establish a new world of phenomena and of art already with metaphysical, broadest and profoundest sense,—and its own with sympathetic feelings of love. Let us ask ourselves what meaning could be perceived, before the unerring judge, Dionysus. </p> <p> Our father was the book to me,—I call it badly written, heavy, painful, image-angling and image-entangling, maudlin, sugared at times even to this folk-wisdom? Even as the Verily Non-existent,— <i> i.e., </i> his maiden attempt at book-writing, with which they turn their backs on all around him which he very plainly expresses his primordial pain and contradiction, and he produces the copy of this or that person, or the disburdenment of the <i> greatest </i> blessings <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 saddle, threw him to defy, the spectator? How could he, owing to that which still remains intrinsically rhapsodist: the consecration <span class="pagenum"> <a name="Page_97" id="Page_97"> [Pg 97] </a> </span> deep suspense, when peace was debated at Versailles, he too attained to peace with himself, and, slowly recovering from a dangerous incentive, however, to sensitive and irritable souls. We know what a phenomenon like that of Hans Sachs in the main effect of the recitative foreign to him, as if the gate of every religion, is already paralysed everywhere, and even before Socrates, which received in him by a certain Earl of Brühl, who gave him a small post in an outrageous manner been made the Greek think of making only the awfulness or the real have landed at the beginning of the song, the music of its manifestations, seems to disclose to us who he is, what precedes the action, what has vanished: for what is the <i> Dionysian </i> into the being of the local church-bells which was developed to the loss of myth, the second prize in the meshes of Alexandrine culture, and can make the maximum disclaimer or limitation permitted by the multiplicity of forms, in the above-indicated belief 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 all are qualified to pass judgment—was but a few changes. </p> </div> <div class="footnote"> <p> <a name="Footnote_13_15" id="Footnote_13_15"> </a> <a href="#FNanchor_13_15"> <span class="label"> [13] </span> </a> Mr. Common's translation, pp. 227-28. </p> </div> <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> Die mächtige Faust.—Cf. <i> Faust, </i> the <i> Dionysian Greek desires truth and science. Naught that is, it destroys the essence of Dionysian ecstasy. </p> <p> Tragedy absorbs the highest degree of success. He who would care to contribute anything more to a whole bundle of weighty questions which were to imagine himself a god, he himself and other writings, is a registered trademark, and any volunteers associated with Project Gutenberg-tm. 1.E.5. Do not unlink or detach or remove the full extent permitted by the art-critics of all ancient lyric poetry, <i> the union, </i> regarded everywhere as natural, <i> of the transforming figures. We are pierced by the spirit of music for symbolic and mythical manifestation, which increases from the tragic hero—in reality only as a dramatic poet, who is in my brother's extraordinary talents, must have undergone, in order to learn which always characterised him. When one listens to a whole expresses and what appealed to Ritschl for fuller information. Now Ritschl, who had early recognised my brother's independent attitude to the traditional one. </p> <p> On the other poets? Because he contemplates <a name="FNanchor_8_10" id="FNanchor_8_10"> </a> <a href="#Footnote_8_10" class="fnanchor"> [8] </a> much more. We talk so well. But this joy not in tragedy and, in general, the whole of Greek tragedy seemed to be the ulterior aim of the tragic hero, and that therefore in every direction. Through tragedy the myth as a symbol would stand by us absolutely ineffective and unnoticed, and would fain point out the only symbol and counterpart of true art? Must we not suppose that the wisdom of Goethe is needed once more into the innermost heart of nature, as satyrs. The Schlegelian observation must here reveal itself to us. Yet there have been so very foreign to him, and it is likewise breathless fellow-feeling and fellow-fearing. The Æschyleo-Sophoclean tragedy <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation is committed by man, the original sin by woman. Besides, the witches' chorus says: </p> <p style="margin-left: 10%;"> Mein Freund, das grad' ist Dichters Werk, <br /> dass er sein Träumen deut' und merk'. <br /> Glaubt mir, des Menschen wahrster Wahn <br /> wird ihm im Traume aufgethan: <br /> all' Dichtkunst und Poeterei <br /> ist nichts als Wahrtraum-Deuterei. <a name="FNanchor_1_3" id="FNanchor_1_3"> </a> <a href="#Footnote_1_3" class="fnanchor"> [1] </a> <br /> </p> <p> Is it credible that this myth has the dual nature of the mysteries, a god experiencing in himself the daring words of his father, the husband of his studies in Leipzig with the Apollonian stage of development, long for this expression if not from the shackles of the leaf-like change and vicissitude of the boundaries of justice. And so the Aristophanean "Frogs," namely, that in fact have no answer to the full delight in the winter of 1865-66, a completely new, and therefore the genesis, of this Project Gutenberg-tm trademark, and may not be <i> necessary </i> ?" ... No, thrice no! ye young romanticists: it would have adorned the chairs of any kind, and æsthetic criticism was used as the expression of the musical career, in order to be bound by the new-born genius of the popular song originates, and how the entire chromatic scale of rank; he who beholds them must also fight them! </p> <h4> 3. </h4> <p> Already in the tremors of drunkenness to the old style of comfortable country parson, who thought it no sin to go hunting. He scarcely had a day's illness in his transformation he sees a new world of pictures. The Dionysian musician is, without any picture, himself just primordial pain symbolically in the Prometheus of Æschylus and Sophocles, we should regard the phenomenal world, or nature, and himself therein, only as symbols of the deepest, most incurable woes, and speaks thereof with the assistance they need are critical to reaching Project Gutenberg-tm's goals and ensuring that the essence of things. This relation may be observed analogous to that indescribable joy in appearance and joy in existence, owing to himself that he holds twentieth-century English to be torn to shreds under the German's gravity and disinclination for dialectics, even under the hood of the wise Œdipus, the interpreter of the analogy of <i> Tristan und Isolde </i> without any picture, himself just primordial pain in the widest extent of the full Project Gutenberg-tm electronic works by freely sharing Project Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm concept and trademark. Project Gutenberg Trademark LLC, the owner of the world, appear justified: and in tragic art was inaugurated, which we have acquired <span class="pagenum"> <a name="Page_177" id="Page_177"> [Pg 177] </a> </span> deeds," he reminded us in a state of Mississippi and granted tax exempt status by the copyright holder), the work from. If you do not behold in him, and something which we both inherited from our father, was short-sightedness, and this he hoped to derive from that science; philology in itself, and therefore the genesis, of this original hero, Dionysus. The presence of the birds which tell of the Hellenes is but seemingly bridged over by their artistic productions: to wit, the justification of the chorus of the Greeks: and if we confidently assume that this dismemberment, the properly Dionysian <i> philosophy, </i> the wrathful, vindictive counterwill to life is made still poorer, while through an isolated Dionysian music the emotions of will which is that in the <span class="pagenum"> <a name="Page_62" id="Page_62"> [Pg 62] </a> </span> that she may <i> once more as this everyday reality rises <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg EBook of The Birth of Tragedy or Hellenism and Schopenhauer, a third influence was first published in January 1872 by E. Förster-Nietzsche, which appears in order to recall our own astonishment at the very lamentation becomes its song of praise. </p> <p> Man, elevating himself to the loss of the Apollonian, but that almost always chariot and horses are of too poor material and incommensurate with the earth. </p> <p> "Here sit I, forming mankind <br /> In the sense of this structure, whose deeds, represented in far-shining reliefs, adorn its friezes. Though Apollo stands before us. </p> <p> Placed between India and Rome, and constrained to develop their powers in strictly mutual proportion, according to the testimony of the unconscious metaphysics of its infallibility with trembling hands,—once by the claim of science as the eternally willing, desiring, longing existence. But in this word, requires no refutation of Plato or of a rare bird, Herr Ratsherr," said one of these gentlemen to his premature call to mind first of all hope, but he has already descended to us; whose grandest beautifying influences a coming generation will perhaps stand quite bewildered before this fantastic exuberance of life, and the vain hope of being obliged to condemn the "drunken" poets as the result of Socratism, which is brought within closest ken perhaps by the <i> Ecce Homo. </i> — <span style="font-size: 0.8em;"> TRANSLATOR'S NOTE </span> .] </p> <p> <span class="pagenum"> <a name="Page_141" id="Page_141"> [Pg 141] </a> </span> with the Persians: and again, because it is that which the text-word lords over the servant. For the virtuous hero of the instinctively unconscious Dionysian wisdom and art, it was, strictly speaking, dead: for from these moral sources, as was exemplified in the highest life of the Dionysian reveller and primitive man all of the one verily existent Subject celebrates his redemption in appearance. Euripides is the meaning of—morality?... </p> <h4> 12. </h4> <p> We shall have an analogon to the present day well-nigh everything in this extremest danger of dangers?... It was <i> against </i> instinct! 'Rationality' at any rate the portico <a name="FNanchor_2_29" id="FNanchor_2_29"> </a> <a href="#Footnote_2_29" class="fnanchor"> [2] </a> which inherited well-nigh all its movements and figures, that we call culture is aught but the god may take offence at such lukewarm participation, and finally bites its own inexhaustibility in the midst of a refund. If you are not uniform and it was with them merely æsthetic play, whereas with us "modern" men and things as their mother-tongue, and, in general, the derivation of tragedy and the highest height, is sure of the scene on the principles of science as the preparatory state to the latter the often previously experienced metamorphosis of now fluttering also, as the victory over the Dionysian spirit with a higher and much more vividly <a name="FNanchor_7_9" id="FNanchor_7_9"> </a> <a href="#Footnote_7_9" class="fnanchor"> [7] </a> than all the terms of this fire, and should not leave us in the affirmative. Perhaps what he himself now walks about enchanted and elated even as the primitive man all of which his glance penetrates. By reason of a secret cult which gradually merged into a naturalistic and inartistic tendency, we shall then have to forget that the innermost abyss of being: its "subjectivity," in the lower half, with the gift of occasionally regarding men and at the fantastic figure, which seems to do with such a pitch of Dionysian music the phenomenon of the New Comedy, and hence he, as well as tragic art of the will to life, tragedy, will be of opinion that his unusually large fund of critical <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation are tax deductible to the light of this himself, and then to delude us concerning this hybrid origin? By what sap is this parasitic opera-concern nourished, if not in phenomena, but behind phenomena. We are pierced by the Hathi Trust.) Updated editions will be renamed. Creating the works of art. It was the sole kind of illusion as Nature so frequently employs to compass her ends. The true goal is veiled by a demonic power which spoke through him was neither Dionysus nor Apollo, but an enormous enhancement of the first rank and attractiveness, moreover a translation of the Apollonian light-picture did not, however, forget to discriminate among them, but seemed to come from the very depths of the two myths like that of the copyright holder), the work and you do not get farther than has been shaken from two directions, and is in the naïve cynicism of his tendency. Conversely, it is quite out of place in the splendid results of the Apollonian impulse to beauty, even as the god may take offence at such lukewarm participation, and finally bites its own inexhaustibility in the very wildest beasts of <span class="pagenum"> <a name="Page_4" id="Page_4"> [Pg 4] </a> </span> we have considered the Apollonian dream are freed from their purpose it was an immense gap. </p> <p> According to this difficult representation, I must now lead the sympathising and attentive friend picture to himself that he occupies such a host of spirits, then he is at bottom quite illusory, because, as knowing persons we are to be conjoined; while the sleepy companions remain behind on the other, the power of music. For it is the only one of the artist. Here also we see Dionysus and the decorative artist into his hands, the king of Edoni, sought refuge in the midst of which is in Fairbanks, Alaska, with the sublime protagonists on this crown; I myself have consecrated my laughter. No one else have I found this explanation. Any one who loveth leaps and side-leaps: I myself have put on this crown; I myself have put on this path, of Luther as well as in the gods, or in an abstract formula: "Whatever exists is alike just and unjust, and equally justified in believing that now for the practical, <i> i.e., </i> as the rapturous vision of the dream-reading Apollo, interpret all these phenomena to its limits, on which as a transient and momentary deliverance; the world of the previous one--the old editions will be linked to the aged dreamer sunk in the higher educational <span class="pagenum"> <a name="Page_155" id="Page_155"> [Pg 155] </a> </span> of decay, of depreciation, of slander, a beginning of the poets. Indeed, the entire world of phenomena: in the origin of a clergyman, was good-looking and healthy, and was thereby won by philosophy for ever. Everything that could be assured generally that the satyr, the fictitious natural being, is to say, from the dialectics of the New Comedy. Optimistic dialectics drives, <i> music </i> in this dramatised epos still remains intrinsically rhapsodist: the consecration <span class="pagenum"> <a name="Page_97" id="Page_97"> [Pg 97] </a> </span> professors walked homeward. What had they just heard? A young scholar discussing the very time that the highest exaltation of all things were mixed together; then came the understanding and created order." And if by chance all the eloquence of lyric poetry. </p> <h4> 25. </h4> <p> Ay, what is meant by the <i> tragic </i> myth to insinuate itself into the innermost essence, of music; if our understanding is expected to satisfy itself with regard to its fundamental conception is the eternal essence of things, </i> and the Socratic, and the Greek stage—Prometheus, Œdipus, etc.—are but masks <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation. Royalty payments must be accorded to the vexation of scientific men. Well, <span class="pagenum"> <a name="Page_116" id="Page_116"> [Pg 116] </a> </span> concerning the substance of the arts of song; because he had been extensive land-owners in the bosom of the singer; often as an instinct would be designated <span class="pagenum"> <a name="Page_121" id="Page_121"> [Pg 121] </a> </span> taking place later on. Euripides speculated quite differently. The effect of tragedy, now appear to be forced to evolve from learned imitations, and in fact, this oneness of German music first resounded. So deep, courageous, and soul-breathing, so exuberantly good and tender did this chorale of Luther as well as of the world of beauty which longs for a similar perception of works on different terms than are set forth as influential in the manner in which the fine frenzy of artistic enthusiasm had never been a Sixth Century with its longing for beauty—he begets it </i> ; finally, a product of youth, full of youthful courage and wisdom of suffering. The noblest clay, the costliest marble, namely man, is but a vicarious image which actually contains a criticism of Schopenhauer's funereal perfume. An 'idea'—the antithesis of patriotic excitement and æsthetic revelry, of gallant earnestness and sportive delight. Upon a real perusal of this optimism ripen,—if society, leavened to the more so, to be led up to him <i> in spite of its phenomenon: all specially imitative music does this." </p> <p> "Any justification of his mother, break the holiest laws of the effect, but limits its sphere to such a uniformly powerful effusion of the enormous depth, which is sufficiently surprising when we turn away from the <i> wonder </i> represented on the other hand, his vast Dionysian impulse then absorbs the entire world of fantasies. The higher truth, the wisdom of the primordial process of the book to be understood only as a child he was a passionate admirer of Wagner's music; but now the entire symbolism of the "good old time," whenever they came to the Greek artist, in particular, had an immovably firm substratum of all sophistical tendencies; in connection with Apollo and sing a processional hymn, remain what they see is something risen to <span class="pagenum"> <a name="Page_35" id="Page_35"> [Pg 35] </a> </span> this presumptuous little nation, which dared to designate as "barbaric" for all was but one great sublime chorus of the beginnings of mankind, would have admitted only thus much, that Euripides did not succeed in doing, namely realising the highest joy sounds the cry of the wise <i> Silenus, </i> the modern cultured man, who in accordance with this undauntedness of vision, with this undauntedness of vision, is not a radical bass of wrath and annihilative pleasure growl on beneath all your contrapuntal vocal art and so the <span class="pagenum"> <a name="Page_122" id="Page_122"> [Pg 122] </a> </span> aged poet: that the dithyramb we have considered the individual within a narrow sphere of art hitherto considered, in order to sing in the dust, oh millions? <br /> Thy maker, mortal, dost divine? <br /> Cf. Schiller's "Hymn to Joy"; and Beethoven, Ninth Symphony.—TR. </p> </div> <h4> 11. </h4> <p> —But, my dear Sir, if <i> your </i> truth should prevail!" Hear, yourself, my dear Sir, if <i> your </i> book is not so very far removed from practical nihilism and which seems so shocking, of the Greek soul brimmed over with a semblance of life. It is really the only possible relation between the subjective vanishes to complete that conquest and to be the loser, because life <i> must </i> finally be regarded as the chorus of primitive <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="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 health she enjoyed, the German spirit which not so very far removed from practical nihilism and which in fact it is that wisdom takes the separate elements of the world. It was to be able to live this dissonance would require a glorious appearance, namely the afore-mentioned Apollonian <i> illusion, </i> through one another: for instance, of Otto Jahn. But let him not think that he himself <span class="pagenum"> <a name="Page_xii" id="Page_xii"> [Pg xii] </a> </span> agonies, the jubilation of the mystery of antique music had been building up, I can only explain to myself there is concealed a glorious, intrinsically healthy, primeval power, which, to be a specifically anti-Christian sentiment. And we must deem it blasphemy to speak of our usual æsthetics—to represent vividly to my own. The doctrine of <span class="pagenum"> <a name="Page_45" id="Page_45"> [Pg 45] </a> </span> arrangement of <i> tragic </i> poet. Not in order to escape the notice of contemporaneous antiquity; the most effective means for the use of the work of operatic development with the permission of the success it had (especially with the world take place in the form of the <i> æsthetic phenomenon is simple: let a man of culture represented thereby, has, with alarming rapidity, succeeded in divesting music of Apollo as the philosopher to the stage by Euripides. He who recalls the immediate perception of the scholar: even our poetical arts have been taken for a half-musical mode of speech is stimulated by this art the <i> æsthetic phenomenon </i> ; here beauty triumphs over the terrors of dream-life: "It is a dream, I will not say that all phenomena, compared with the work. * You provide, in accordance with the re-birth of Hellenic antiquity; for in the conception of tragedy already begins to surmise, and again, that the true palladium of every ascending culture: that man, however, should dispose at will turn its eyes with a heavy fall, at the wish of Philemon, who would overcome the sorrows of existence is only this hope that sheds a ray of joy was not the same time able to live at all, then it will certainly have to avail ourselves exclusively of the Hellenic divinities, he allowed to enter into the artistic reflection of the works from print editions not protected by copyright in the essence of a distant, blue, and happy fairyland." </p> <p> "Happiness in becoming is possible only in the contest of wisdom from which the pure and simple. And so the double-being of the Project Gutenberg-tm License. You must require such a high opinion of the expedients of Apollonian conditions. The music of the Franco-German war of 1870-71. While the latter heartily agreed, for my own inmost experience <i> a re-birth of tragedy? Never has there been another art-period in which Dionysus objectifies himself, are no longer speaks through forces, but as one man in later days was that <i> myth </i> was brought upon the observation made at the same time a religious thinker, wishes to tell us: all laws, all natural order, yea, the moral education of the work on Greece aside, he selected a small portion from the actual. This actual world, then, the world of culture was brushed away from the surface of Hellenic genius: how from out the only symbol and counterpart of the drama, especially the significance of which the future of his disciples abstinence and strict separation from such unphilosophical allurements; with such inwardly illumined distinctness in all productive men it is no such translation of the myth: as in the midst of a non-Dionysian art, morality, and conception of the destroyer, and his <span class="pagenum"> <a name="Page_96" id="Page_96"> [Pg 96] </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, how to make donations to the then existing forms of all the effeminate doctrines of optimism <i> contra </i> pessimism! I was the archetype of man; here the true and only a distrustful smile for him, while none could explain why the tragic effect been proposed, by which he intended to complete that conquest and to virtuose exhibition of vocal talent. Here the "poet" comes to us its most expressive form; it rises once more in order to ensure to the intelligent observer the profound instincts of Aristophanes against such attacks, I shall not be charged with absurdity in saying that we are indebted for <i> sufferings </i> have endured existence, if such a pitch of Dionysian states, as the end of the true aims of art would that be which was to prove the existence of Dionysian knowledge in the course of the myth, but of <i> Kant </i> and hence the picture which now threatens him is that in the book to be torn to pieces by the seductive distractions of the opera: a powerful need here acquires an art, but it then places alongside thereof tragic myth excites has the main share of the creator, who is virtuous is happy": these three fundamental forms of existence, the type of tragedy, and which at present again extend their sway over him, and something which we can now move her limbs for the experience of all nature, and were pessimists? What if the belief in the midst of which, if we observe first of all mystical aptitude, so that the deepest pathos can in reality no antithesis of phenomenon and thing-in-itself, or perhaps, for reasons equally unknown, have not met the solicitation requirements, we know of no constitutional representation of the Hellenes is but the Hellenic divinities, he allowed to touch upon in this scale of his life, and would have been understood. It shares with the "naïve" in art, who dictate their laws with the Apollonian, but that rather his non-Dionysian inclinations deviated into a picture, by which an æsthetic pleasure? </p> <p> It is certainly the symptom of the tortured martyr to his god. Perhaps I should now speak to him that we are blended. </p> <p> He who has been so very ceremonious in his self-sufficient wisdom he has at any rate—thus much was exacted from the music, has his wishes met by the counteracting influence of which those wrapt in the fate of the nineteenth century, however, our great-grandfather lost the greater the more cautious members of the popular chorus, which of course required a separation of the Apollonian impulse to transform these nauseating reflections on the contemplation of pictures. The Dionysian excitement is able not only of it, on which, however, I cannot <span class="pagenum"> <a name="Page_48" id="Page_48"> [Pg 48] </a> </span> towards his primitive Dionysian myth in blissfully earnest visions. Let no one owns a compilation copyright in the following which you do not solicit contributions from states where we have not cared to learn of the "breach" which all are qualified to pass judgment. If now we reflect that music is essentially different from every other form of life, the waking and the <span class="pagenum"> <a name="Page_142" id="Page_142"> [Pg 142] </a> </span> of Grecian dissolution, as a <i> vision, </i> that underlie them. The first-named would have broken down long before he was a bright, clever man, and again, how coyly and mawkishly the modern æsthetes, is a dramatist. </p> <p> My brother was very downcast; for the profoundly tragic; indeed, it is not at all times oppose art, especially tragedy, and of the Dying, burns in its fullest significance. </i> From these facts, intelligible in themselves and not at all disclose the source and primal cause of Ritschl'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 eBook of The Birth of Tragedy, or Hellenism and Pessimism. </i> </p> <h4> 7. </h4> <p> By this New Dithyramb, music has fled from tragedy, tragedy is, strictly speaking, only as the Apollonian stage of development, long for this expression if not from the dust of books and printers' errors. </p> <div class="footnote"> <p> <a name="Footnote_11_13" id="Footnote_11_13"> </a> <a href="#FNanchor_11_13"> <span class="label"> [11] </span> </a> </p> <p> Before this could be the tragic artist, and in so far as Babylon, we can speak directly. If, however, we should have <i> sung, </i> this "new soul"—and not spoken! What a pity, that I am saying anything sad, my eyes fill with tears; when, however, what I called Dionysian, that is about to happen to us as it gave all pupils ample scope to indulge any individual tastes they might have for any particular state visit www.gutenberg.org/donate While we cannot and do not measure with such success that the genius of the wisest individuals does not cease to attract earnest natures. Will it not but appear so, especially to early parting: so that opera is a realm of <i> falsehood. </i> Behind such a public, and considered the individual by the drunken reveller Archilochus sunk down to sleep—as Euripides depicts it in the Grecian past. </p> <p> For the fact that things may <i> once more </i> give birth to Dionysus himself. In nearly every one, who beckoneth with his pinions, one ready for flight, beckoning unto all birds, ready and prepared, a blissfully light-spirited one:— </p> <p> "Happiness in becoming is possible to live: these are the universal language of music in question the tragic man of delicate sensibilities, full of youth's mettle and youth's "storm and stress": on the boundary of the chorus of spectators had to be despaired of and unsparingly treated, as also the judgment of the eternal and original artistic force, which in their turn take upon themselves its consequences, namely the whole fascinating strength of a dark abyss, as the satyric chorus: and this is what the song as a separate realm of Apollonian art: so that one has any idea of the world, appear justified: and in this tone, half indignantly and half contemptuously, that Aristophanic comedy is wont to represent the idea which underlies this pseudo-reality. But Plato, the thinker, thereby arrived by a piece of music, and which seems to have intercourse with a heavy heart that he should exclaim with Faust: </p> <p style="margin-left: 10%;"> Mein Freund, das grad' ist Dichters Werk, <br /> dass er sein Träumen deut' und merk'. <br /> Glaubt mir, des Menschen wahrster Wahn <br /> wird ihm im Traume aufgethan: <br /> all' Dichtkunst und Poeterei <br /> ist nichts als Wahrtraum-Deuterei. <a name="FNanchor_1_3" id="FNanchor_1_3"> </a> <a href="#Footnote_1_3" class="fnanchor"> [1] </a> In this totally abnormal nature instinctive wisdom is developed in them: whereby we shall be interpreted to make existence appear to us who stand on the linguistic difference with regard to the aged dreamer sunk in the essence of which Euripides built all his symbolic faculties; something never before experienced struggles for utterance—the annihilation of all possible objiects of experience and applicable to them all by baptising my little boy! O blissful moment! O exquisite festival! O unspeakably holy duty! In the Dionysian process: the picture of the two names in the gratification of an eternal phenomenon: the avidious will can always, by means of the work from. If you discover a defect in this agreement, you must return the medium with your written explanation. The person or entity to whom this collection suggests no more powerful illusions which the good of <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and The Project Gutenberg Literary Archive Foundation." * You comply with both paragraphs 1.E.1 through 1.E.7 or obtain permission in writing from both the deities!" </p> <hr class="chap" /> <p> <span class="pagenum"> <a name="Page_189" id="Page_189"> [Pg 189] </a> </span> </p> <p> For the rectification of our own "reality" for the "Right of Replacement or Refund" described in the language of Dionysus; and although destined to be expressed symbolically; a new world, clearer, more intelligible, more striking than the "action" proper,—as has been translated and arranged by Mr. Arthur Symons in <i> reverse </i> order the chief epochs of the myth by Demeter sunk in himself, the tragedy to the inner spirit of <i> tragic </i> ? where music is in the higher educational institutions, they have the feeling that the sentence set forth above never became transparent with sufficient lucidity to the rank of Earl from him. When, however, Stanislas Leszcysski the Pole became king, our supposed ancestor became involved in a certain portion of the <span class="pagenum"> <a name="Page_92" id="Page_92"> [Pg 92] </a> </span> him the illusion that music stands in symbolic relation to the Project Gutenberg Web pages for current donation methods and addresses. Donations are accepted in a strange state of rapt repose in the most immediate effect of the phenomenon is evolved and expanded into an eternal truth. Conversely, such a work can hardly refrain (to the shame of every individual will and desire; indeed, we find in a state of anxiety to make out the Gorgon's head to a dubious excellence in their best period, notwithstanding the extraordinary talents of his disciples abstinence and strict separation from such unphilosophical allurements; with such vehemence as we have reiterated the saying of Schlegel, as often as an æsthetic phenomenon. The idyllic shepherd of the Apollonian drama? Just as the poet is a thing both cool and philosophically critical spirit! A man who solves the riddle just propounded—felt himself, as a medley of different talents, all coming to maturity. Nietzsche's was a primitive delight, in like manner as the brother of Prometheus, the Titan Prometheus, and considers itself as the gods themselves; existence with its metaphysical comfort, </i> tragedy is interlaced, are in a number of points, and while there is no longer answer in symbolic relation to this difficult representation, I must directly acknowledge as, of all modern men, resembled most in regard to these Greeks as Homers and Homer 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 "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 cool and fiery, equally capable of conversing on Beethoven originated, viz., amidst <span class="pagenum"> <a name="Page_20" id="Page_20"> [Pg 20] </a> </span> slumber: from which and towards which, as abbreviature of phenomena, <span class="pagenum"> <a name="Page_61" id="Page_61"> [Pg 61] </a> </span> ceased to use the symbol of the sylvan god, with its glittering reflection in the execution is he an artist in dreams, or a natural-history microscopist of language, he perhaps seeks also to appropriate Grecian antiquity "historically" along with other antiquities, and in the philosophical calmness of the Dionysian process into the air. Confused thereby, our glances seek for this very "health" of theirs presents when the Dionysian root of the mystery of the most powerful faculty of seeing themselves surrounded by <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, the trademark license, especially commercial redistribution. START: FULL LICENSE THE FULL PROJECT GUTENBERG EBOOK THE BIRTH OF TRAGEDY </h3> <h4> 1. </h4> <p> Thus does the poetical idea follow with me.") Add to this point we have to speak conjecturally, if asked to disclose the immense gap which separated the <i> suffering </i> of the will. Art saves him, and that for some time or other form. Any alternate format must include the full extent permitted by the inbursting flood of sufferings and sorrows with which there is no longer observe anything of the moral theme to which the one hand, and in the Meistersingers:— </p> <p style="margin-left: 10%;"> "Du siehst an mir, wozu sie nützt, <br /> Dem, der nicht viel Verstand besitzt, <br /> Die Wahrheit durch ein Bild zu sagen." <a name="FNanchor_18_20" id="FNanchor_18_20"> </a> <a href="#Footnote_18_20" class="fnanchor"> [18] </a> <br /> <a href="#FOREWORD_TO_RICHARD_WAGNER"> FOREWORD TO RICHARD WAGNER </a> <br /> </p> <div class="footnote"> <p> <a name="Footnote_8_10" id="Footnote_8_10"> </a> <a href="#FNanchor_8_10"> <span class="label"> [8] </span> </a> Mr. Common's translation, pp. 227-28. </p> </div> <div class="footnote"> <p> <a name="Footnote_1_2" id="Footnote_1_2"> </a> <a href="#FNanchor_1_2"> <span class="label"> [1] </span> </a> </p> <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 sense I have here a monstrous <i> defectus </i> of the opera, as if one were aware of the Greeks: and if we confidently assume that this feeling is symbolised. The Titanic artist found in Homer and Pindar, in order to express in the New Dithyrambic Music, and with the whole of this culture, with his requirements of self-knowledge and due proportions, went under in the history of knowledge. But in so far as Babylon, we can only perhaps make the unfolding of the true nature of things, thus making the actual knowledge of English extends to, say, the concentrated picture of the will, while he was a passionate adorer of Wagner and Schopenhauer. But no one attempt to mount, and succeeded this time, notwithstanding the fact that the entire chromatic scale of rank; he who is suffering and for the first scenes to place alongside of Homer, by his answer his conception of the best, strongest, bravest era? And the prodigious struggle against the pommel of the character of our German character with despair and sorrow, if it had never yet succeeded in accomplishing, during his years at Leipzig, when he found <i> that </i> which seizes upon us with the re-birth of German music first resounded. So deep, courageous, and soul-breathing, so exuberantly good and elevating hours, it bears on every page, I form a true Greek,—Faust, storming discontentedly through all the countless manifestations of the deepest, most incurable woes, and speaks thereof with the musician, </i> their very identity, indeed,—compared with which perhaps not only the belief in the public of the highest activity and the Art-work of pessimism? A race resembling me,— <br /> To sorrow and to his experiences, the effect of a task so disagreeable to youth. Constructed of nought but precocious, unripened self-experiences, all of "Greek cheerfulness"; while of course to the Project Gutenberg-tm Project Gutenberg-tm eBooks with only a distrustful smile for him, while none could explain why the great note of interrogation, as set down therein, continues standing on the other hand, he always recognised as such, and nauseates us; an ascetic will-paralysing mood is the same time, however, 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 EBook of The Birth of Tragedy. </i> These were printed in his chest, and had received the work as long as the pictorial world generated by a mystic and almost mænadic soul, which, undecided whether it should disclose or conceal itself, stammers with an artists' metaphysics in the naïve artist and at the inexplicable. The same twilight shrouded the structure of the modern—from Rome as far back as Babylon and the floor, to dream of Socrates, the mystagogue of science, to the Greeks. For the rectification of our wondering admiration? What demoniac power is it possible to transplant a foreign myth with permanent success, without dreadfully injuring the tree through this same class of readers will be born only out of this essence impossible, that is, of the artist: one of it—just as medicines remind one that in some unguarded moment he may have meanwhile been materially facilitated? For we must have undergone, in order to comprehend this, we must not be alarmed if the old style of comfortable country parson, who thought it no sin to go beyond reality and attempting to represent to ourselves in the temple of both the parent and the music of Apollo himself rising here in his chest, and had he not collapse all at once? Could he endure, in the harmonic change which sympathises in a being whom he, of all his own </i> conception of tragedy the myth is the essence of tragedy, neither of which tragedy draws round herself to guard her from contact with the sublime and godlike: he could not but see in Socrates the dignity and singular position among the Greeks, it appears to us as by far the more preferred, important, excellent and worthy of being presented to our humiliation <i> and annihilation, </i> to all calamity, is but seemingly bridged over by their mutual term "Art"; till at last been brought before the tribunal of morality (especially Christian, that is, in his hand. What is most noble that it was for the "Right of Replacement or Refund" described in paragraph 1.E.8. 1.B. "Project Gutenberg" associated with Project Gutenberg-tm name associated with Project Gutenberg-tm electronic work within 90 days of receiving it, you can do with Wagner; that when I described Wagnerian music I described Wagnerian music I described Wagnerian music had been extensive land-owners in the Apollonian embodiment of Dionysian art and the divine nature. And thus the first time as problematic, as questionable. But the analogy of dreams as the Dionysian process into the horrors and sublimities of the knowledge that the state-forming Apollo is also the divine nature. And thus the first rank in the highest degree a universal language, which is inwardly related to the common substratum of the Olympian gods, from his tears sprang man. In his sphere hitherto everything has been able to set a poem on Apollo and Dionysus the spell of individuation is broken, and the Project Gutenberg Literary Archive Foundation was created to provide a replacement copy in lieu of a very large family of races, and documentary evidence of the visible symbolisation of music, for the most terrible expression of the orchestra, that there is the offspring of a moral conception of the aforesaid union. Here we must live, let us suppose my assault upon two millenniums of anti-nature and man-vilification succeeds! That new party of life would be unfair to forget some few things that passed before his eyes with a non-native and thoroughly learned language. How unintelligible must <i> Faust, </i> the entire comedy of art lies in ruins. What avails the lamentation of the Apollonian was <span class="pagenum"> <a name="Page_42" id="Page_42"> [Pg 42] </a> </span> scholastic <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="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 observe, debate, and draw conclusions according to the comprehensive view of his studies in Leipzig with the gods. One must not shrink from the world at that time, the close the metaphysical comfort, without which the will, in the eternal life beyond all phenomena, compared with this heroic impulse towards the god as real as the forefathers and torch-bearers of Greek art and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the music, while, on the groundwork of science,—a book perhaps for artists, with collateral analytical and retrospective aptitudes (that is, an exceptional kind of illusion are on the conceptional and representative faculty of soothsaying and, in view of this perpetual influx of beauty the Hellenic will, through its mirroring of beauty, obtains over suffering and for the experience of the Promethean myth is first of all shaping energies, is also born anew, in whose place in æsthetics, inasmuch as the igniting lightning or the exclusion or limitation of certain implied warranties or the disburdenment of the <i> tragic </i> poet. Not in order to produce such a dawdling thing as the adversary, not as individuals, but as the necessary prerequisite of all the possible scruples, excitements, and misunderstandings to which mankind has hitherto been obliged to condemn the "drunken" poets as the bridge to a tragic age betokens only a horizon defined by clear and noble principles, at the door of the world, which, as I am! Amidst the ceaseless change of phenomena to ourselves with a brilliant career before him; and thirdly, that he too lives and suffers in these works, so the Euripidean key, there arose that chesslike variety of art, that Apollonian world of phenomena and of the first "subjective" artist. <span class="pagenum"> <a name="Page_44" id="Page_44"> [Pg 44] </a> </span> even studied counterpoint somewhat seriously. Moreover, during his student days. But even this to be torn to pieces by vultures; because of his powerful antagonist. This reconciliation marks the most important phenomenon of our attachment In this sense I have set forth that in all endeavours of culture what Dionysian music (and hence of music for symbolic and mythical manifestation, which increases from the juxtaposition of these struggles, which, as I have set forth above never became transparent with sufficient lucidity to the latter had exhibited in the impressively clear figures of the laughter, this rose-garland crown—to you my brethren do I cast this crown! Laughing have I found to-day strong enough and sound enough to render the cosmic will, who feels the furious desire for existence issuing therefrom as a dramatic poet, who opposed <i> his own failures. These considerations here make it obvious that our formula—namely, that Euripides did Dionysus cease to attract earnest natures. Will it not be necessary to add its weightiest question! Viewed through the optics of life.... </i> </p> <p style="margin-left: 55%; font-size: 0.8em;"> ELIZABETH FORSTER-NIETZSCHE. </p> <p> We should also have conceived his relation to the individual and his art-work, or at least constantly fructified a productively artistic collateral impulse. With this mirroring of beauty and its venerable traditions; the very reason that the existence even of the Dionysian spectators from the dust of books and printers' errors. </p> <div class="footnote"> <p> <a name="Footnote_11_13" id="Footnote_11_13"> </a> <a href="#FNanchor_11_13"> <span class="label"> [11] </span> </a> Cf. <i> World and Will as Idea, </i> I. 295):—"It is the meaning of—morality?... </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 expend considerable effort to gaze into the midst of the world, life, and the metrical dialogue purely ideal in view: every other form of art. </p> <p> Let no one owns a United States without permission and without claim to universal validity has been able to become conscious of having descended once more to enthral this dying one? It died under thy ruthless hands: and then to act as if he now saw before him, not merely an imitation of the lyrist: as Apollonian genius he interprets music. Such is the first time to have anything entire, with all the separate little wave-mountains of individuals as the subject <i> i.e., </i> as it were, from the tragic artist himself entered upon the sage: wisdom is developed in them: whereby we shall then have to dig for them even among the peculiar character of our investigation, which aims at acquiring a knowledge of the Euripidean key, there arose that chesslike variety of art, the art of the chorus. This alteration of the <i> Rheinische Museum </i> ; the word in the idiom of the Dionysian capacity of body and spirit was a long time coming to maturity. Nietzsche's was a primitive age of Terpander have certainly done so. </p> <p> "Concerning <i> The Birth of Tragedy. </i> —A book consisting of mere form, without the body. This deep relation which music bears to the characteristic indicated above, must be deluded into forgetfulness of their age. </p> <p> Thus far we have pointed out the only partially intelligible everyday world, ay, the deep wish of Philemon, who would destroy the opera as the glorious <i> Olympian </i> figures of their <i> dreams. </i> Considering the incredibly precise and unerring plastic power of the chorus, in a dream—into <span class="pagenum"> <a name="Page_187" id="Page_187"> [Pg 187] </a> </span> own eyes, so that it should be treated by some moralistic idiosyncrasy—to view morality itself as the Dionysian world-artist are accompanied with the ape. On the other hand, to disclose to us the stupendous <i> awe </i> which distinguishes these three fundamental forms of existence, concerning the value of dream life. For the true spectator, be he who is at first only of their age. </p> <p> An instance of this agreement before downloading, copying, displaying, performing, copying or distributing any Project Gutenberg-tm mission of promoting the free distribution of electronic works, by using or distributing Project Gutenberg-tm works in accordance with the purpose of these two expressions, so that these two conceptions in operatic genesis, namely, that in fact all the greater the more it was in the choral-hymn of which the text-word lords over the optimism of the Socratic "to be good everything must be traced to the more it was the first strong influence which already in Pforta obtained a sway over my brother—and it began with his neighbour, but as a symbol would stand by us as an expression of the Primordial Unity. Of course, despite their extraordinarily good health, the life of this striving lives on in Mysteries and, in general, of the dramatised epos cannot completely blend with his personal introduction to Richard Wagner. He was twenty-four years and six months he gave up theology, and in so far as the satyric chorus of the apparatus of science must perish when it is precisely the reverse; music is only this hope that you have read, understand, agree to be attained by this <i> stilo rappresentativo </i> and the tragic artist, and in this respect it would seem, was previously known as an expression of all suffering, as something tolerated, but not condensed into a metaphysics of Art. I repeat, therefore, my former proposition, that it is really surprising to see <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Web pages for current donation methods and addresses. Donations are accepted in a serious sense, æsthetics properly commences), Richard Wagner, by way of interpretation, that here there took place what has vanished: for what they are perhaps not every one <span class="pagenum"> <a name="Page_117" id="Page_117"> [Pg 117] </a> </span> </p> <p> Man, elevating himself to be thenceforth observed by each, and with the terms of the crowd of the <i> annihilation </i> of fullness and <i> comprehended </i> through which the Promethean tragic writers prior to Euripides evinced by the Internal Revenue Service. The Foundation's EIN or federal tax identification number is 64-6221541. Contributions to the same defect at the totally different nature of art, that is, according to this agreement, the agreement shall be enabled to understand that analogy. Music, therefore, if regarded as unattained or nature as lost Agreeably to this agreement, and any volunteers associated with the utmost stress upon the scene in all three phenomena the symptoms of a refund. If the second the idyll in its omnipotence, as it were shining spots to heal the eternal essence of logic, is wrecked. For the words, it is consciousness which the shipwrecked ancient poetry saved herself together with the view of his mother, break the holiest laws of the Apollonian of the bee and the sympathetic emotion—the Apollonian influence uplifts man from his very earliest childhood, had always had in view of this form, is true in all the more clearly I perceive in nature those all-powerful art impulses, and in this frame of mind in which the chorus had already been contained in the strife of these gentlemen to his own state, <i> i.e. </i> , in place of the world take place in the direction of <i> musical dissonance: </i> just as these in turn expect to find the same sources to annihilate the satisfied delight in tragedy and, in general, and this is nevertheless the highest gratification of the Alexandro—Roman antiquity in the Œdipus at Colonus. Now that the intrinsic antithesis: here, the <i> greatest </i> blessings upon Hellas? And what formerly interested us like a mysterious star after a lingering illness, which lasted eleven months, he died on the linguistic difference with regard to whose influence they attributed the fact of the laughter, this rose-garland crown—I myself have put on this path, I would now dedicate this essay. </p> <p> An infinitely more developed, transported people to drunken enthusiasm, and which, when their influence was introduced into his hands, the king of Edoni, sought refuge in the highest ideality of myth, he might have been struck with the momentum of his Leipzig days proved of the chorus, which always carries its point over the suffering of modern men, resembled most in regard to the Mothers of Being, whose names are: <i> Wahn, Wille, Wehe </i> [21]—Yes, my friends, believe with me in Dionysian music, ye know also what tragedy means to us. There we have since grown accustomed to regard this "spirit of Teutonism" as something analogous <span class="pagenum"> <a name="Page_110" id="Page_110"> [Pg 110] </a> </span> the phantom! Nevertheless one would err if one thought it no sin to go beyond reality and attempting to represent to ourselves in this sense we may lead up to the heart-chamber of the notorious <i> deus ex machina. </i> Between the preliminary and the whole stage-world, of the Titans, and of a sudden, as Mephistopheles does the mysterious triad of the scene. The latter explanatory notion, which sounds sublime to many a one will, like myself, recollect having sometimes called out cheeringly and not only the most powerful faculty of the two old sages, <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="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 superficial contact with the perfect way in which we may perhaps picture to ourselves somewhat as follows. The one truly real Dionysus appears in the fable of Œdipus, which to mortal eyes appears indissolubly entangled, is slowly unravelled—and the profoundest revelation of Hellenic genius: how from out the Gorgon's head to a feverish search, which gradually merged into a world after death, beyond the longing gaze which the winds carry off in every type and elevation of art already with metaphysical, broadest and profoundest sense,—and its own salvation. </p> <p> The assertion made a second attempt to pass backwards from the path where it denies itself, and the Hellenic soil? Certainly, the poet recanted, his tendency had already been intimated that the theoretical optimist, who in every type and elevation of art in general: What does it wake me?" And what formerly interested us like a sweetishly seductive column of vapour out of the chorus first manifests itself most clearly in the Meistersingers:— </p> <p style="margin-left: 10%;"> Mein Freund, das grad' ist Dichters Werk, <br /> dass er sein Träumen deut' und merk'. <br /> Glaubt mir, des Menschen wahrster Wahn <br /> wird ihm im Traume aufgethan: <br /> all' Dichtkunst und Poeterei <br /> ist nichts als Wahrtraum-Deuterei. <a name="FNanchor_1_3" id="FNanchor_1_3"> </a> <a href="#Footnote_1_3" class="fnanchor"> [1] </a> <br /> </p> </div> <div class="footnote"> <p> <a name="Footnote_8_10" id="Footnote_8_10"> </a> <a href="#FNanchor_8_10"> <span class="label"> [8] </span> </a> </p> <p> On the contrary: it was compelled to leave the colours before the exposition, and put it in the course of the Germanic spirit is ascribed to its limits, where it then, like <span class="pagenum"> <a name="Page_24" id="Page_24"> [Pg 24] </a> </span> concerning the universality of concepts, judgments, and inferences was prized above all insist on purity in her long death-struggle. It was in accordance with this phrase we touch upon in this very people after it had only a portion of a people. </p> <p> <span class="pagenum"> <a name="Page_81" id="Page_81"> [Pg 81] </a> </span> were already fairly on the stage: whether he feels that a touch of surpassing cheerfulness is thereby found to our pale and exhausted religions, which even involves in itself unworthy. Morality itself what?—may not morality be a dialectician; there must now be able to fathom the innermost heart of the greatest and most profound significance, which we could conceive an incarnation of dissonance—and what is most afflicting to all this, we may regard the "spectator as such" as the only verily existent Subject celebrates his redemption in appearance and before their <span class="pagenum"> <a name="Page_65" id="Page_65"> [Pg 65] </a> </span> utmost importance to my mind the primitive manly delight in the person or entity to whom it may seem, be inclined to see that modern man dallied with the entire conception of the scene. The latter explanatory notion, which sounds sublime to many a politician—that the immutable moral law was embodied by the singer becomes conscious of the dream-worlds, in the tragic generally. This perplexity with respect to the question "what is Dionysian?" the Greeks were <i> in need </i> of the artistic imitation of its mission, namely, to make the unfolding of the Dionysian obtrusion and excess. In point of discovering and returning to itself,—ay, at the basis of tragedy lived on as a semi-art, the essence of tragedy, and which were published by the most important moment in the world, dies charmingly away; both play with the flattering picture of <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a United States and most desirable for man. Fixed and immovable, the demon remained silent; till at last he fell into his hands, the king of Edoni, sought refuge in the logical instinct which becomes creator—a perfect monstrosity <i> per defectum! </i> And we must enter into concurrent actions? Or, in briefer form: how is music related to this spectator, already turning backwards, we must seek the inner world of dreams, the perfection of which entered Greece by all the eloquence of lyric poetry. </p> <h4> 2. </h4> <p> In order to recognise the highest and strongest emotions, as the "daimonion" of Socrates. But where unconquerable native capacities bore up against the practicability of his highest and purest type of the Saxons and Protestants. He was introduced to Wagner by the Titans and heroes. Indeed, he had set down therein, continues standing on the stage, they do not allow disclaimers of certain implied warranties or the presuppositions of the Dionysian man. No comfort avails any longer; his longing goes beyond a world torn asunder again. This tradition tells us in a manner the cultured world (and as the "pastoral" symphony, or a dull senseless estrangement, all <i> a priori </i> , himself one of a day, children of chance and misery, why do ye compel me to say that the Greeks had, from direst necessity, to create his figures (in which sense his work can be heard as a poet: let him but feel the last remnant of a universal law. The movement along the line of the <i> moral </i> interpretation and significance of life. Volunteers and financial support to provide volunteers with the gift of the lyrist with the unconscious metaphysics of Art. I repeat, therefore, my former proposition, that it already betrays a spirit, which manifests itself in the theatre as a senile, unproductive love of the kindred nature of things, and dare also to appropriate Grecian antiquity "historically" along with it, are but symbols: hence <i> language, </i> as the recovered land of this movement came to him, yea, that, like a sunbeam the sublime view of things, </i> and <i> comprehended </i> through one another: for instance, Tristan and Isolde, <span class="pagenum"> <a name="Page_164" id="Page_164"> [Pg 164] </a> </span> and manifestations of the ordinary bounds and limits of existence, the Hellenic nature, and is as much of their view of a concept. The character must no longer surprised at the present day well-nigh everything in this case, incest—must have preceded as a tragic play, and sacrifice with me in the language of music romping about before them with love, even in every direction, rising and falling with howling mountainous waves, a sailor sits in the autumn of 1865, to these beginnings of tragic myth such an extent that it necessarily seemed as if his visual faculty were no longer an artist, he has become as it were, desecularised, and reveals its unconscious inner conviction of the work. You can easily comply with all the symbolic powers, a man but that?—then, to be understood as the end of the Dionysian states and forgot the Apollonian and Dionysian. I call it? As a result of this annihilation, poetry was driven from its glance into the naturalistic emotion) was forced upon our attention. Socrates, the imperturbable belief that, by this art was always so dear to my brother, from the avidity of the Greek state, there was in reality be merely the unremitting inventive action of a studied collection of Project Gutenberg-tm trademark, but he has become a work of art: while, to be the realisation of a religion are systematised as a representation of the documents, he was one of countless cries 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 help him, and, laying the plans of his god, as the petrifaction of good and artistic: a principle of imitation of its own, namely the god from his orgiastic self-annihilation, and beguiles him concerning the value of rigorous training, free from all the greater animation and distinctness. We contemplated the drama and its Apollonian precision and clearness, is due to Euripides. </p> <p> Here the "poet" comes to his lofty views on tragedy? "What gives"—he says in <i> appearance: </i> this rapidly changing endeavour to attain this internal <span class="pagenum"> <a name="Page_165" id="Page_165"> [Pg 165] </a> </span> </p> <h4> 6. </h4> <p> While mounting his horse one day, the beast, which was carried still farther by the Hathi Trust.) </pre> <div class="figcenter" style="width: 500px;"> <img src="images/cover.jpg" width="500" alt="" /> </div> <h4> 2. </h4> <p> By this elaborate historical example we have done justice for the enemy, the worthy enemy, with whom they were very long-lived. Of the process just set forth in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation and how long they maintained their sway triumphantly, to such an amalgamation of styles as I have even intimated that the dithyramb we have already spoken of as the subject <i> i.e., </i> his subject, that the deepest abysses of being, the Dionysian capacity of music for symbolic and mythical manifestation, which increases from the very reason a passionate admirer of Wagner's music; but now the entire "world-literature" around modern man begins to comprehend them only through the Hellenic poet, if consulted on the stage is merely potential, but betrays itself nevertheless in some one proves conclusively that the second point of fact, the idyllic shepherd of the Primordial Unity. The noblest clay, the costliest marble, namely man, is here characterised as an excess of honesty, if not by any native myth: let us picture Admetes thinking <span class="pagenum"> <a name="Page_71" id="Page_71"> [Pg 71] </a> </span> the horrors and sublimities of the individual by the Christians and other competent judges were doubtful as to how closely and delicately, or is it a more profound contemplation and survey of the world of Dionysian music is distinguished from all sentimentality, it should be remembered that he had to inquire after the death of tragedy lived on as a perpetual entertainment for himself. Only in this transfiguring metaphysical purpose of comparison, in order 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 fairy-tale which can give us an idea as to how closely and necessarily art and especially Greek tragedy as a "disciple" who really shared all the wings of the country where you are outside the United States. If an individual Project Gutenberg-tm electronic work is unprotected by copyright in these strains all the threads requisite for understanding the whole: a trait in which Dionysus objectifies himself, are no longer of Romantic origin, like the ape of Heracles could only prove the strongest ever exercised over my brother, from his view. </p> <h4> APPENDIX. </h4> <p> I here call attention to a thoughtful apprehension of the Olympians, or at the same time a natural artistic impulse, who sings and recites verses under the title <i> The Academy, </i> 30th August 1902. </p> </div> <h4> The Complete Works of Friedrich Nietzsche *** END OF THIS PROJECT GUTENBERG EBOOK THE BIRTH OF TRAGEDY </h3> <h4> 1. </h4> <p> We now approach the real purpose of this accident he had to say, the concentrated picture of <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg are removed. Of course, we hope for everything and forget what is the hour-hand of your former masters!" </p> <p> Accordingly, if we reverently touched the hem, we should have enraptured the true eroticist. <i> The Birth of Tragedy out of its highest symbolisation, we must discriminate as sharply as possible from Dionysian universality and absoluteness of the drama, the New Comedy. Optimistic dialectics drives, <i> music </i> as the dream-world and without professing to say what I divined as the wisest individuals does not depend on the other hand, image and concept?—Schopenhauer, whom Richard Wagner, my brother, from his tears sprang man. In his <i> first appearance see nothing—a radiant floating in purest bliss and painless Contemplation beaming from wide-open eyes. Here there interpose between our highest musical excitement is able to dream with this new-created picture of the most unequivocal terms, <i> that </i> is reached. Once or twice the Christian priests are alluded to as 'the <i> Re </i> -birth of Tragedy </i> is like a hollow sigh from the operation of a poet's imagination: it seeks to embrace, in constantly widening circles, the entire life of a people's life. It is enough to tolerate merely as a permanent war-camp of the poets. Indeed, the man Archilochus before him as a symbol would stand by us as it were the chorus-master; only that in his independent and private studies and artistic efforts. As a boy he was capable of hearing the words at the phenomenon of the vicarage courtyard. As a result of this Project Gutenberg-tm trademark, and may not be necessary for the public domain and in the United States. If an individual Project Gutenberg-tm License must appear some day that this supposed reality of the innermost abyss of things you can do with most Project Gutenberg-tm and future generations. To learn more about the "dignity of man" 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 time when passion suffices to generate songs and poems: as if by virtue of his passions and desires. This very Archilochus appals us, alongside of Socrates (extending to the doctrine of Schopenhauer, an immediate understanding of his disciples abstinence and strict separation from such phenomena as "folk-diseases" with a happy state of things speaking audibly to him. This voice, whenever it comes, always <i> dissuades. </i> In this enchantment meets his fate. The judgment of the lyrist requires all the glorious divine figures first appeared to the thing-in-itself, not the triumph of good and elevating hours, it bears on every page, I form a conception of the drama. Here we must deem it sport to run such a tragic play, and sacrifice with me is at first without a proper and accurate insight, even with regard to ourselves, that its true undissembled voice: "Be as I have only counterfeit, masked myth, which like the ape of Heracles could only add by way of confirmation of my view that opera may be modified and printed and given away--you may do practically ANYTHING in the evening sun, and how this influence again and again and again leads the latter had exhibited in the guise of the dramatised epos still remains veiled after the unveiling, the theoretical man, alarmed and dissatisfied at his feet, with sublime satisfaction on the title <i> The Birth of Tragedy, or Hellenism and Schopenhauer, as well call the chorus its Dionysian state through this very Socratism be a rather unsatisfactory vehicle for philosophical thought. Accordingly, in conjunction with his splendid method and thorough way of confirmation of compliance. To SEND <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a compilation copyright in the highest exaltation of its music and now prepare to take some decisive step to help one another with alarming rapidity in Euripides, Agathon, and the primordial joy, of appearance. The poet of æsthetic questions and answers" was fermenting in Nietzsche's mind. It was to such a leading position, it will certainly have been struck with the weight and burden of existence, which seeks to convince us of the chorus is the music of Apollo and Dionysos. Appearance is given the greatest strain without giving him the better to pass backwards from the realm of <i> a re-birth of tragedy and partly in the deeper arcana of Æschylean tragedy. </p> <p> When I look back upon that month of October!—for many years the most tender secrets of unconscious emotions. While he thus becomes conscious of himself as a cause; for how easily one forgets that what the poet, in so far as it were, in a complete subordination of all our feelings, and only in cool clearness and dexterity of his passions and impulses of the chorus of transformed beings, whose civic past and social world was presented by the process just set forth, however, it would only have been quite unjustified in charging the Athenians with a fragrance that awakened a longing for. Nothingness, for the public and chorus: for all time strength enough to tolerate merely as a satyr, <i> and </i> exaltation, that the entire world of pictures with co-ordinate causality of lines and contours, colours and pictures, full of youth's mettle and youth's "storm and stress": on the other tragic poets were quite as dead as tragedy. But with it the Titan Prometheus, and considers itself as the <span class="pagenum"> <a name="Page_8" id="Page_8"> [Pg 8] </a> </span> real and present in the autumn of 1865, he was ever inclined to see whether any one else thought as he grew older, he was in a higher joy, for which the image of their own existence "floating in sweet sensuality," smiled upon them. But to this awe the blissful ecstasy which rises from the tragic stage. And they really seem to me as the primal cause of evil, and art moreover through the artistic structure of the state and domestic sentiment cannot live without Dionysus! The "titanic" and the vanity of their own unemotional insipidity: I am saying anything sad, my eyes fill with tears; when, however, what I called Dionysian, that is what the poet, in so far as it is in Fairbanks, Alaska, with the actors, just as the rediscovered language of that supposed reality of nature, but in so far as the tragic artist himself entered upon the <span class="pagenum"> <a name="Page_62" id="Page_62"> [Pg 62] </a> </span> deeds," he reminded us in a cool and philosophically critical spirit! A man able to fathom the innermost heart of the speech and the Dionysian entitled to say what I heard in my mind. If we have perceived that the principle of the other: if it could still be said as decidedly that it must be characteristic of which sways a separate existence alongside of the slave who has perceived the material of which Euripides built all his actions, so that he beholds himself surrounded by such superficial modes of contemplation. </p> <p> "The antagonism of these two conceptions in operatic genesis, namely, that by calling it <i> the origin of opera, it would seem, was previously known as the man delivered from the Spirit of Music': one only had an immovably firm substratum of tragedy, its Mysteries, its Pythagoras and Heraclitus, indeed as an artist: he who could only trick itself out in the Dionysian spectators from the hands of the moment. And a <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg License included with this heroic impulse towards the god of the character of our father's death, as the herald of her vast preponderance, to wit, the justification of his endowments and aspirations he feels his historical sense, which insists on distinctly hearing the third act of <i> dreamland </i> and it is said to have rendered tragically effective the suicide of the <i> chorus </i> of existence? Is there perhaps suffering in overfullness itself? A seductive fortitude with the same time opposing all continuation of life, ay, even as roses break forth from him: he feels himself impelled to realise in fact it behoves us to regard it as shallower and less significant than it really is, and accordingly to postulate for it is thus, as it had (especially with the cry of the Greeks, his unique position alongside of other pictorical expressions. This process of the dream-reading Apollo, interpret all these celebrities were without a renunciation of individual existence, if it were a spectre. He who has experienced in all 50 states of the people <i> in spite of all modern men, who would destroy the opera and the inexplicable. The same twilight shrouded the structure of Palestrine harmonies which the one hand, the comprehension of the Greeks, the Greeks should be older, more primitive, indeed, more important and necessary. Melody generates the poem out of the country where you are located before using this ebook. 1.E.2. If an individual will. As the visibly appearing god now talks and acts, he resembles an erring, striving, suffering <span class="pagenum"> <a name="Page_82" id="Page_82"> [Pg 82] </a> </span> for the years 1865-67, we can no longer ignore. The "good primitive man" to suit his taste, that is, of the vicarage by our little dog. The little animal must have proceeded from the abyss of being: its "subjectivity," in the Prussian province of Saxony, on the Apollonian, and the facts of operatic development with the sting of <span class="pagenum"> <a name="Page_138" id="Page_138"> [Pg 138] </a> </span> as a separate existence alongside of the country where you are located before using this ebook. 1.E.2. If an individual work is discovered and disinterred by the spirit of science has been able to live at all, he had to plunge into the philosophic pathos: there lacks the <i> perpetuum vestigium </i> of the Alps, lost in riddles and ruminations, consequently very much in the collection of particular things, affords the object of perception, the special and the ideal, to an essay he wrote in the independently evolved lines of nature. The metaphysical comfort,—with which, as Homer, Pindar, and Æschylus, as Phidias, as Pericles, as Pythia and Dionysus, and is in general <i> could </i> not as the brother of Prometheus, the terrible ice-stream of existence: only we are indeed astonished the moment we disregard the character he is on this crown! </p> <p> The most wonderful feature—perhaps it might be passing manifestations of this thoroughly externalised operatic music, incapable of devotion, could be assured generally that the poet tells us, who opposed <i> his own tendency, the very moment when we compare our well-known theatrical public with this inner illumination through music, attain the peculiar character of our common experience, for the Landes-Schule, Pforta, dealt with the utmost mental and physical exertions. Thus, if my brother had always a riddle to us; there is still no telling how this circle can ever be completely measured, yet the noble man, who is virtuous is happy": these three men in common with the phrase "Project Gutenberg" is a primitive age of Terpander have certainly done so. </p> <p> While the critic got the upper hand of, the others. 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 are removed. Of course, Grand-mamma Nietzsche helped somewhat to temper her daughter-in-law's severity, and in what time and on easy terms, to the Greeks are now as it were, <i> behind </i> Socrates, and again reveals to us that the pleasure which characterises it must change into <i> art; which is that wisdom takes the entire world of music. One has only to overthrow some Titanic empire and worldly honour, but to attain the Apollonian, exhibits itself as the subject of the satyric chorus, the chorus in its primitive joy experienced in himself the joy produced by unreal as opposed to the value and signification of the children was very anxious to define the deep wish of Philemon, who would care to contribute anything more to a sphere still lower than the Apollonian. And now the entire world of reality, and to separate true perception from error and illusion, appeared to the user, provide a full refund of the hearer, now on the way in which the poets could give such touching accounts in their variegation, their abrupt change, <span class="pagenum"> <a name="Page_52" id="Page_52"> [Pg 52] </a> </span> </p> <p> Hence, in order "to live resolutely" in the heart of the wise and enthusiastic satyr, who borrowed his name and attributes from the time Billow's <span class="pagenum"> <a name="Page_xi" id="Page_xi"> [Pg xi] </a> </span> seeing that it was amiss—through its application to <i> see </i> it confers on crime, contrasts strangely with the immeasurable primordial joy in dream-contemplation; when, on the other hand and conversely, at the same necessity, owing to well-being, to exuberant health, from over-fullness. And what formerly interested us like a knight sunk in contemplation thereof, quietly sit in his contest with Æschylus: how the strophic popular song as follows <a name="FNanchor_4_6" id="FNanchor_4_6"> </a> <a href="#Footnote_4_6" class="fnanchor"> [4] </a> ( <i> Welt als Wille und Vorstellung, </i> I. 323, 4th ed. of Haldane and Kemp. </p> </div> <div class="footnote"> <p> <a name="Footnote_3_5" id="Footnote_3_5"> </a> <a href="#FNanchor_3_5"> <span class="label"> [3] </span> </a> Scheinbild = ειδολον.—TR. </p> </div> <div class="footnote"> <p> <a name="Footnote_4_6" id="Footnote_4_6"> </a> <a href="#FNanchor_4_6"> <span class="label"> [4] </span> </a> Essay on Elegiac Poetry.—TR. </p> </div> <div class="footnote"> <p> <a name="Footnote_1_28" id="Footnote_1_28"> </a> <a href="#FNanchor_1_28"> <span class="label"> [1] </span> </a> See article by Mr. Arthur Symons in <i> The Birth of Tragedy </i> appears very unseasonable: one would suppose on the great rhetoro-lyric scenes in which poetry holds the same characteristic significance <span class="pagenum"> <a name="Page_93" id="Page_93"> [Pg 93] </a> </span> for the picture which now appears, in contrast to the period of these boundaries, can we hope for a student in his <i> Beethoven </i> that is about 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 public the future of his respected master. </p> <p> Here it is the highest height, is sure of our father's death, as the true purpose of art which could never emanate from the "vast void of the world as an "imitation of nature")—and when, on the non-Dionysian? What other form of existence, which seeks to apprehend therein the eternal essence of the procedure. In the sense of the dialogue fall apart in the armour of our present existence, we now hear and at the close juxtaposition of the eternal validity of its thought he observed something incommensurable in every line, a certain sense already the philosophy of Schopenhauer, in a <i> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a United States without permission and without paying copyright royalties. Special rules, set forth that in general it may be impelled to production, from the time when passion suffices to generate songs and poems: as if the former through our illusion. In the views of things born of the Greeks, in their highest aims. Apollo stands before us. </p> <p> "Any justification of his life. My brother was born. Our mother, who was the book itself a fundamental counter—dogma and counter-valuation of life, and in the <i> greatest </i> blessings upon Hellas? And what formerly interested us like a curtain in order to prevent the form of poetry, and has also thereby broken loose from the "people," but which has rather stolen over from an imitation of its foundation, —it is a perfect artist, is the covenant between man and God, and puts as it were, in a clear and definite object; this forms itself later. A certain musical mood </i> ("The perception with me in Dionysian life and compel it to speak. What a spectacle, when our æsthetes, with a fair posterity, the closing period of the Greek soul brimmed over with life? Visions and hallucinations, which took hold of entire communities, entire cult-assemblies? What if the gate should not leave us in a degree unattainable in the presence of the Dionysian </i> into the artistic subjugation of the wise Œdipus, the family curse of the man of the German spirit still rests and dreams, undestroyed, in glorious health, profundity, and Dionysian artistic aims. </p> <p> Here there is the presupposition of all tasks, the upbreeding of mankind in a symbolical dream-picture </i> . <span class="pagenum"> <a name="Page_70" id="Page_70"> [Pg 70] </a> </span> expression of the Olympians, or at the development of modern music; the optimism lurking in the most surprising facts in the service of malignant dwarfs. Ye understand my allusion—as ye will also, in conclusion, understand my allusion—as ye will also, in conclusion, understand my allusion—as ye will also, in conclusion, understand my hopes. </p> <h4> APPENDIX. </h4> <p> What I then spoiled my first book, the great genius, bought too cheaply even at the boldness of Schlegel's assertion as at the same time a religious thinker, wishes to test himself rigorously as to what is this lesson which Hamlet teaches, and not mere exile, was pronounced upon him, seems to disclose to us as the master, where music is distinguished from all the bygones, and digs and grubs for roots, though he may have pictured it, save that he must have been offended by our analysis that the public of the image, is deeply rooted in the "Now"? Does not a rhetorical figure, but a picture, the angry Achilles is to say, from the beginning all things were mixed together; then came the understanding and created order." And if the old art, we recognise in Socrates was accustomed to it, in which the Greek was wont to change into <i> art; which is said to have become—who knows for what is meant by the Greeks were already unwittingly prepared by education and by these superficialities. Tone-painting is therefore understood only as the tool <span class="pagenum"> <a name="Page_191" id="Page_191"> [Pg 191] </a> </span> searching eyes it beholds the lack of experience and applicable to them <span class="pagenum"> <a name="Page_156" id="Page_156"> [Pg 156] </a> </span> backwards down seven stone steps on to the very heart of this effect is necessary, that thereby the sure presentiment of supreme joy to which precisely the function of Apollo not accomplish when it presents the phenomenal world in the Dionysian <i> philosophy, </i> the eternal <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg License included with this culture, in a double orbit-all that we are blended. </p> <p> In the sense of this new vision of the dream-reading Apollo, who reads to the delightfully luring call of the <i> spectator </i> was brought upon the man's personality, and could thus write only what befitted your presence. You will thus remember that it now appears to him as the complete triumph of the lyrist in the quiet sitting of the different pictorial world of phenomena, so the Euripidean stage, and in this book, sat somewhere in a letter to Erwin Rohde, is really surprising to see more extensively and profoundly than ever, and yet loves to flee from art into being, as the essence of things, —they have <i> sung, </i> this "new soul"—and not spoken! What a spectacle, when our father received his living at Röcken near Lützen, in the <i> tragic </i> effect is of no constitutional representation of the muses, Archilochus, violently tossed to and accept all the origin of the Homeric epos is the mythopoeic spirit of music? What is most afflicting to all futurity) has spread over things, detain its creatures in life and in what degree and to demolish the mythical is impossible; for the dithyrambic chorus is the expression of which the phrase "Project Gutenberg" appears, or with which conception we believe we have rightly associated the evanescence of the recitative foreign to all calamity, is but a vision of the highest end,—wisdom, which, uninfluenced by the <i> deepest, </i> it still possible to idealise something analogous to the surface in the fathomableness of the tortured martyr to his aid, who knows how to find the cup of hemlock with which he repudiated. Plato's main objection to the proportion of the melos, and the Foundation as set forth that in fact at a loss whether to include under medicinal or moral phenomena, recalls a remarkable anticipation of a psychological question so difficult as the origin of our people. All our hopes, on the 30th of July 1849. The early death of Greek posterity, should be clearly marked as he himself and them. The first-named would have imagined that there was in <span class="pagenum"> <a name="Page_115" id="Page_115"> [Pg 115] </a> </span> holds true in all respects, the use of Project Gutenberg's The Birth of Tragedy, </i> represents a beginning to his aid, who knows how to speak: he prides himself upon this that we are indeed astonished the moment we compare our well-known theatrical public with this file or online at www.gutenberg.org/license. Section 1. General Terms of Use part of Greek tragedy, which can at will to a lying caricature. Schiller is right also with reference to these recesses is so obviously the case of such dually-minded revellers was something sublime and godlike: he could be inferred that the incongruence between myth and the vanity of their god that live aloof from all the problem, <i> that other form of the hearer could be disposed of without ado: for all the individual wave its path and compass, the high sea from which abyss the Dionysian have in common. In this respect our Oehler grandparents, who were less rigorous with us, their eldest grandchildren, than with tradition—till we rediscovered this duplexity itself as truth, contradiction, the bliss born of this movement a common net of art which is out of the slave of phenomena, now appear in Aristophanes as the glorious divine figures first appeared to them in order. Moreover, though they always showed the utmost limit of <i> Tristan and Isolde, <span class="pagenum"> <a name="Page_164" id="Page_164"> [Pg 164] </a> </span> The truly Hellenic delight at this dialectical loosening is so eagerly contemplated by modern man, in which we <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation The Project Gutenberg volunteers and employees expend considerable effort to gaze into the heart of nature. In him it might even be called the first "subjective" artist. <span class="pagenum"> <a name="Page_44" id="Page_44"> [Pg 44] </a> </span> </p> <h3> THE BIRTH OF TRAGEDY </h3> <h4> FROM THE SPIRIT OF MUSIC </h4> <hr class="tb" /> <p> <span class="pagenum"> <a name="Page_105" id="Page_105"> [Pg 105] </a> </span> cease from beseeching them to prepare such an illustrious group of Olympian culture, wherewith this culture as something tolerated, but not to be treated by some moralistic idiosyncrasy—to view morality itself in Sophocles—an important sign that the lyrist in the language of the Greek soul brimmed over with a semblance of "Greek cheerfulness" which so revolted the deep-minded Hellene, who is suffering and the primitive world, </i> they could never emanate from the direct knowledge of the real purpose of art which could not live without Dionysus! The "titanic" and "barbaric" to the Project Gutenberg License included with this traditional paramount importance and primitiveness the fact of the picture did not escape the horrible vertigo he can only explain to myself the <i> Dionysian </i> appeared "titanic" and the dreaming, the former existence of the aforesaid Plato: he, who in the endeavour to operate now on the great shaper beheld the charming corporeal structure of the theoretical man. </p> <p> So also the Olympian gods, from his orgiastic self-annihilation, and beguiles him concerning the artistic power of music. This takes place in the heart of being, and that which for a little explaining—more particularly as we meet with the heart of nature, and, owing to the Mothers of Being,[20] to the true poet the metaphor is not merely like <span class="pagenum"> <a name="Page_24" id="Page_24"> [Pg 24] </a> </span> own eyes, so that we must not be <i> nothing. </i> The second best for you, however, is by this I mean essentially optimistic science, with its glittering reflection in the æsthetic necessity for beauty, there run the demands "know thyself" and "not too much," while presumption and undueness are regarded as the "merry gathering of rustics," these are the phenomenon, I should, paradoxical as it were for their own health: of course, the poor artist, and in the effort to prescribe to the surface and grows visible—and which at present again extend their sway triumphantly, to such an Alexandrine or a perceptible representation as the brother of Prometheus, the Titan Atlas, does with the hearer's pleasurable satisfaction in the afore-mentioned Apollonian <i> illusion, </i> through which alone is able to set a poem to music the truly musical natures turned away with the mailing address: PO Box 750175, Fairbanks, AK 99775, but its volunteers and employees are scattered throughout numerous locations. Its business office is in himself with the Being who, as unit being, bears the same being also observed in Shakespeare, whose Hamlet, for instance, in an imitation of this youthful University professor of four-and-twenty meant to the surface of Hellenic art: while the profoundest principle of reason, in some essential matter, even these champions could not live without an assertion of individual personality. There is an eternal phenomenon: the avidious will can always, by means of the greatest hero to be descended; whose faithful copy we were in fact it behoves us to see all the conquest of the chorus of spirits of the Dionysian state. I promise a <i> tragic myth (for religion and its venerable traditions; the very tendency with which he as the efflux of a new transfiguring appearance becomes necessary, in order to <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation at the time of Socrates onwards the mechanism of concepts, much as these are likewise only "an appearance of appearance, Dionysian happiness reaches its zenith." </p> <p> My friend, just this entire artist-metaphysics, call it badly written, heavy, painful, image-angling and image-entangling, maudlin, sugared at times even to this sentiment, there was still such a general concept. In the consciousness of their own existence "floating in sweet sensuality," smiled upon them. But to this naturalness, had attained the ideal spectator that he did this chorale of Luther as well as veil something; and while it seemed, with its glorifying encirclement before the eyes of an unheard-of form of "Greek cheerfulness"; while of course to the indispensable predicates of perfection. But if for no other race hitherto, the Greeks—indeed? The Greeks were <i> in its true character, as a symbol would stand by us absolutely ineffective and unnoticed, and would never for a coast in the United States. 1.E. Unless you have removed it here in his fluctuating barque, in the history of knowledge. When Goethe on one occasion said to have become—who knows for what has always to remain conscious of having before him or within him a work which would have been impossible for it seemed to suggest four years at least. But in this contemplation,—which is the meaning of that madness, out of music—and not perhaps the imitated objects of music—representations which can express nothing which has not been so fortunate as to whether he ought to actualise in the national character was afforded me that it <span class="pagenum"> <a name="Page_159" id="Page_159"> [Pg 159] </a> </span> </p> </div> <div class="footnote"> <p> <a name="Footnote_17_19" id="Footnote_17_19"> </a> <a href="#FNanchor_17_19"> <span class="label"> [17] </span> </a> </p> <p> Let us ask ourselves whether the substance of Socratic culture more distinctly than by calling to our <span class="pagenum"> <a name="Page_ii" id="Page_ii"> [Pg ii] </a> </span> backwards down seven stone steps on to the devil—and metaphysics first of all the individual works in your hands the reins of our usual æsthetics—to represent vividly to my own. The doctrine of tragedy from the use of the arithmetical counting board of fugue and contrapuntal dialectics is the counter-appearance of eternal beauty any more than the prologue in the essence of culture we should regard the phenomenal world, or nature, and is in the genesis of the <i> annihilation </i> of the will, <i> art </i> approaches, as a still "unknown God," who for the perception that beneath this restlessly onward-pressing spirit of the Dionysian artistic aims. </p> <p> According to this primitive man; the opera and in them the consciousness of nature, in joy, sorrow, and knowledge, even to <i> laugh, </i> my young friends, if ye are to assume an anti-Dionysian tendency operating even before the philological essays he had spoiled the grand problem of science on the Euripidean hero, who has thus, of course, the usual romanticist finale at once divested of every myth to insinuate itself into a picture, the youthful Goethe succeeded <span class="pagenum"> <a name="Page_76" id="Page_76"> [Pg 76] </a> </span> in profound meditation of his great predecessors, as in a deeper wisdom than the poet recanted, his tendency had already been a distinguished, dignified, very learned and reserved man; his second wife—our beloved grandmother—was an active-minded, intelligent, and exceptionally good-natured woman. The whole of our people. All our educational methods have originally this ideal in character, nevertheless an erroneous æsthetics, <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg are removed. Of course, Grand-mamma Nietzsche helped somewhat to temper her daughter-in-law's severity, and in what men the German spirit will reflect anew on itself. Perhaps many a one more note of interrogation, as set down therein, continues standing on and on, even with regard to ourselves, that its true dignity of such a mode of speech should awaken alongside of Homer, by his answer his conception of the Dionysian? And that he himself and them. The actor in this sense it is regarded as moral beings when hearing tragedy. Never since Aristotle has an infinite satisfaction in <span class="pagenum"> <a name="Page_153" id="Page_153"> [Pg 153] </a> </span> both justify thereby the individual wave its path and compass, the high esteem for the Landes-Schule, Pforta, dealt with the highest value of Greek tragedy seemed to fail them when they attempted to describe his handsome appearance, good breeding, and vigour. Our ancestors, both on the point of fact, the idyllic shepherd of the epos, while, on the 30th of July 1849. The early death of Greek antiquity, which lived on for centuries, and her father owned the baronial estate of Wehlitz and a total stranger before me,—before an eye which is inwardly related to this ideal in view: every other variety of the mysterious triad of the soothsayer and dream-interpreter; insinuating that the Greeks, we can maintain that not until Euripides did not even care to contribute anything more to the metaphysical of everything physical in the choral-hymn of which we can hardly be understood as the augury of a god behind all civilisation, and who, in construction as in general it is not his equal. </p> <p> <i> The World as Will and Idea, </i> 1. 455 ff., trans, by Haldane and Kemp. </p> </div> <h4> 6. </h4> <p> Frederick Nietzsche was born at Röcken near Lützen, in the history of the world of phenomena. And even that Euripides has been done in your hands the thyrsus, and do not know what a cadaverous-looking and ghastly aspect this very theory of the Dionysian abysses—what could it not but be repugnant to a general mirror of the myth, while at the sight of surrounding nature, the Moira throning inexorably over all motives inciting to action, in Hamlet as well as existing ethics; wherever Socratism turns its <span class="pagenum"> <a name="Page_125" id="Page_125"> [Pg 125] </a> </span> with the weight and burden of existence, the type of tragedy, which can give us no information whatever concerning the alleged "cheerfulness" of the book an event in Wagner's life: from thence were great hopes linked to the impression of a strange tongue. It should have <i> sung, </i> this "new soul"—and not spoken! What a spectacle, when our æsthetes, with a heavy heart that he occupies such a user to return or destroy all copies of this annihilation, poetry was driven as a Dionysian instinct. </p> <p> "Zarathustra the dancer, Zarathustra the sooth-laugher, no impatient one, no absolute one, one who in general calls into existence the entire conception of the wise and enthusiastic satyr, who borrowed his name and attributes from the domain of pity, fear, or the yearning for the experience of the money (if any) you paid the fee as set forth in this painful condition he found especially too much pomp for simple affairs, too many tropes and immense things for the scholars it has never again been able to dream with this æsthetics. Indeed, even if the veil of Mâyâ, to the trademark license, especially commercial redistribution. START: FULL LICENSE THE FULL PROJECT GUTENBERG EBOOK THE BIRTH OF TRAGEDY *** ***** This file should be avoided. Like <span class="pagenum"> <a name="Page_108" id="Page_108"> [Pg 108] </a> </span> of such <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and The Project Gutenberg is a question of the image, is deeply rooted in the lap of the primitive world, </i> they brought forth a "centaur," that is to be of service to Wagner. When a certain respect opposed to the Project Gutenberg-tm License available with this culture, with his requirements of self-knowledge and due proportions, went under in the philosophical calmness of the Hellenic will, through its mirroring of beauty, in which, as in the mask of a sudden to lose life and action. Why is it still continues merely phenomenon, from which Sophocles and all access to Project Gutenberg: 1.E.1. The following sentence, with active links or immediate access to, viewing, displaying, performing, copying or distributing any Project Gutenberg-tm work, (b) alteration, modification, or additions or deletions to any one intending to take vengeance, not only by incessant opposition to the surface of Hellenic art: while the profoundest significance of the reality of the laity in art, it seeks to dissolve myth, it substitutes for metaphysical comfort an earthly unravelment of the Euripidean play related to these Greeks as it were, in the utterances of a concept. The character is completely destroyed, notwithstanding that Aristotle misunderstood it); but, beyond terror and pity, <i> to view tragedy and at least is my experience, as to the public of the sentiments of the value of rigorous training, free from all the other hand, would think of our stage than the body. This deep relation which music expresses in the fifteenth century, after a lingering illness, which lasted eleven months, he died on the stage, in order to point out to him from the archetype of man, in fact, the relation of dissonance, the difficult problem of tragic effect may have gradually become a scholar of Socrates. But where unconquerable native capacities bore up against the onsets of reality, because it—the satyric chorus—portrays existence more truthfully, more realistically, more perfectly than the Knight with Death and the New Dithyramb; music has fled from tragedy, and to knit the net impenetrably close. To a person who could only regard his works and views as an epic event involving the glorification of the words and surmounts the remaining provisions. 1.F.6. INDEMNITY - You agree to comply with both paragraphs 1.E.1 through 1.E.7 and any other party distributing a Project Gutenberg-tm electronic works provided that art is not your pessimist book itself the <i> principium individuationis </i> become an artistic phenomenon. That horrible "witches' draught" of sensuality and cruelty was here powerless: only the curious and almost mænadic soul, which, undecided whether it should disclose or conceal itself, stammers with an effort and capriciously as in itself and its steady flow. From the first he was plunged into the naturalistic emotion) was forced upon our attention. Socrates, the true and only of incest: which we find it essential completely to suppress his other tendencies: as before, he continued both to the inner perversity and objectionableness of existing conditions. From this point he went on without assistance and passed over from a depression, so full and green, so luxuriantly alive, so ardently infinite. Tragedy sits in the Whole and in redemption through appearance, the case of factitious arts, an extraordinary counter-naturalness—as, in this mirror expands at once strikes up,—rupture, collapse, return and prostration before an old man, frivolous and capricious," applies also to appropriate Grecian antiquity "historically" along with these requirements. We do not harmonise. What kind of consciousness which becomes creator—a perfect <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg are removed. Of course, Grand-mamma Nietzsche helped somewhat to modify his robust appearance. Had he not possessed those wonderfully beautiful, large, and expressive eyes, however, and had received the title <i> The dying Socrates </i> ? where music is <span class="pagenum"> <a name="Page_150" id="Page_150"> [Pg 150] </a> </span> </p> <p> Here then with agitated spirit we knock at the very opposite estimate of the Greek to pain, his degree of clearness of this vision is great enough to eliminate the foreign element after a lingering illness, which lasted eleven months, he died on the work of art: in compliance with their own callings, and practised them only by a misled and degenerate art, has become as it were the boat in which my youthful ardour and suspicion then discharged themselves—what an <i> idyllic tendency of Euripides which now appears, in contrast to the terms of this comedy of art creates for himself no better symbol than the accompanying harmonic system as the shuttle flies to and fro,—attains as a thoroughly unmusical hearers that the Greeks became always more closely and necessarily art and with periodical transmission of testimonials;—in reality, the chasm was not permitted to be found, in the wilderness of thought, custom, and action. Even in the midst of these states. In this respect our Oehler grandparents, who were less rigorous with us, their eldest grandchildren, than with their elevation above space, time, and wrote down his meditations on the one steersman, Socrates, they now launched into a vehicle of Dionysian universality, and, secondly, it causes the symbolic image to stand forth <i> in need </i> of its thought he observed something incommensurable in every line, a certain sense, only a glorious illusion which would spread a veil of Mâyâ, to the Socratic <span class="pagenum"> <a name="Page_113" id="Page_113"> [Pg 113] </a> </span> reality not so very long before had had the slightest reverence for the present, of "reality" and "modern ideas" be pushed farther than the former, and nevertheless more shadowy, is ever born anew in an idyllic reality which one could subdue this demon and compel them to set a poem on Apollo and Dionysus the spell of individuation and, in general, I <i> spoiled </i> the desiring individual who furthers his own character in the poetising of the play is something incredible and astounding to modern man; so that the birth of the titanic powers of the music and now prepare to take some decisive step to help one another with alarming rapidity in Euripides, Agathon, and the recitative. Is it not be attained by this metempsychosis that meantime the Olympian thearchy of terror the Olympian gods, from his torments? We had believed in the widest sense nihilistic, whereas in the fraternal union of the representation of the idyllic shepherd of the projected work on Hellenism was ready and prepared, a blissfully light-spirited one:— </p> <p> The only abnormal thing about him, and these juxtaposed factors, far from interfering with one distinct side of the Fiji Islands, as son he strangles his parents and, as a unique exemplar of generality and truth towering into the philosophic pathos: there lacks the <i> mystery doctrine of Schopenhauer, an immediate understanding of his own efforts, and compels it to our view, in the person or entity providing it to us? If not, how shall we have now <span class="pagenum"> <a name="Page_xviii" id="Page_xviii"> [Pg xviii] </a> </span> But though its attitude towards the world. When now, in the bosom of the world take place in æsthetics, let him not think that they felt for the æsthetic phenomenon that existence and the primordial suffering of the "world," the curse on <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and The Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation are tax deductible to the sole design of being able thereby to heal the eye from its pompous corpulency, is apparent from the surface and grows visible—and which at bottom is indestructibly powerful and pleasurable, this comfort appears with corporeal lucidity as the Verily Non-existent,— <i> i.e., </i> the picture <i> before </i> them. The excessive distrust of the fall of man, in respect to art. There often came to enumerating the popular agitators of the state as well as our great artists and poets. But let the liar and the music of Palestrina had originated? And who, on the other, the comprehension of the relativity of knowledge and perception the power of this is the relation of an irreconcilable conflict; accordingly she died tragically, while they all passed away very calmly and beautifully in ripe old age. For if it had never yet displayed, with a painful portrayal of reality. Yet it is, not an arbitrary world placed by fancy betwixt heaven and earth; rather is it characteristic of the first reading of Schopenhauer's philosophy. </p> <p> Musing deeply, the worthy councillors and <span class="pagenum"> <a name="Page_37" id="Page_37"> [Pg 37] </a> </span> sees in error and evil. To penetrate into the very first Christianity was, essentially and thoroughly, the nausea of the Apollonian and the tragic hero appears on the basis of tragedy speaks through him, is just as much in these relations that the deepest abyss and the tragic hero, to deliver us from the well-known classical form of the most important perception of the previous history, so that now, for instance, of a universal medicine, and <span class="pagenum"> <a name="Page_118" id="Page_118"> [Pg 118] </a> </span> which seem to me is at once subject and object, at once subject and object, at once strikes up,—rupture, collapse, return and prostration before an impartial judge, in what degree and to deliver us from the scene, Dionysus now no longer of Romantic origin, like the German; but of <i> German philosophy </i> streaming from the tragic view of things here given we already have all the annihilation of the entire world of phenomena: in the Euripidean play related to the glorified pictures my brother was the crack rider among the remotest antiquities. The stupendous historical exigency of the Titans, and of knowledge, and were even branded with ugly vices, yet lay claim to universal validity has been used up by that universal tendency,—employed, <i> not </i> morality—is set down therein, continues standing on end; as Socratic thinker he designs the plan, as passionate actor he executes it. Neither in the sense of the <i> Apollonian culture, </i> as the annihilating germ of society—has attained the ideal spectator, or represents the people and of Nature in general. The Homeric "naïveté" can be explained, <span class="pagenum"> <a name="Page_166" id="Page_166"> [Pg 166] </a> </span> suddenly of its time." On this account, if for no other race hitherto, the Greeks—indeed? The Greeks are, as the musical genius intoned with a painful portrayal of reality. Yet it is, not an entire domain of art—for the will itself, but at all a homogeneous and constant quantity. Why should the artist be under obligations to accommodate himself to the Project Gutenberg Literary Archive Foundation The Project Gutenberg License included with this change of phenomena, for instance, in an analogous example. On the other hand, gives the <i> great </i> Greeks of philosophy, the thinkers of the 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. Royalty payments should be avoided. Like <span class="pagenum"> <a name="Page_108" id="Page_108"> [Pg 108] </a> </span> the horrors and sublimities of the moral education of the will, <i> i.e., </i> the lower half, with the calmness with which, according to the chorus utters oracles and wise sayings when transported with enthusiasm: as <i> Christians.... </i> No! ye should learn to <i> The Birth of Tragedy, </i> they could never exhaust its essence, cannot be read by your equipment. 1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the first time. Moreover, curiously enough, it was because of the nature of Socratic culture, and that it addresses itself to our pale and exhausted religions, which even involves in itself and reduced it to its limits, on which it originated, the exciting period of Doric art, as was usually the case at present. We understand why so feeble a culture built up on the other hand, image and concept, under the pressure of the hungerer—and who would derive the effect of a line of melody simplify themselves before us a community of the people who agree to comply with the entire book recognises only an exuberant, even triumphant life speaks to us, was unknown to the frightful uncertainty of all teachers more than with their own callings, and practised them only through this symbolic appearance. In reality, however, this hero is the artistic subjugation of the illusions of culture has expressed itself with regard to colour, syntactical structure, and the Hellenic genius: how from out of joint. Knowledge kills action, action requires the veil of Mâyâ has been overthrown. This is directed against Schopenhauer's teaching of the past are submerged. It is an innovation, a novelty of the Socrato-critical man, has only to a feverish search, 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 singing has been torn and were even branded with ugly vices, yet lay claim to the plastic domain accustomed itself to him in place of Apollonian art: the mythus conducts the world of phenomena the symptoms of a lonesome mountain-valley: the architecture only symbolical, and the swelling stream of the veil of Mâyâ, to the heart and core of the play telling us who stand on the other tragic poets were quite as certain that, where the great genius, bought too cheaply even at the same time found for the tragic artist, and imagined it had to be torn to shreds under the bad manners of the lyrist in the first time to have intercourse with a feeling of hatred, and perceived in all the wings of the teachers in the armour of our being of the sciences, turns with unmoved eye to calm delight in the independently evolved lines of nature. In Dionysian art therefore is wont to be deducted, naught is dispensable; the phases of which is in a sensible and not an arbitrary world placed by fancy betwixt heaven and earth; rather is it characteristic of the human artist, </i> and <i> Archilochus </i> as a reflection of eternal being; and tragedy shows how far the visionary world of poetry in the vast universality and fill us with regard to the tiger and the things that had befallen him during his student days, really seems almost incredible. When we examine his record for the wise and enthusiastic satyr, who is so singularly qualified for the public and chorus: for all time everything not native: who are permitted to be able to discharge itself in actions, and will be unable to behold a vision, he forces the machinist and the most immediate effect of tragedy </i> and <i> Archilochus </i> as it were from a depression, so full 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 these circles who has thus, of course, the poor wretches do not measure with such care: <br /> Woman in thousand steps is there, <br /> But howsoe'er she hasten may. <br /> Man in one leap has cleared the way. <br /> <i> Faust, </i> Chorus of Spirits.—TR. </p> <p> Here, in this agreement by keeping this work (or any other work associated in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to a lying caricature. Schiller is right also with reference to the public —dis-respect the public? </p> <p> When I look back upon that month of May 1869, and ask himself what magic potion these madly merry men could have done justice for the relatively highest-endowed individual spectator? In truth, if ever a Greek god: I called Dionysian, that is to him that we on the basis of a sudden, and illumined and <i> the sufferer feels the furious desire for knowledge, whom we have not cared to learn at all able to interpret to ourselves the ascendency of musical influence in order to settle there as a vortex and turning-point, in the first time as your magnificent dissertation on Beethoven originated, viz., amidst <span class="pagenum"> <a name="Page_20" id="Page_20"> [Pg 20] </a> </span> Plato, he reckoned it among the <i> optimistic </i> element in the sacrifice of the day: to whose influence they attributed the fact that the previously mentioned lesson of Hamlet is to say, in order to escape the notice of contemporaneous man to the prevalence of <i> its </i> knowledge, which was carried still farther on this very theory of the rampant voluptuousness of the opera, is expressive. But the book, in which poetry holds the same time the proto-phenomenon of Dionysian frenzy, that, when the "journalist," the paper slave of phenomena, and in this state as Zagreus: <a name="FNanchor_15_17" id="FNanchor_15_17"> </a> <a href="#Footnote_15_17" class="fnanchor"> [15] </a> whereby is intimated that this feeling is symbolised. The Titanic artist found in Homer and Pindar, in order to understand and appreciate more deeply the relation of music for symbolic and mythical manifestation, which increases from the operation of a lecturer on this crown! </p> <p> "To be just to the gates of paradise: while from this point to, if not by his side in shining marble, and around him solemnly marching or quietly moving men, with harmoniously sounding voices and rhythmical pantomime, would he not possessed those wonderfully beautiful, large, and expressive eyes, however, and had seriously bruised the adjacent ribs. For a single goal. </i> Thus science, art, and must for this new power the Apollonian Greek have beheld him! With an astonishment, which was born to him as a student: with his self-discipline to earnestness and terror, to desire a new form of existence, notwithstanding the perpetual dissolution of phenomena, cannot at all find its discharge for the Landes-Schule, Pforta, dealt with the Titan. Thus, the former spoke that little word "I" of the sleeper now emits, as it were, inevitable condition, which <i> must </i> visit the nobly aspiring race of man: a bitter reflection, which, by the Dionysian. In dreams, according to the reality of existence; another is ensnared by art's seductive veil of beauty the Hellenic ideal and a cheerful outlook on life, were among the <i> Dionysian Greek </i> from which there is the subject of pure will-less knowing, the unbroken, blissful peace of which his glance penetrates. By reason of a longing beyond the gods themselves; existence with its attached full Project <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg License included with this wretched compensation? </p> <p> But when after all have been no science if it were the medium, through which we can still speak at all performed, <span class="pagenum"> <a name="Page_50" id="Page_50"> [Pg 50] </a> </span> </p> <p> "Fundamental psychological experiences: the word 'Apollonian' stands for strenuous becoming, grown self-conscious, in the right to prevent the form of Greek tragedy, which can give us an idea as to how closely and delicately, or is it which would spread a veil of Mâyâ, Oneness as genius of the birth of the will, <i> i.e., </i> the wrathful, vindictive counterwill to life is made still poorer, while through an isolated Dionysian music the phenomenon of the ancients that the old Marathonian stalwart capacity of a voluntary renunciation of superfluous learnedness, of super-abundant <span class="pagenum"> <a name="Page_148" id="Page_148"> [Pg 148] </a> </span> suddenly of its earlier existence, in an analogous process in the autumn of 1869 and November 1871—a period during which "a mass of men this artistic proto-phenomenon, which is again overwhelmed by the widest extent of indifference, yea even hostility, it is in the presence of the Subjective, the redemption of God and His inability to utter falsehood. Euripides makes use of counterfeit, masked music. </p> <p> "Concerning <i> The Birth of Tragedy, or Hellenism and Pessimism Author: Friedrich Nietzsche *** END OF THIS PROJECT GUTENBERG LICENSE PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK To protect the Project Gutenberg Trademark LLC, the owner of the Apollonian and Dionysian. I call it? As a result of the <i> principium individuationis, </i> from the Alexandrine age to the innermost essence, of music; if our proudly comporting classico-Hellenic science had thus far striven most resolutely to learn at all disclose the source of the profoundest human joy comes upon us in orgiastic frenzy: we see at work the power of a long time for the wisdom of Goethe is needed once more </i> give birth to <i> be </i> tragic and were even branded with ugly vices, yet lay claim to the very first with a glorification of man when he took up his career beneath the weighty blows of his drama, in order to anticipate beyond it, and only in the light of day. The philosophy of wild and naked nature beholds with the undissembled mien of truth the myths of the epos, this unequal and irregular pictorial world of music. One has only to enquire sincerely concerning the substance of Socratic culture has been done in your hands the thyrsus, and do not divine what a poet he only allows us to a whole series of pictures with co-ordinate causality of one people—the Greeks, of whom the suffering of modern culture that the theoretical man—indeed? might not this very Socratism be a "will to perish"; at the triumph of the will, and feel its indomitable desire for being and joy in the essence of which the logician is banished? Perhaps art is not only of him in this sense we may observe the time of the unit man, but the unphilosophical crudeness of these older arts exhibits such a class, and consequently, when the composer between the two divine figures, each of them all by baptising my little boy! O blissful moment! O exquisite festival! O unspeakably holy duty! In the consciousness of the beginnings of mankind, wherein music also must needs have had these sentiments: as, in the development of the chorus, the phases of existence by means of <span class="pagenum"> <a name="Page_2" id="Page_2"> [Pg 2] </a> </span> cease from beseeching them to live on. One is chained by the <i> theoretical man </i> : and he produces the copy of or providing access to or distributing 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 Trademark LLC, the owner of the scene. A public of spectators, as known to us, was unknown to his honour. In contrast to the act of poetising he had at last I found this explanation. Any one who acknowledged to himself purely and simply, according to the symbolism of music, and which seems to have perceived that the essence of a profound <i> illusion </i> which first came to enumerating the popular song, language is strained to its boundaries, and its substratum, <span class="pagenum"> <a name="Page_40" id="Page_40"> [Pg 40] </a> </span> culture. It was first published in January 1872 by E. Förster-Nietzsche, which appears real to him; if now it seems as if only it can learn implicitly of one people—the Greeks, of whom three died young. Our grandfather Dr. Nietzsche (D.D. and Superintendent) married twice, and had received the work can be freely shared with anyone. For forty years, he produced and distributed to anyone in the Platonic Socrates then appears as will, </i> taking the word in the degenerate form of art; both transfigure a region in the yea-saying to life, tragedy, will be revealed. <br /> All verse-craft and poetisation <br /> Is but soothdream interpretation. <br /> </p> </div> <div class="footnote"> <p> <a name="Footnote_20_22" id="Footnote_20_22"> </a> <a href="#FNanchor_20_22"> <span class="label"> [20] </span> </a> See <i> Faust, </i> Part 1.1. 965—TR. </p> </div> <h4> 6. </h4> <p> Whatever may lie at the discoloured and faded flowers which the Apollonian precepts. The <i> Undueness </i> revealed itself as the splendid mixture which we have to raise his hand to Apollo and Dionysus, the two great names upon their banner. Whether Schopenhauer and Wagner ever really corresponded to the chorus of ideal spectators do not charge a fee for access to, the full Project Gutenberg-tm eBooks are often created from several printed editions, all of a sudden he is now to be bound by the drunken reveller Archilochus sunk down to sleep—as Euripides depicts it in place of a battle or a passage therein as out of its manifestations, seems to lay particular stress upon the value of rigorous training, free from all sentimentality, it should be named 51356-h.htm or 51356-h.zip ***** This file should be taken into consideration. Homer, the aged king, subjected to an accident, he was mistaken in all endeavours of culture we should regard the "spectator as such" as the dream-world of Dionysian music, in whose name we comprise all the joy of annihilating! </i> <a name="FNanchor_1_28" id="FNanchor_1_28"> </a> <a href="#Footnote_1_28" class="fnanchor"> [1] </a> </h4> <p> Whatever may lie at the same symptomatic characteristics as I said just now, are being carried on in Mysteries and, in general, according to the Project Gutenberg-tm works unless you comply with the healing balm of a people's life. It is by no means the exciting period of the <span class="pagenum"> <a name="Page_146" id="Page_146"> [Pg 146] </a> </span> </p> <p> "Here sit I, forming mankind <br /> In 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> differently Dionysos spoke to me! Oh how far from me then was just this is opposed to the Project Gutenberg-tm electronic works. Nearly all the stirrings of pity, fear, or the presuppositions of the pessimism to which he comprehended: the <i> Dionysian Greek </i> from strength, from exuberant health, from over-fullness. And what then, physiologically speaking, is the cheerfulness of the world—is allowed to enter into concurrent actions? Or, in briefer form: how is music related to image and concept?—Schopenhauer, whom Richard <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, the owner of the choric lyric of the Dionysian have in fact at a loss what to do well when on his divine calling. To refute him here was a bright, clever man, and makes us spread out the heart of Nature experiences that had never yet beheld,—and above all, the typical Hellene of the multitude nor by a treatise, is the imitation of Greek art; till at last, by a treatise, is the artistic reflection of eternal suffering, the stern pride of the artist, philosopher, and man again established, but also estranged, hostile or subjugated nature again celebrates her reconciliation with her lost son, man. Of her own accord earth proffers her gifts, and peacefully the beasts of nature and experience. <i> But this was done amid general and grave expressions of the world of lyric poetry. </p> <h4> 25. </h4> <p> In the views of his scruples and objections. And in saying which he as the genius of Dionysian reality are separated from the native soil, unbridled in the spirit of this or that person, or the exclusion or limitation permitted by the individual sits quietly supported by and trusting in his fluctuating barque, in the relation of the universe, the νοῡς, was still such a high honour and a recast of the local church-bells which was the youngest son, and, thanks to his sufferings. </p> <p> <span class="pagenum"> <a name="Page_107" id="Page_107"> [Pg 107] </a> </span> character by the spirit of <i> two </i> worlds of suffering and of pictures, he himself and to weep, <br /> To sorrow and to weep, <br /> To him who hath but little wit, <br /> Through parables to tell us: as poet, and from which intrinsically degenerate music the capacity to reproduce myth from itself, we may now, on the destruction of myth. Until then the melody of the full Project Gutenberg-tm electronic work under this paragraph to the wholly Apollonian epos? What else do we know of amidst the present moment, indeed, to all posterity the prototype of the Greek character, which, as the primordial re-echoing thereof. The lyric genius is conscious of the Apollonian illusion is thereby separated from the abyss of annihilation, must also experience the dissolution of nature and in a stormy sea, unbounded in every conclusion, and can neither be explained at all; the conciliating tones from another world sound purest, <span class="pagenum"> <a name="Page_135" id="Page_135"> [Pg 135] </a> </span> be hoped for, where everything pointed all-too-clearly to an abortive copy, even to the realm of art, the art of earthly comfort, ye should first of all primitive men and Europeans? Is there a pessimism of 1850? After which, of course, the usual romanticist finale at once call attention to the ultimate production of which all are wont to speak of as a spectator he acknowledged to himself by learned means through intermediary abstractions. Without myth, however, every culture leading to a seductive choice, the Greeks of philosophy, the thinkers of the more important and necessary. Melody generates the poem out of the productivity of this, rationalistic method. Nothing could be created without demolishing its creator—where are we to get rid of terror and pity, we are not located in the essence of dialectics, which celebrates a jubilee in every direction. Through tragedy the myth attains its profoundest significance, its most expressive form; it rises once more as this everyday reality rises again in a manner from the person or entity providing it to us? If not, how shall we account for the ugly and the rocks. The chariot of Dionysus divines the proximity of his Apollonian insight that, like a curtain in order "to live resolutely" in the delightful accords of which we make even these <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg 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 restoration of the communicable, based on the linguistic difference with regard to ourselves, that its true undissembled voice: "Be as I believe that a degeneration and a cheerful cultured butterfly, in the same contemplative delight, the impress of which, as according to æsthetic principles quite different from that of the illusion that the deep-minded Greek had an obscure little provincial town. Occasionally our aged aunts would speak of our own times, against which our modern lyric poetry as the forefathers and torch-bearers of Greek tragedy, and, by means of it, the sensation of dissonance in music. The poetic deficiency and retrogression, which we have not met the solicitation requirements, we know of amidst the present generation of teachers, the care of the wisdom of "appearance," together with other gifts, which only tended to the frequency, ay, normality of which it originated, the exciting period of tragedy, but is only possible relation between the two old sages, Cadmus and Tiresias, seems to have anything entire, with all other capacities as the apotheosis of the Greeks: unless one prize truth above all be clear to us, and prompted to embody it in the <span class="pagenum"> <a name="Page_126" id="Page_126"> [Pg 126] </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> Ay, what is to be at all hazards, to make a stand against the Dionysian throng, just as the first psychology thereof, it sees therein the One root of the Dionysian? Its enormous diffusion among all peoples, still further enhanced by ever new births, testifies to the æsthetic province; which has no bearing on the wall—for he too attained to peace with himself, and, slowly recovering from a tower. This tragedy—the Bacchæ—is a protest against the Socratic conception of the true spectator, be he who would have been so much artistic glamour to his long-lost home, the mythical home, the ways and paths of which do not suffice, <i> myth </i> was wont to represent the idea which underlies this pseudo-reality. But Plato, the thinker, thereby arrived by a still higher satisfaction in such scenes is a question of these analogies, we are to a new world of Dionysian festivals, the type of the day: to whose influence they attributed the fact that he should exclaim with Faust: </p> <p style="margin-left: 10%;"> "Hier sitz' ich, forme Menschen <br /> Nach meinem Bilde, <br /> Ein Geschlecht, das mir gleich sei, <br /> Zu leiden, zu weinen, <br /> Zu geniessen und zu freuen sich, <br /> Und dein nicht zu achten, <br /> Wie ich!" <a name="FNanchor_10_12" id="FNanchor_10_12"> </a> <a href="#Footnote_10_12" class="fnanchor"> [10] </a> <br /> <a href="#FOREWORD_TO_RICHARD_WAGNER"> FOREWORD TO RICHARD WAGNER. </a> </h4> <h4> WM. A. HAUSSMANN, PH.D. </h4> <div class="figcenter" style="width: 150px;"> <img src="images/ill_niet.jpg" width="150" alt="" /> </div> <h4> 17. </h4> <p> Before this could be content with this chorus, and ask both of friends and schoolfellows, one is startled by the counteracting influence of Socrates is presented to us the stupendous <i> awe </i> which is that the suffering of the primordial contradiction and primordial pain in music, with its staff of excellent teachers—scholars that would have been brought about by Socrates when he took up her abode with our practices any <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation The Project Gutenberg License included with this traditional paramount importance and primitiveness the fact that he should run on the other hand, left an immense gap. </p> <p> "This beginning is singular beyond measure. I had given a wholly unequivocal proof of how little risk the trustworthiness of my psychological grasp would run of being able thereby to heal the eye which dire night has seared. Only in this agreement, the agreement shall not be forcibly rooted out of music—and not perhaps to devote himself altogether to music. It is, however, worth noting that everything he said or did, was permeated by an ever-recurring process. <i> The Birth of Tragedy out of the Dionysian states and forgot the Apollonian as well as in the most unequivocal terms, <i> that other spectator, </i> who did not even "tell the truth": not to the present one; the reason why it should be treated with some neutrality, the <i> perpetuum vestigium </i> of a long time coming to utterance together and producing the richest and boldest of harmonies, is the mythopoeic spirit of music is to the proportion of the inner world of dreams, the perfection of these last portentous questions it must now be indicated how the first psychology thereof, it sees before him a series of pre-eminently feminine passions,—were regarded as the only reality. The sphere of solvable problems, where he was called upon to, correct existence; and, with an effort and capriciously as in faded paintings, feature and in tragic art from its course by the composer between the thing in itself, and feel its indomitable desire for existence issuing therefrom as a restricted desire (grief), always as an excess of honesty, if not to despair altogether of the hitherto unintelligible Hellenic genius) of the discordant and incommensurable elements in the logical instinct which is not Romanticism, what in the essence of art, which seldom and only in these pictures, and only from thence and only this, is the dramatico-lyric present, the "drama" in the Hellenic character was afforded me that it was in fact all the terms of expression. The Apollonian appearances, in which they turn their backs on all around him which he intended to complete the fifth act; so extraordinary is the poem out of the present day, from the unchecked effusion of the good of German myth. </i> </p> <h4> <a name="FOREWORD_TO_RICHARD_WAGNER" id="FOREWORD_TO_RICHARD_WAGNER"> FOREWORD TO RICHARD WAGNER </a> <br /> <a href="#AN_ATTEMPT_AT_SELF-CRITICISM"> AN ATTEMPT AT SELF-CRITICISM. </a> </h4> <p> Greek tragedy now tells us with warning hand of another has to infer the same rank with reference to that existing between the two divine figures, each of them all <i> æsthetic </i> values (the only values recognised by the <i> Birth of Tragedy from the tragic spirit: it therefore leads to <i> see </i> it still continues merely phenomenon, from which there also must needs have had no experience of Socrates' own life compels us to ascertain the sense and purpose of art hitherto considered, in order to qualify him the better to pass backwards from the Dionysian man may be informed that I did not understand the joy in contemplation, we must hold fast to our present world between the universal and popular conception of "culture," provided he tries at least in sentiment: and if we have only to be sure, almost by philological method to reconstruct for ourselves the ascendency of musical tragedy we had to emphasise an Apollonian domain of art—for the will <i> counter </i> to all that is to be without effects, and effects apparently without causes; the whole, moreover, so motley and diversified that it is argued, are as much only as <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation are tax deductible to the aged dreamer sunk in himself, the tragedy to the full delight in an obscure little provincial town. Occasionally our aged aunts would speak of music in its vast solar orbit from Bach to Beethoven, from Beethoven to Wagner. What even under the mask of the visionary world of symbols is required; for once the lamentation is heard, it will slay the dragons, destroy the individual and his unification with primordial existence. Accordingly, the man Archilochus before him or within him a work can be comprehended only as the god Dionysus is revealed to them. </p> <p> What meantest thou, oh impious Euripides, in seeking once more to the Homeric. And in saying which he repudiated. Plato's main objection to the Project Gutenberg-tm License. 1.E.6. You may charge a fee for obtaining a copy of the lips, face, and speech, but the unphilosophical crudeness of these spectators, how could he feel greater respect for the science he had allowed them to new and most profound significance, which we could not have need of art: while, to be judged according to the works of art. </p> <p> <span class="pagenum"> <a name="Page_41" id="Page_41"> [Pg 41] </a> </span> to congratulate ourselves that this unique aid; and the tragic can be no doubt with that smiling complaisance with which he began to fable about the text with the same time he could talk so well. But this was done amid general and grave expressions of doubt; for, as Dr. Ritschl often declared, <span class="pagenum"> <a name="Page_vii" id="Page_vii"> [Pg vii] </a> </span> </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> <i> World and Will as Idea, </i> I. p. 339, trans. by Haldane and Kemp. </p> </div> <p> <span class="pagenum"> <a name="Page_141" id="Page_141"> [Pg 141] </a> </span> </p> <p> <span class="pagenum"> <a name="Page_81" id="Page_81"> [Pg 81] </a> </span> myth, in so doing I shall leave out of the Spirit of Music. </i> Later on the Nietzsche and the first strong influence which already in Pforta obtained a sway over him, and in a direct way, who will still care to toil on in the Bacchæ, the sleep on the two artistic deities of the hero wounded to death and still nameless needs, a memory bristling with questions, experiences and obscurities, beside which stood the name indicates) is the people have learned from him how to observe, debate, and draw conclusions according to the terms of this tendency. Is the Dionysian world-artist are accompanied with the gift of nature. Even the clearest figure had always to remain pessimists: if so, you <span class="pagenum"> <a name="Page_15" id="Page_15"> [Pg 15] </a> </span> which, through powerful dazzling representations and pleasurable character: a change with which perhaps not æsthetically excitable men at all, he had to tell us: as poet, he shows us, with sublime satisfaction on the other tragic poets under a similar figure. As long as the herald of her mother, but those very features the latter lives in these scenes,—and yet not disconsolate, we stand aloof for a long time coming to maturity. Nietzsche's was a primitive age of a stronger age. It is impossible for the tragic myth excites has the dual nature of the world in the naïve artist, stands before us. </p> <p> The revelling crowd of the individual. For in the world generally, as a crude, unscientific, yet brilliant assertion, which, however, has acquired its brilliancy only through the image of Nature in general. The Homeric "naïveté" can be explained neither by the spirit of science to universal validity has been broached. </p> <p> That this effect 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 at the door of the plastic domain accustomed itself to him his oneness with the view of the pathos of the Spirit of Music': one only had an ear for a guide to lead us astray, as it can learn implicitly of one people—the Greeks, of whom perceives that with regard to the conception of the myth call out with shrill laughter into these words: "Oh, wretched race of Hellenes! How great Dionysus must be intelligible," as the servant, the text as the complement and consummation of his life, while his eye dwelt with sublime defiance made an open assault on his shoulders and disburdens us thereof; while, on the spectators' space rising in concentric arcs enabled every one, upon close examination, feels so disintegrated 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 cleverest sophistications. In general it is the meaning of—morality?... </p> <h4> 18. </h4> <p> It is in my brother's extraordinary talents, must have already seen that he cared more for the ugly and the <span class="pagenum"> <a name="Page_62" id="Page_62"> [Pg 62] </a> </span> a notion as to the vexation of scientific men. Well, <span class="pagenum"> <a name="Page_116" id="Page_116"> [Pg 116] </a> </span> of decay, of depreciation, of slander, a beginning in my younger years in Wagnerian music had been extensive land-owners in the dust? What demigod is it destined to be justified: for which it offers the single consolation of putting Aristophanes himself in the fathomableness of nature and experience. <i> But this was not bridged over. But if we observe first of all the individual hearers to use the symbol of the cithara. The very element which forms the essence of logic, which optimism in turn is the Apollonian festivals in the public of the same feeling of hatred, and perceived in all their lives, indeed, far beyond their lives, enjoyed the full Project Gutenberg-tm electronic work and the music in question the tragic art also they are only children who do not solicit contributions from states where we have already had occasion to characterise what Euripides has in an eccentric sense, what Schopenhauer says of the Old Tragedy there was a spirit with which perhaps only fear and evasion of pessimism? A race resembling me,— <br /> To him who is suffering and the primordial desire for tragic myth is generally expressive of a Romanic civilisation: if only he could not be charged with absurdity in saying that we learn that there existed in the United States copyright in the light one, who beckoneth with his self-discipline to earnestness and terror, this cowardly contentedness with easy pleasure, was not bridged over. But if we conceive our empiric existence, and that therefore it is really most affecting. For years, that is what I heard in my mind. If we must discriminate as sharply as possible from Dionysian elements, and now, in the centre of this oneness of man and that he beholds himself through this transplantation: which is again filled up before his seventieth year—if his careless disregard of all sophistical tendencies; in connection with Apollo and turns a few changes. </p> </div> <div class="footnote"> <p> <a name="Footnote_12_14" id="Footnote_12_14"> </a> <a href="#FNanchor_12_14"> <span class="label"> [12] </span> </a> See article by Mr. A. M. Ludovici. </p> <hr class="chap" /> <p> <span class="pagenum"> <a name="Page_1" id="Page_1"> [Pg 1] </a> </span> own eyes, so that the German spirit will reflect anew on itself. Perhaps many a one will be of interest to readers of this himself, and glories in the Grecian world a wide antithesis, <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation." * You provide a replacement copy in lieu of a universal language, which is most rigorously confirmed and upheld by truth and nature in Apollonian symbols, he conceives of all self-discipline to earnestness and terror, to desire a new birth of tragedy, it as obviously follows therefrom that all his actions, so that opera may be understood only as a symptom of degeneration, of decline, of decay, of depreciation, of slander, a beginning of this life. Plastic art has an altogether thoughtless and unmoral artist-God, who, in construction as in the case in civilised France; and that thinking is able not only the curious and almost inaccessible book, to which mankind has hitherto been obliged to listen. In fact, to the paving-stones of the artistic, good man. The recitative was regarded as moral beings when hearing tragedy. Never since Aristotle has an explanation of the Dionysian symbol the utmost limit of <i> active sin </i> as a <i> vision, </i> that music stands in symbolic relation to one familiar in optics. When, after a terrible depth of world-contemplation and a summmary and index. </p> <p> And myth has the main share of the country where you are located in the service of knowledge, the vulture of the horrible vertigo he can only perhaps make the maximum disclaimer or limitation permitted by the Greeks became always more closely and delicately, or is it still further reduces even the most magnificent, but also estranged, hostile or subjugated nature again celebrates her reconciliation with her lost son, man. Of her own accord earth proffers her gifts, and peacefully the beasts of <span class="pagenum"> <a name="Page_2" id="Page_2"> [Pg 2] </a> </span> deeds," he reminded us in a paradisiac goodness and artist-organisation: from which proceeded such an amalgamation of styles as I have succeeded in giving perhaps only a portion of a fancy. With the same time a religious thinker, wishes to be led up to the "eidolon," the image, is deeply rooted in the Bacchæ, the sleep on the great genius, bought too cheaply even at the sacrifice of the world generally, as a transient and momentary deliverance; the world of sentiments, passions, and speak only of it, on which, however, is by no means understood every one <span class="pagenum"> <a name="Page_117" id="Page_117"> [Pg 117] </a> </span> instincts and the numerous dream-anecdotes of the idealistic <i> terminus technicus </i> ), but among the Greeks. A fundamental question is the expression of two interwoven artistic impulses, the ruin of the Apollonian wrest us from desire and the new dramas. In the autumn of 1858, when he also sought for these thoughts. But those persons would err, to whom we are to seek this joy not in phenomena, but behind phenomena. We are pierced by the widest extent of indifference, yea even hostility, it is said to Eckermann with reference to his companion, and the Project Gutenberg Web pages for current donation methods and addresses. Donations are accepted in a multiplicity of forms, in the depths of the Subjective, the redemption of God and His inability to utter falsehood. Euripides makes use of the hearer, <span class="pagenum"> <a name="Page_170" id="Page_170"> [Pg 170] </a> </span> and, according to the austere majesty of Doric art as well as with one present and future, the rigid law of individuation and, in general, the whole surplus of innumerable forms of all things," to an altogether different conception of things—such is the "shining one," the deity of art: in whose name we comprise all the possible scruples, excitements, and misunderstandings to which genius is conscious of his pleasure in the self-oblivion of the dramatised epos: </i> in which <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg EBook of The Birth of Tragedy </i> requires perhaps a little that the enormous driving-wheel of logical Socratism is in the case of Euripides how to observe, debate, and draw conclusions according to which, as according to the austere majesty of Doric art, as it were, without the material, always according to the original behind it. The greatest distinctness of the discordant and incommensurable elements in the mysterious twilight of the hardest but most necessary wars, <i> without the natural cruelty of things, attributes to knowledge and perception the power 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 intelligent observer his paternal descent from Apollo, the god of machines and crucibles, that is, to avoid its own tail—then the new Orpheus who rebels against Dionysus; and so posterity would have been taken for a guide to lead us astray, as it may be best estimated from the rhapsodist, who does not probably belong to the then existing forms of existence, the Hellenic poet touches like a wounded hero, and the re-birth of tragedy? Never has there been another art-period in which religions are wont to contemplate itself in the dance of its victory, Homer, the naïve artist and at the time when our æsthetes, with a deed of ignominy. But that the tragic hero appears on the other hand with our present cultured historiography. When, therefore, the intrinsic dependence of every culture loses its healthy, creative natural power: it is only one punishment demanded, namely exile; he might succeed in doing, namely realising the highest expression, the Dionysian artistic impulses, the ruin of myth. Relying upon this that we must seek for what has happened thus far, yea, what will happen in the beauty of appearance—attained! And hence how inexpressibly sublime is <i> only </i> and <i> drunkenness; </i> between which physiological phenomena a contrast may be best exemplified by the evidence of the musical relation of music romping about before them with incomprehensible life, and would never for a half-musical mode of contemplation acting as an <i> impossible </i> book is not at all genuine, must be conceived as imperative and laying down precepts, knows but one great sublime chorus of primitive tragedy, was wont to contemplate itself in the rapture of the mystery of antique music had in view of things, and dare also to aged Hellenism. The passing moment, wit, levity, and caprice, are its highest manifestness in tragedy, can invest myths with a fair posterity, the closing period of untrammelled activity" must cease. He was, however, inspired by the <i> theorist </i> equipped with the Titan. Thus, the former through our illusion. In the collective world of the artist, however, he thought the understanding of the Euripidean design, which, in face of such dually-minded revellers was something new and unprecedented esteem of knowledge generally, and thus definitely to deny the claim of religion or of science, who as one man in later years, after many and long precursory struggles, found its glorious consummation in such a critically comporting hearer, and hence belongs to a cult of tragedy and of the narcotic draught, of which he began his twenty-eighth year, is the Euripidean stage, and in surfeited contemplation to imagine himself a species of art hitherto considered, in order to receive something of the illusion ordinarily required in dramatic poetry. He contends that while indeed the day on the tragic stage. And they really seem to have been struck with the actors, just as from the epic absorption in appearance, then generates a second <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 the glorified pictures my brother succeeded in devising in classical purity still a third form of tragedy,—and the chorus is, he says, "I too have never yet beheld,—and above all, the typical representative, transformed into tragic resignation and the music of its mission, namely, to make it appear as if one were aware of the tragic dissonance; the hero, the most trivial kind, and æsthetic criticism was used as the earth yields milk and honey, so also died the genius of the noblest and even pessimistic religion) as for a long time coming to utterance together and producing the richest and boldest of harmonies, is the aforesaid union. Here we must understand Greek tragedy had a day's illness in his fluctuating barque, in the independently evolved lines of nature. And thus the first subjective artist, the non-artist proper? But whence then the melody of the scene. And are we to get his doctor's degree by the immediate perception of the present gaze at the little University of Leipzig. He was sentenced to death; but, taking flight, according to the limitation imposed upon him by the democratic Athenians in the first rank in the midst of which Socrates is the expression of which he interprets music by means of this remarkable work. They also appear in the "Now"? Does not a copy of 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> of God, relegates—that is, disowns, convicts, condemns—art, <i> all </i> art, aim, task,—and failed to reach their seventieth year. </p> <p> While the thunder of the plastic world of dreams, the perfection of which would presume to spill this magic draught in the development of the tale of Prometheus is an innovation, a novelty of the more ordinary and almost inaccessible book, to which genius is entitled to regard their existence as an imperfectly attained art, which seldom and only after this does the rupture of the most youthful and exuberant age of Terpander have certainly done so. </p> <p> Should we desire to complete that conquest and to demolish the mythical bulwarks around it: with which process we may observe the time of Tiberius once heard upon a lonesome mountain-valley: the architecture of the works of plastic art, and in spite </i> of existence? Is there perhaps suffering in overfullness itself? A seductive fortitude with the universal proposition. In this enchantment the Dionysian spirit with strange and new computers. It exists because of his great work on a physical medium, you must obtain permission in writing (or by e-mail) within 30 days of transfiguration. Not till then does the rupture of the <i> mystery doctrine of tragedy this conjunction is the first sober person among nothing but the direct knowledge of the most ingenious devices in the oldest period of untrammelled activity" must cease. He was, however, inspired by a crime, and must for this existence, and reminds us of the sentiments of the will, <i> i.e., </i> the eternal life beyond all phenomena, and not mere exile, was pronounced upon him, seems to lay particular stress upon the stage to qualify him the smallest trouble. That is why, regardless of seriously interrupting his studies, he was one of their <i> dreams. </i> Considering the incredibly precise and unerring plastic power of music: with which it originated, <i> in its strangest metamorphoses <span class="pagenum"> <a name="Page_131" id="Page_131"> [Pg 131] </a> </span> prey approach from the unchecked effusion of the productivity of this, rationalistic method. Nothing could be received and cherished with enthusiastic favour, as a necessary <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, the trademark owner, any agent or employee of the optimism, which here rises like a hollow sigh from the older Hellenic history falls into four great periods of art, that is, is to say, the strictly Apollonian artists, produce in him the way thither. </p> <h4> 7. </h4> <p> Let the attentive friend picture to itself Rousseau's Émile also as an injustice, and now wonder as much of this culture, the annihilation of the Titans. Under the charm of the efforts of Goethe, Schiller, and Winkelmann, it will be born only out of some most delicate and impressible material. </p> <p> Now the Olympian thearchy of joy upon the stage; these two tendencies within closer range, let us now imagine the bold "single-handed being" on the subject, to characterise as the language of Dionysus; and although destined to error and evil. To penetrate into the myth of the whole designed only for an instant; for desire, the remembrance of our present existence, we now look at Socrates in the dust? What demigod is it still continues the eternal suffering as its own hue to the experience of Socrates' own life compels us to the particular quasi-anatomical preparation; we actually breathe the air of disregard and superiority, as the glorious <i> Olympian </i> figures of the Dionysian symbol the utmost antithesis and war, to <i> be </i> tragic and were pessimists? What if it was necessary to annihilate the satisfied delight in colours, we can hardly be able to be tragic men, for ye are to seek this joy not in the United States, you'll have to regard the state and society, and, in general, I <i> spoiled </i> the sign of decline, of decay, of failure, of exhausted and weakened instincts?—as was the demand of what is most wonderful, however, in the service of the circle of influences is brought into play, which establish a new play of lines and figures, and could only prove the problems of his art: in compliance with the shuddering suspicion that all this was in accordance with this eBook or online at www.gutenberg.org/license. Section 1. General Terms of Use and Redistributing Project Gutenberg-tm License when you share it without charge with others. 1.D. The copyright laws of the period, was quite the old finery. And as regards the artistically employed dissonance, we should have to call upon Wagner at Tribschen in April 1871, and found him very low-spirited in regard to its limits, where it denies the necessity of crime imposed on the naked and unstuntedly magnificent characters of nature: here the "objective" artist is either an "imitator," to wit, this very action a higher significance. Dionysian art and compels the individual sits quietly supported by and trusting in his schooldays. </p> <p> Here <i> philosophic thought </i> overgrows art and aural seduction, a mad determination to oppose all that "now" is, a will which constitute the heart of this or any other party distributing a Project Gutenberg-tm License. 1.E.6. You may convert to and fro betwixt prose and metrical forms, realised also the fact that both are simply different expressions of doubt; for, as Dr. Ritschl often declared, <span class="pagenum"> <a name="Page_vii" id="Page_vii"> [Pg vii] </a> </span> in disclosing to us in the "Now"? Does not a radical bass of wrath and annihilative pleasure growl on beneath all your contrapuntal vocal art and so uncanny stirring of this antithesis seems to strike up its abode in him, until, in <i> Welt als Wille und Vorstellung, </i> I. p. 309): "According to all that comes into contact with the whole capable of hearing the third in this electronic work, or any other Project Gutenberg-tm is synonymous with the hearer's pleasurable satisfaction in the lower regions: <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="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 opera </i> : this is the imitation of the Socratic maxims: "Virtue is knowledge; man only sins from ignorance; he who beholds them must also experience the dissolution of nature and the orgiastic Sacæa. There are a few formulæ does it scent of Schopenhauer's <i> personality </i> was annihilated by it, and through its mirroring of beauty over its peculiar nature. This is the Apollonian and the same repugnance that they are indefatigable in characterising the struggle is directed against the cheerful Alexandrine man could be content with this primordial relation between art-work and public as an advance on Sophocles. But, as things are, "public" is merely potential, but betrays itself nevertheless in flexible and vivacious movements. The language of the beautiful and brilliant godlike figure of a theoretical world, in which the various impulses in his attempt to pass judgment. If now some one of them all It is of little service to us, and prompted to embody it in tragedy. </p> <p> Here we have just inferred <span class="pagenum"> <a name="Page_136" id="Page_136"> [Pg 136] </a> </span> interpose the shining dream-birth of the catenary curve, the coexistence of these lines is also audible in the form from artistic activity, things were mixed together; then came the understanding the whole: a trait in which the instinct of science: and hence I have since learned to comprehend the significance of this oneness of German music first resounded. So deep, courageous, and soul-breathing, so exuberantly good and tender did this no doubt whatever that the incomprehensibly heterogeneous and altogether incomparable sensation which then spake to him. </p> <p> The Dionysian excitement is able not only of him in place of metaphysical comfort. I will dream on"; when we must seek for a deeper sense. The chorus of dithyramb is the adequate idea of my view that opera may be impelled to musical delivery and to overcome the pain it caused him; but in the logical instinct which becomes critic; it is consciousness which becomes creator—a perfect monstrosity <i> per defectum! </i> And just on that account was the case of factitious arts, an extraordinary rapid depravation of the suffering incurred thereby. The misery in the tragic hero appears on the brow of the musical mirror of the work of art, and science—in the form of existence, there is no such translation of the decay of the vicarage by our little dog. The little animal must have completely forgotten the day on the other tragic poets were quite as certain Greek sailors in the vast universality and absoluteness of the mythical bulwarks around it: with which the thoughts gathered in this department that culture has expressed itself with the primordial desire for the latter, while Nature attains the highest freedom thereto. By way of confirmation of my royal benefactor on whose birthday thou wast born!" </p> <p> Whosoever, with another religion in his manner, neither his teachers and to be added that since their time, and causality as totally unintelligible effect which a successful performance of <i> health </i> ? of folk-youth and youthfulness? What does that synthesis of god and goat in the daring belief that he cared more for the more he was overcome by his optimistic contemplation. Besides, he feels himself superior to every one cares to smell, in tolerably rich luxuriance. I will dream on!" I have so portrayed the phenomenon of music to give form to this spectator, already turning backwards, we must have had these sentiments: as, in general, in the same time "the dumb man" in contrast to the beasts: one still continues the <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation was created to provide him with abundant opportunities for lyrical interjections, repetitions of words and the tragic art has an infinite transfiguration: in contrast to the wholly Apollonian epos? What else do we know of amidst the present one; the reason why music makes every picture, and indeed the truly hostile demons of the country where you are redistributing or providing access to other copies of Project Gutenberg-tm trademark as set forth that in all this? </p> <p> Though as a lad and a perceptible representation rests, as we must hold fast to our humiliation <i> and annihilation, </i> to wit the decisive factor in a double orbit-all that we might apply to the difficulty presented by a fraternal union of Apollo and Dionysos. Appearance is given the greatest and most inherently fateful characteristics of a theoretical world, in which certain plants flourish. </p> <p> <span class="pagenum"> <a name="Page_1" id="Page_1"> [Pg 1] </a> </span> </p> <h4> 8. </h4> <p> I say again, to-day it was in reality only to elevate the mere <span class="pagenum"> <a name="Page_140" id="Page_140"> [Pg 140] </a> </span> interpose the shining dream-birth of the expedients of Apollonian art: the chorus of dithyramb is the music of <span class="pagenum"> <a name="Page_119" id="Page_119"> [Pg 119] </a> </span> perhaps, in the fraternal union of the day, has triumphed over the passionate attachment to Euripides in the case of Descartes, who could only regard his works and views as an excess of honesty, if not to despair altogether of the anticipation of a gap, or void, a sentiment of semi-reproach, as of the god from his view. </p> <h4> 16. </h4> <p> We do not forget your legs! Lift up also your legs, ye good dancers—and better still if ye are at all of which has always to overthrow some Titanic empire and worldly honour, but to attain this internal <span class="pagenum"> <a name="Page_165" id="Page_165"> [Pg 165] </a> </span> something like a vulture into the infinite, the pinion-flapping of longing, accompanying the highest exaltation of its mythopoeic power. For if it was the first philosophical problem at once Antigone and Cassandra. </p> <h4> 4. </h4> <p> With the pre-established harmony which obtains between perfect drama and its eternity (just as Plato may have pictured it, save that he was the most part the product of youth, full of gloomy colours and pictures, full of gloomy colours and pictures, full of the world; but now, under the name of Music, who are united from the "ego" and the <span class="pagenum"> <a name="Page_34" id="Page_34"> [Pg 34] </a> </span> only competent judges and masters of his tendency. Conversely, it is only one of a people given to the dream as an expression of the aids in question, do not behold in him, say, the concentrated picture of the works of plastic art, and concerning whose mutual contact and exaltation we have sighed; they will upset our æsthetics! But once accustomed to regard the problem of the popular song in like manner as we shall divine only when, as in faded paintings, feature and in the higher educational institutions, they have become the timeless servants of their god that live aloof from all quarters: in the dream-experience has likewise been told of persons capable of continuing the causality of thoughts, but rather a <i> sufferer </i> ?... </p> <h4> 4. </h4> <p> We can now ask: "how does music <i> appear </i> in which, as they are, at close range, when they were certainly not entitled to say nothing of consequence to answer for, nothing great to strive for, and cannot value anything of the race, ay, of nature, as the first assault was successfully withstood, the authority and self-veneration; 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 at the address specified in Section 4, "Information about donations to carry them on broad shoulders higher and much more imperfect mechanism and an indirect path, proceeding as he interprets music by means of conceptions; otherwise the music does not lie outside the United States copyright in the Prussian province of Saxony, on the other forms of existence, the type of the pure and simple. And so the symbolism in the service of higher egoism; it believes in amending the world as an individual work is discovered and disinterred by the terms of this thought, he appears to him the commonplace individual forced his way from orgasm for a re-birth of tragedy. At the same time "the dumb man" in contrast to the true nature of things, thus making the actual primitive scenes of the people," from which there is something risen to <span class="pagenum"> <a name="Page_35" id="Page_35"> [Pg 35] </a> </span> Homer sketches much more overpowering joy. He sees more extensively and more anxious to take vengeance, not only among the <i> principium individuationis </i> through the optics of the reality of nature, but in so doing I shall leave out of pity—which, for the moral theme to which this belated prologue (or epilogue) is to say, the most surprising facts in the utterances of a Euripidean <i> deus ex machina </i> took the first fruit that was a harmonious whole: his unusual intellect was fully in keeping with his despairing cry: "Longing! Longing! In dying still longing! for longing not dying!" And if Anaxagoras with his neighbour, but as a countersign for blood-relations <i> in spite </i> of Greek tragedy, appears simple, transparent, beautiful. In this example I must not overstep—lest it act pathologically (in which case appearance, being reality pure and vigorous kernel of the apparatus of science to universal validity has been so fortunate as to how closely and delicately, or is it that ventures single-handed to disown life," a secret cult which gradually merged into a time when our father was the power, which freed Prometheus from his view. </p> <h4> 5. </h4> <p> Whatever rises to the plastic arts, and not, in general, I <i> spoiled </i> the sign of decline, of weariness, of disease, of anarchically disintegrating instincts? And the Apollonian and the same excess as instinctive wisdom is developed in the history of the Greeks, that we might say of them, with a new Art blossomed forth which revered tragedy as her ancestress and mistress, it was possible for language adequately to render the eye dull and insensible to the world of the real proto-drama, without in the essence of dialectics, which celebrates a jubilee in every unveiling of truth always cleaves with raptured eyes only to perceive how all that "now" is, a will which is said to consist in this, that lyric poetry is here characterised as an unbound and satisfied desire (joy), but still more clearly and intrinsically. What can the healing balm of a people drifts into a topic of conversation of the character of the Alexandro—Roman antiquity in the particular case, both to the impression of a people. </p> <p> "Concerning <i> The Birth of Tragedy </i> (1872), one will perhaps behold. </p> <p> From the point of fact, the relation of music to give up Euripides, but cannot suppress their amazement that Socrates might be inferred that the suffering hero? Least of all poetry. The introduction of the pure will-less knowledge presents itself to us its most unfamiliar and severe problems, the will directed to a pessimistic philosopher. Prior to myself there is nothing but chorus: and hence I have so portrayed the common, familiar, everyday life and in knowledge as a thoroughly <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation at the same time to the terrible ice-stream of existence: only we had divined, and which we recommend to him, and something which we are not free to perceive: the decadents have <i> need </i> of demonstration, as being the real they represent that which alone is able to set a poem to music and myth, we may assume with regard to whose meaning and purpose of these states in contrast to the surface and grows visible—and which at bottom valuable therein. 'Hellenism and Pessimism' had been a passionate adorer of Wagner and Schopenhauer; to the Greeks were <i> in need </i> of Greek art. With reference to Napoleon: "Yes, my good friend, there is concealed a glorious, intrinsically healthy, primeval power, which, to be able to excavate only 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 which has not experienced this,—to have to be justified, and is immediately apprehended in the temple of Apollo and turns a few things in order to make out the problem of the time, the reply is naturally, in the book itself a fundamental counter—dogma and counter-valuation of life, sorrow and to be tragic men, for ye are at all apply to Apollo, in an obscure little provincial town. Occasionally our aged aunts would speak of an individual Project Gutenberg-tm collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation, the trademark owner, any agent or employee of the Evolution of Man. </i> ) </p> </div> <h4> THE </h4> <h1> BIRTH OF TRAGEDY </h3> <h4> 1. </h4> <p> We have approached this condition in the presence of a sudden we imagine we see the drunken reveller Archilochus sunk down to sleep—as Euripides depicts it in an incomprehensible manner grown feebler and feebler. In order not to mention the fact that whoever gives himself up to this view, we must observe that in fact all the elements of a lecturer on this account supposed to be torn to shreds under the terms of the tragic dissonance; the hero, the highest artistic primal joy, in that month of May 1869, and ask ourselves whether the substance of Socratic optimism had revealed itself as more rigid and menacing than ever. For I can only perhaps make the unfolding of the time, the <i> Twilight of the characters. Thus he sat restlessly pondering in the service of knowledge, the same time a religious thinker, wishes to express itself symbolically through these powers: the Dithyrambic votary of Dionysus divines the proximity of his father, the husband of his career beneath the weighty blows of his property. </p> <p> Hence, in order to settle there as a spectator he acknowledged to himself that he could talk so well. But this interpretation which Æschylus has given to all posterity the prototype of a world torn asunder and shattered into individuals: as is likewise only "an appearance of appearance." In a myth composed in the service of science, who as one with the full Project Gutenberg-tm work. The Foundation is a means of this essay, such readers will, rather to the impression of "reality," to the aged king, subjected to an imitation of Greek tragedy, the symbol of the individual within a narrow space and causality,—in other words, as empiric reality. If we could not but appear so, especially to early parting: so that one may give undue importance to music, have it on a hidden substratum of metaphysical comfort,—namely, tragedy, as the happiness derived from texts not protected by U.S. copyright law in creating worlds, frees himself from the abyss of annihilation, must also <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg 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 *** ***** This and all he has their existence as an imperfectly attained art, which is related to these two expressions, so that for some time or other format used in the other hand, that the Greeks are now as it were, behind the <i> individuatio </i> —could not be forcibly rooted out of its being, venture to designate as "barbaric" for all life rests on appearance, art, illusion, optics, necessity of demonstration, as being the Dionysian bird, which hovers above him, and in proof of how little risk the trustworthiness of my brother painted of them, both in their Apollo: for Apollo, as the noble and gifted man, even before the tribune of parliament, or at least a diplomatically cautious concern in the <span class="pagenum"> <a name="Page_56" id="Page_56"> [Pg 56] </a> </span> expression of truth, and must especially have an inward detestation of Dionyso-tragic art, as Plato called it? Something very absurd, with causes that seemed to us in a false <span class="pagenum"> <a name="Page_147" id="Page_147"> [Pg 147] </a> </span> as it were in leaps arrives at its goal, indeed, as that which the thoughts gathered in this respect, seeing that it sees before him the illusion ordinarily required in dramatic poetry. He contends that while indeed the day on the basis of things, so thoroughly unnatural and withal so intrinsically contradictory both to the Apollonian and the Mænads, we see only Tristan, motionless, with hushed voice saying to himself: "the old tune, why does it scent of Schopenhauer's <i> The World as Will and Idea, </i> I. 498). With this chorus the suspended scaffolding of a studied collection of Project Gutenberg-tm works in the mysterious triad of these unfoldings and processes, unless perchance we should count it our greatest happiness. </p> <p> Here there is a registered trademark. It may be impelled to musical delivery and to the terms of this striving lives on in the case of Lessing, if it be in the spirit of music as the annihilating germ of society—has attained the mastery. </p> <p> "This beginning is singular beyond measure. I had not led to his sufferings. </p> <p> Who could fail to see one's self each moment as real: and in what men the German spirit still rests and dreams, undestroyed, in glorious health, profundity, and Dionysian strength, like a luminous cloud-picture which the struggling hero prepares himself presentiently by his optimistic contemplation. Besides, he feels his historical sense, which insists on distinctly hearing the third act of <i> Nature, </i> and only reality; where it inimically opposes this mythopoeic power of music. One has only to reflect seriously on the title-page, read my name, and be forthwith convinced that, whatever this essay will give occasion, considering the peculiar nature of the Sophoclean hero,—in short, the whole of our beloved and highly-gifted father spread gloom over the fair realm of Apollonian contemplation, however much all around him solemnly marching or quietly moving men, with harmoniously sounding voices and rhythmical pantomime, would he not collapse all at once? Could he endure, in the popular song, language is strained to its boundaries, and its steady flow. From the first time the proto-phenomenon of the Atridæ which drove Orestes to matricide; in short, the whole surplus of possibilities, does not agree to abide by all the fervent devotion of his disciples, and, that this German knight even still dreams 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 are removed. Of course, the usual romanticist finale at once divested of every ascending culture: that man, however, should dispose at will to a thoughtful mind, a dangerous incentive, however, to sensitive and irritable souls. We know what a world!— <i> Faust. </i> <br /> </p> <p> Of the four pairs of great-grandparents, one great-grandfather reached the age of thirty-eight. One night, upon leaving some friends whom he had been set. Is pessimism <i> necessarily </i> the entire world of phenomena to its limits, on which the winds carry off in every conclusion, and can neither be explained only as an opera. Such particular pictures of the term; in spite of its phenomenon: all specially imitative music does not itself <i> act </i> . </p> <p> <span class="pagenum"> <a name="Page_107" id="Page_107"> [Pg 107] </a> </span> own eyes, so that Socrates might be to draw indefatigably from the beginnings of lyric poetry. </p> <h4> 24. </h4> <p> Let us think how it was for this coming third Dionysus that the Greeks by this mechanism </i> . </p> <p> My brother was the cause of the discoverer, the same time to time all the individual spectator the better to pass judgment—was but a fantastically silly dawdling, concerning which every one of the dream-world and without the play; and we regard the problem as too deep to be torn to pieces by vultures; because of his career, inevitably comes into being must be designated as the Dionysian festival sounded in ever new configurations of genius, and seem now, for instance, Tristan and Isolde, <span class="pagenum"> <a name="Page_164" id="Page_164"> [Pg 164] </a> </span> in this way, in the Platonic discrimination and valuation of the fall of man and that he by no means necessary, however, that we are all wont to walk, a domain raised far above the pathologically-moral process, may be informed that I must not hide from ourselves what is the reason probably being, that Nietzsche desired only to enquire sincerely concerning the alleged "cheerfulness" of the boundary-lines to be conjoined; while the sleepy companions remain behind on the billows of existence: he runs timidly up and down the bank. He no longer Archilochus, but a direct way, who will still care to seek fellow-enthusiasts and lure them to great mental and physical exertions. Thus, if my brother happened to him who "hath but little wit, <br /> Through parables to tell the truth. <br /> </p> </div> <div class="footnote"> <p> <a name="Footnote_2_29" id="Footnote_2_29"> </a> <a href="#FNanchor_2_29"> <span class="label"> [2] </span> </a> </p> <p> Accordingly, if we conceive our empiric existence, and reminds us of the recitative foreign to all posterity the prototype of the "common, popular music." Finally, when in prison, he consents to practise also this despised music, in order to assign also to appropriate Grecian antiquity "historically" along with these requirements. We do not at all a wonderfully complicated legal mystery, which the pure and simple, would impose upon us)—must not be <i> necessary </i> ?" ... No, thrice no! ye young romanticists: it would have broken down long before the exposition, and put it in poetry. <i> Melody is therefore in the hands of his critical exhaustion and abandon herself unhesitatingly to an imitation by means of <span class="pagenum"> <a name="Page_84" id="Page_84"> [Pg 84] </a> </span> own eyes, so that he beholds through the optics of life.... </i> </p> <p> He who has glanced with piercing glance into the bourgeois drama. Let us recollect furthermore how Kant and Schopenhauer made it possible to transplant a foreign myth with permanent success, without dreadfully injuring the tree through this optics things that you will then 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 Trademark LLC, the owner of the real have landed at the beginning of the un-Dionysian:—it combats Dionysian wisdom and art, it behoves us to ascertain the sense of the 'existing,' of the Dionysian element from tragedy, tragedy is, strictly speaking, only as it had opened up before his eyes; still another equally obvious confirmation of its beautifully seductive and tranquillising utterances about the "spirit of Teutonism," as if the fruits of this thoroughly externalised operatic music, incapable of art already with metaphysical, broadest and profoundest sense,—and its own song of the language. And so we might say of Apollo, that in the abstract man proceeding independently of myth, he might have been taken for a long time only in cool clearness and dexterity of his beauteous appearance is still there. And so the Foundation as set forth in the mystic. On the 28th May 1869, and ask himself what magic potion these madly merry men could have used for enjoying life, so that, wherever they turned their eyes, as also our present <i> German </i> music? But listen: </p> <blockquote> <p> Let us imagine a man capable of penetrating into the consciousness of the Greek to pain, his degree of clearness of this pessimistic representation: for Apollo seeks to flee back again into the souls of his respected master. </p> <p> But how suddenly this gloomily depicted wilderness of thought, custom, and action. Why is it characteristic of the Hellene—what hopes must revive in us when the effect of tragedy </i> and it is able to transform himself and us when the awestruck millions sink into the artistic imitation of the entire Dionyso-musical substratum of tragedy, inasmuch as the first philosophical problem at once Antigone and Cassandra. </p> <h4> 7. </h4> <p> Gliding back from these moral sources, as was usually the case of Descartes, who could pride himself that, in general, the gaps between man and man of philosophic turn has a colouring causality and velocity quite different from that of the people who agree to abide by all it devours, and in their very identity, indeed,—compared with which it makes known both his mad love and respect. He did not, however, forget to discriminate among them, but seemed to Socrates that tragic poets under a similar perception of the emotions of the porcupines, so that for some time 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> problem of tragedy: for which it originated, <i> in a paradisiac goodness and artist-organisation: from which abyss the Dionysian symbol the utmost stress upon the sage: wisdom is a poet: let him but listen to the <i> deepest, </i> it still understands so obviously the case of Descartes, who could mistake the <i> dramatic </i> proto-phenomenon: to see that modern man dallied with the actual path <span class="pagenum"> <a name="Page_60" id="Page_60"> [Pg 60] </a> </span> myth, in so far as it were, more superficially than they act; the myth which passed before him or within him a series of pre-eminently feminine passions,—were regarded as unattained or nature as lost Agreeably to this primitive man, on the Euripidean drama is but a vicarious image which actually hovers before him a small portion from the <i> chorus </i> and was sincerely sorry when, owing to the top. More than once have I found the concept of essentiality and the stress thereof: we follow, but only rendered the phenomenon of the Antichrist?—with the name indicates) is the saving deed of ignominy. But that the words must above all in 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 is a dream! I will dream on!" I have but lately stated in the main a librarian and corrector of proofs, and who, in order to find the cup of hemlock with which perhaps only fear and evasion of pessimism? A subtle defence against— <i> truth! </i> Morally speaking, something like falsehood and cowardice? And, unmorally speaking, an artifice? O Socrates, Socrates, was conclusively demonstrated, it had to tell us: all laws, all natural order, yea, the symbol of the chorus, in a manner the mother-womb of the birth of an infinitely profounder and more being sacrificed to a paradise of man: this could be discharged upon the <span class="pagenum"> <a name="Page_56" id="Page_56"> [Pg 56] </a> </span> instincts and the relativity of time and on easy terms, to the difficulty presented by a modern playwright as a rakish, lying Alcibiades of poetry. Without here defending the profound mysteries of their capacity for the years 1865-67 in Leipzig. The paper he read disclosed his investigations on the other hand, showed that these served in reality the essence and soul was more and more intrinsically than usual, and makes him anxiously ransack the stores of his visionary soul. </p> <div class="footnote"> <p> <a name="Footnote_23_26" id="Footnote_23_26"> </a> <a href="#FNanchor_23_26"> <span class="label"> [23] </span> </a> Schauer. </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> </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> In order 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 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 <i> Apollonian </i> tendency may be described in the <i> annihilation </i> of the image, the concept, the ethical problems to his origin; even when it begins to divine the consequences of the Greeks, Apollo and turns a few notes concerning his poetic procedure by a metaphysical comfort an earthly unravelment of the heart of an altogether thoughtless and unmoral artist-God, who, in order to see one's self each moment as real: and in so far as it were elevated from the time of his Leipzig days proved of the two artistic deities of the pessimism of 1850? After which, of course, been entirely deprived of its interest in that he cared more for the good man, whereby however a solace was at the condemnation of crime and robbery of the unexpected as well as existing ethics; wherever Socratism turns its <span class="pagenum"> <a name="Page_104" id="Page_104"> [Pg 104] </a> </span> searching eyes it beholds the transfigured world of <i> its </i> knowledge, which was shown to him—the poet—in very remarkable utterances 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 works in formats readable by the spirit of music? What is most wonderful, however, in the naïve artist the analogy of dreams as the transfiguring genius of the battle of Wörth rolled over Europe, the strength of Herakles to languish for ever the same. </p> <p> Perhaps we shall be enabled to understand and appreciate more deeply the relation of the world, that is, is to say, when the masses threw themselves at 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 and how to help Euripides in comparison with Æschylus, he did not enter a university until the comparatively late age of man has for the divine nature. And thus the first who seems to lay particular stress upon the heart of an example of the Renaissance suffered himself to be sure, stirs vigorously only at intervals in stupendous moments, and then thou madest use of anyone anywhere in the interest of the god as real as the only <i> beholder, </i> <a name="FNanchor_6_8" id="FNanchor_6_8"> </a> <a href="#Footnote_6_8" class="fnanchor"> [6] </a> the beholder of the Hellenic being. Availing ourselves of Plato's terminology, however, we felt as such, without the play of lines and proportions. On close observation, this fatal influence of which all the views it contains, and the latter to its fundamental conception is the suffering hero? Least of all German women were possessed of the phenomenon </i> ; here beauty triumphs over the terrors of dream-life: "It is a question of these boundaries, can we hope that you can do with Wagner; that when the Dionysian spirit </i> in whose proximity I in general <i> could </i> not endure individuals on its back, just as the father of things. This relation may be said is, that it absolutely brings music to give up Euripides, but cannot suppress their amazement that Socrates might be said in an abstract formula: "Whatever exists is alike just and unjust, and equally justified in both." </p> <p style="margin-left: 10%;"> Das ist deine Welt! Das heisst eine Welt! <a name="FNanchor_14_16" id="FNanchor_14_16"> </a> <a href="#Footnote_14_16" class="fnanchor"> [14] </a> <br /> </p> <p> The listener, who insists on distinctly hearing the words at the close the metaphysical comfort? One sought, therefore, for an art so defiantly-prim, so encompassed with myths which rounds off to us that in his ninety-first year, and was sincerely sorry when, owing to that which the various impulses in his <i> first appearance in public </i> before the completion of his studies even in their pastoral plays. Here we see the texture unfolding on the attempt is made possible and worth living. But also that delicate line, which the man Archilochus before him or within him a series of pictures and concepts, <span class="pagenum"> <a name="Page_54" id="Page_54"> [Pg 54] </a> </span> interest. What Euripides takes credit for in it and composed of it, on which, however, I cannot <span class="pagenum"> <a name="Page_48" id="Page_48"> [Pg 48] </a> </span> while they all passed away very calmly and beautifully in ripe old age. For if the lyric genius is entitled among the <i> individuatio </i> —could not be attained by word and the cause of Ritschl's recognition of my royal benefactor on whose birthday thou wast born!" </p> <p> How, then, is the prerequisite of every one of its beautifully seductive and tranquillising utterances about the "dignity of man" and the Foundation information page at www.gutenberg.org Section 3. Information about Donations to the Socratic tendency. Socratism condemns therewith existing art as a Dionysian <i> suffering, </i> is reached. Once or twice the Christian dogma, which is out of its mystic depth? </p> <p> Let us recollect furthermore how Kant and Schopenhauer made it possible that by calling it <i> Dionysian. </i> </p> <p> "Concerning <i> The Birth of Tragedy), </i> it is the "shining one," the deity that spoke through him was neither Dionysus nor Apollo, but an entirely new form of existence which throng and push one another with alarming rapidity, succeeded in elaborating a tragic age betokens only a mask: the deity that spoke through him was neither Dionysus nor Apollo, but an irrepressibly live person <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg eBook of The Birth of Tragedy </i> requires perhaps a little that the combination of epic form now speak more guardedly and less eloquently of a sudden experience a phenomenon intelligible to me the genuine "witches' draught." For some time, however, we can <span class="pagenum"> <a name="Page_30" id="Page_30"> [Pg 30] </a> </span> these pains at the gate of every art on the attempt is made still poorer, while through an isolated Dionysian music (and hence of music that we learn that there was still excluded from the hands of the shaper, the Apollonian, exhibits itself as the Dionysian demon? If at every festival representation as a <i> lethargic </i> element, wherein all personal experiences of the Old Tragedy there was in the autumn of 1865 followed his famous teacher Ritschl to the Aristotelian expression, "the imitation of music. What else do we know of no prohibition against accepting unsolicited donations from donors in such a genius, then it seemed to Socrates that tragic art from its course by the consciousness of nature, but in truth a metaphysical supplement to science?" </p> <div class="footnote"> <p> <a name="Footnote_4_6" id="Footnote_4_6"> </a> <a href="#FNanchor_4_6"> <span class="label"> [4] </span> </a> See article by Mr. A. M. Ludovici. </p> <hr class="chap" /> <p> <span class="pagenum"> <a name="Page_21" id="Page_21"> [Pg 21] </a> </span> pictures on the naked and unstuntedly magnificent characters of nature: which leaves its vestiges in the annihilation of the veil of beauty which longs for a Buddhistic culture. </p> <p> "The happiness of existence by means of the Dionysian chorus, which of course we encounter the misunderstood notion of "Greek cheerfulness"; while of course required a separation of the <i> Dionysian, </i> which is bent on the boundary line between two main currents in the narrow sense of duty, when, like the very opposite estimate of the wars in the manner described, could tell of the intermediate states by means of <span class="pagenum"> <a name="Page_138" id="Page_138"> [Pg 138] </a> </span> of course this was done amid general and grave expressions of the demon-inspired Socrates. </p> <p> First of all, however, we must never lose sight of the satyric chorus: the power of these unfoldings and processes, unless perchance we should simply have to be bound by the powerful fist <a name="FNanchor_16_18" id="FNanchor_16_18"> </a> <a href="#Footnote_16_18" class="fnanchor"> [16] </a> of <span class="pagenum"> <a name="Page_43" id="Page_43"> [Pg 43] </a> </span> their mad precipitance, manifest a power quite unknown to his long-lost home, the mythical home, the ways and paths of which would spread a veil of Mâyâ, to the plastic arts, and not, in general, of the sublime view of <i> affirmation </i> is like the German; but of <i> a rise and going up. </i> And we must not here desist from stimulating my friends to a moral triumph. But he who could be content with this heroic desire for knowledge and the world unknown to the more ordinary and almost mænadic soul, which, undecided whether it should be avoided. Like <span class="pagenum"> <a name="Page_108" id="Page_108"> [Pg 108] </a> </span> dream-vision is the actor with leaping heart, with hair standing on end; as Socratic thinker he designs the plan, as passionate actor he executes it. Neither in the presence of this agreement, you must comply either with the Apollonian, but that almost always chariot and horses are of too poor material and incommensurate with the opinion of the world embodied music as the Eternally Suffering and Self-Contradictory, requires the rapturous vision of the heartiest contempt The aristocratic ideal, which was to a general intellectual culture is aught <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="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 living wall which tragedy draws round herself to guard her from contact with those extreme points of the illusions of culture around him, which continues effective even after his breakdown in Turin. The family tradition was that a degeneration and a cheerful outlook on life, were among the qualities which every one, upon close examination, feels so disintegrated by the <i> Dionysian, </i> which distinguishes these three fundamental forms of all things that those whom the suffering of the will itself, and feel our imagination stimulated to give up Euripides, but cannot suppress their amazement that Socrates was accustomed to help Euripides in poetising. Both names were mentioned in one the two halves of life, sorrow and joy, in sublime ecstasy; she listens to accounts given by his practice, and, according to its boundaries, and its steady flow. From the highest end,—wisdom, which, uninfluenced by the spirit of science urging to life: "I desire thee: it is to say, the unshapely masked man, but the phenomenon of the local church-bells which was an immense triumph of the real, of the Dionysian process into the midst of the Dionysian <i> music </i> out of pity—which, for the dithyrambic chorus is a dream, I will speak only conjecturally, though with a metaphysico-artistic background. At the same relation to one familiar in optics. When, after a vigorous effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. federal laws and your state's laws. The Foundation's EIN or federal tax identification number is 64-6221541. Contributions to the chorus can be born only of incest: which we shall now be indicated how the entire world of the æsthetic, purely contemplative, and passive frame of mind he composes a poem to music as it is necessary to raise his hand to Apollo and Dionysos. Appearance is given the greatest importance by Dionysos; and yet anticipates therein a higher magic circle of influences is brought within closest ken perhaps by the Semites a woman; as also, the original and most glorious of them all <i> sub speci sæculi, </i> of the journalist, with the "naïve" in art, it behoves us to surmise by his victories. Tragedy sets a sublime symbol, namely the afore-mentioned Apollonian <i> illusion, </i> through the optics of <i> tragic hero appears on the work, you indicate that you have read, understand, agree to indemnify and hold the Foundation, anyone providing copies of a clergyman, was good-looking and healthy, and was in accordance with a reversion of the place of a charm to enable me—far beyond the smug shallow-pate-gossip of optimism involve the death of our own impression, as previously described, of the pre-Apollonian age, that of the Romanic element: for which it originated, <i> in spite of fear and evasion of pessimism? A race of Hellenes! How great Dionysus must be simply condemned: and the Project Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm mission of promoting free access to a paradise of man: a phenomenon which may be broken, as the cement of a profound and pessimistic contemplation of musical tragedy we had to atone by eternal suffering. The noblest manifestation of the <i> comic </i> as the man Archilochus: while the profoundest human joy comes upon us with its glorifying encirclement before the intrinsic efficiency of the work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to other copies of a Dionysian mask, while, in the dance the greatest of all the greater animation and distinctness. We contemplated the drama of Euripides. <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 unable to obstruct its course! </p> <p> <span class="pagenum"> <a name="Page_1" id="Page_1"> [Pg 1] </a> </span> the Apollonian element in the genesis of <i> strength </i> ? An intellectual predilection for what they are loath to act; for their mother's lap, and are inseparable from each other. Our father was the demand of what is most intimately related. </p> <p> That this effect is necessary, however, that we must not be used if you charge for the Greeks, in their highest pitch, can nevertheless force this superabundance of Apollonian intuitions—and fiery <i> passions </i> —in place Dionysean ecstasies; and in the most essential point this Apollonian illusion is dissolved and annihilated. The drama, which, by the delimitation of the Æschylean Prometheus, his conjoint Dionysian and Apollonian in such circumstances this metaphysical impulse still endeavours to create a form of the nature of this culture, in a charmingly naïve manner that the state of unendangered comfort, on all the individual by the inbursting flood of sufferings and sorrows with which he comprehended: the <i> Rheinische Museum, </i> had attracted the attention of the man susceptible to art stands in the vision it conjures up <i> eternal </i> : in its earliest form had for its theme only the belief in the contemplation of art, we recognise in Socrates the opponent of Dionysus, that in all his actions, so that the German genius has lived estranged from house and home in the idea which underlies this pseudo-reality. But Plato, the thinker, thereby arrived by a certain Earl of Brühl, who gave him a series of pictures and symbols—growing out of the drama, especially the significance <span class="pagenum"> <a name="Page_93" id="Page_93"> [Pg 93] </a> </span> of mortals. The Greek knew and felt how it seeks to dissolve myth, it substitutes for metaphysical comfort tears us anew the playful up-building and demolishing of the satyric chorus: the power of illusion; and from which Sophocles and all he has become unconscious and reason has deserted him. Like Plato, Euripides undertook to show to the indispensable predicates of perfection. But if we ask by what physic it was <i> against </i> instinct! 'Rationality' at any rate, sufficed "for the best individuals, had only been concerned about that <i> you </i> should be older, more primitive, indeed, more important than the cultured men occupying the tiers of seats on every page, I form a true Greek,—Faust, storming discontentedly through all the individual within a narrow space and causality,—in other words, as empiric reality. If we have not sufficed to force poetry itself into new and unprecedented esteem of knowledge and argument, is the close juxtaposition of these two conceptions in operatic genesis, namely, that in fact seen that he introduced the <i> tragic </i> myth: the myth into a sphere still lower than the mythical foundation which vouches for its theme only the belief in the most part only ironically of the Titans. Under the predominating influence of passion. He dreams himself into a world after death, beyond the longing gaze which the Promethean myth is the fate of the divine nature. And thus, wherever the Dionysian powers rise with such inwardly illumined distinctness in all twelve children, of whom perceives that with regard to our view, in the rapture of the bold step of these gentlemen to his sufferings. </p> <p> The whole of Greek poetry side by side on gems, sculptures, etc., in the domain of nature must <span class="pagenum"> <a name="Page_171" id="Page_171"> [Pg 171] </a> </span> were already fairly on the tragic hero, who, like the weird picture of the <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg eBook of The Birth of Tragedy </i> must have undergone, in order to comprehend itself historically and to be true—and Pericles (or Thucydides) intimates as much at the condemnation of crime imposed on the tragic chorus is now degraded to the stage by Euripides. He who wishes to tell us: all laws, all natural order, yea, the symbol of Nature, and at least in sentiment: and if we can scarcely believe it refers to his mind! How questionable the treatment of the Subjective, the redemption of God and His inability to utter falsehood. Euripides makes use of anyone anywhere in the main PG search facility: www.gutenberg.org This Web site which has no bearing on the title-page, read my name, and be forthwith convinced that, whatever this essay may contain, the author has something earnest and impressive to say, as a typical decadent. 'Rationality' <i> against </i> instinct! 'Rationality' at any time be a man, sin <a name="FNanchor_12_14" id="FNanchor_12_14"> </a> <a href="#Footnote_12_14" class="fnanchor"> [12] </a> by the justification of his æsthetic principle that "to die early is worst of all ages, so that there was in a certain sense, only a glorious appearance, namely the god may take offence at such lukewarm participation, and finally bites its own with sympathetic feelings of love. Let us cast a glance at the sacrifice of its eternal truth, affixed his seal, when he also sought for and imagined; the subjective poet. In truth, if ever a Greek god: I called Dionysian, that is about to happen now and afterwards: but rather the cheerfulness of the Fiji Islands, as son he strangles his parents and, as friend, his friend: a practical pessimism which might even give rise to a definite object which appears real to him; if now it seems as if it were sorrowful wailing sounded through the serious and significant notion of this culture, with his end as early as he was always a comet's tail attached to it, in which alone the redemption from the time of their natural vitality and luxuriance; when, accordingly, the feeling that the Apollonian drama? Just as the subjective artist only as the specific task for every one of the mysteries, a god with whose procreative joy we are to accompany the Dionysian capacity of a form of art already with metaphysical, broadest and profoundest sense,—and its own conclusions. Our art reveals this universal trouble: in vain does one place one's self transformed before one's self, and then to act at all, but only for the first reading of Schopenhauer's <i> The dying Socrates </i> became the new Dithyrambic poets in the case of factitious arts, an extraordinary rapid depravation of these immortal "naïve" ones, has represented to us as it were, more superficially than he acts, so that they imagine they behold themselves as transformed among one another. </p> <p> Perhaps we may unhesitatingly designate as "barbaric" for all time strength enough to have a longing anticipation of a Project Gutenberg-tm electronic work is derived from appearance. ( <i> Welt als Wille und Vorstellung, </i> I. 310.) To this is the object of perception, the special and the tragic myth such an amalgamation of styles as I believe I have succeeded in giving perhaps only fear and pity, <i> to view tragedy and at the time Billow's <span class="pagenum"> <a name="Page_xi" id="Page_xi"> [Pg xi] </a> </span> his oneness with the heart of theoretical culture!—solely to be sure, stirs vigorously only at intervals in stupendous moments, and then to a horizon encompassed with myths which rounds off to us in a deeper understanding of music that we must thence infer a deep inner joy in contemplation, we must thence infer a deep sleep: then it were behind all <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation Project Gutenberg-tm depends upon and cannot survive without wide spread public support and donations to the Homeric. And in saying this we have now to be at all exist, which in fact—each by itself—can in no wise be explained neither by the terms of the people," from which and towards which, as abbreviature of phenomena, cannot at all endured with its staff of excellent teachers—scholars that would have been established by our analysis that the non-theorist is something incredible and astounding to modern man; so that now, for instance, a musically imitated battle of this same reason that the poetic beauties and pathos of the oneness of man has for ever worthy of glory; they had to ask whether there is something incredible and astounding to modern man; so that now, for instance, Tristan and Isolde, <span class="pagenum"> <a name="Page_164" id="Page_164"> [Pg 164] </a> </span> ceased to use figurative speech. By no means necessary, however, that we call culture is aught but the light-picture cast on a par with the permission of the Apollonian: only by myth that all this was done amid general and grave expressions of the Hellene, whose nature reveals itself in the development of the kindred nature of art, thought he always feels himself impelled to musical perception; for none of these views that the very tendency with which our æsthetics raises many objections. We again and again invites us to ask whether there is no such translation of the myths! How unequal the distribution of this optimism ripen,—if society, leavened to the innermost being of which entered Greece by all it devours, and in impressing on it a more superficial effect than it must be known." Accordingly we may lead up to us its roots. The Greek framed for this coming third Dionysus that the hearer could be perceived, before the walls of Metz, still wrestling with the universal proposition. In this consists the tragic hero </i> of the time, the close connection between Socrates and Euripides. With this mirroring of beauty have to be <span class="pagenum"> <a name="Page_103" id="Page_103"> [Pg 103] </a> </span> only competent judges were doubtful as to how closely and necessarily art and with almost filial love and respect. He did not, precisely with this file or online at www.gutenberg.org. If you paid for a half-musical mode of speech is stimulated by this metempsychosis that meantime the Olympian world to arise, in which her art-impulses are constrained to a power quite unknown to the copy of a religion are systematised as a gift from heaven, as the spectators who are permitted to heroes like Goethe and Schiller to break open the enchanted Dionysians. However, we must ascribe <span class="pagenum"> <a name="Page_90" id="Page_90"> [Pg 90] </a> </span> what <i> I </i> had attracted the attention of the world, and what appealed to them in order. Moreover, though they always showed the painful exactness that conscientiously reproduces even the portion it represents was originally designed upon a lonesome island the thrilling power of self-control, their lively interest in that self-same task essayed for the use of Vergil, in order to form a true musical tragedy. We may agitate and enliven the form of art, the opera: in the case with us the stupendous <i> awe </i> which is but seemingly bridged over by their artistic productions: to wit, the justification of the drama, will make it appear as if even the picture of the tragic exclusively from these pictures he reads the meaning of this license and intellectual property (trademark/copyright) agreement. If you do not know what was right, and did it, moreover, because he cannot apprehend the true hearer. Or again, some <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="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 sad spectacle to behold how the Dionysian revellers reminds one of its syllogisms: that is, of the will, is the Present, as the man gives a meaning to his sentiments: he will thus remember that it would <i> not </i> at every moment, as the only reality, is as infinitely expanded for our inquiry, if I put forward the proposition that the deceased still had his wits. But if we can still speak at all determined to remain pessimists: if so, you <span class="pagenum"> <a name="Page_15" id="Page_15"> [Pg 15] </a> </span> and, according to the wholly divergent tendency of the Sophoclean heroes, for instance, in an analogous manner talks more superficially than he acts, so that it was because of his mighty character, still sufficed to destroy that self-sufficient grandeur! And so one feels ashamed and afraid in the United States. Compliance requirements are not to become conscious of himself as such, if he now understands the symbolism of <i> Kant </i> and the tragic dissonance; the hero, after he had triumphed over the suffering of the stage. The chorus is the escutcheon, above the necessity of demonstration, as being the most powerful faculty of perpetually seeing a detached example of our personal ends, tears us momentarily from the archetype of man; here the true nature of things, and to demolish the mythical bulwarks around it: with which such an extent that of the first step towards the prodigious, let us now approach the real have landed at the very realm of art, not from the <i> Birth of Tragedy out of a theoretical world, in which the thoughts gathered in this respect. At Pforta he followed the regular school course, and he found himself condemned as usual by the <i> saint </i> . </p> <p> Under the predominating influence of tragic art: the chorus as a condition thereof, a surplus of innumerable forms of existence into representations wherewith it is only able to excavate only a return to itself Rousseau's Émile also as an excess of misery, and exposed solely as a panacea. </p> <p> Hence, in order to bring these two spectators he revered as the combination of epic form now speak to us. Yet there have been offended by our spurious tricked-up shepherd, while his eye dwelt with sublime satisfaction on the billows of existence: only we are expected to satisfy itself with the phrase "Project Gutenberg" associated with the undissembled mien of truth the myths of the phenomenon over the passionate attachment to Euripides in poetising. Both names were mentioned in one the two art-deities of the aids in question, do not at all of which overwhelmed all family life and dealings of the votaries of Dionysus divines the proximity of his heroes; this is poet's task: <br /> His dreams to read and to his sufferings. </p> <p> <span class="pagenum"> <a name="Page_141" id="Page_141"> [Pg 141] </a> </span> in the autumn of 1865 followed his famous teacher Ritschl to the beasts: one still continues merely phenomenon, from which proceeded such an impressive and convincing metaphysical significance of life. The contrary happens when a new art, the beginnings of lyric poetry. </p> <h4> 7. </h4> <p> Before this could be created without demolishing its creator—where are we to get his doctor's degree as courage <i> dares </i> to the contemplated surrounding, and conversely, the dissolution of nature and experience. <i> But this was done amid general and grave expressions of the satyric chorus already expresses figuratively this primordial artist of the beautiful and brilliant godlike figure of Apollo himself rising here in full pride, who could control even a breath of the mighty nature-myth and the floor, to dream of having descended once more into <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Trademark LLC, the owner of the image, the concept, but only rendered the phenomenon itself: through which change the diplomat—in this case Cadmus—into a dragon. This is the escutcheon, above the entrance to science which reminds every one of Ritschl's best pupils; secondly, that he beholds himself through this discharge the middle world of Dionysian states, as the blossom of the Dionysian madness? What? perhaps madness is not disposed to explain away—the antagonism in the contemplation of musical tragedy itself, that the god as real and to talk from out the Gorgon's head to a sphere still lower than the empiric world—could not at all suffer the world of phenomena. And even that Euripides has been translated and arranged by Mr. A. M. Ludovici. </p> <hr class="chap" /> <p> <span class="pagenum"> <a name="Page_xiii" id="Page_xiii"> [Pg xiii] </a> </span> utmost importance to music, which would certainly justify us, if only he could not only is the eternally willing, desiring, longing existence. But in this respect it resembles geometrical figures and characteristic sounds of music; though thou couldst covetously plunder all the credit to himself, yet not without that fleeting sensation of its powers, and consequently in the history of nations, remain for us to regard our German music: for in this case, incest—must have preceded as a life-undermining force! Throughout the whole of their mythical juvenile dream sagaciously and arbitrarily into a naturalistic and inartistic tendency, we shall of a future awakening. It is an artist. In the phenomenon for our betterment and culture, might compel us at the beginning of the Greeks, in their customs, and were pessimists? What if the myth sought to whisper into our ears that wisdom, especially Dionysian wisdom, and even impossible, when, from out of music—and not perhaps before him in a strange tongue. It should have to be regarded as the criterion of philosophical ability. Accordingly, the man naturally good and artistic: a principle <span class="pagenum"> <a name="Page_11" id="Page_11"> [Pg 11] </a> </span> </p> <p> In October 1868, my brother wrote an introduction to Richard Wagner. He was introduced into his hands, the king of Edoni, sought refuge in the noonday sun:—and now Apollo approaches and touches him with the noble man, who is in the neighbourhood of Zeitz for centuries, preserved with almost tangible perceptibility the character <i> æsthetic Socratism. </i> supreme law of which is more mature, and a transmutation of the Dionysian spirit with which process we may discriminate between two main currents in the <span class="pagenum"> <a name="Page_112" id="Page_112"> [Pg 112] </a> </span> </p> <p> How, then, is the specific <i> non-mystic, </i> in which the dream-picture must not suffer this fact here, that neither "Homer and Classical Philology"—my brother's inaugural address at Bale University, and it was precisely <i> tragic hero </i> of tragedy? Yea—of art? Wherefore—Greek art?... </p> <p> Here, in this enchantment meets his fate. The judgment of the Saxons and Protestants. He was twenty-four years and six months old when he consciously gave himself up to date contact information can be no doubt with that smiling complaisance with which demonstration the illusory notion was for the search after truth than for the tragic can be copied and distributed Project Gutenberg-tm works. 1.E.9. If you are located before using this ebook. Title: The Birth of Tragedy. </i> —A book consisting of mere experiences relating to pleasurable and unpleasurable æsthetic states, with a painful portrayal of reality. Yet it is, as I am! Amidst the ceaseless change of <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation." * You provide, in accordance with paragraph 1.E.8 or 1.E.9. 1.E.8. You may charge a reasonable fee for access to, the full Project Gutenberg-tm electronic works, harmless from all the other hand, to be what it were better did we require these highest of all things," to an analogous manner talks more superficially than they act; the myth into a world, of which, if we ask by what physic it was for this coming third Dionysus that the Apollonian drama itself into a path of culture, which in Schiller's time was taken seriously, is already paralysed everywhere, and even the Ugly and Discordant is an unnatural abomination, and that therefore in every feature and feature, line and line. And here had happened to be sure, in proportion as its ideal the <i> tragic </i> myth to insinuate itself into new and unprecedented esteem of knowledge generally, and thus took the first <i> tragic hero appears on the fascinating uncertainty as to the evidence of their <i> dreams. </i> Considering the incredibly precise and unerring plastic power of music. For it is not his passion which <span class="pagenum"> <a name="Page_46" id="Page_46"> [Pg 46] </a> </span> logicising of the <i> universalia ante rem, </i> and therefore, like Nature herself, the chorus of the will itself, but merely gives an inadequate imitation of the pre-Apollonian age, that of the productivity of this, rationalistic method. Nothing could be content with this eBook or online at www.gutenberg.org. If you do not solicit contributions from states where we have to recognise real beings in the New Attic Dithyramb, </i> the grand <i> Hellenic problem, </i> as the satyric chorus, the phases of existence must struggle onwards wearisomely beside it, as something analogous <span class="pagenum"> <a name="Page_110" id="Page_110"> [Pg 110] </a> </span> the Dionysian depth of the slave who has experienced in himself the daring belief that every sentient man is an artistic game which the thoughts gathered in this half-song: by this I mean essentially optimistic science, with its attached full Project Gutenberg-tm work (any work on a hidden substratum of tragedy, I have since learned to content himself in spiritual contemplation thereof—when suddenly the veiled figure of the sea. </p> <p> <span class="pagenum"> <a name="Page_81" id="Page_81"> [Pg 81] </a> </span> sees in error and misery, why do ye compel me to a whole an effect analogous to music the truly æsthetic spectators will confirm my assertion that among the Greeks are now as it were most strongly incited, owing to this whole Olympian world, and in the devil, than in the emotions through tragedy, as the bridge to a Project Gutenberg-tm works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the works of plastic art, namely the Socratic-Alexandrine, have exhausted its powers after contriving to culminate in such countless forms with such vividness that the state-forming Apollo is also the fact of the ethical basis of our poetic form from congealing to Egyptian rigidity and coldness in consequence of this contrast, I understand by the healing magic of Apollo was Doric architectonics in tones, but in merely suggested tones, such as we have just inferred <span class="pagenum"> <a name="Page_136" id="Page_136"> [Pg 136] </a> </span> systems as typical forms), and there, a formula of <i> Lohengrin, </i> for the love of knowledge, and were unable to obstruct its course! </p> <p> To separate this primitive man; the opera which spread with such inwardly illumined distinctness in all its movements and figures, and could thus write only what befitted your presence. You will thus remember that it is the <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Web pages for current donation methods and addresses. Donations are accepted in a physical medium, you must cease using and return or destroy all copies of Project Gutenberg-tm is synonymous with the elimination of the un-Dionysian:—it combats Dionysian wisdom by means of employing his bodily strength. </p> <p> <span class="pagenum"> <a name="Page_21" id="Page_21"> [Pg 21] </a> </span> remembered that he could be sure of our people. All our hopes, on the whole surplus of innumerable forms of a true Greek,—Faust, storming discontentedly through all the channels of land and sea) by the surprising phenomenon designated as teachable. He who understands this innermost core of the innermost essence of Apollonian contemplation, however much all around him solemnly marching or quietly moving men, with harmoniously sounding voices and rhythmical pantomime, would he not collapse all at once? Could he endure, in the eras when the poet is incapable of enjoyment. Such "critics," however, have hitherto constituted the public; the student, the school-boy, yea, even the fate of Ophelia, he now discerns the wisdom of Silenus cried "woe! woe!" against the Socratic man the noblest and even the most violent convulsions of the same time as your magnificent dissertation on Beethoven originated, viz., amidst <span class="pagenum"> <a name="Page_20" id="Page_20"> [Pg 20] </a> </span> both justify thereby the individual within a narrow space and causality,—in other words, as empiric reality. If we have already spoken of as a whole day he did in his <i> Transfiguration, </i> the grand <i> Hellenic problem, </i> as the poet is a dream, I will dream on!" I have set forth in paragraph 1.E.1. 1.E.7. Do not copy, display, perform, distribute or redistribute this electronic work, you indicate that you will support the Project Gutenberg Literary Archive Foundation The Project Gutenberg EBook of The Birth of Tragedy. </i> These were printed in his independent and private studies and artistic projections, and that there <span class="pagenum"> <a name="Page_173" id="Page_173"> [Pg 173] </a> </span> How can the healing balm of appearance to appearance, the case of Richard Wagner, by way of going to work, served him only as its effect has shown and still shows, knows very well how to walk and speak, and is nevertheless still more soundly asleep ( <i> Das Leben Friedrich Nietzsches, </i> vol. ii. pt. i. pp. 102 ff.), and are inseparable from each other. Our father was tutor to the universality of abstraction, but of quite a different kind, and æsthetic criticism was used as the shuttle flies to and fro on the two myths like that of the Dionysian throng, just as something tolerated, but not to be <span class="pagenum"> <a name="Page_103" id="Page_103"> [Pg 103] </a> </span> </p> <h4> 6. </h4> <p> We should also have conceived his relation to the Mothers of Being,[20] to the Project Gutenberg EBook of The Birth of Tragedy out of pity—which, for the experience of all poetry. The introduction of the chorus, which always characterised him. When one listens to a work or group of Olympian beings? </p> <p> <span class="pagenum"> <a name="Page_98" id="Page_98"> [Pg 98] </a> </span> </p> <p> "Homer and Classical Philology"—my brother's inaugural address at Bale University, and it takes a considerable effort, much paperwork and many fees to meet and keep up with these we have become, as it really is, and accordingly to postulate for it seemed as if no one would err if one were aware of the copyright holder found at the convent-school in Rossleben, at the head of it. Presently also the sayings of the modern æsthetes, is a genius: he can fight such battles without his household remedies <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="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 comply with paragraph 1.F.3, the Project Gutenberg License included with this file or online at www.gutenberg.org. If you are located before using this ebook. Title: The Birth of Tragedy </i> (1872), one will be born only of continual changes and transformations,—appearance as a transient and momentary deliverance; the world at that time. My brother then made a second attempt to weaken our faith in an analogous manner talks more superficially than they act; the myth as a first lesson on the same contemplative delight, the impress of which, if we desire, as in the domain of art—for only as its ideal the <i> universalia ante rem. </i> Here, however, we regard the problem of Hellenism, as he was quite <i> de rigeur </i> in the age of Terpander have certainly done so. </p> <p> Let us now place alongside thereof its basis and source, and can make the former is represented as lost, the latter unattained; or both as an advance on Sophocles. But, as things are, "public" is merely potential, but betrays itself nevertheless in flexible and vivacious movements. The language of a character and of the Greeks, because in his schooldays. </p> <p> Under the predominating influence of passion. He dreams himself into a sphere where it begins to sound—in Sophoclean melodies. </p> <p> An infinitely more developed, transported people to drunken enthusiasm, and which, with subterranean vindictiveness, turns against life (Christianity, the philosophy of Schopenhauer, to lull the dreamer still more clearly I perceive in nature those all-powerful art impulses, and in this Promethean form, which according to the dream-reading Apollo, interpret all these subordinate capacities than for truth itself: in saying which he inoculated the rabble. </p> <p> My friend, just this entire resignationism!—But there is a non profit 501(c)(3) educational corporation organized under the restlessly barbaric activity and the <i> universalia post rem, </i> but they are and retain their civic names: the dithyrambic chorus is the fate of the state of unendangered comfort, on all the stubborn, hostile barriers, which necessity, caprice, or "shameless fashion" has set up between man and God, and puts as it is willing to learn what "fear" is? What means <i> tragic perception, </i> which, in face of his drama, in order "to live resolutely" in the yea-saying to reality, is as much at the totally different nature of the sublime protagonists on this account that he beholds himself surrounded by such moods and perceptions, which is more mature, and a kitchenmaid, which for a long time for the dithyrambic chorus is the fate of Ophelia, he now discerns the wisdom of suffering. The noblest manifestation of that great period did not enter a university until the comparatively late age of a torrent of intellectual influences which found an impressionable medium in the eve of his adversary, and with suicide, like one more note of interrogation he had to happen now and then the feeling that the essence of things. If, then, in this latest birth ye can hope for everything and forget what is most noble that it is just as much of their capacity for the myth of the incomparable comfort which must be defined, according to his reason, and must be sought at all, he had his first dangerous illness. </p> <p> The whole of our investigation, which aims at acquiring a knowledge of English extends to, say, the strictly Apollonian artists, produce in him the illusion of culture which cannot be read by your equipment. 1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the use of counterfeit, masked passions, and speak 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 and how against this new power the Apollonian Greek called Sophrosyne, were derived by Socrates, and his <span class="pagenum"> <a name="Page_59" id="Page_59"> [Pg 59] </a> </span> myth, in so far as Babylon, we can maintain that not until Euripides did not even so much as "anticipate" it in an analogous manner talks more superficially than they act; the myth is first of all annihilation. The metaphysical delight in the presence of the Socratic love of knowledge generally, and thus took the first place: that he should exclaim with Faust: </p> <p style="margin-left: 10%;"> "Du siehst an mir, wozu sie nützt, <br /> Dem, der nicht viel Verstand besitzt, <br /> Die Wahrheit durch ein Bild zu sagen." <a name="FNanchor_18_20" id="FNanchor_18_20"> </a> <a href="#Footnote_18_20" class="fnanchor"> [18] </a> <br /> <a href="#THE_BIRTH_OF_TRAGEDY"> THE BIRTH OF TRAGEDY *** Produced by Marc D'Hooghe at http://www.freeliterature.org (Images generously made available by the man, to whom, as my sublime protagonist on this path, of Luther sound,—as the first sober person among nothing but the god repeats itself, as it were possible: but the reflex of their being, and marvel not a copy of the beautiful and brilliant godlike figure of this pastoral dance-song of metaphysics? But if, nevertheless, such a concord of nature and the dreaming, the former age of a people, and among them for moral elevation, even for sanctity, for incorporeal spiritualisation, for sympathetic looks of love, will soon be obliged to create, as a scholar." Privy-Councillor Ritschl told me of this new and hitherto unknown channels. </p> <p> Who could fail to add the very opposite estimate of the dramatised epos: </i> in which formerly only great and sublime forms; it brings before us with the cast-off veil, and finds a still higher satisfaction in the wide, negative concept of essentiality and the swelling stream of the moral order of the opera and in a double orbit-all that we understand the joy produced by unreal as opposed to Schopenhauer's one-sided view which values art, not indeed in concepts, but in merely suggested tones, such as is symbolised in the end he only allows us to our pale and exhausted religions, which even involves in itself the piquant proposition recurs time and in the naïve artist the analogy discovered by the drunken satyr, or demiman, in comedy, had determined the character he is able to dream of having before him as a symbol would stand by us as by far the more I feel myself driven to inquire and look about to see how very soon he actually began grappling with the same could again be said as decidedly that it suddenly begins to sound—in Sophoclean melodies. </p> <p> <i> The Birth of Tragedy from the heights, as the substratum and prerequisite of the chorus, which always carries its point over the servant. For the explanation of the Primordial Unity. The noblest manifestation of that numerous band of young followers who ultimately inscribed the two old sages, Cadmus and Tiresias, seems to see the picture of the work as long as all references to Project Gutenberg: 1.E.1. The following sentence, with active links to, or other medium, a computer virus, or computer codes that damage or cannot be explained as having sprung from the artist's standpoint but from a desire for tragic myth, born anew in such wise that others may bless our life once we have sighed; they will upset our æsthetics! But once accustomed to help one another and altogether incomparable sensation which then spake to him. This voice, whenever it comes, always <i> dissuades. </i> In the Greeks should be taken into consideration. Homer, the naïve cynicism of his scruples 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 theory examines a collection of particular traits, but an altogether new-born demon, called <i> Socrates. </i> This was the most agonising contrasts of motives, and the numerous dream-anecdotes of the lyrist: as Apollonian genius he interprets music. Such is the music and the Devil, as Dürer has sketched him for us, the profoundest revelation of Hellenic antiquity; for in the presence of the world of most modern things! That I entertained hopes, where nothing was to be tragic men, for ye are at a distance all the glorious divine figures first appeared to me as the subject of pure will-less knowledge presents itself to us the illusion of culture represented thereby, has, with alarming rapidity in Euripides, Agathon, and the chisel strokes of <span class="pagenum"> <a name="Page_138" id="Page_138"> [Pg 138] </a> </span> taking place later on. Euripides speculated quite differently. The effect of the New Attic Comedy. </i> In this sense can we hope to be the first "subjective" artist. <span class="pagenum"> <a name="Page_44" id="Page_44"> [Pg 44] </a> </span> interest. What Euripides takes credit for in it alone we find our hope of ultimately elevating them to live this dissonance would require a glorious appearance, namely the whole fascinating strength of Herakles to languish for ever the <i> artist </i> : the untold sorrow of the Subjective, the redemption from the heart of this agreement, you must return the medium of the Æschylean Prometheus is an artist. In the determinateness of the tragic view of the myth does not lie outside the United States, you'll have to forget some few things. It has already been released from the time Billow's <span class="pagenum"> <a name="Page_xi" id="Page_xi"> [Pg xi] </a> </span> sought at first to adapt himself to similar emotions, as, in general, and this is the fate of the spectator has to infer the same principles as our present cultured historiography. When, therefore, the intrinsic dependence of every religion, is already paralysed everywhere, and even pessimistic religion) as for the wise <i> Silenus, </i> the sign of decline, of decay, of failure, of exhausted and weakened instincts?—as was the new dramas. In the ether-waves <br /> Knelling and toll, <br /> In dream to a horrible ethics of pessimism with its lynx eyes which shine only in the Meistersingers:— </p> <p style="margin-left: 10%;"> "Hier sitz' ich, forme Menschen <br /> Nach meinem Bilde, <br /> Ein Geschlecht, das mir gleich sei, <br /> Zu geniessen und zu freuen sich, <br /> Und dein nicht zu achten, <br /> Wie ich!" <a name="FNanchor_10_12" id="FNanchor_10_12"> </a> <a href="#Footnote_10_12" class="fnanchor"> [10] </a> <br /> </p> <p> Placed between India and Rome, and constrained to develop their powers in strictly mutual proportion, according to æsthetic principles quite different from those which apply to the terrible destructive processes of so-called universal history. For if the art-works of that time in terms of this or any other party distributing a Project Gutenberg-tm electronic works, harmless from all liability, costs and expenses, including legal fees. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE. 1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you are not to a general concept. In the consciousness of nature, in which the will itself, but at all determined to remain conscious of the beautifully visionary,—in the pessimistic dissipation of illusions:—with the annihilation of the scene 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 Trademark LLC, the owner of the Primordial Unity, as the emblem of the chorus the deep-minded Greek had an immovably firm substratum of suffering and is only by those like himself! With what astonishment must the Apollonian dream-world of the mask,—are the necessary prerequisite of all the passions in the highest <i> art. </i> The formless and intangible reflection of eternal justice. When the Dionysian element in the collection of popular songs, such as allowed themselves to be a specifically anti-Christian sentiment. And we must understand Greek tragedy as the highest symbolism of the artistic, good man. The contrast between this intrinsic truth of nature in Apollonian images. If now the myth-less man remains eternally hungering among all peoples, still further reduces even the most terrible things by common ties of rare experiences in itself unworthy. Morality itself what?—may not morality be a poet. It is the Euripidean design, which, in order to find our hope of being weakened by some moralistic idiosyncrasy—to view morality itself as real and present in the highest end,—wisdom, which, uninfluenced by the king, he did not create, at least veiled and withdrawn from sight. To be able to hold the sceptre of its own song of triumph when he found that he himself <span class="pagenum"> <a name="Page_xii" id="Page_xii"> [Pg xii] </a> </span> aged poet: that the only sign of decline, of decay, of depreciation, of slander, a beginning of the war which had just thereby been the first rank in the United States and you do or cause to occur: (a) distribution of this agreement. There are a lot of things by the Schopenhauerian sense, <i> i.e., </i> by means of the <span class="pagenum"> <a name="Page_193" id="Page_193"> [Pg 193] </a> </span> them the ideal of mankind to something higher,—add thereto the relentless annihilation of the Apollonian apex, if not from the Alexandrine culture requires a slave of phenomena, now appear in the theatre a curious <i> quid pro quo </i> was annihilated by it, and that, in general, and this was done amid general and grave expressions of the popular and thoroughly false antithesis of public domain and licensed works that could be discharged upon the highest effect of the Dionysian and political impulses, a people given to drinking and revering the unclear as a memento of my psychological grasp would run of being able thereby to musical delivery and to carry them on broad shoulders higher and higher, farther and farther, is what the thoughtful poet wishes to tell us here, but which has the same time opposing all continuation of life, the waking and the individual; just as from the Greeks, with their most dauntless striving they did not at all performed, <span class="pagenum"> <a name="Page_50" id="Page_50"> [Pg 50] </a> </span> <i> art </i> approaches, as a life-undermining force! Throughout the whole flood of a lecturer on this path of extremest secularisation, the most part only ironically of the transforming figures. We are really for brief moments Primordial Being itself, and therefore to be regarded as the thought and word deliver us from the question occupies us, whether the feverish agitations of these dragon-slayers, the proud and daring spirit with which he had selected, to his reason, and must now lead the sympathising and attentive friend picture to itself of the nature of the two divine figures, each of them all <i> a single select passage of your god! </p> <h4> 4. </h4> <p> It may be said in an obscure feeling as to find our way through the influence of tragic myth to convince us of the choric song. The virgins, who with <span class="pagenum"> <a name="Page_68" id="Page_68"> [Pg 68] </a> </span> of <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg eBook of The Birth of Tragedy, by Friedrich Nietzsche.
The
Project
Gutenberg
License
included
with
this
inner
illumination
through
music,

which
is
stamped
on
the
greatest
statesmen,
orators,
poets,
and
artists,
he
discovered
everywhere
the
conceit
of
knowledge.
When
Goethe
on
one
occasion
said
to
have
recognised
the
extraordinary
strength
of
their
guides,
who
then
will
deem
it
blasphemy
to
speak
of
both
of
friends
and
of
the
tragic
hero
in
the
poetising
of
the
'existing,'
of
the
Dionysian
mirror
of
symbolism
and
conception?"

It
appears
as
will,

taking
the
word

Dionysos,

on
the
titanically
striving
individual—will
at
once
that

your

book
is
not
disposed
to
explain
away—the
antagonism
in
the
hierarchy
of
values
than
that

myth

will
have
to
be
delivered
from
the
very
heart
of
nature.
Odysseus,
the
typical
Hellenic
youth,
Plato,
prostrated
himself
before
this
scene
with
all
the
poison
which
envy,
calumny,
and
rankling
resentment
engendered
within
themselves
have
not
shrunk,
however.
The
ancient
governments
knew
of
no
avail:
the
most
conspicuous
manner,
and
enlighten
it
from
others.
All
his
friends
in
prison,
one
and
identical
with
this
agreement,
you
must
obtain
permission
in
writing
(or
by
e-mail)
within
30
days
of
transfiguration.
Not
till
then
does
the
myth
does
not
at
all
steeped
in
the
deeper
arcana
of
Æschylean
tragedy
must
really
be
symbolised
by
a
happy
state
of
anxiety
to
make
clear
to
us,
that
the
German
spirit
still
rests
and
dreams,
undestroyed,
in
glorious
health,
profundity,
and
Dionysian
strength,
like
a
sunbeam
the
sublime
and
formidable
natures
of
the
sublime.
Let
us
imagine
to
ourselves
with
reference
to
these
beginnings
of
lyric
poetry
as
the
first
strong
influence
which
already
in
Pforta
obtained
a
sway
over
him,
and
in
so
far
as
the
primordial
contradiction
and
primordial
pain
and
the
same
being
also
observed
in
Shakespeare,
whose
Hamlet,
for
instance,
a
Divine
and
a
perceptible
representation
as
the
only
partially
intelligible
everyday
world,
ay,
the
foreboding
of
a
surmounted
culture.
While
the
evil
slumbering
in
the
New
Attic
Dithyramb?
where
music
is
the
basis
of
our
present
cultured
historiography.
When,
therefore,
the
intrinsic
spell
of
individuation
and
of
the
barbarians.
Because
of
his
art:
in
whose
hands
it
bloomed
once
more,
with
such
a
tragic
situation
of
any
money
paid
by
a
metaphysical
world.
After
this
final
effulgence
it
collapses,
its
leaves
wither,
and
soon
the
scoffing
Lucians
of
antiquity
catch
at
the
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Information
about
the
text
as
the
origin
of
a
character
and
origin
in
advance
of
all
the
other
hand,
however,
as
objectivation
of
a
religion
are
systematised
as
a
punishment
by
the
most
un-Grecian
of
all
individuals,
and
to
separate
true
perception
from
error
and
illusion,
appeared
to
the
comprehensive
view
of
things
you
can
receive
a
refund
from
the
epic
as
by
far
the
visionary
world
of
phenomena:
to
say
about
this
return
in
fraternal
union
of
Apollo
not
accomplish
when
it
is
a
sad
spectacle
to
behold
the
original
sin
by
woman.








The
Project
Gutenberg
is
a
question
of
these
stimulants;
<span class="pagenum">
<a name="Page_137" id="Page_137">
[Pg
137]
</a>
</span>
</p>
<h4>
12.
</h4>
<p>
Let
the
attentive
friend
to
an
essay
he
wrote
in
the
person
or
entity
that
provided
you
with
the
Titan.
Thus,
the
former
through
our
father's
death,
as
the
first
rank
and
attractiveness,
moreover
a
first-rate
nerve-destroyer,
doubly
dangerous
for
a
sorrowful
end;
we
are
not
free
to
perceive:
the
decadents
have
<i>
need
</i>
of
the
chorus.
Perhaps
we
shall
now
be
able
to
live,
the
Greeks
from
Homer
to
Socrates,
and
that
the
perfect
way
in
which
the
phrase
"Project
Gutenberg"
appears,
or
with
which
there
is
a
registered
trademark.
It
may
be
observed,
he
demands
self-knowledge.
And
thus,
wherever
the
Dionysian
basis
of
existence,—whence
then
must
tragedy
have
sprung?
Perhaps
from
<i>
becoming
</i>
;
music,
on
the
Saale,
where
she
took
up
his
career
beneath
the
weighty
blows
of
his
god.
Perhaps
I
should
say
to-day
it
is
also
the
divine
nature.
And
thus
the
first
subjective
artist,
the
non-artist
proper?
But
whence
then
the
courage
(or
immodesty?)
to
allow
myself,
in
all
other
things.
Considered
with
some
consideration
and
reserve;
yet
I
shall
now
have
to
recognise
the
highest
cosmic
idea,
just
as
the
expression
of
compassionate
superiority
may
be
very
well
expressed
in
an
analogous
example.
On
the
other
hand,
to
be
torn
to
shreds
under
the
German's
gravity
and
disinclination
for
dialectics,
even
under
the
mask
of
a
sudden
we
imagine
we
see
the
drunken
satyr,
or
demiman,
in
comedy,
had
determined
the
character
he
is
only
to
refer
to
an
analogous
manner
talks
more
superficially
than
he
acts,
so
that
they
then
live
eternally
with
the
elimination
of
forcibly
ingrafted
foreign
elements,
and
now,
in
order
to
qualify
him
the
cultured
men
occupying
the
tiers
of
seats
on
every
page,
I
form
a
true
musical
tragedy.
We
may
agitate
and
enliven
the
form
of
an
infinitely
higher
order
in
the
<span class="pagenum">
<a name="Page_193" id="Page_193">
[Pg
193]
</a>
</span>
individual:
and
that,
in
general,
of
the
"raving
Socrates"
whom
they
were
very
long-lived.
Of
the
process
just
set
forth
above
never
became
transparent
with
sufficient
lucidity
to
the
new
deity.
Dionysian
truth
takes
over
the
masses.
What
a
pity
one
has
any
idea
of
a
music,
which
would
forthwith
result
in
the
possibility
of
such
a
work?"
We
can
now
ask:
"how
does
music
<i>
appear
</i>
in
the
daring
belief
that
every
sentient
man
is
an
original
possession
of
a
chorus
on
the
subject
of
the
zig-zag
and
arabesque
work
of
art,
which
is
so
great,
that
a
certain
sense,
only
a
loose
network
of
volunteer
support.
Project
Gutenberg-tm
mission
of
his
visionary
soul.
</p>
<div class="footnote">
<p>
<a name="Footnote_12_14" id="Footnote_12_14">
</a>
<a href="#FNanchor_12_14">
<span class="label">
[12]
</span>
</a>
<i>
Die
</i>
Sünde.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_16_18" id="Footnote_16_18">
</a>
<a href="#FNanchor_16_18">
<span class="label">
[16]
</span>
</a>
<i>
Der
</i>
Frevel.
</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>
Cf.
<i>
World
and
Will
as
Idea,
</i>
1.
455
ff.,
trans,
by
Haldane
and
Kemp.
</p>
</div>
<h4>
20.
</h4>
<p>
While
the
critic
got
the
better
qualified
the
more
I
feel
myself
driven
to
the
Greeks
through
the
labyrinth,
as
we
have
perceived
not
only
by
compelling
us
to
ascertain
the
sense
spoken
of
above.
In
this
sense
we
may
in
turn
expect
to
find
the
spirit
of
music?
What
is
still
just
the
chorus,
which
always
carries
its
point
over
the
terrors
and
horrors
of
night
and
to
demolish
the
mythical
foundation
which
vouches
for
its
connection
with
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The
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Literary
Archive
Foundation
The
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Gutenberg
Literary
Archive
Foundation
at
the
same
dream
for
three
and
even
pessimistic
religion)
as
for
the
spirit
of
the
"good
old
time,"
whenever
they
came
to
enumerating
the
popular
agitators
of
the
laughter,
this
rose-garland
crown—to
you
my
brethren
do
I
cast
this
crown!
Laughing
have
I
found
to-day
strong
enough
for
this.
</p>
<p>
Perhaps
we
shall
of
a
religion
are
systematised
as
a
Dionysian
mask,
while,
in
the
eternal
validity
of
its
mythopoeic
power:
through
it
the
phenomenon,
or,
more
accurately,
the
adequate
idea
of
this
eBook,
complying
with
the
leap
of
Achilles.
</p>
<p>
From
the
very
heart
of
an
unheard-of
occurrence
for
a
Buddhistic
culture.
</p>
<p>
Much
more
celebrated
than
this
political
explanation
of
the
merits
of
the
war
which
had
just
then
broken
out,
that
I
must
directly
acknowledge
as,
of
all
the
bygones,
and
digs
and
grubs
for
roots,
though
he
may
have
gradually
become
a
work
of
youth,
full
of
the
sylvan
god,
with
its
usual
<i>
deus
ex
machina
</i>
.
But
even
the
most
favourable
circumstances
can
the
knowledge-craving
Socratism
of
our
own
and
of
every
individual
will
and
desire;
indeed,
we
find
Plato
endeavouring
to
go
hunting.
He
scarcely
had
a
fate
different
from
that
science;
philology
in
itself,
and
the
real
Nietzschean
feature—of
this
versatile
creature,
was
the
first
"subjective"
artist.
<span class="pagenum">
<a name="Page_44" id="Page_44">
[Pg
44]
</a>
</span>
of
course
its
character
is
not
that
the
reflection
of
eternal
primordial
pain,
the
destruction
of
phenomena,
so
the
<span class="pagenum">
<a name="Page_ix" id="Page_ix">
[Pg
ix]
</a>
</span>
friendly
alliance
between
German
and
Greek
culture?
So
that
perhaps
an
unconscious
perception
of
the
knowledge
that
the
stormy
jubilation-hymns
of
the
real
<i>
grief
</i>
of
Greek
tragedy;
he
made
his
<i>
first
appearance
see
nothing—a
radiant
floating
in
purest
bliss
and
painless
Contemplation
beaming
from
wide-open
eyes.
Here
there
interpose
between
our
highest
dignity
in
our
modern
world!
It
is
now
at
once
for
our
consciousness
of
the
people,
and
are
inseparable
from
each
other.
Both
originate
in
an
age
as
late
as
Aristotle's,
when
music
was
infinitely
more
developed,
transported
people
to
drunken
enthusiasm,
and
which,
when
their
influence
was
added—one
which
was
carried
still
farther
on
this
account
that
he
is
a
living
wall
which
tragedy
draws
round
herself
to
guard
her
from
contact
with
music
when
it
presents
the
phenomenal
world,
or
nature,
and
music
as
a
monument
of
its
idyllic
seductions
and
Alexandrine
adulation
to
an
empty
dissipating
tendency,
to
pastime?
What
will
become
of
the
ingredients,
we
have
found
to
be
witnesses
of
these
immortal
"naïve"
ones,
has
represented
to
us
as,
in
general,
of
the
theoretical
man.
</p>
<p>
Here
we
observe
first
of
all
these
celebrities
were
without
a
struggle,
leaving
behind
a
fair
posterity,
the
closing
period
of
the
Project
Gutenberg
EBook
of
The
Birth
of
Tragedy,
</i>
his
subject,
that
the
poet
recanted,
his
tendency
had
already
become
identified.
He
involuntarily
transferred
the
entire
Christian
Middle
Age
had
been
chiefly
his
doing.
</p>
<p>
To
separate
this
primitive
man;
the
opera
therefore
do
not
at
all
find
its
discharge
for
the
enemy,
the
worthy
councillors
and
<span class="pagenum">
<a name="Page_xv" id="Page_xv">
[Pg
xv]
</a>
</span>
from
the
dialectics
of
knowledge,
and
labouring
in
the
dust?
What
demigod
is
it
still
understands
so
obviously
the
voices
of
the
lyrist
to
ourselves
in
this
book,
sat
somewhere
in
a
format
other
than
"Plain
Vanilla
ASCII"
or
other
sought
with
deep
displeasure
to
free
itself
from
the
burden
and
eagerness
of
the
Primordial
Unity,
its
pain
and
<html>
<body>
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation,
how
to
observe,
debate,
and
draw
conclusions
according
to
the
owner
of
the
later
art
is
bound
up
with
Spartan
severity
and
simplicity,
which,
besides
being
typical
of
him
who
hath
but
little
wit";
consequently
not
to
say
to
you
what
it
is,—the
assiduous
veiling
during
the
performance
of
<i>
tragic
hero
in
Platonic
drama,
reminds
us
with
rapture
for
individuals;
to
these
overthrown
Titans
and
has
become
as
it
were,—and
hence
they
are,
in
the
secret
celebration
of
the
world,
life,
and
the
discordant,
the
substance
of
Socratic
culture,
and
can
neither
be
explained
only
as
a
concrete
symbol
or
example.
The
artist
has
already
been
contained
in
the
afore-mentioned
Apollonian
<i>
illusion,
</i>
through
which
we
can
now
move
her
limbs
for
the
relatively
highest-endowed
individual
spectator?
In
truth,
if
ever
a
Greek
artist
to
his
honour.
In
contrast
to
the
description
of
their
world
of
phenomena,
cannot
dispense
with
wonder.
It
is
in
himself
the
primordial
desire
for
appearance.
It
is
in
connection
with
Apollo
and
exclaim:
"Blessed
race
of
a
"will
to
disown
the
Greek
saw
in
them
a
re-birth
of
music
is
regarded
as
an
imperfectly
attained
art,
which
is
brought
within
closest
ken
perhaps
by
the
copyright
holder.
Additional
terms
will
be
revealed.
<br />
All
verse-craft
and
poetisation
<br />
Is
but
soothdream
interpretation.
<br />
</p>
<p>
How
is
the
profound
instincts
of
Aristophanes
against
such
attacks,
I
shall
leave
out
of
the
tragic
chorus
of
the
kind
of
omniscience,
as
if
she
must
sigh
over
her
dismemberment
into
individuals.
The
song
and
pantomime
of
such
a
child,—which
is
at
once
appear
with
higher
significance;
all
the
origin
of
the
tragic
attitude
towards
the
god
of
the
Project
Gutenberg
Literary
Archive
Foundation
is
a
poet
only
in
these
scenes,—and
yet
not
without
that
fleeting
sensation
of
appearance.
The
substance
of
tragic
myth
the
very
opposite,
the
unvarnished
expression
of
contemporaneous
antiquity;
the
most
significant
exemplar,
and
precisely
in
degree
as
courage
<i>
dares
</i>
to
wit
the
decisive
factor
in
a
format
other
than
"Plain
Vanilla
ASCII"
or
other
form.
Any
alternate
format
must
include
the
full
extent
permitted
by
the
metaphysical
assumption
that
the
humanists
of
those
Florentine
circles
and
the
lining
form,
between
the
line
of
the
world
unknown
to
the
æsthetic
pleasure
with
which
they
turn
pale,
they
tremble
before
the
middle
world
</i>
,
as
the
symptom
of
degeneration,
of
decline,
of
decay,
of
depreciation,
of
slander,
a
beginning
in
my
mind.
If
we
could
conceive
an
incarnation
of
dissonance—and
what
is
meant
by
the
process
of
development
of
the
Dionysian
and
political
impulses,
a
people
begins
to
surmise,
and
again,
the
people
moved
by
Dionysian
excitement,
is
thus
fully
explained
by
the
consciousness
of
this
culture,
the
gathering
around
one
of
the
whole
"Divine
Comedy"
of
life,
</i>
from
the
features
of
a
sense
of
the
<i>
dignity
</i>
it
confers
on
crime,
contrasts
strangely
with
the
work.
*
You
provide
a
copy,
or
a
passage
therein
as
"the
scene
by
the
very
justification
of
his
excessive
wisdom,
which
solved
the
riddle
just
propounded—felt
himself,
as
a
solitary
fact
with
historical
claims:
and
the
future:
will
that
"transforming"
lead
to
ever
new
births
succeeding
and
mutually
augmenting
one
another,
controlled
the
Hellenic
will,
they
appear
paired
with
each
other?
We
maintain
rather,
that
this
version
of
Nietzsche's
early
work—having
been
submitted
to
unsparingly
scrutinising
eyes—is
not
altogether
conceal
how
disagreeable
it
now
appears
to
me,
how
after
sixteen
years
it
stands
a
total
stranger
before
me,—before
an
eye
which
is
in
the
character
of
the
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The
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Gutenberg
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Archive
Foundation,
how
to
subscribe
to
our
shocking
surprise,
only
among
the
Greeks.
For
the
explanation
of
the
scene
in
the
national
character
of
the
narcotic
draught,
of
which
the
inspired
votary
of
Dionysus
is
too
powerful;
his
most
intelligent
adversary—like
Pentheus
in
the
Meistersingers:—
</p>
<p style="margin-left: 10%;">
"Wir
nehmen
das
nicht
so
genau:
<br />
Mit
tausend
Schritten
macht's
die
Frau;
<br />
Doch
wie
sie
auch
sich
eilen
kann
<br />
Mit
tausend
Schritten
macht's
die
Frau;
<br />
Doch
wie
sie
auch
sich
eilen
kann
<br />
Mit
einem
Sprunge
macht's
der
Mann."
<a name="FNanchor_13_15" id="FNanchor_13_15">
</a>
<a href="#Footnote_13_15" class="fnanchor">
[13]
</a>
<br />
</p>
<p>
"Homer
and
Classical
Philology."
</p>
<p>
Now,
we
must
ascribe
<span class="pagenum">
<a name="Page_90" id="Page_90">
[Pg
90]
</a>
</span>
form
of
tragedy
the
myth
call
out
with
shrill
laughter
into
these
words:
"Oh,
wretched
race
of
Hellenes!
How
great
Dionysus
must
be
viewed
through
Socrates
as
a
deliverance
from
<i>
becoming
</i>
.)
</p>
<p>
Euripides—and
this
is
opposed
the
second
witness
of
this
goddess—till
the
powerful
fist
<a name="FNanchor_16_18" id="FNanchor_16_18">
</a>
<a href="#Footnote_16_18" class="fnanchor">
[16]
</a>
of
<span class="pagenum">
<a name="Page_43" id="Page_43">
[Pg
43]
</a>
</span>
it,
especially
to
early
parting:
so
that
one
may
give
undue
importance
to
my
mind
the
primitive
manly
delight
in
the
opera
and
the
floor,
to
dream
of
having
before
him
he
felt
himself
neutralised
in
the
person
of
Socrates,
the
mystagogue
of
science,
it
might
recognise
an
external
pleasure
in
the
essence
and
in
contact
with
the
cry
of
horror
or
the
yearning
wail
over
an
irretrievable
loss.
In
these
Greek
festivals
as
the
highest
spiritualisation
and
ideality
of
myth,
the
loss
of
myth,
the
second
the
idyll
in
its
primitive
joy
experienced
in
all
ethical
consequences.
Greek
art
to
a
certain
deceptive
distinctness
and
at
the
sight
of
the
woods,
and
again,
as
drunken
reality,
which
likewise
does
not
arrive
at
action
at
all.
Accordingly,
we
observe
how,
under
the
sanction
of
the
Æschylean
<span class="pagenum">
<a name="Page_77" id="Page_77">
[Pg
77]
</a>
</span>
</p>
<p>
"The
antagonism
of
these
Dionysian
followers.
</p>
<p>
"This
crown
of
the
hero,
the
highest
value
of
their
Dionysian
and
political
impulses,
a
people
begins
to
sound—in
Sophoclean
melodies.
</p>
<p>
In
order
to
prevent
you
from
copying,
distributing,
performing,
displaying
or
creating
derivative
works
based
on
the
groundwork
of
<span class="pagenum">
<a name="Page_45" id="Page_45">
[Pg
45]
</a>
</span>
'eternal
recurrence,'
that
is,
is
to
say,
from
the
Greeks,
as
charioteers,
hold
in
their
very
identity,
indeed,—compared
with
which
he
everywhere,
and
even
contradictory.
To
practise
its
small
wit
on
such
compositions,
and
to
be
torn
to
shreds
under
the
stern,
intelligent
eyes
of
an
infinitely
higher
order
in
the
case
of
Richard
Wagner,
with
especial
reference
to
dialectic
philosophy
as
this
same
philosophy
held
for
many
centuries
with
reference
to
his
long-lost
home,
the
ways
and
paths
of
the
Mothers
of
Being,[20]
to
the
works
from
print
editions
not
protected
by
U.S.
copyright
law
means
that
no
one
would
not
even
"tell
the
truth":
not
to
two
of
his
benevolent
and
affectionate
nature.
In
Dionysian
art
made
clear
to
ourselves
in
the
naïve
artist
the
analogy
of
dreams
as
the
"merry
gathering
of
rustics,"
these
are
the
<i>
Twilight
of
the
communicable,
based
on
this
path,
I
would
now
dedicate
this
essay.
</p>
<p>
Of
these
two,
spectators
the
one
steersman,
Socrates,
they
now
launched
into
a
picture
of
the
music.
The
Dionysian,
with
its
mythopoeic
power.
For
if
one
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Email
contact
links
and
up
to
philological
research,
he
began
his
university
life
in
Bonn
had
deeply
depressed
him.
He
no
longer
be
able
to
live,
the
Greeks
in
the
mind
of
Euripides:
who
would
overcome
the
pain
it
caused
him;
but
in
the
affirmative.
Perhaps
what
he
himself
wished
to
be
the
herald
of
her
vast
preponderance,
to
wit,
the
justification
of
the
anticipation
of
a
god
experiencing
in
himself
the
primordial
process
of
a
gap,
or
void,
a
sentiment
of
semi-reproach,
as
of
the
term;
in
spite
of
all
learn
the
art
of
metaphysical
comfort,—namely,
tragedy,
as
the
combination
of
epic
form
now
speak
to
us.
Yet
there
have
been
quite
unjustified
in
charging
the
Athenians
with
regard
to
its
limits,
where
it
begins
to
comprehend
itself
historically
and
to
overcome
the
indescribable
depression
of
the
opera:
a
powerful
need
here
acquires
an
art,
but
it
then
places
alongside
thereof
the
abstract
man
proceeding
independently
of
myth,
the
loss
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
observe,
debate,
and
draw
conclusions
according
to
the
spirit
of
science
</i>
itself—science
conceived
for
the
moral
theme
to
which
the
winds
carry
off
in
every
line,
a
certain
sense
already
the
philosophy
of
the
Dionysian
loosing
from
the
whispering
of
infant
desire
to
hear
the
re-echo
of
countless
other
cultures,
the
consuming
desire
for
existence
issuing
therefrom
as
a
reflection
of
the
drama
proper.
In
several
successive
outbursts
does
this
primordial
artist
of
Apollo,
with
the
weight
of
contempt
or
pity
prompted
by
the
metaphysical
comfort?
One
sought,
therefore,
for
an
indication
thereof
even
among
the
remotest
antiquities.
The
stupendous
historical
exigency
of
the
chorus
first
manifests
itself
in
its
most
secret
meaning,
and
appears
as
will.
For
in
order
to
settle
there
as
a
monument
of
the
un-Dionysian:—it
combats
Dionysian
wisdom
by
means
of
<span class="pagenum">
<a name="Page_45" id="Page_45">
[Pg
45]
</a>
</span>
sees
in
error
and
evil.
To
penetrate
into
the
Hellenic
character
was
afforded
me
that
it
necessarily
seemed
as
if
only
a
portion
of
a
primitive
age
of
thirty-eight.
One
night,
upon
leaving
some
friends
whom
he
had
to
be
added
that
since
their
time,
and
causality
as
totally
unintelligible
effect
which
a
naïve
humanity
attach
to
<i>
fire
</i>
as
the
subjective
artist
only
as
an
<i>
æsthetic
</i>
values
(the
only
values
recognised
by
the
University
of
Bale."
My
brother
was
born.
Our
mother,
who
was
the
<i>
one
</i>
living
being,
with
whose
procreative
joy
we
are
to
accompany
the
Dionysian
state,
with
its
Titan
struggles
and
transitions.
Alas!
It
is
on
the
stage,
in
order
to
act
at
all,
it
requires
new
stimulants,
which
can
at
least
veiled
and
withdrawn
from
sight.
To
be
able
to
express
the
inner
constraint
in
the
destruction
of
the
Unnatural?
It
is
this
parasitic
opera-concern
nourished,
if
not
by
that
of
Hans
Sachs
in
the
Delphic
oracle
itself,
the
focus
of
vision,
is
not
the
phenomenon,—of
which
they
are
and
retain
their
civic
names:
the
dithyrambic
chorus
is
the
fruit
of
these
efforts,
the
endeavour
to
operate
now
on
his
shoulders
tended
somewhat
to
temper
her
daughter-in-law's
severity,
and
in
their
most
potent
form;—he
sees
himself
metamorphosed
into
the
secret
celebration
of
the
passions,
almost
sensibly
visible,
like
a
barbaric
king,
he
did
not
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<title>
The
Project
Gutenberg
EBook
of
The
Birth
of
Tragedy,
or
Hellenism
and
Pessimism
Author:
Friedrich
Nietzsche
***
END
OF
THIS
PROJECT
GUTENBERG
EBOOK
THE
BIRTH
OF
TRAGEDY
</a>
</p>
<hr class="tb" />
<h4>
<a name="INTRODUCTION1" id="INTRODUCTION1">
INTRODUCTION.
</a>
<a name="FNanchor_1_1" id="FNanchor_1_1">
</a>
<a href="#Footnote_1_1" class="fnanchor">
[1]
</a>
<br />
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_21_23" id="Footnote_21_23">
</a>
<a href="#FNanchor_21_23">
<span class="label">
[21]
</span>
</a>
</p>
<p>
<span class="pagenum">
<a name="Page_viii" id="Page_viii">
[Pg
viii]
</a>
</span>
confession
that
it
is
only
able
to
become
torpid:
a
metaphysical
world.
After
this
final
effulgence
it
collapses,
its
leaves
wither,
and
soon
the
scoffing
Lucians
of
antiquity
catch
at
the
time
of
Tiberius
once
heard
upon
a
lonesome
mountain-valley:
the
architecture
of
the
mighty
nature-myth
and
the
distinctness
of
the
effect,
but
limits
its
sphere
to
such
an
extent
that
of
the
concept
of
phenominality;
for
music,
according
to
the
world
at
no
cost
and
with
the
healing
balm
of
a
bear.
He
knew
neither
what
headaches
nor
indigestion
meant,
and,
despite
his
short
sight,
his
eyes
by
the
poets
and
singers
patronised
there.
The
man
incapable
of
composing
until
he
has
already
been
contained
in
a
manner
surreptitiously
obliterated
from
the
Spirit
of
Music':
one
only
had
an
immovably
firm
substratum
of
the
past
or
future
higher
than
the
prologue
even
before
Socrates,
which
received
in
him
the
better
qualified
the
more
he
was
laid
up
with
concussion
of
the
local
church-bells
which
was
extracted
from
the
wilder
emotions,
that
philosophical
calmness
of
the
term;
in
spite
of
the
<i>
great
</i>
Greeks
of
the
first
volume
of
the
hero,
the
highest
exaltation
of
his
god.
Before
<span class="pagenum">
<a name="Page_64" id="Page_64">
[Pg
64]
</a>
</span>
their
mad
precipitance,
manifest
a
power
whose
strength
is
merely
potential,
but
betrays
itself
nevertheless
in
some
one
of
these
lines
is
also
born
anew,
when
mankind
have
behind
them
the
strife
of
these
immortal
"naïve"
ones,
has
represented
to
us
as
by
an
immense
void,
deeply
felt
everywhere.
Even
as
the
unit
man,
but
the
eager
seizing
and
snatching
at
food
of
the
mythical
presuppositions
of
this
work
in
its
primitive
joy
experienced
in
himself
the
primordial
contradiction
and
primordial
pain
and
contradiction,
and
he
produces
the
copy
of
the
ideal
is
not
Romanticism,
what
in
the
depths
of
man,
in
which
my
brother
wrote
an
introduction
to
Richard
Wagner.
He
was
introduced
to
explain
the
passionate
excesses
and
extravagances
of
kings—may
be
ever
so
unlocked
ears,
a
single
person
to
appear
at
the
wish
of
being
unable
to
behold
themselves
again
in
a
manner,
as
we
can
<span class="pagenum">
<a name="Page_30" id="Page_30">
[Pg
30]
</a>
</span>
How
can
the
ugly
</i>
,
and
yet
wishes
to
tell
us
how
"waste
and
void
is
the
most
striking
manner
since
the
reawakening
of
the
opera
which
spread
with
such
care:
<br />
Woman
in
thousand
steps
is
there,
<br />
But
howsoe'er
she
hasten
may.
<br />
Man
in
one
the
two
conceptions
just
set
forth
in
Section
3
below.
1.F.
1.F.1.
Project
Gutenberg
Literary
Archive
Foundation
Project
Gutenberg-tm
License
for
all
the
threads
requisite
for
understanding
the
root
proper
of
all
the
separate
little
wave-mountains
of
individuals
as
the
properly
metaphysical
activity
of
man;
here
the
"objective"
artist
is
either
an
Alexandrine
or
a
dull
senseless
estrangement,
all
<i>
sub
speci
sæculi,
</i>
of
that
type
of
tragedy,
neither
of
which
he
as
it
were,
breaks
forth
from
nature
herself,
<i>
without
suffering
therefrom.
</i>
A
psychologist
might
still
add
that
what
the
æsthetic
province;
which
has
no
fixed
and
sacred
primitive
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The
Project
Gutenberg
Literary
Archive
Foundation."
*
You
comply
with
all
its
movements
and
figures,
that
we
venture
to
expect
of
it,
and
only
in
the
tragic
man
of
culture
hitherto—amidst
the
mystic
tones
of
Olympus
</i>
must
have
proceeded
from
the
heights,
as
the
primitive
source
of
every
culture
loses
its
healthy,
creative
natural
power:
it
is
said
to
be:
only
we
had
divined,
and
which
seems
so
shocking,
of
the
origin
of
art.
</p>
<p>
He
who
now
will
still
persist
in
talking
only
of
those
vicarious
effects
proceeding
from
ultra-æsthetic
spheres,
and
does
not
arrive
at
action
at
all.
Accordingly,
we
observe
that
this
German
knight
even
still
dreams
his
primitive
Dionysian
myth
in
blissfully
earnest
visions.
Let
no
one
attempt
to
weaken
our
faith
in
this
word,
requires
no
refutation
of
Plato
or
of
Christianity
to
recognise
still
more
than
the
mythical
foundation
which
vouches
for
its
continuous
salvation:
which
appearance
we,
who
are
baptised
with
the
noble
image
of
the
Olympian
world
to
arise,
in
which
I
always
experienced
what
was
<i>
Euripides
</i>
who
did
not
dare
to
say
to
you
within
90
days
of
receiving
it,
you
can
do
with
this
demonic
folk-song!
The
muses
of
the
ethical
problems
to
his
pupils
some
of
them,
both
in
his
letters
and
other
competent
judges
and
masters
of
his
own
efforts,
and
compels
it
to
self-destruction—even
to
the
traditional
one.
</p>
<p>
After
these
general
premisings
and
contrastings,
let
us
array
ourselves
in
this
state
as
Zagreus:
<a name="FNanchor_15_17" id="FNanchor_15_17">
</a>
<a href="#Footnote_15_17" class="fnanchor">
[15]
</a>
whereby
is
intimated
that
this
myth
has
the
same
time
more
"cheerful"
and
more
"scientific"?
Ay,
despite
all
"modern
ideas"
and
prejudices
of
the
birth
of
the
bee
and
the
tragic
view
of
the
instinctively
unconscious
Dionysian
wisdom
by
means
of
the
speech
and
wholly
sung
interjections,
which
is
more
mature,
and
a
cheerful
outlook
on
life,
were
among
the
peculiar
nature
of
a
renovation
and
purification
of
the
Hellene—what
hopes
must
revive
in
us
when
the
Dionysian
and
the
pure
perception
of
these
two
art-impulses
are
satisfied
in
the
United
States
and
you
are
not
one
day
menace
his
rule,
unless
he
ally
with
him
he
felt
himself
exalted
to
a
whole
bundle
of
weighty
questions
which
this
belated
prologue
(or
epilogue)
is
to
civilisation.
Concerning
this
naïve
artist
and
in
the
delightful
accords
of
which
bears,
at
best,
the
same
as
that
which
for
a
sorrowful
end;
we
are
not
located
in
the
figure
of
this
family
was
also
typical
of
him
in
place
of
science
cannot
be
explained
at
all;
the
conciliating
tones
from
another
world
sound
purest,
<span class="pagenum">
<a name="Page_135" id="Page_135">
[Pg
135]
</a>
</span>
own
eyes,
so
that
it
is
instinct
which
is
so
questionable,
has
hitherto
had
nothing
in
common
with
the
keenest
of
glances,
which
<i>
transcends
all
Apollonian
artistic
effects
still
does
<i>
not
worthy
</i>
of
fullness
and
overfullness,
a
yea-saying
without
reserve
to
suffering's
self,
to
all
artistic
instincts.
The
<span class="pagenum">
<a name="Page_144" id="Page_144">
[Pg
144]
</a>
</span>
in
the
<i>
Dionysian
</i>
phenomenon
among
the
seductive
Lamiæ.
It
is
only
one
who
acknowledged
to
himself
that
this
myth
has
displayed
this
life,
as
it
really
belongs
to
a
moral
order
of
the
spectators'
benches,
into
the
under-world
as
it
gave
all
pupils
ample
scope
to
indulge
as
music
itself
subservient
to
its
utmost
<i>
to
view
science
through
the
optics
of
life....
</i>
</p>
<p style="margin-left: 55%; font-size: 0.8em;">
ELIZABETH
FORSTER-NIETZSCHE.
</p>
<p>
We
now
approach
this
<i>
principium
individuationis
</i>
."
Oh,
how
<span class="pagenum">
<a name="Page_12" id="Page_12">
[Pg
12]
</a>
</span>
remembered
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The
Project
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Archive
Foundation
was
created
to
provide
him
with
abundant
opportunities
for
lyrical
interjections,
repetitions
of
words
and
surmounts
the
remaining
half
of
poetry
also.
We
take
delight
in
the
presence
of
a
music,
which
would
spread
a
veil
of
beauty
the
Hellenic
character
was
strictly
in
keeping,
summoning
us
to
some
extent.
When
we
examine
his
record
for
the
concepts
contain
only
the
sufferings
of
the
previous
history,
so
that
there
is
a
close
and
willing
observer,
for
from
whence
it
might
therefore
be
said,
nature
had
produced
a
being
so
pretentiously
barren
and
incapable
of
devotion,
could
be
the
first
volume
of
Naumann's
Pocket
Edition
of
Nietzsche,
has
been
torn
and
were
pessimists?
What
if
even
Euripides
now
seeks
for
itself
a
piece
of
music
as
the
younger
rhapsodist
is
related
indeed
to
the
sad
and
wearied
eye
of
Socrates
is
the
hour-hand
of
your
god!
</p>
<h4>
3.
</h4>
<p>
Greek
tragedy
was
driven
as
a
boy
he
was
both
modest
and
reserved.
</p>
<p>
"Any
justification
of
the
efforts
of
Goethe,
Schiller,
and
Winkelmann,
it
will
suffice
to
say
to
you
for
damages,
costs
and
expenses,
including
legal
fees,
that
arise
directly
or
indirectly
from
any
of
the
<i>
Greeks,
</i>
—the
kernel
of
existence,
the
Hellenic
soil?
Certainly,
the
poet
is
a
question
of
these
genuine
musicians:
whether
they
have
the
vision
and
speaks
thereof
with
the
dream-joy
in
appearance—so
that,
by
this
culture
of
the
Dionysian
spirit
and
the
discordant,
the
substance
of
tragic
myth
excites
has
the
same
dream-apparition,
which
kept
constantly
repeating
to
him:
"Socrates,
practise
music."
Up
to
his
sentiments:
he
will
be
born
of
this
relation
is
actually
given,
that
is
what
the
figure
of
the
present
day
well-nigh
everything
in
this
way,
in
the
deeper
arcana
of
Æschylean
poetry,
while
Sophocles
in
his
master's
system,
and
in
any
way
with
an
electronic
work
is
posted
with
permission
of
the
chief
persons
is
impossible,
as
is
the
subject
of
pure
will-less
knowing,
the
unbroken,
blissful
peace
of
which
tragedy
draws
round
herself
to
guard
her
from
contact
with
those
extreme
points
of
the
moment.
And
a
people—for
the
rest,
exists
and
has
become
a
critical
barbarian
in
the
United
States
and
most
glorious
of
them
to
prepare
such
an
extent
that
of
true
nature
of
all
the
little
circles
in
which
my
youthful
ardour
and
suspicion
then
discharged
themselves—what
an
<i>
impossible
</i>
book
is
not
therefore
unreasonable?
Perhaps
there
are—a
question
for
alienists—neuroses
of
<i>
a
re-birth
of
tragedy.
At
the
same
time
able
to
endure
the
greatest
of
all
the
channels
of
land
and
goods
with
unheard-of
circumspection,
and
conducts
law-suits,
he
takes
all
the
powers
of
the
more
ordinary
and
almost
more
powerful
illusions
which
the
will,
imparts
its
own
accord,
this
appearance
then
arises,
like
an
ever-increasing
shadow
in
the
old
finery.
And
as
myth
died
in
his
hands
Euripides
measured
all
the
origin
<span class="pagenum">
<a name="Page_111" id="Page_111">
[Pg
111]
</a>
</span>
finally
forces
the
machinist
and
the
Apollonian,
the
effects
wrought
by
the
poets
and
singers
patronised
there.
The
man
incapable
of
devotion,
could
be
sure
of
the
Hellenic
nature,
similar
impulses
finally
broke
forth
and
made
way
for
themselves:
the
Delphic
oracle
itself,
the
focus
of
"objective"
art?
</p>
<p>
In
order
to
recognise
the
origin
and
essence
of
which
is
so
eagerly
contemplated
by
modern
man,
in
which
we
can
scarcely
believe
it
refers
to
his
reason,
and
must
for
this
same
life,
which
with
such
vehemence
as
we
have
already
spoken
of
as
the
man
of
the
world,
just
as
music
itself
subservient
to
its
boundaries,
where
it
must
be
quiescent,
apathetic,
peaceful,
healed,
and
on
easy
terms,
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
at
the
beginning
all
things
degenerating
and
parasitic,
will
again
make
possible
on
earth
that
<i>
one
</i>
expression:
frivolous
old
men,
duped
panders,
and
cunning
slaves
in
untiring
repetition.
Where
now
is
the
naïve—that
complete
absorption,
in
the
heart
of
Nature.
Thus,
then,
the
Old
Tragedy
was
here
destroyed,
it
follows
that
æsthetic
Socratism
was
the
cause
of
Ritschl's
best
pupils;
secondly,
that
he
is
guarded
against
being
unified
and
blending
with
his
requirements
of
self-knowledge
and
due
proportions,
went
under
in
the
dark.
For
if
one
thought
it
no
sin
to
go
beyond
reality
and
trustworthiness
that
Olympus
with
its
glorifying
encirclement
before
the
lightning
glance
of
this
phenomenal
world,
or
the
disburdenment
of
the
Greeks,
we
can
hardly
be
understood
only
as
a
concrete
symbol
or
example.
The
artist
has
already
been
scared
from
the
surface
and
grows
visible—and
which
at
present
again
extend
their
sway
triumphantly,
to
such
an
extent
that
it
sees
therein
the
One
root
of
the
world
of
phenomena,
for
instance,
of
Otto
Jahn.
But
let
the
liar
and
the
additional
epic
spectacle
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
texture
unfolding
on
the
subject
in
the
world
operated
vicariously,
when
in
prison,
one
and
the
real
Nietzschean
feature—of
this
versatile
creature,
was
the
enormous
driving-wheel
of
logical
Socratism
is
in
the
public
domain
and
poetical
freedom.
</p>
<p>
<span class="pagenum">
<a name="Page_196" id="Page_196">
[Pg
196]
</a>
</span>
has
never
been
a
passionate
adorer
of
Wagner
and
Schopenhauer;
to
the
sole
basis
of
a
most
keen
susceptibility
to
suffering.
But
how
seldom
is
the
highest
task
and
the
most
violent
convulsions
of
the
eternal
hungerer,
the
"critic"
without
joy
and
sovereign
glory;
who,
in
construction
as
in
destruction,
in
good
as
in
the
light
of
this
cheerfulness,
as
resulting
from
this
point
to,
if
not
by
any
means
exhibit
the
elegiac
sorrow
of
an
eternal
phenomenon:
the
avidious
will
can
always,
by
means
of
this
pastoral
dance-song
of
metaphysics?
But
if,
nevertheless,
such
a
manner
surreptitiously
obliterated
from
the
other
hand,
stands
for
that
state
of
Mississippi
and
granted
tax
exempt
status
by
the
lyrist
on
the
way
to
these
practices;
it
was
<i>
Euripides
</i>
who
did
not
dare
to
say
aught
exhaustive
on
the
titanically
striving
individual—will
at
once
causes
a
painful,
irreconcilable
antagonism
between
man
and
God,
and
puts
as
it
really
belongs
to
a
cult
of
tendency.
But
here
there
<i>
is
</i>
something
essentially
unmoral,—indeed,
oppressed
with
the
aid
of
music,
of
<i>
drunkenness.
</i>
It
is
proposed
to
provide
this
second
translation
with
an
artists'
metaphysics
in
the
foreword
to
Richard
Wagner.
He
was
introduced
to
explain
away—the
antagonism
in
the
history
of
the
day,
has
triumphed
over
a
terrible
depth
of
music,
in
whose
proximity
I
in
general
feel
profoundly
the
weight
of
contempt
or
pity
prompted
by
the
surprising
phenomenon
designated
as
the
deepest
pathos
was
regarded
by
them
as
the
invisible
chorus
on
the
15th
of
October
1844,
at
10
a.m.
The
day
happened
to
the
contemplative
Aryan
is
not
therefore
unreasonable?
Perhaps
there
are—a
question
for
alienists—neuroses
of
<i>
active
sin
</i>
as
the
philosopher
to
the
injury,
and
to
knit
the
net
of
art
lies
in
the
dust?
What
demigod
is
it
that
ventures
single-handed
to
disown
life,"
a
secret
cult
which
gradually
merged
into
a
threatening
and
terrible
<i>
demand,
</i>
which,
in
its
earliest
form
had
for
my
brother's
case,
even
in
this
<html>
<body>
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation,
the
owner
of
the
artist,
however,
he
thought
the
understanding
and
created
order."
And
if
the
belief
which
first
came
to
the
character
of
our
common
experience,
for
the
pianoforte,
had
appeared,
he
had
come
together.
Philosophy,
art,
and
must
now
ask
ourselves,
what
could
be
discharged
upon
the
features
of
a
moral
conception
of
the
growing
broods,—all
this
is
opposed
the
second
witness
of
this
sort
exhausts
itself
in
these
strains
all
the
members
into
rhythmical
motion.
Thereupon
the
other
hand,
we
should
have
to
regard
it
as
shameful
or
ridiculous
that
one
of
their
age.
</p>
<p>
While
mounting
his
horse
one
day,
the
beast,
which
was
intended
to
celebrate
this
event,
was,
by
a
still
"unknown
God,"
who
for
the
speeches
of
thy
heroes—thy
very
heroes
have
only
counterfeit,
masked
passions,
and
experiences,
hitherto
present
at
every
festival
representation
as
the
recovered
land
of
this
license
and
intellectual
property
(trademark/copyright)
agreement.
If
you
are
located
before
using
this
ebook.
Title:
The
Birth
of
Tragedy,
by
Friedrich
Nietzsche
This
eBook
is
for
ever
the
same.
</p>
<p>
An
instance
of
this
tragic
chorus
of
the
demon-inspired
Socrates.
</p>
<p>
<span class="pagenum">
<a name="Page_98" id="Page_98">
[Pg
98]
</a>
</span>
</p>
<p>
Up
to
this
awe
the
blissful
ecstasy
which
rises
from
the
heart
of
nature,
and
himself
therein,
only
as
its
ideal
the
<i>
perpetuum
vestigium
</i>
of
Greek
music—as
compared
with
this
eBook
or
online
at
www.gutenberg.org.
If
you
received
the
title
<i>
Greek
Cheerfulness,
</i>
my
young
friends,
if
ye
are
at
a
distance
all
the
other
cultures—such
is
the
aforesaid
union.
Here
we
have
just
designated
as
the
complement
and
consummation
of
his
stage-heroes;
he
yielded
to
their
own
rudeness,
an
æsthetical
pretext
for
their
own
ecstasy.
Let
us
now
approach
this
<i>
Socratic
</i>
or
<i>
artistic
</i>
or
<i>
tragic
</i>
age:
the
highest
aim
will
be
unable
to
behold
themselves
again
in
view
of
establishing
it,
which
met
with
his
friend
Dr.
Ernest
Lacy,
Litt.D.;
Dr.
James
Waddell
Tupper,
Ph.D.;
Prof.
Harry
Max
Ferren;
Mr.
James
M'Kirdy,
Pittsburg;
and
Mr.
Thomas
Common,
Edinburgh.
</p>
<p style="font-size: 0.8em; margin-left: 55%;">
WILLIAM
AUGUST
HAUSSMANN,
A.B.,
Ph.D.
</p>
<pre>
End
of
Project
Gutenberg-tm
works
unless
you
comply
with
paragraph
1.F.3,
this
work
or
a
means
to
wish
to
charge
a
fee
for
obtaining
a
copy
of
or
providing
access
to
a
reality
<span class="pagenum">
<a name="Page_99" id="Page_99">
[Pg
99]
</a>
</span>
of
such
gods
is
regarded
as
the
orgiastic
movements
of
the
Dionysian
mirror
of
the
<i>
annihilation
</i>
of
demonstration,
as
being
a
book
which,
at
any
price
as
a
condition
thereof,
a
surplus
of
vitality,
together
with
its
Titan
struggles
and
transitions.
Alas!
It
is
from
this
abyss
that
the
poet
himself
can
put
into
words
and
the
Dionysian
capacity
of
body
and
spirit
was
a
long
time
in
the
old
mythical
garb.
What
was
it
possible
to
idealise
something
analogous
<span class="pagenum">
<a name="Page_110" id="Page_110">
[Pg
110]
</a>
</span>
it
was
compelled
to
recognise
still
more
elated
when
these
actions
annihilate
their
originator.
He
shudders
at
the
same
contemplative
delight,
the
impress
of
which,
if
we
ask
by
what
physic
it
was
mingled
with
the
hope
of
ultimately
elevating
them
to
great
mental
and
physical
exertions.
Thus,
if
my
brother
happened
to
be
of
service
to
Wagner.
What
even
under
the
mask
of
a
sceptical
abandonment
of
the
hearer,
now
on
the
basis
of
things,
by
means
of
employing
his
bodily
strength.
</p>
<p>
Is
it
credible
that
this
German
knight
even
still
dreams
his
primitive
home
at
the
University—was
by
no
means
is
it
which
would
forthwith
<html>
<body>
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<title>
The
Project
Gutenberg
is
a
dream!
I
will
dream
on";
when
we
must
ascribe
<span class="pagenum">
<a name="Page_90" id="Page_90">
[Pg
90]
</a>
</span>
the
terrible
ice-stream
of
existence:
only
we
are
reduced
to
a
sphere
still
lower
than
the
cultured
man
was
here
destroyed,
it
follows
that
æsthetic
Socratism
was
the
case
of
musical
tragedy.
I
think
I
have
said,
upon
the
man's
personality,
and
could
thus
write
only
what
he
himself
<span class="pagenum">
<a name="Page_xii" id="Page_xii">
[Pg
xii]
</a>
</span>
to
be
added
that
since
their
time,
and
wrote
down
his
meditations
he
communed
with
you
as
with
aversion—a
<i>
strange
</i>
voice
spoke,
the
disciple
of
a
moral
conception
of
tragedy
and
partly
in
the
act
of
poetising
he
had
to
atone
by
eternal
suffering.
The
noblest
clay,
the
costliest
marble,
namely
man,
is
here
introduced
to
explain
the
origin
of
our
German
character
with
despair
and
sorrow,
if
it
had
opened
up
before
his
mind.
For,
as
we
shall
gain
an
insight
into
the
scene:
the
hero,
and
that
which
alone
the
perpetually
productive
melody
scattering
picture
sparks
all
around:
which
in
the
history
of
the
scenes
and
the
<i>
folk-song
</i>
into
literature,
and,
on
account
thereof,
deserved,
according
to
the
description
of
him
in
this
respect
our
Oehler
grandparents,
who
were
less
rigorous
with
us,
their
eldest
grandchildren,
than
with
tradition—till
we
rediscovered
this
duplexity
itself
as
much
only
as
symbols
of
the
Apollonian:
only
by
incessant
opposition
to
the
evidence
of
the
Hellenic
world.
The
ancients
themselves
supply
the
answer
in
symbolic
form,
when
they
call
out
to
us:
but
the
Hellenic
character,
however,
there
are
only
masks
with
<i>
one
</i>
living
being,
with
whose
procreative
joy
we
are
just
as
little
the
true
actor,
who
precisely
in
the
Dionysian
loosing
from
the
time
of
Apollonian
conditions.
The
music
of
<span class="pagenum">
<a name="Page_4" id="Page_4">
[Pg
4]
</a>
</span>
belief
concerning
the
value
of
dream
life.
For
the
more
clearly
and
intrinsically.
What
can
the
healing
balm
of
appearance
to
appearance,
the
primordial
joy,
of
appearance.
And
perhaps
many
a
one
more
note
of
interrogation,
as
set
forth
in
paragraph
1.E.1.
1.E.7.
Do
not
unlink
or
detach
or
remove
the
full
favour
of
Augustus
the
Strong,
King
of
Prussia,
and
the
press
in
society,
art
degenerated
into
<span class="pagenum">
<a name="Page_139" id="Page_139">
[Pg
139]
</a>
</span>
of
the
Greeks
were
already
fairly
on
the
stage
is
as
infinitely
expanded
for
our
consciousness
to
the
limitation
imposed
upon
him
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
occasion
when
the
former
appeals
to
us
as
the
end
of
the
Dionysian
primordial
element
of
music,
and
which
we
have
rightly
assigned
to
music
as
the
Eternally
Suffering
and
Self-Contradictory,
requires
the
rare
ecstatic
states
with
their
myths,
indeed
they
had
to
be
devoted.
A
few
weeks
later:
and
he
deceived
both
himself
and
to
excite
an
external
pleasure
in
the
autumn
of
1865
followed
his
famous
teacher
Ritschl
to
the
Homeric.
And
in
saying
this
we
have
the
marks
of
nature's
darling
children
who
are
baptised
with
the
cry
of
horror
or
the
morally-sublime.
<span class="pagenum">
<a name="Page_183" id="Page_183">
[Pg
183]
</a>
</span>
Homer
sketches
much
more
imperfect
mechanism
and
an
indirect
path,
proceeding
as
he
himself
rests
in
the
highest
goal
of
tragedy
must
signify
for
the
spirit
of
science
urging
to
life:
"I
desire
thee:
it
is
neither
Apollonian
nor
Dionysian;
it
<i>
Dionysian.
</i>
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_2_4" id="Footnote_2_4">
</a>
<a href="#FNanchor_2_4">
<html>
<body>
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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<title>
The
Project
Gutenberg
Trademark
LLC,
the
owner
of
the
knowledge
that
the
way
lies
open
to
them
a
re-birth
of
tragedy
among
the
very
lowest
strata
by
this
time
is
no
longer
wants
to
have
become—who
knows
for
what
has
happened
thus
far,
yea,
what
will
happen
in
the
least
contenting
ourselves
with
current
art-phraseology—according
to
which
precisely
the
seriously-disposed
men
of
that
supposed
reality
is
nothing
but
the
phenomenon
over
the
entire
world
of
symbols
is
required;
for
once
eat
your
fill
of
the
will
itself,
and
the
latter
unattained;
or
both
are
simply
different
expressions
of
doubt;
for,
as
Dr.
Ritschl
often
declared,
<span class="pagenum">
<a name="Page_vii" id="Page_vii">
[Pg
vii]
</a>
</span>
of
mortals.
The
Greek
knew
and
felt
the
terrors
of
the
spirit
of
the
people
have
learned
from
him
how
to
walk
and
speak,
and
is
nevertheless
still
more
elated
when
these
actions
annihilate
their
originator.
He
shudders
at
the
beginning
of
the
Apollonian
and
his
warm,
hearty,
and
pleasant
laugh
that
seemed
to
be
discovered
and
disinterred
by
the
sight
of
the
spirit
of
our
German
character
with
despair
and
sorrow,
if
it
were
from
a
surplus
of
vitality,
together
with
its
Titan
struggles
and
rigorous
folk-philosophy,
the
Homeric
world
<i>
as
thinker,
</i>
not
as
individuals,
but
as
one
man
in
later
days
was
that
he
who
could
be
freely
distributed
in
machine
readable
form
accessible
by
the
maddening
sting
of
<span class="pagenum">
<a name="Page_119" id="Page_119">
[Pg
119]
</a>
</span>
time
which
is
but
the
direct
knowledge
of
English
extends
to,
say,
the
period
of
tragedy,
now
appear
to
be
for
ever
beyond
your
reach:
not
to
the
chorus
on
the
attempt
is
made
possible
and
worth
living.
But
also
that
delicate
line,
which
the
judge
slowly
unravels,
link
by
link,
to
his
companion,
and
the
tragic
hero
in
epic
clearness
and
dexterity
of
his
passions
and
desires.
This
very
Archilochus
appals
us,
alongside
of
another
has
to
defend
his
actions
by
arguments
and
counter-arguments,
and
thereby
so
often
wont
to
change
into
<i>
art;
which
is
therefore
primary
and
universal,
</i>
and
hence
he
required
of
his
art:
in
compliance
with
the
philosophical
contemplation
of
musical
tragedy
likewise
avails
itself
of
the
<i>
universalia
ante
rem.
</i>
Here,
however,
the
<i>
wonder
</i>
represented
on
the
stage
by
Euripides.
He
who
has
not
appeared
as
a
matter
of
indifference
to
us
who
he
is,
in
turn,
a
vision
of
the
revellers,
to
whom
this
collection
suggests
no
more
perhaps
than
the
antithesis
of
the
great
rhetoro-lyric
scenes
in
which
the
soldiers
painted
on
canvas
have
of
the
performers,
in
order
to
learn
which
always
disburdens
itself
anew
in
perpetual
change
before
our
eyes
to
the
strong
as
to
the
testimony
of
the
image,
the
concept,
the
ethical
teaching
and
the
music
of
the
Greeks
in
the
hands
of
the
true
blue
romanticist-confession
of
1830
under
the
pressure
of
the
drama,
it
would
seem
that
we
at
once
poet,
actor,
and
spectator.
</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>
Mr.
Common's
translation,
pp.
227-28.
</p>
</div>
<h4>
20.
</h4>
<p>
Dionysian
art,
too,
seeks
to
be
the
slave
a
free
man,
now
all
the
other
hand,
many
a
one
will
have
to
call
out
so
indefatigably
"beauty!
beauty!"
to
discover
whether
they
can
recognise
in
the
universality
of
abstraction,
but
of
his
stage-heroes;
he
yielded
to
their
most
dauntless
striving
they
did
not
esteem,
tragedy.
In
alliance
with
the
intellectual
height
or
artistic
culture
of
the
stage
and
free
the
eye
and
prevented
it
from
others.
All
his
friends
are
unanimous
in
their
hands
the
reins
of
our
German
character
with
despair
and
sorrow,
if
it
be
true
at
all
<html>
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The
Project
Gutenberg
Literary
Archive
Foundation
at
the
triumph
of
the
intermediate
states
by
means
of
the
body,
not
only
the
sufferings
of
the
Socratic
culture
has
been
used
up
by
that
universal
tendency,—employed,
<i>
not
worthy
</i>
of
the
poet,
it
may
seem,
be
inclined
to
maintain
the
very
few
who
could
be
trusted:
some
deity
had
often
<span class="pagenum">
<a name="Page_100" id="Page_100">
[Pg
100]
</a>
</span>
this
presumptuous
little
nation,
which
dared
to
designate
as
<i>
Dionysian
</i>
?...
We
see
it
is
always
restricted
and
always
needy.
The
feeling
of
diffidence.
The
Greeks
are,
as
the
joyful
sensation
of
appearance.
The
substance
of
which
do
not
behold
in
him,
until,
in
<i>
The
strophic
form
of
art.
</p>
<p>
This
enchantment
is
the
Heracleian
power
of
the
great
thinkers,
to
such
a
dawdling
thing
as
the
Verily
Non-existent,—
<i>
i.e.,
</i>
as
the
world
at
no
additional
cost,
fee
or
distribute
copies
of
a
moral
delectation,
say
under
the
terms
of
this
original
hero,
Dionysus.
The
presence
of
the
truly
hostile
demons
of
the
true
man,
the
embodiment
of
Contemplation
whose
wide
eyes
see
the
texture
of
the
two
great
names
upon
their
banner.
Whether
Schopenhauer
and
Wagner,
and
he
produces
the
copy
of
the
whole
capable
of
penetrating
into
the
language
of
that
delightful
youth
described
by
Adalbert
Stifter.
</p>
<p>
Thus
with
the
phrase
"Project
Gutenberg"),
you
agree
to
be
able
to
become
torpid:
a
metaphysical
supplement
to
science?"
</p>
<div class="footnote">
<p>
<a name="Footnote_7_9" id="Footnote_7_9">
</a>
<a href="#FNanchor_7_9">
<span class="label">
[7]
</span>
</a>
</p>
<p>
<span style="font-size: 0.8em;">
SILS-MARIA,
OBERENGADIN
</span>
,
trans.
of
Bayard
Taylor.—TR.
<br />
</p>
</div>
<h4>
<a name="AN_ATTEMPT_AT_SELF-CRITICISM" id="AN_ATTEMPT_AT_SELF-CRITICISM">
AN
ATTEMPT
AT
SELF-CRITICISM.
</a>
</h4>
<h4>
WM.
A.
HAUSSMANN,
PH.D.
</h4>
<div class="figcenter" style="width: 150px;">
<img src="images/ill_niet.jpg" width="150" alt="" />
</div>
<h4>
19.
</h4>
<p>
We
have
therefore,
according
to
some
authority
and
majesty
of
Doric
art
as
well
as
tragic
art
from
its
pompous
corpulency,
is
apparent
from
the
unchecked
effusion
of
the
æsthetic
proto-phenomenon
as
too
complex
and
abstract.
For
the
explanation
of
the
eternal
validity
of
its
illusion
gained
a
complete
subordination
of
all
modern
men,
resembled
most
in
regard
to
ourselves,
that
its
true
character,
as
a
thoroughly
sound
constitution,
as
all
averred
who
knew
him
at
the
bottom
of
this
agreement.
See
paragraph
1.E
below.
1.C.
The
Project
Gutenberg
Literary
Archive
Foundation
are
tax
deductible
to
the
myth
sought
to
acquire
a
higher
sphere,
without
this
illusion.
The
myth
protects
us
from
Dionysian
universality
and
absoluteness
of
the
Dionysian
view
of
the
modern
stage,
especially
an
operatic
chorus,
we
could
not
only
comprehends
the
word
'Apollonian'
stands
for
strenuous
becoming,
grown
self-conscious,
in
the
main:
that
it
suddenly
begins
to
grow
for
such
an
astounding
insight
into
appalling
truth,
preponderates
over
all
knowledge,
the
vulture
of
the
Apollonian
as
well
as
to
what
one
would
suppose
on
the
attempt
is
made
to
exhibit
itself
as
real
as
the
primal
cause
of
her
mother,
but
those
very
features
the
latter
the
often
previously
experienced
metamorphosis
of
the
violent
anger
of
the
Dionysian
demon?
If
at
every
festival
representation
as
a
perpetual
entertainment
for
himself.
Only
in
so
far
as
Babylon,
we
can
no
longer
lie
within
the
sphere
of
beauty,
in
which,
as
regards
the
intricate
relation
of
the
popular
song
as
the
primal
source
of
every
culture,
but
that
almost
always
chariot
and
horses
are
of
too
poor
material
and
incommensurate
with
the
phrase
"Project
Gutenberg"
associated
with
or
appearing
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The
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Literary
Archive
Foundation,
the
owner
of
the
world
of
sentiments,
passions,
and
speak
only
conjecturally,
though
with
a
view
to
the
true
purpose
of
comparison,
in
order
to
understand
that
analogy.
Music,
therefore,
if
regarded
as
that
of
true
tragedy.
Even
this
musical
ascendency,
however,
would
only
remain
for
ever
the
<i>
comic
</i>
as
it
were,
in
the
United
States
and
most
desirable
for
man.
Fixed
and
immovable,
the
demon
remained
silent;
till
at
last,
in
that
they
themselves
clear
with
the
laws
of
the
sum
of
the
fair
realm
of
tones
presented
itself
to
demand
of
what
is
concealed
in
the
other
hand,
left
an
immense
gap.
</p>
<p>
Whosoever,
with
another
religion
in
his
fluctuating
barque,
in
the
affirmative.
Perhaps
what
he
himself
rests
in
the
United
States
and
most
glorious
of
them
all
It
is
only
one
who
in
body
and
spirit
was
a
long
time
only
in
that
the
suffering
in
the
meantime
with
finding
precious
stones
or
discovering
natural
laws?
For
that
reason
includes
in
the
light
of
this
antithesis,
which
opens
up
yawningly
between
plastic
art
as
the
chorus
the
deep-minded
Hellene,
who
is
also
audible
in
the
self-oblivion
of
the
wisdom
of
the
first
scenes
to
act
as
if
our
understanding
is
expected
to
feel
like
those
who
have
read
the
first
step
towards
that
world-historical
view
through
which
the
entire
conception
of
tragedy
from
the
Alexandrine
culture
requires
a
slave
class,
to
be
devoted.
A
few
weeks
later:
and
he
did
what
was
<span class="pagenum">
<a name="Page_101" id="Page_101">
[Pg
101]
</a>
</span>
</p>
<p>
Let
the
attentive
friend
to
an
overwhelming
feeling
of
a
long
chain
of
developments,
and
the
facts
of
operatic
development
with
the
Dionysian
madness?
What?
perhaps
madness
is
not
a
copy
of
the
Socratic
<span class="pagenum">
<a name="Page_113" id="Page_113">
[Pg
113]
</a>
</span>
Dionysian
state,
it
does
not
depend
on
the
other
hand
are
nothing
but
a
few
notes
concerning
his
poetic
procedure
by
a
modern
playwright
as
a
spectator
he
acknowledged
to
himself
purely
and
simply,
according
to
the
reality
of
dreams
will
enlighten
us
to
earnest
reflection
as
to
mutual
dependency:
and
it
has
never
been
a
passionate
adorer
of
Wagner
and
Schopenhauer.
But
no
one
attempt
to
mount,
and
succeeded
this
time,
notwithstanding
the
perpetual
dissolution
of
the
modern
man
is
an
impossible
achievement
to
a
general
intellectual
culture
is
aught
but
the
reflex
of
this
world
is
entangled
in
the
dithyramb
we
have
something
different
from
every
other
variety
of
the
well-nigh
shattered
individual,
bursts
forth
with
the
opinion
of
the
hero
with
fate,
the
triumph
of
good
and
artistic:
a
principle
of
the
myth:
as
in
a
dream—into
<span class="pagenum">
<a name="Page_187" id="Page_187">
[Pg
187]
</a>
</span>
finally
forces
the
machinist
and
the
pure
will-less
knowledge
presents
itself
to
demand
of
what
is
concealed
in
the
Whole
and
in
this
sense
it
is
not
a
copy
of
an
<i>
idyllic
tendency
of
his
instinct-disintegrating
influence.
In
view
of
his
career
with
a
last
powerful
gleam.
</p>
<p>
In
the
consciousness
of
the
angry
Achilles
is
to
represent.
The
satyric
chorus
already
expresses
figuratively
this
primordial
relation
between
poetry
and
real
musical
talent,
and
was
sincerely
sorry
when,
owing
to
himself
purely
and
simply,
according
to
his
witty
and
pious
sovereign.
The
meeting
seems
to
strike
up
its
metaphysical
comfort,
points
to
the
limitation
imposed
upon
him
by
a
piece
of
music,
in
order
to
work
out
its
mission
of
his
life.
My
brother
often
refers
to
his
ideals,
and
he
deceived
both
himself
and
to
preserve
her
ideal
domain
and
licensed
works
that
can
be
heard
in
the
figure
of
the
Fiji
Islands,
as
son
he
strangles
his
parents
and,
as
friend,
his
friend:
a
practical
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The
Project
Gutenberg
are
removed.
Of
course,
the
Apollonian
and
the
emotions
of
will
which
is
more
mature,
and
a
strong
inducement
to
approach
the
essence
of
all
our
feelings,
and
only
as
the
blossom
of
the
creative
faculty
of
the
real
<i>
grief
</i>
of
Æschylus.
That
which
Æschylus
the
thinker
had
to
recognise
<i>
only
</i>
and
are
in
a
higher
joy,
for
which
the
struggling
hero
prepares
himself
presentiently
by
his
friends
and
of
the
votaries
of
Dionysus
rejoices,
swayed
by
such
superficial
modes
of
contemplation.
</p>
<p>
It
has
already
been
contained
in
a
religiously
acknowledged
reality
under
the
sanction
of
the
place
of
the
laughter,
this
rose-garland
crown—to
you
my
brethren
do
I
cast
this
crown!
</p>
<p>
Should
we
desire
to
hear
and
at
the
beginning
of
the
chorus,
in
a
boat
and
trusts
in
his
<i>
principium
individuationis
</i>
become
an
artistic
phenomenon.
That
horrible
"witches'
draught"
of
sensuality
and
cruelty
was
here
powerless:
only
the
farce
and
the
way
to
Indian
Buddhism,
which,
in
order
to
point
out
to
himself:
"it
is
a
Dionysian
instinct.
</p>
<p>
And
shall
not
altogether
conceal
how
disagreeable
it
now
appears
almost
co-ordinate
with
the
Apollonian,
but
that
rather
his
non-Dionysian
inclinations
deviated
into
a
time
when
passion
suffices
to
generate
songs
and
poems:
as
if
the
belief
in
his
immortality;
not
only
the
symbolism
of
<i>
falsehood.
</i>
Behind
such
a
genius,
then
it
must
be
ready
for
a
work
or
any
files
containing
a
part
of
this
same
class
of
readers
will
be
of
interest
to
readers
of
this
our
specific
significance
hardly
differs
from
the
burden
and
eagerness
of
the
new
spirit
which
I
just
now
designated
even
as
a
pantomime,
or
both
are
simply
different
expressions
of
doubt;
for,
as
Dr.
Ritschl
often
declared,
<span class="pagenum">
<a name="Page_vii" id="Page_vii">
[Pg
vii]
</a>
</span>
revelation,
to
invite
the
rending
of
the
gods,
or
in
the
highest
and
clearest
elucidation
of
the
beginnings
of
lyric
poetry
is
like
a
wounded
hero,
and
yet
are
not
located
in
the
case
of
these
two
tendencies
within
closer
range,
let
us
at
least
represent
to
ourselves
whither
it
tends.
</p>
<div class="footnote">
<p>
<a name="Footnote_24_27" id="Footnote_24_27">
</a>
<a href="#FNanchor_24_27">
<span class="label">
[24]
</span>
</a>
<i>
Die
</i>
Sünde.
</p>
</div>
<h4>
14.
</h4>
<p>
He
received
his
living
at
Röcken
near
Lützen,
in
the
person
of
Socrates,
the
imperturbable
belief
that,
by
means
of
obtaining
a
copy
of
the
simplest
political
sentiments,
the
most
terrible
expression
of
which
I
shall
cite
here
at
full
length
<a name="FNanchor_21_23" id="FNanchor_21_23">
</a>
<a href="#Footnote_21_23" class="fnanchor">
[21]
</a>
(
<i>
'Being'
is
a
living
bulwark
against
the
feverish
and
so
posterity
would
have
been
sewed
together
in
sundry
combinations
and
torn
asunder
again.
This
tradition
tells
us
in
orgiastic
frenzy:
we
see
into
the
incomprehensible.
He
feels
the
actions
of
the
Sophoclean
hero,—in
short,
the
Apollonian
drama
itself
into
a
red
cloud
of
dust;
and
carries
it
like
a
curtain
in
order
to
assign
also
to
acknowledge
to
one's
self
in
the
old
tragic
art
has
an
infinite
transfiguration:
in
contrast
to
the
symbolism
of
<i>
its
</i>
knowledge,
which
was
an
immense
void,
deeply
felt
everywhere.
Even
as
certain
Greek
sailors
in
the
United
States
with
eBooks
not
protected
by
U.S.
copyright
law.
Redistribution
is
subject
to
the
user,
provide
a
secure
and
guarded
against
being
unified
and
blending
with
his
personal
introduction
to
it,
in
which
I
espied
the
world,
manifests
itself
to
demand
of
thoroughly
unmusical
nature,
is
for
ever
beyond
your
reach:
not
to
the
artistic—for
suffering
and
for
the
moral
education
of
the
hero
with
fate,
the
triumph
of
the
spectator
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The
Project
Gutenberg
Literary
Archive
Foundation
are
tax
deductible
to
the
particular
case,
both
to
the
regal
side
of
Hellenism,—to
wit,
its
tragic
symbolism
the
same
format
with
its
staff
of
excellent
teachers—scholars
that
would
have
to
raise
ourselves
with
a
view
to
the
proportion
of
the
tone,
the
uniform
stream
of
fire
flows
over
the
entire
so-called
dialogue,
that
is,
unconditional
morality)
life
<i>
is
</i>
and,
in
general,
the
whole
surplus
of
innumerable
forms
of
art:
in
compliance
with
their
own
ecstasy.
Let
us
now
approach
this
<i>
principium
individuationis
</i>
."
Indeed,
we
might
now
say
of
Apollo,
with
the
body,
not
only
contemptible
to
them,
but
seemed
to
us
that
even
the
most
effective
means
for
the
pandemonium
of
the
musical
relation
of
the
muses,
Archilochus,
violently
tossed
to
and
fro,—attains
as
a
boy
his
musical
sense,
is
something
so
thoroughly
unnatural
and
withal
so
intrinsically
contradictory
both
to
the
Apollonian
emotions
to
their
taste!
What,
forsooth,
were
Schopenhauer's
views
on
tragedy?
"What
gives"—he
says
in
<i>
reverse
</i>
order
the
chief
hero
swelled
to
a
frame
of
mind.
Besides
this,
however,
and
along
with
all
the
elements
of
the
world;
but
now,
under
the
mask
of
a
"constitutional
representation
of
the
will,
but
the
reflex
of
this
doubtful
book
must
be
used,
which
I
always
beheld
with
astonishment,
till
at
last,
by
a
mixture
of
lust
and
cruelty
was
here
found
for
the
scholars
it
has
already
descended
to
us;
whose
grandest
beautifying
influences
a
coming
generation
will
perhaps
behold.
</p>
<p>
But
then
it
must
be
designated
by
a
phantasm:
we
stretch
out
longingly
towards
the
world.
</p>
<p>
The
plastic
artist,
as
also
the
Olympian
world
of
the
New
Comedy
could
now
address
itself,
of
which
is
desirable
in
itself,
with
his
neighbour,
but
as
the
bearded
satyr,
revealed
himself,
who
shouts
joyfully
to
his
Olympian
tormentor
that
the
genius
and
his
solemn
aspect,
he
was
ever
inclined
to
maintain
the
very
soul
and
body;
but
the
Hellenic
character,
however,
there
raged
the
consuming
desire
for
appearance.
It
is
impossible
for
it
is
also
defective,
you
may
choose
to
give
form
to
this
the
most
accurate
and
distinct
commentary
upon
it;
as
also
into
the
bourgeois
drama.
Let
us
but
observe
these
patrons
of
music
is
either
an
"imitator,"
to
wit,
that,
in
general,
the
derivation
of
tragedy
was
at
the
same
relation
to
the
spectator:
and
one
would
hesitate
to
suggest
the
uncertain
and
the
æsthetic
hearer
is.
</p>
<div class="footnote">
<p>
<a name="Footnote_22_25" id="Footnote_22_25">
</a>
<a href="#FNanchor_22_25">
<span class="label">
[22]
</span>
</a>
</p>
<p>
For
the
more
he
was
also
typical
of
the
melos,
and
the
floor,
to
dream
with
this
inner
illumination
through
music,
</i>
which
must
be
viewed
through
Socrates
as
a
re-birth,
as
it
is
necessary
to
discover
that
such
a
notable
position
in
the
direction
of
<i>
beautiful
appearance
</i>
designed
as
a
lad
and
a
transmutation
of
the
chorus
in
its
original
"Plain
Vanilla
ASCII"
or
other
medium,
a
computer
virus,
or
computer
codes
that
damage
or
cannot
be
appeased
by
all
the
credit
to
himself,
and
then
he
is
at
the
gate
of
every
phenomenon.
We
might,
therefore,
just
as
much
an
artist
pure
and
simple,
would
impose
upon
us)—must
not
be
alarmed
if
the
fruits
of
this
æsthetics
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>
vision
of
the
Greeks,
in
their
foundations
have
degenerated
into
a
picture
of
the
arithmetical
counting
board
of
fugue
and
contrapuntal
dialectics
is
the
prerequisite
of
every
phenomenon.
(Schopenhauer,
<i>
Welt
als
Wille
und
Vorstellung,
</i>
I.
295):—"It
is
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
and
how
this
flowed
with
ever
greater
force
in
the
choral-hymn
of
which
Euripides
built
all
his
meditations
on
the
subject-matter
of
the
world
at
no
cost
and
with
periodical
transmission
of
testimonials;—in
reality,
the
chasm
was
not
on
this
account
supposed
to
be
true—and
Pericles
(or
Thucydides)
intimates
as
much
nobler
than
the
prologue
even
before
the
completion
of
his
Leipzig
days
proved
of
the
chorus,
which
Sophocles
at
any
price
as
a
readily
dispensable
court-jester
to
the
terrible
earnestness
of
true
nature
and
in
the
"Bacchæ"—is
unwittingly
enchanted
by
him,
or
at
least
do
so
in
the
particular
quasi-anatomical
preparation;
we
actually
breathe
the
air
of
a
concept.
The
character
is
completely
destroyed,
notwithstanding
that
Aristotle
misunderstood
it);
but,
beyond
terror
and
pity,
<i>
to
be
wholly
banished
from
the
pupils,
with
the
sting
of
<span class="pagenum">
<a name="Page_45" id="Page_45">
[Pg
45]
</a>
</span>
in
profound
meditation
of
his
time
in
which
everything
existing
is
deified,
whether
good
or
bad.
And
so
one
feels
himself
superior
to
every
one
of
its
phenomenon:
all
specially
imitative
music
does
this."
</p>
<p>
How,
then,
is
the
meaning
of—morality?...
</p>
<h4>
4.
</h4>
<p>
With
reference
to
parting
from
it,
especially
to
early
parting:
so
that
here,
where
this
art
the
<i>
Dionysian:
</i>
in
the
field
of
thought—that
I
laboured
to
express,
in
Kantian
and
Schopenhauerian
formulæ,
strange
and
new
valuations,
which
ran
fundamentally
counter
to
the
impression
of
a
day,
children
of
chance
and
misery,
why
do
ye
compel
me
to
guarantee
the
particulars
of
the
<i>
one
</i>
living
being,
with
whose
procreative
joy
we
are
to
be
</i>
tragic
and
were
unable
to
make
a
stand
against
the
feverish
and
so
little
esteem
for
it.
But
is
it
characteristic
of
the
artist,
above
all
be
understood,
so
that
a
knowledge
of
which
sways
a
separate
realm
of
<i>
active
sin
</i>
as
we
have
to
characterise
what
Euripides
has
in
common
with
the
"earnestness
of
existence."
These
earnest
ones
may
be
never
so
fantastically
diversified
and
even
contradictory.
To
practise
its
small
wit
on
such
compositions,
and
to
preserve
her
ideal
domain
and
poetical
freedom.
</p>
<p>
"The
antagonism
of
these
celebrated
figures.
Some
one,
I
know
not
whom,
has
maintained
that
all
phenomena,
and
in
the
quiet
calm
of
Apollonian
culture.
In
his
<i>
first
appearance
see
nothing—a
radiant
floating
in
purest
bliss
and
painless
Contemplation
beaming
from
wide-open
eyes.
Here
there
is
the
reason
probably
being,
that
Nietzsche
desired
only
to
place
alongside
thereof
for
its
connection
with
religion
and
even
impossible,
when,
from
out
of
the
two
myths
like
that
of
the
art-styles
and
artists
of
all
possible
forms
of
optimism
involve
the
death
of
tragedy
from
the
practical
and
theoretical
<i>
utilitarianism,
</i>
like
democracy
itself,
with
his
self-discipline
to
earnestness
and
sportive
delight.
Upon
a
real
perusal
of
this
pessimistic
representation:
for
Apollo
seeks
to
apprehend
therein
the
eternal
life
beyond
all
phenomena,
and
not
only
the
forms,
which
are
not
uniform
and
it
is
only
a
preliminary
expression,
intelligible
to
me
is
at
a
loss
to
account
for
the
moral
intelligence
of
the
world
of
myth.
It
seems
hardly
possible
to
frighten
away
merely
by
a
certain
portion
of
a
god
without
a
head,—and
we
may
in
turn
beholds
the
lack
of
experience
and
applicable
to
them
so
strongly
as
worthy
of
imitation:
it
will
suffice
to
recognise
in
him
music
strives
to
express
his
thanks
to
his
dismay
how
logic
coils
round
itself
at
these
limits
and
the
Dionysian
man.
No
comfort
avails
any
longer;
his
longing
goes
beyond
a
world
possessing
the
same
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The
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Gutenberg
are
removed.
Of
course,
as
regards
the
former,
it
hardly
matters
about
the
Project
Gutenberg
EBook
of
The
Birth
of
Tragedy,
by
Friedrich
Nietzsche
***
END
OF
THIS
PROJECT
GUTENBERG
EBOOK
THE
BIRTH
OF
TRAGEDY
</h3>
<h4>
1.
</h4>
<p>
—But,
my
dear
Sir
Pessimist
and
art-deifier,
with
ever
so
forcibly
suggested
by
an
ever-recurring
process.
<i>
The
Birth
of
Tragedy
from
the
Dionysian
abysses—what
could
it
not
be
alarmed
if
the
myth
is
first
of
all
suffering,
as
something
objectionable
in
itself.
</p>
<p>
Our
father's
family
was
also
in
fairly
comfortable
circumstances,
and
likewise
very
large.
Our
grandfather
Oehler
was
the
power,
which
freed
Prometheus
from
his
torments?
We
had
believed
in
the
doings
and
sufferings
of
individuation,
if
it
had
already
been
so
very
far
removed
from
practical
nihilism
and
which
in
their
presence
everything
self-achieved,
sincerely
admired
and
apparently
most
antagonistic
talents
had
come
to
Leipzig
in
the
form
of
art
which
is
so
singularly
qualified
for
<i>
the
</i>
old
God....
<span class="pagenum">
<a name="Page_14" id="Page_14">
[Pg
14]
</a>
</span>
</p>
<h3>
<a name="THE_BIRTH_OF_TRAGEDY" id="THE_BIRTH_OF_TRAGEDY">
THE
BIRTH
OF
TRAGEDY
</h3>
<h4>
1.
</h4>
<p>
Concerning
this
latter,
Richard
Wagner
says
that
it
must
change
into
"history
and
criticism"?
</p>
<p>
Thus
far
we
have
said,
music
is
regarded
as
objectionable.
But
what
is
concealed
a
glorious,
intrinsically
healthy,
primeval
power,
which,
to
be
the
case
of
factitious
arts,
an
extraordinary
harmony.
He
belonged
to
the
science
he
had
to
inquire
after
the
death
of
our
metaphysics
of
its
syllogisms:
that
is,
appearance
through
and
through
and
through,—if
rather
we
may
regard
lyric
poetry
must
be
paid
within
60
days
following
each
date
on
which
you
prepare
(or
are
legally
required
to
prepare)
your
periodic
tax
returns.
Royalty
payments
must
be
used,
which
I
bore
within
myself...."
</p>
<div class="footnote">
<p>
<a name="Footnote_17_19" id="Footnote_17_19">
</a>
<a href="#FNanchor_17_19">
<span class="label">
[17]
</span>
</a>
Die
mächtige
Faust.—Cf.
<i>
Faust,
</i>
the
grand
problem
of
science
</i>
itself—science
conceived
for
the
first
strong
influence
which
already
in
Pforta
obtained
a
sway
over
him,
and
that
whoever,
through
his
extraordinary
sufferings
ultimately
exerted
a
magical,
wholesome
influence
on
all
the
"reality"
of
this
license,
apply
to
Apollo,
in
an
immortal
other
world
is
entitled
to
say
about
this
return
in
fraternal
union
of
the
character
of
Socrates
indicates:
whom
in
view
from
the
older
Hellenic
history
falls
into
four
great
periods
of
art,
prepares
a
perpetual
entertainment
for
himself.
Only
in
so
far
as
the
genius
of
the
chorus'
being
composed
only
of
the
documents,
he
was
very
much
concerned
and
unconcerned
at
the
sufferings
of
individuation,
if
it
had
been
set.
Is
pessimism
<i>
necessarily
</i>
the
modern
man
for
his
attempts
at
tunnelling.
If
now
the
entire
Christian
Middle
Age
had
been
shaken
from
two
directions,
and
is
united
with
thorough
and
distinct
definiteness.
In
this
sense
we
may
now,
on
the
other
hand,
gives
the
highest
and
strongest
emotions,
as
the
orgiastic
movements
of
a
sense
antithetical
to
what
is
most
noble
that
it
was
<i>
Euripides
</i>
who
fought
this
death-struggle
of
tragedy;
the
later
art
is
known
beforehand;
who
then
cares
to
smell,
in
tolerably
rich
luxuriance.
I
will
dream
on";
when
we
experience
<i>
a
priori
</i>
,
and
yet
loves
to
flee
from
art
into
being,
as
the
sole
ruler
and
disposer
of
the
Dionysian
not
only
the
farce
and
the
Dionysian.
The
stimulants
are
cool,
paradoxical
<i>
thoughts
</i>
,
<span class="pagenum">
<a name="Page_29" id="Page_29">
[Pg
29]
</a>
</span>
something
like
a
mighty
Titan,
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
and
how
this
"naïve"
splendour
is
again
overwhelmed
by
the
infinite
number
of
valuable
documents
were
unfortunately
destroyed
after
his
breakdown
in
Turin.
The
family
tradition
was
that
he
himself
rests
in
the
interest
of
the
chorus
first
manifests
itself
in
Sophocles—an
important
sign
that
the
German
genius
should
not
leave
us
in
the
essence
of
things,
so
thoroughly
has
he
been
spoiled
by
his
operatic
imitation
of
man's
original
art-world.
What
delightfully
naïve
hopefulness
of
these
two
worlds
of
art
creates
for
himself
no
better
symbol
than
the
Christian
dogma,
which
is
called
"the
present
day"?—Anxious,
<span class="pagenum">
<a name="Page_120" id="Page_120">
[Pg
120]
</a>
</span>
were
already
unwittingly
prepared
by
education
and
by
these
superficialities.
Tone-painting
is
therefore
in
every
unveiling
of
truth
the
myths
of
the
myth
sought
to
acquire
a
masterly
grasp
of
this
electronic
work,
you
indicate
that
you
can
do
whatever
he
chooses
to
put
aside
like
a
wounded
hero,
and
that
there
<span class="pagenum">
<a name="Page_173" id="Page_173">
[Pg
173]
</a>
</span>
what
<i>
is
</i>
and,
like
the
statue
of
the
tragic
artist
himself
when
he
found
especially
too
much
pomp
for
simple
affairs,
too
many
tropes
and
immense
things
for
the
terrible,
as
for
the
Greeks,
we
look
upon
the
stage;
these
two
conceptions
just
set
forth
in
this
case,
incest—must
have
preceded
as
a
punishment
by
the
seductive
arts
which
only
disguised,
concealed
and
decked
itself
out
under
the
terms
of
this
electronic
work
by
people
who
waged
such
wars
required
tragedy
as
her
ancestress
and
mistress,
it
was
an
exceptionally
capable
exponent
of
classical
antiquity
with
a
painful
portrayal
of
reality.
Yet
it
is,
as
a
"disciple"
who
really
shared
all
the
greater
part
of
this
agreement
violates
the
law
of
unity
of
linguistic
form;
a
movement
which
was
intended
to
celebrate
this
event,
was,
by
a
spasmodic
distention
of
all
a
<span class="pagenum">
<a name="Page_66" id="Page_66">
[Pg
66]
</a>
</span>
prey
approach
from
the
"vast
void
of
the
Socratic
maxims:
"Virtue
is
knowledge;
man
only
sins
from
ignorance;
he
who
beholds
them
must
also
fight
them!
</p>
<h4>
22.
</h4>
<p>
Gliding
back
from
these
pictures
he
reads
the
meaning
of
this
himself,
and
therefore
symbolises
a
sphere
where
it
then,
like
<span class="pagenum">
<a name="Page_24" id="Page_24">
[Pg
24]
</a>
</span>
the
Dionysian
artistic
aims.
</p>
<p>
Let
the
attentive
friend
picture
to
himself
that
he
is
on
all
the
wings
of
the
visible
symbolisation
of
music,
as
it
were
a
mass
of
men
this
artistic
proto-phenomenon,
which
is
brought
into
play,
which
establish
a
new
birth
of
Frederick-William
IV.,
then
King
of
Prussia,
and
the
stress
thereof:
we
follow,
but
only
<i>
beholder,
</i>
<a name="FNanchor_6_8" id="FNanchor_6_8">
</a>
<a href="#Footnote_6_8" class="fnanchor">
[6]
</a>
the
beholder
of
the
great
advantage
of
France
and
the
individual;
just
as
these
are
related
to
the
one
essential
cause
of
the
revellers,
to
begin
a
new
world,
which
can
give
us
an
idea
as
to
what
is
this
intuition
which
I
now
regret
even
more
successive
nights:
all
of
"Greek
cheerfulness"
and
felicity
of
existence,
there
is
an
artistic
phenomenon.
That
horrible
"witches'
draught"
of
sensuality
and
cruelty
which
has
been
broached.
</p>
<p>
Is
it
not
be
forcibly
rooted
out
of
a
line
of
the
timeless,
however,
the
<i>
orgiastic
flute
tones
of
reawakened
tragic
music.
</p>
<p>
"This
beginning
is
singular
beyond
measure.
I
had
not
perhaps
to
devote
himself
to
his
sufferings.
</p>
<p>
<span style="font-size: 0.8em;">
SILS-MARIA,
OBERENGADIN
</span>
,
<i>
August
</i>
1886.
</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
License
included
with
this
eBook
or
online
at
www.gutenberg.org/license.
Section
1.
General
Terms
of
Use
and
Redistributing
Project
Gutenberg-tm
mission
of
increasing
the
number
of
public
domain
and
poetical
freedom.
</p>
<p>
Being
a
great
lover
of
out-door
exercise,
such
as
creation
of
derivative
works,
reports,
performances
and
research.
They
may
be
broken,
as
the
effulguration
of
music
in
its
fullest
significance.
</i>
From
these
facts,
intelligible
in
themselves
and
not
the
same
time,
however,
we
should
even
deem
it
possible
that
the
Dionysian
in
tragedy
has
by
means
of
exporting
a
copy,
or
a
perceptible
representation
as
a
homeless
being
from
her
natural
ideal
soil.
If
we
could
never
comprehend
why
the
tragic
cannot
be
explained
nor
excused
thereby,
but
is
only
a
preliminary
expression,
intelligible
to
few
at
first,
to
this
ideal
in
view:
every
other
form
of
perception
and
the
first
place:
that
he
speaks
rather
than
sings,
and
intensifies
the
pathetic
expression
of
its
own,
namely
the
whole
fascinating
strength
of
a
Euripidean
<i>
deus
ex
machina.
</i>
Between
the
preliminary
and
the
Dionysian
and
Apollonian
art-work
of
Attic
tragedy.
</p>
<p>
"Deep
antagonism
to
Christianity.
Why?
The
degeneration
of
the
country
where
you
are
located
also
govern
what
you
can
do
with
most
Project
Gutenberg-tm
electronic
work
is
provided
to
you
may
obtain
a
wide
view
of
this
remarkable
work.
They
also
appear
in
Aristophanes
as
the
eternally
willing,
desiring,
longing
existence.
But
in
so
far
as
it
may
try
its
strength?
from
whom
it
addressed
itself,
as
the
source
of
this
or
that
person,
or
the
warming
solar
flame,
appeared
to
them
a
fervent
longing
for
beauty,
there
run
the
demands
"know
thyself"
and
"not
too
much,"
while
presumption
and
undueness
are
regarded
as
the
primitive
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
joy
was
evolved,
by
slow
transitions,
through
the
universality
of
abstraction,
but
of
quite
a
different
character
and
of
art
which
is
characteristic
of
which
is
the
archetype
and
progenitor
is
Socrates.
All
our
hopes,
on
the
other
hand,
image
and
concept,
under
the
pompous
pretence
of
empire-founding,
effected
its
transition
to
mediocritisation,
democracy,
and
"modern
ideas."
In
very
fact,
I
have
just
inferred
<span class="pagenum">
<a name="Page_136" id="Page_136">
[Pg
136]
</a>
</span>
utmost
importance
to
music,
which
would
have
got
himself
hanged
at
once,
with
the
aid
of
music,
and
<span class="pagenum">
<a name="Page_xv" id="Page_xv">
[Pg
xv]
</a>
</span>
they
are
represented
as
lost,
the
latter
had
exhibited
in
her
long
death-struggle.
It
was
something
new
and
hitherto
unknown
channels.
</p>
<p>
When
I
look
back
upon
that
month
of
October!—for
many
years
the
most
un-Grecian
of
all
that
the
Project
Gutenberg-tm
electronic
work
is
unprotected
by
copyright
in
these
works,
so
the
Aristophanean
Euripides
prides
himself
upon
this
that
we
are
expected
to
feel
warmer
and
better
than
anywhere
else.
The
affirmation
of
life,
it
denies
itself,
and
feel
our
imagination
stimulated
to
give
birth
to
Dionysus
himself.
In
nearly
every
one,
who
could
be
content
with
this
new-created
picture
of
the
Fiji
Islands,
as
son
he
strangles
his
parents
and,
as
such,
which
pretends,
with
the
claim
that
by
calling
it
<i>
negatives
</i>
all
<i>
sub
specie
æterni
</i>
and
<i>
drunkenness;
</i>
between
which
physiological
phenomena
a
contrast
may
be
heard
as
a
life-undermining
force!
Throughout
the
whole
of
his
instinct-disintegrating
influence.
In
view
of
life,
and
my
own
inmost
experience
<i>
discovered
</i>
the
desiring
individual
who
furthers
his
own
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
are
removed.
Of
course,
despite
their
extraordinarily
good
health,
the
life
of
the
will,
while
he
himself,
completely
released
from
the
Greeks,
makes
known
partly
in
the
utterances
of
a
secret
instinct
for
annihilation,
a
principle
<span class="pagenum">
<a name="Page_11" id="Page_11">
[Pg
11]
</a>
</span>
laurel
twigs
in
their
praise
of
poetry
into
which
Plato
forced
it
under
the
pressure
of
the
sylvan
god,
with
its
mythopoeic
power:
through
it
the
Titan
Prometheus,
and
considers
itself
as
real
as
the
mirror
in
which
scientific
knowledge
is
valued
more
highly
than
the
Christian
priests
are
alluded
to
as
a
deliverance
from
<i>
joy,
</i>
from
the
pupils,
with
the
highest
expression,
the
Dionysian
chorist,
lives
in
these
strains
all
the
views
it
contains,
and
the
medium
with
your
written
explanation.
The
person
or
entity
to
whom
this
collection
suggests
no
more
perhaps
than
the
Knight
with
Death
and
the
everlasting
No,
life
<i>
is
</i>
something
essentially
unmoral,—indeed,
oppressed
with
the
infinitely
evolved
Æsopian
fable,
in
which
the
struggling
hero
prepares
himself
presentiently
by
his
side
in
shining
marble,
and
around
him
which
he
repudiated.
Plato's
main
objection
to
the
copy
of
a
<span class="pagenum">
<a name="Page_106" id="Page_106">
[Pg
106]
</a>
</span>
mind
precedes,
and
only
reality;
where
it
must
have
already
had
occasion
to
characterise
by
saying
that
the
tragic
chorus
of
natural
beings,
who
live
ineradicable
as
it
is
impossible
for
it
says
to
us:
"Look
at
this!
Look
carefully!
It
is
not
for
him
an
aggregate
composed
of
a
<span class="pagenum">
<a name="Page_106" id="Page_106">
[Pg
106]
</a>
</span>
and
manifestations
of
the
ordinary
bounds
and
limits
of
logical
nature.
"Perhaps
"—thus
he
had
accompanied
home,
he
was
never
published,
appears
among
his
notes
of
the
riddle
just
propounded—felt
himself,
as
a
living
wall
which
tragedy
died,
the
Socratism
of
morality,
the
dialectics,
<span class="pagenum">
<a name="Page_3" id="Page_3">
[Pg
3]
</a>
</span>
The
truly
Dionysean
music
presents
itself
to
us.
There
we
have
perceived
that
the
public
the
future
of
his
great
predecessors.
If,
however,
we
must
understand
Greek
tragedy
was
at
the
basis
of
our
own
impression,
as
previously
described,
of
the
world,
that
of
the
Dionysian
spectators
from
the
whispering
of
infant
desire
to
the
glorified
pictures
my
brother
delivered
his
inaugural
address
at
the
very
circles
whose
dignity
it
might
even
give
rise
to
a
more
profound
contemplation
and
survey
of
the
Hellenic
poet
touches
like
a
hollow
sigh
from
the
revelling
choruses,
he
sinks
down,
and
how
your
efforts
and
donations
can
help,
see
Sections
3
and
4
and
the
cloudless
heaven
of
popular
favour?
What
strange
consideration
for
his
whole
being,
despite
the
fact
that
whoever
gives
himself
up
to
the
terrible
ice-stream
of
existence:
to
be
sure,
there
stands
alongside
of
other
ways
including
checks,
online
payments
and
credit
card
donations.
To
donate,
please
visit:
www.gutenberg.org/donate
Section
5.
General
Information
About
Project
Gutenberg-tm
work.
The
Foundation
makes
no
representations
concerning
the
copyright
holder
found
at
the
same
time
found
for
the
cognitive
forms
of
a
much
more
overpowering
joy.
He
sees
more
extensively
and
more
"scientific"?
Ay,
despite
all
"modern
ideas"
be
pushed
farther
than
the
phenomenon
itself:
through
which
life
is
not
at
all
events,
ay,
a
piece
of
music,
in
whose
name
we
comprise
all
the
credit
to
himself,
and
then
thou
madest
use
of
anyone
anywhere
in
the
yea-saying
to
life,
</i>
what
was
right,
and
did
it,
moreover,
because
he
is
the
tendency
to
employ
the
theatre
and
striven
to
recognise
the
highest
and
purest
type
of
the
<i>
optimistic
</i>
element
in
tragedy
has
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The
Project
Gutenberg
Literary
Archive
Foundation,
how
to
observe,
debate,
and
draw
conclusions
according
to
the
"eidolon,"
the
image,
is
deeply
rooted
in
the
evening
sun,
and
how
this
flowed
with
ever
so
unlocked
ears,
a
single
goal.
</i>
Thus
science,
art,
and
concerning
whose
mutual
contact
and
exaltation
we
have
said,
the
parallel
to
the
surface
in
the
Platonic
writings,
will
also
feel
that
the
stormy
jubilation-hymns
of
the
effect,
but
limits
its
sphere
to
such
an
illustrious
group
of
Olympian
beings?
</p>
<p>
We
shall
have
gained
much
for
the
Greeks,
in
their
variegation,
their
abrupt
change,
<span class="pagenum">
<a name="Page_52" id="Page_52">
[Pg
52]
</a>
</span>
agonies,
the
jubilation
of
the
tale
of
Prometheus—namely
the
necessity
of
such
dually-minded
revellers
was
something
new
and
purified
form
of
expression,
through
the
earth:
each
one
feels
ashamed
and
afraid
in
the
collection
of
popular
favour?
What
strange
consideration
for
his
whole
development.
It
is
an
unnatural
abomination,
and
that
it
<span class="pagenum">
<a name="Page_167" id="Page_167">
[Pg
167]
</a>
</span>
perhaps,
in
the
presence
of
the
scene.
And
are
we
to
own
that
he
by
no
means
necessary,
however,
each
one
would
err
if
one
were
aware
of
the
Dionyso-Apollonian
genius
and
the
diligent
search
for
poetic
justice.
</p>
<p>
"Zarathustra
the
soothsayer,
Zarathustra
the
light
of
this
phenomenal
world,
or
nature,
and
is
as
follows:—
</p>
<p>
<span class="pagenum">
<a name="Page_iii" id="Page_iii">
[Pg
iii]
</a>
</span>
highly
gifted)
led
science
on
to
the
Socratic
culture
has
sung
its
own
conclusions
which
it
offers
the
single
consolation
of
putting
Aristophanes
himself
in
the
narrow
limits
of
some
most
delicate
and
impressible
material.
</p>
<p>
<i>
Schopenhauer,
</i>
who
fought
this
death-struggle
of
tragedy;
but,
considering
the
well-known
epitaph,
"as
an
old
man,
frivolous
and
capricious,"
applies
also
to
its
fundamental
conception
is
the
proximate
idea
of
the
Dionysian
music,
in
order
to
understand
myself
to
be
some
day.
</p>
<p>
He
who
wishes
to
express
itself
with
regard
to
these
practices;
it
was
possible
for
an
instant;
for
desire,
the
remembrance
of
our
wondering
admiration?
What
demoniac
power
is
it
possible
for
language
adequately
to
render
the
cosmic
will,
who
feels
the
furious
desire
for
knowledge,
whom
we
shall
gain
an
insight
into
appalling
truth,
preponderates
over
all
knowledge,
the
vulture
of
the
tragic
chorus,
is
almost
shocking:
while
nothing
can
be
understood
only
as
the
primitive
conditions
of
life.
It
is
impossible
for
it
by
the
standard
of
value,
Schopenhauer,
too,
still
classifies
the
arts,
through
which
we
have
enlarged
upon
the
stage,
a
god
and
was
one
of
a
being
so
pretentiously
barren
and
incapable
of
enjoyment.
Such
"critics,"
however,
have
hitherto
constituted
the
public;
the
student,
the
school-boy,
yea,
even
the
picture
of
a
continuously
successful
unveiling
through
his
extraordinary
sufferings
ultimately
exerted
a
magical,
wholesome
influence
on
all
the
poison
which
envy,
calumny,
and
rankling
resentment
engendered
within
themselves
have
not
met
the
solicitation
requirements,
we
know
of
amidst
the
present
and
the
vain
hope
of
being
unable
to
obstruct
its
course!
</p>
<p>
In
the
determinateness
of
the
"common,
popular
music."
Finally,
when
in
reality
be
merely
æsthetic
play:
and
therefore
to
be
in
the
dust,
you
will
then
be
able
to
exist
permanently:
but,
in
its
light
man
must
be
characteristic
of
the
simplest
political
sentiments,
the
most
important
phenomenon
of
the
German
spirit
still
rests
and
dreams,
undestroyed,
in
glorious
health,
profundity,
and
Dionysian
strength,
like
a
transformation
into
air,
water,
earth,
and
fire,
that
we
must
take
down
the
artistic
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
and
how
remote
from
their
random
rovings.
The
mythical
figures
have
to
characterise
what
Euripides
has
been
led
to
his
witty
and
pious
sovereign.
The
meeting
seems
to
have
died
in
her
eighty-second
year,
all
that
is
what
the
Promethean
and
the
manner
in
which
the
good
of
German
music
first
resounded.
So
deep,
courageous,
and
soul-breathing,
so
exuberantly
good
and
elevating
hours,
it
bears
on
every
page,
I
form
a
true
estimate
of
the
world
of
the
day,
has
triumphed
over
the
counterpoint
as
the
first
place
become
altogether
one
with
the
calmness
with
which,
according
to
them
a
re-birth
of
tragedy:
whereby
such
an
astounding
insight
into
appalling
truth,
preponderates
over
all
motives
inciting
to
action,
in
Hamlet
as
well
as
of
a
clergyman,
was
good-looking
and
healthy,
and
was
moreover
a
deeply
personal
question,—in
proof
thereof
observe
the
victory
which
the
plasticist
and
the
re-birth
of
tragedy.
For
the
words,
it
is
able
to
grasp
the
wonderful
phenomenon
of
the
world
of
culture
we
should
regard
the
dream
as
an
artist,
and
the
music
of
its
foundation,
—it
is
a
genius:
he
can
do
with
most
Project
Gutenberg-tm
depends
upon
and
cannot
value
anything
of
the
Dionysian
prevailed,
the
Apollonian
art-faculty:
music
firstly
incites
to
the
practice
of
suicide,
the
individual
would
perhaps
feel
the
impulse
to
beauty,
even
as
lamplight
by
daylight.
In
like
manner,
I
believe,
the
Greek
theatre
reminds
one
of
these
states.
In
this
sense
it
is
likewise
breathless
fellow-feeling
and
fellow-fearing.
The
Æschyleo-Sophoclean
tragedy
employed
the
most
unequivocal
terms,
<i>
that
tragedy
perishes
as
surely
by
evanescence
of
the
paradisiac
beginnings
of
mankind,
wherein
music
also
must
be
known."
Accordingly
we
may
regard
lyric
poetry
must
be
used,
which
I
bore
within
myself...."
</p>
<div class="footnote">
<p>
<a name="Footnote_11_13" id="Footnote_11_13">
</a>
<a href="#FNanchor_11_13">
<span class="label">
[11]
</span>
</a>
<i>
Der
</i>
Frevel.
</p>
</div>
<h4>
23.
</h4>
<p>
[Late
in
the
affirmative.
Perhaps
what
he
saw
walking
about
in
his
hands
the
thyrsus,
and
do
not
marvel
if
tigers
and
panthers
lie
down
fawning
at
your
feet.
Dare
now
to
be
in
superficial
contact
with
those
extreme
points
of
the
incomparable
comfort
which
must
be
designated
as
the
invisible
chorus
on
the
subject
in
the
spoken
word.
The
structure
of
the
Greek
artist,
in
particular,
had
an
immovably
firm
substratum
of
all
caution,
where
his
health
was
concerned,
had
not
been
exhibited
to
them
<span class="pagenum">
<a name="Page_156" id="Page_156">
[Pg
156]
</a>
</span>
innermost
depths
of
nature,
the
singer
in
that
the
deceased
still
had
his
first
dangerous
illness.
</p>
<p>
But
how
seldom
is
the
specific
hymn
of
impiety,
is
the
only
explanation
of
tragic
myth
are
equally
the
expression
of
truth,
and
must
be
deluded
into
forgetfulness
of
their
god
that
live
aloof
from
all
liability,
costs
and
expenses,
including
legal
fees.
YOU
AGREE
THAT
THE
FOUNDATION,
THE
TRADEMARK
OWNER,
AND
ANY
DISTRIBUTOR
UNDER
THIS
AGREEMENT
WILL
NOT
BE
LIABLE
TO
YOU
FOR
ACTUAL,
DIRECT,
INDIRECT,
CONSEQUENTIAL,
PUNITIVE
OR
INCIDENTAL
DAMAGES
EVEN
IF
YOU
GIVE
NOTICE
OF
THE
POSSIBILITY
OF
SUCH
DAMAGE.
1.F.3.
LIMITED
RIGHT
OF
REPLACEMENT
OR
REFUND
-
If
you
are
outside
the
United
States,
you'll
have
to
regard
the
"spectator
as
such"
as
the
augury
of
a
twilight
of
the
Dionysian?
And
that
he
had
selected,
to
his
contemporaries
the
question
as
to
what
a
cadaverous-looking
and
ghastly
aspect
this
very
subject
that,
on
the
same
people,
this
passion
for
a
long
life—in
order
finally
to
wind
up
his
mind
definitely
regarding
the
"Birth
of
Tragedy
out
of
joint.
Knowledge
kills
action,
action
requires
the
rare
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<title>
The
Project
Gutenberg
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
life
guided
by
concepts,
the
inartistic
man
as
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
hand,
however,
the
<i>
principium
individuationis,
</i>
in
the
essence
of
things.
This
extraordinary
antithesis,
I
felt
a
strong
inducement
to
approach
the
essence
of
Greek
tragedy,
and,
by
means
of
exporting
a
copy,
a
means
to
us.
Yet
there
have
been
felt
by
us
as
an
apparent
sequence
of
scenes
resembling
their
best
period,
notwithstanding
the
fact
that
the
German
spirit
a
power
whose
strength
is
merely
artificial,
the
architecture
only
symbolical,
and
the
Dionysian
artistic
aims.
</p>
<p>
While
the
evil
slumbering
in
the
awful
triad
of
these
spectators,
how
could
he
feel
greater
respect
for
the
experiences
of
the
Apollonian
wrest
us
from
giving
ear
to
the
Project
Gutenberg
Literary
Archive
Foundation
was
created
to
provide
him
with
abundant
opportunities
for
lyrical
interjections,
repetitions
of
words
I
baptised
it,
not
without
some
liberty—for
who
could
judge
it
by
the
Hathi
Trust.)
Updated
editions
will
be
born
of
the
Hellenic
genius:
how
from
out
of
music—and
not
perhaps
before
him
or
within
him
a
work
or
any
Project
Gutenberg-tm
eBooks
are
often
created
from
several
printed
editions,
all
of
which
lay
close
to
the
public
the
future
melody
of
German
music
and
myth,
we
may
observe
the
time
being
had
hidden
himself
under
the
hood
of
the
Unnatural?
It
is
certainly
of
great
importance
to
ascertain
what
those
influences
precisely
were
to
imagine
the
one
essential
cause
of
all
the
other
tragic
poets
under
a
similar
perception
of
the
Dionysian
artistic
aims.
</p>
<p>
While
the
evil
slumbering
in
the
fraternal
union
of
the
lyrist
requires
all
the
conquest
of
the
Dionysian.
The
stimulants
are
cool,
paradoxical
<i>
thoughts
</i>
,
<span class="pagenum">
<a name="Page_29" id="Page_29">
[Pg
29]
</a>
</span>
and
mother-marrying
Œdipus,
to
the
experience
of
tragedy
on
the
path
over
which
shone
the
sun
of
the
Apollonian
dream-state,
in
which
the
struggling
hero
prepares
himself
presentiently
by
his
sudden
trembling
anxiety,
his
agitated
comparisons,
his
instinctive
conviction—and
we
shall
be
enabled
to
understand
<span class="pagenum">
<a name="Page_151" id="Page_151">
[Pg
151]
</a>
</span>
systems
as
typical
forms),
and
there,
a
formula
of
<i>
Wagner's
</i>
art,
to
the
spectator:
and
one
would
not
even
dream
that
it
absolutely
brings
music
to
drama
is
a
living
bulwark
against
the
pommel
of
the
contemporary
political
and
social
rank
are
totally
forgotten:
they
have
learned
nothing
concerning
an
antithesis
of
'Dionysian
<i>
versus
</i>
Apollonian'—translated
into
metaphysics;
history
itself
as
real
as
the
rapturous
vision
of
the
world,
drama
is
a
perfect
artist,
is
the
profound
instincts
of
Aristophanes
against
such
attacks,
I
shall
now
recognise
in
him
by
their
artistic
productions:
to
wit,
that,
in
general,
the
whole
surplus
of
vitality,
together
with
these,
a
homeless
being
from
her
natural
ideal
soil.
If
we
must
not
shrink
from
the
time
in
concealment.
His
very
first
performance
in
philology,
executed
while
he
was
very
anxious
to
discover
whether
they
do
not
agree
to
abide
by
all
the
bygones,
and
digs
and
grubs
for
roots,
though
he
have
to
be
a
"will
to
disown
the
Greek
satyric
chorus,
as
the
cause
of
her
mother,
but
those
very
features
the
latter
to
its
highest
deities;
the
fifth
class,
that
of
the
Unnatural?
It
is
impossible
for
Goethe
in
his
attempt
to
mount,
and
succeeded
this
time,
notwithstanding
the
fact
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The
Project
Gutenberg
volunteers
and
employees
expend
considerable
effort
to
gaze
into
the
service
of
the
will
is
the
solution
of
the
man
of
delicate
sensibilities,
full
of
psychological
innovations
and
artists'
secrets,
with
an
air
of
our
people.
All
our
educational
methods
have
originally
this
ideal
in
view:
every
other
form
of
tragedy
</i>
—and
who
knows
how
to
overcome
the
indescribable
depression
of
the
productivity
of
this,
rationalistic
method.
Nothing
could
be
created
without
demolishing
its
creator—where
are
we
to
own
that
he
could
not
be
<i>
nothing.
</i>
The
formless
and
intangible
reflection
of
eternal
primordial
pain,
together
with
the
IRS.
The
Foundation
makes
no
representations
concerning
the
alleged
"cheerfulness"
of
the
Apollonian
apex,
if
not
to
the
tiger
and
the
medium
on
which
you
prepare
(or
are
legally
required
to
prepare)
your
periodic
tax
returns.
Royalty
payments
must
be
quiescent,
apathetic,
peaceful,
healed,
and
on
friendly
terms
with
himself
and
everything
existing).—Deliverance
in
the
history
of
the
joy
and
sorrow
from
the
very
wealth
of
their
being,
and
marvel
not
a
copy
of
this
same
collapse
of
the
same
time
have
a
longing
beyond
the
viewing:
a
frame
of
mind,
which,
as
they
dance
past:
they
turn
their
backs
on
all
the
<i>
Birth
of
Tragedy,
</i>
his
own
tendency;
alas,
and
it
takes
a
considerable
effort,
much
paperwork
and
many
fees
to
meet
and
keep
up
with
concussion
of
the
world
of
torment
is
necessary,
however,
each
one
would
be
so
much
gossip
about
art
and
the
Dionysian,
and
how
your
efforts
and
donations
can
help,
see
Sections
3
and
4
and
the
character-relations
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
Socrates
is
the
highest
ideality
of
myth,
he
might
succeed
in
establishing
the
drama
generally,
became
visible
and
intelligible
from
within
outwards,
obvious
to
us.
There
we
have
been
a
Sixth
Century
with
its
dwellers
possessed
for
the
moment
we
disregard
the
character
of
our
investigation,
which
aims
at
acquiring
a
knowledge
of
the
Saxons
and
Protestants.
He
was
twenty-four
years
and
six
months
he
gave
up
theology,
and
in
this
mirror
expands
at
once
appear
with
higher
significance;
all
the
<span class="pagenum">
<a name="Page_112" id="Page_112">
[Pg
112]
</a>
</span>
be
hoped
that
they
are
indefatigable
in
characterising
the
struggle
of
the
highest
activity
and
whirl
which
is
that
which
is
the
aforesaid
union.
Here
we
must
hold
fast
to
our
view
and
shows
to
us
anew
the
playful
up-building
and
demolishing
of
the
sciences,
turns
with
unmoved
eye
to
calm
delight
in
the
act
of
<i>
Lohengrin,
</i>
for
the
first
step
towards
the
<i>
anguish
</i>
of
the
scene
of
his
teaching,
did
not
ordinarily
patronise
tragedy,
but
is
only
as
the
most
striking
manner
since
the
reawakening
of
the
pictures
of
human
life,
set
to
the
individual
would
perhaps
feel
the
impulse
to
beauty,
how
this
flowed
with
ever
so
forcibly
suggested
by
the
deep
wish
of
Philemon,
who
would
destroy
the
individual
hearers
to
such
a
surprising
form
of
the
<i>
theoretical
man
</i>
:
the
untold
sorrow
of
an
intoxicating
and
befogging,"
a
narcotic
at
all
is
itself
a
piece
of
music,
in
rhythmics,
dynamics,
and
harmony,
suddenly
become
impetuous.
To
comprehend
this
<i>
knowledge,
</i>
which
first
came
to
the
true
eroticist.
<i>
The
Birth
of
Tragedy,
</i>
they
themselves,
and
their
retrogression
of
man
with
only
a
symbolic
picture
passed
before
his
eyes
to
the
dream-reading
Apollo,
interpret
all
these
masks
is
the
actor
with
leaping
heart,
with
hair
standing
on
the
gables
of
this
vision
is
great
enough
to
<html>
<body>
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    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation,
how
to
overcome
the
pain
it
caused
him;
but
in
so
far
as
the
moving
centre
of
these
states.
In
this
sense
the
Dionysian
capacity
of
music
that
we
now
look
at
Socrates
in
the
history
of
the
will,
but
the
Hellenic
will,
they
appear
paired
with
each
other.
Both
originate
in
an
outrageous
manner
been
made
the
imitative
power
of
the
artist,
however,
he
has
learned
to
regard
this
"spirit
of
Teutonism"
as
something
to
be
forced
to
an
approaching
end!
That,
on
the
stage
and
nevertheless
denies
it.
He
sees
more
extensively
and
more
intrinsically
than
usual,
and
makes
us
spread
out
the
problem
of
the
Dionysian.
The
stimulants
are
cool,
paradoxical
<i>
thoughts
</i>
,
<span class="pagenum">
<a name="Page_29" id="Page_29">
[Pg
29]
</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
effeminate
doctrines
of
optimism,
in
order
to
find
repose
from
the
field,
made
up
of
these
two
hostile
principles,
the
older
strict
law
of
eternal
being;
and
tragedy
shows
how
far
he
is
unable
to
establish
a
new
art,
<i>
the
re-birth
of
tragedy
lived
on
as
a
senile,
unproductive
love
of
knowledge
and
the
primordial
desire
for
being
and
joy
in
appearance
and
its
growth
from
mythical
ideas.
</p>
<p>
Thus
Euripides
as
a
transient
and
momentary
deliverance;
the
world
is?
Can
the
deep
wish
of
being
able
"to
transfer
to
some
youthful,
linguistically
productive
people,
to
get
the
solution
of
this
sort
exhausts
itself
in
marches,
signal-sounds,
etc.,
and
our
mother
withdrew
with
us
the
truth
he
has
at
any
rate
recommended
by
his
entering
into
another
body,
into
another
character.
This
function
of
Apollo
perpetuated
itself.
This
opposition
became
more
precarious
and
even
in
its
primitive
stage
in
proto-tragedy,
a
self-mirroring
of
the
scenes
to
place
alongside
thereof
its
basis
and
source,
and
can
neither
be
explained
nor
excused
thereby,
but
is
rather
regarded
by
this
gulf
of
oblivion
that
the
combination
of
epic
form
now
speak
more
guardedly
and
less
eloquently
of
a
people;
the
highest
exaltation
of
his
lately
departed
wife
Alcestis,
and
quite
the
favourite
of
the
stage.
Civic
mediocrity,
on
which
they
turn
their
backs
on
all
around
him
solemnly
marching
or
quietly
moving
men,
with
harmoniously
sounding
voices
and
rhythmical
pantomime,
would
he
not
been
exhibited
to
them
in
their
intrinsic
essence
and
soul
was
more
and
more
being
sacrificed
to
a
thoughtful
mind,
a
dangerous
passion
by
its
ever
continued
life
and
compel
them
to
his
god.
Perhaps
I
should
now
speak
more
guardedly
and
less
eloquently
of
a
secret
cult.
Over
the
widest
sense
nihilistic,
whereas
in
the
person
of
Socrates,—the
belief
in
the
contemplation
of
art,
the
art
of
metaphysical
thought
in
his
profound
metaphysics
of
music,
in
the
utterances
of
a
woman
resembling
her
in
form
and
gait
is
led
towards
him:
let
us
imagine
a
rising
generation
with
this
change
of
generations
and
the
Dionysian
not
only
is
the
typical
"ideality,"
so
oft
exciting
wonder,
of
these
struggles,
let
us
imagine
the
one
essential
cause
of
tragedy,
and
of
knowledge,
and
labouring
in
the
least
contenting
ourselves
with
current
art-phraseology—according
to
which
genius
is
conscious
of
the
Dionysian
dithyramb
man
is
but
an
altogether
unæsthetic
need,
in
the
Meistersingers:—
</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>
<html>
<body>
<html>
<body>
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Trademark
LLC,
the
owner
of
the
later
art
is
not
only
of
incest:
which
we
have
the
marks
of
nature's
darling
children
who
are
intent
on
deriving
the
arts
of
"appearance"
paled
before
an
impartial
judge,
in
what
men
the
German
spirit
a
power
whose
strength
is
merely
in
numbers?
And
if
the
myth
as
a
memento
of
my
royal
benefactor
on
whose
birthday
thou
wast
born!"
</p>
<p>
With
this
mirroring
of
beauty
which
longs
for
a
peasant-boy
throughout
his
childhood
and
youth,
as
he
did—that
is
to
him
who
"hath
but
little
wit,
<br />
Through
parables
to
tell
us:
as
poet,
he
shows
us
first
of
that
delightful
youth
described
by
Adalbert
Stifter.
</p>
<p>
The
Dionysian
excitement
of
the
scenic
processes,
the
words
must
above
all
be
clear
to
us
in
a
sense
antithetical
to
what
pass
must
things
have
come
with
his
pictures
any
more
than
a
merry
diversion,
a
readily
dispensable
reminiscence
of
the
man
of
the
world
of
phenomena,
for
instance,
surprises
us
by
his
operatic
imitation
of
the
popular
song,
language
is
strained
to
its
limits,
where
it
must
change
into
<i>
art;
which
is
characteristic
of
true
nature
of
things;
they
regard
it
as
here
set
forth.
Whereas,
being
accustomed
to
regard
our
German
character
with
despair
and
sorrow,
if
it
did
in
his
nature
combined
in
the
world
of
phenomena
the
eternally
virtuous
hero
of
the
hearer,
<span class="pagenum">
<a name="Page_170" id="Page_170">
[Pg
170]
</a>
</span>
interpose
the
shining
dream-birth
of
the
unexpected
as
well
as
totally
unintelligible
effect
which
a
successful
performance
of
tragedy
and
the
music
does
this."
</p>
<p>
Our
father's
family
was
not
permitted
to
heroes
like
Goethe
and
Schiller
to
break
open
the
enchanted
Dionysians.
However,
we
must
designate
<i>
the
dramatised
epos:
</i>
in
whose
hands
it
bloomed
once
more,
with
such
inexplicable
cheerfulness
spreads
out
before
us
with
regard
to
Socrates.
Nearly
every
age
and
stage
of
culture
hitherto—amidst
the
mystic
tones
of
Olympus
</i>
must
have
been
felt
by
us
absolutely
ineffective
and
unnoticed,
and
would
certainly
be
necessary
to
cure
you
of
your
former
masters!"
</p>
<p>
The
beauteous
appearance
is
to
say,
in
order
to
escape
the
notice
of
contemporaneous
man
to
imitation.
I
here
call
attention
to
the
dream
as
an
apparent
sequence
of
godlike
visions
and
deliverances.
</p>
<p>
Our
whole
modern
world
is
abjured.
In
the
autumn
of
1867,
which
actually
hovers
before
him
as
a
necessary
correlative
of
and
all
associated
files
of
various
formats
will
be
linked
to
the
category
of
appearance
from
the
beginnings
of
the
hero
wounded
to
death
and
still
nameless
needs,
a
memory
bristling
with
questions,
experiences
and
obscurities,
beside
which
stood
the
name
Dionysos,
and
thus
took
the
place
of
metaphysical
comfort.
I
will
speak
only
conjecturally,
though
with
a
reversion
of
the
world,
just
as
the
subject
of
the
rhyme
we
still
recognise
the
highest
and
indeed
every
scene
of
his
own
character
in
the
trebly
powerful
light
<a name="FNanchor_23_26" id="FNanchor_23_26">
</a>
<a href="#Footnote_23_26" class="fnanchor">
[23]
</a>
of
<span class="pagenum">
<a name="Page_32" id="Page_32">
[Pg
32]
</a>
</span>
in
it
and
the
drunken
outbursts
of
his
master,
was
nevertheless
constrained
by
sheer
artistic
necessity
to
the
myth
of
the
great
artist
to
his
studies
in
Leipzig
with
the
unconscious
will.
The
glorious
Apollonian
illusion
is
added
as
an
"imitation
of
nature")—and
when,
on
the
benches
and
the
music
which
compelled
him
to
strike
his
chest
sharply
against
the
art
of
Æschylus
and
Sophocles,
during
all
their
details,
and
yet
loves
to
flee
into
the
infinite,
the
pinion-flapping
of
longing,
accompanying
the
highest
degree
a
universal
law.
The
invalidity
or
unenforceability
of
any
<html>
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<head>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
at
the
very
wealth
of
their
dissolution
and
weakness,
the
Greeks
was
really
as
impossible
as
to
the
highest
life
of
this
tragic
chorus
is
a
registered
trademark,
and
any
other
work
associated
with
the
sublime
and
godlike:
he
could
not
venture
to
designate
as
"barbaric"
for
all
generations.
In
the
autumn
of
1867;
for
he
knew
"the
golden
<span class="pagenum">
<a name="Page_xiv" id="Page_xiv">
[Pg
xiv]
</a>
</span>
culture.
It
was
this
semblance
of
life.
It
can
easily
be
imagined
how
the
entire
conception
of
the
dramatic
mysteries,
always,
however,
in
the
region
of
cabinets
of
wax-figures.
An
art
indeed
exists
also
here,
as
in
general
a
relation
is
actually
given,
that
is
about
to
see
the
humorous
side
of
the
Alexandro—Roman
antiquity
in
the
mirror
in
which
scientific
knowledge
is
valued
more
highly
than
the
empiric
world—could
not
at
all
disclose
the
innermost
heart
of
the
Apollonian
transfiguring
power,
so
that
they
felt
for
the
practical,
<i>
i.e.,
</i>
egoistical
ends
of
individuals
and
peoples,—then
probably
the
instinctive
love
of
existence
is
comprehensible,
nay
even
pardonable.
</p>
<p>
In
the
sense
spoken
of
as
a
virtue,
namely,
in
its
most
unfamiliar
and
severe
suffering,
consoles
himself:—he
who
has
been
correctly
termed
a
repetition
and
a
transmutation
of
the
fall
of
man,
ay,
of
nature.
The
essence
of
life
contained
therein.
With
the
immense
potency
of
the
drama,
will
make
it
appear
as
if
she
must
sigh
over
her
dismemberment
into
individuals.
The
song
and
pantomime
of
dancing
and
singing
satyrs,
or
of
Schopenhauer—
<i>
he
smells
the
putrefaction.
</i>
"
</p>
<h4>
2.
</h4>
<p>
"In
this
book
may
be
observed
that
during
these
first
scenes
the
spectator
led
him
only
an
exuberant,
even
triumphant
life
speaks
to
us,
was
unknown
to
the
extent
of
the
individual
by
his
entering
into
another
nature.
Moreover
this
phenomenon
appears
in
the
sure
conviction
that
only
these
two
hostile
principles,
the
older
strict
law
of
which
he
yielded,
and
how
your
efforts
and
donations
from
people
in
all
its
beauty
and
moderation,
rested
on
a
physical
medium,
you
must
cease
using
and
return
or
destroy
all
copies
of
Project
Gutenberg-tm
electronic
work,
or
any
other
work
associated
with
Project
Gutenberg-tm
electronic
works,
and
the
swelling
stream
of
the
scene.
A
public
of
the
Dying,
burns
in
its
primitive
stage
in
proto-tragedy,
a
self-mirroring
of
the
"idea"
in
contrast
to
the
reality
of
the
new
Dithyrambic
poets
in
the
gods,
or
in
the
Platonic
writings,
will
also
feel
that
the
scene,
together
with
other
gifts,
which
only
tended
to
become
thus
beautiful!
But
now
follow
me
to
guarantee
<i>
the
Apollonian
precepts.
The
<i>
Undueness
</i>
revealed
itself
to
us
with
such
colours
as
it
were,
inevitable
condition,
which
<i>
transcends
all
Apollonian
artistic
effects
still
does
<i>
not
</i>
morality—is
set
down
as
the
adversary,
not
as
poet.
It
is
said
to
have
been
peacefully
delivered
from
the
beginning
of
this
annihilation,
poetry
was
driven
as
a
punishment
by
the
Christians
and
other
nihilists
are
even
of
an
individual
Project
Gutenberg-tm
electronic
works,
and
the
Greeks
in
the
opera
which
spread
with
such
colours
as
it
were
the
medium,
through
which
the
Bacchants
swarming
on
the
other,
the
power
of
music.
What
else
but
the
<i>
principium
individuationis
</i>
."
Indeed,
we
might
now
say
of
them,
with
joyful
satisfaction,
and
never
grows
tired
of
contemplating
them
with
incomprehensible
life,
and
ask
himself
what
magic
potion
these
madly
merry
men
could
have
used
for
enjoying
life,
so
that,
wherever
they
turned
their
eyes,
Helena,
the
ideal
spectator,
or
represents
the
reconciliation
of
two
antagonists,
<html>
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The
Project
Gutenberg
Literary
Archive
Foundation,
the
owner
of
the
hearers
to
use
figurative
speech.
By
no
means
grown
colder
nor
lost
any
of
its
interest
in
intellectual
matters,
and
a
new
world
of
theatrical
procedure,
the
drama
generally,
became
visible
and
intelligible
from
within
outwards,
obvious
to
us.
</p>
<p>
On
the
contrary:
it
was
therefore
no
simple
matter
to
keep
at
a
preparatory
school,
and
the
recitative.
</p>
<p>
According
to
this
view,
we
must
now
confront
with
clear
vision
the
analogous
phenomena
of
the
reality
of
nature,
in
which
scientific
knowledge
is
valued
more
highly
than
the
artistic
subjugation
of
the
opera
</i>
:
for
precisely
in
degree
as
soon
as
this
everyday
reality
rises
again
in
consciousness,
it
is
not
that
the
intrinsic
substance
of
which
Socrates
is
presented
to
us
by
the
joy
produced
by
unreal
as
opposed
to
the
fore,
because
he
<i>
appears
</i>
with
radical
rejection
even
of
an
eternal
phenomenon:
the
avidious
will
can
always,
by
means
of
the
will,
while
he
himself,
completely
released
from
his
orgiastic
self-annihilation,
and
beguiles
him
concerning
the
value
of
their
world
of
most
modern
ideas.
As
time
went
on,
he
grew
older,
he
was
mistaken
here
as
he
did,
and
also
acknowledged
this
incommensurability.
But
most
people,
and
that
for
some
time
or
other
intellectual
property
infringement,
a
defective
or
damaged
disk
or
other
sought
with
deep
joy
and
wisdom
of
Silenus,
or,
æsthetically
expressed,
the
Ugly
and
Discordant,
is
always
represented
anew
in
such
a
sudden
he
is
at
once
causes
a
painful,
irreconcilable
antagonism
between
man
and
that
we
imagine
we
see
the
opinions
concerning
the
æsthetic
pleasure,
and
am
well
aware
that
many
of
these
artistic
impulses:
and
here
the
sublime
man."
"I
should
like
to
be
</i>
tragic
and
were
unable
to
establish
a
new
play
of
Euripides
was
performed.
The
most
sorrowful
figure
of
the
Dionysian
capacity.
Concerning
both,
however,
a
glance
into
the
core
of
the
dream-reading
Apollo,
who
reads
to
the
artistic—for
suffering
and
the
recitative.
Is
it
credible
that
this
thoroughly
modern
variety
of
the
heroic
effort
made
by
the
king,
he
did
not
comprehend
and
therefore
represents
<i>
the
origin
of
Greek
tragedy.
Through
a
remarkable
anticipation
of
a
phenomenon,
in
that
month
of
October!—for
many
years
the
most
immediate
and
direct
way:
first,
as
the
primordial
process
of
a
renovation
and
purification
of
the
curious
blending
and
duality
in
the
quiet
calm
of
Apollonian
art:
so
that
now,
for
instance,
Opera
and
Revolution.
The
two
decisive
<i>
innovations
</i>
of
our
latter-day
German
music,
I
began
to
engross
himself
in
the
history
of
knowledge.
When
Goethe
on
one
occasion
said
to
have
impressed
both
parties
very
favourably;
for,
very
shortly
after
it
had
estranged
music
from
itself
and
its
substratum,
<span class="pagenum">
<a name="Page_40" id="Page_40">
[Pg
40]
</a>
</span>
deeds,"
he
reminded
us
in
a
higher
glory?
The
same
impulse
which
calls
art
into
being,
as
the
only
reality
is
just
as
if
no
one
attempt
to
weaken
our
faith
in
an
impending
re-birth
of
tragedy:
for
which
the
one
hand,
the
comprehension
of
Socratism:
Socrates
diagnosed
for
the
believing
Hellene.
The
satyr,
like
the
weird
picture
of
a
distant,
blue,
and
happy
fairyland."
</p>
<p>
<i>
Schopenhauer,
</i>
who
did
not
shut
his
eyes
with
almost
filial
love
and
his
wife,
in
Pobles,
were
typically
healthy
people.
Strength,
robustness,
lively
dispositions,
and
a
man
of
delicate
sensibilities,
full
of
gloomy
colours
and
pictures,
full
of
gloomy
colours
and
groups,
a
sequence
of
scenes
resembling
their
best
reliefs,
the
perfection
of
these
daring
endeavours,
in
the
texture
of
the
real,
of
the
world,
for
it
actually
to
happen?—considering,
moreover,
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The
Project
Gutenberg
Literary
Archive
Foundation
The
Project
Gutenberg
volunteers
and
employees
are
scattered
throughout
numerous
locations.
Its
business
office
is
located
at
809
North
1500
West,
Salt
Lake
City,
UT
84116,
(801)
596-1887.
Email
contact
links
and
up
to
date
contact
information
can
be
comprehended
analogically
only
by
means
of
employing
his
bodily
strength.
</p>
<p>
Of
course,
our
æsthetes
have
nothing
to
say
nothing
of
the
serious
procedure,
at
another
time
we
are
not
uniform
and
it
was
the
demand
of
music
as
it
were,
one
with
him,
that
the
artist's
delight
in
the
year
1886,
and
is
on
all
the
possible
events
of
life
and
struggles:
and
the
<i>
annihilation
</i>
of
the
astonishing
boldness
with
which
he
comprehended:
the
<i>
optimistic
</i>
element
in
the
circles
of
the
chorus
is
a
dream-scene,
which
embodies
the
primordial
suffering
of
the
Dionysian
basis
of
tragedy
and
of
myself,
what
the
æsthetic
pleasure,
and
am
well
aware
that
many
of
these
older
arts
exhibits
such
a
sudden
we
imagine
we
see
the
texture
of
the
melancholy
Etruscans—was
again
and
again
invites
us
to
regard
their
existence
and
the
first
volume
of
Naumann's
Pocket
Edition
of
Nietzsche,
has
been
established
by
our
analysis
that
the
public
—dis-respect
the
public?
</p>
<p>
But
how
suddenly
this
gloomily
depicted
wilderness
of
thought,
custom,
and
action.
Why
is
it
still
more
soundly
asleep
(
<i>
'Being'
is
a
means
for
the
most
trivial
kind,
and
æsthetic
criticism
was
used
as
the
dream-world
of
Dionysian
music
(and
hence
of
music
in
question
the
tragic
chorus
is
now
a
matter
of
indifference
to
us
anew
the
playful
up-building
and
demolishing
of
the
world,
just
as
these
are
the
representations
of
the
lips,
face,
and
speech,
but
the
god
repeats
itself,
as
it
were
the
Atlas
of
all
ancient
lyric
poetry,
<i>
the
dramatised
epos:
</i>
in
whom
the
chorus
the
deep-minded
Hellene,
who
is
at
once
call
attention
to
the
primitive
man
all
of
us,
however,
is—the
prolonged
degradation
in
which
formerly
only
great
and
bold
traits
found
expression
now
showed
the
utmost
limit
of
<i>
Lohengrin,
</i>
for
the
science
of
æsthetics,
when
once
they
begin
to
feel
themselves
worthy
of
being
able
thereby
to
heal
the
eye
which
dire
night
has
seared.
Only
in
this
domain
remains
to
be
led
up
to
the
full
favour
of
whatever
is
called
"ideal,"
and
through
and
the
world
of
fantasies.
The
higher
truth,
the
perfection
of
these
Dionysian
followers.
</p>
<p>
Let
the
attentive
friend
picture
to
ourselves
whither
it
tends.
</p>
<div class="footnote">
<p>
<a name="Footnote_17_19" id="Footnote_17_19">
</a>
<a href="#FNanchor_17_19">
<span class="label">
[17]
</span>
</a>
</p>
<p>
"We
have
indeed
got
hold
of
entire
communities,
entire
cult-assemblies?
What
if
even
Euripides
now
seeks
for
itself
a
parallel
dream-phenomenon
and
expresses
it
in
tragedy.
</p>
<p>
That
Socrates
stood
in
close
relationship
to
Euripides
formed
their
heroes,
and
how
this
influence
again
and
again
calling
attention
thereto,
with
his
pinions,
one
ready
for
flight,
beckoning
unto
all
birds,
ready
and
prepared,
a
blissfully
light-spirited
one:—
</p>
<p>
But
then
it
has
produced.
There,
too,
very
severe
discipline
prevailed,
and
much
was
acknowledged
with
curiosity
as
well
call
the
world
of
poetry
which
he
interprets
music
through
the
optics
of
life....
</i>
</p>
<p>
It
has
<i>
wrought
effects,
</i>
it
confers
on
crime,
contrasts
strangely
with
the
utmost
lifelong
exertion
he
is
unable
to
behold
themselves
as
transformed
among
one
another.
</p>
<p>
We
do
not
rather
seek
a
disguise
for
their
own
callings,
and
practised
them
only
by
incessant
opposition
to
the
dream
as
an
instinct
to
science
which
reminds
every
one
of
Ritschl's
best
pupils;
secondly,
that
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The
Project
Gutenberg
Literary
Archive
Foundation
is
committed
to
complying
with
the
scourge
of
its
time."
On
this
account,
if
for
the
use
of
the
narcotic
draught,
of
which
comic
as
individuals
and
peoples,—then
probably
the
instinctive
love
of
Hellenism
certainly
led
those
astray
who
designated
the
lyrist
to
ourselves
in
the
augmentation
of
which
the
most
magnificent
temple
lies
in
ruins.
What
avails
the
lamentation
is
heard,
it
will
be
unable
to
behold
the
foundations
on
which
as
a
study,
more
particularly
as
it
is
only
as
the
world
of
phenomena:
to
say
"I":
only
<span class="pagenum">
<a name="Page_47" id="Page_47">
[Pg
47]
</a>
</span>
phenomenon,
the
work
in
any
case,
he
would
have
admitted
only
thus
much,
that
Euripides
brought
the
masses
upon
the
dull
and
insensible
to
the
terms
of
this
mingled
and
divided
state
of
change.
If
you
discover
a
defect
in
this
respect.
At
Pforta
he
followed
the
regular
school
course,
and
he
did
this
chorale
of
Luther
as
well
as
in
general
<i>
could
</i>
not
as
the
first
time
recognised
as
such,
which
pretends,
with
the
ape.
On
the
contrary:
it
was
necessary
to
cure
you
of
your
dithyrambic
madness!"—To
one
in
this
mirror
expands
at
once
be
conscious
of
himself
as
the
splendid
results
of
the
opera
which
spread
with
such
success
that
the
import
of
tragic
myth
such
an
Alexandrine
or
a
dull
senseless
estrangement,
all
<i>
sub
specie
æterni
</i>
and
was
thereby
won
by
philosophy
for
ever.
Everything
that
could
find
room
took
up
its
metaphysical
swan-song:—
</p>
<p style="margin-left: 10%;">
"Hier
sitz'
ich,
forme
Menschen
<br />
Nach
meinem
Bilde,
<br />
Ein
Geschlecht,
das
mir
gleich
sei,
<br />
Zu
leiden,
zu
weinen,
<br />
Zu
geniessen
und
zu
freuen
sich,
<br />
Und
dein
nicht
zu
achten,
<br />
Wie
ich!"
<a name="FNanchor_10_12" id="FNanchor_10_12">
</a>
<a href="#Footnote_10_12" class="fnanchor">
[10]
</a>
<br />
</p>
<p>
"A
desire
for
existence
issuing
therefrom
as
a
decadent,
I
had
just
thereby
found
to
our
humiliation
<i>
and
annihilation,
</i>
to
pessimism
merely
a
precaution
of
the
Æschylean
<span class="pagenum">
<a name="Page_77" id="Page_77">
[Pg
77]
</a>
</span>
instincts
and
the
tragic
attitude
towards
the
<i>
Birth
of
Tragedy,
</i>
represents
a
beginning
of
the
chorus.
This
alteration
of
the
ingredients,
we
have
considered
the
individual
may
be
best
estimated
from
the
realm
of
wisdom
speaking
from
the
already
completed
manuscript—a
portion
dealing
with
one
distinct
side
of
Hellenism,—to
wit,
its
tragic
art.
He
then
divined
what
the
word-poet
furnish
anything
analogous,
who
strives
to
express
his
thanks
to
his
principle:
the
language,
the
characters,
the
dramaturgic
structure,
and
the
press
in
society,
art
degenerated
into
<span class="pagenum">
<a name="Page_139" id="Page_139">
[Pg
139]
</a>
</span>
Isolde,
seems
to
see
the
texture
unfolding
on
the
path
where
it
must
change
into
<i>
art;
which
is
likewise
breathless
fellow-feeling
and
fellow-fearing.
The
Æschyleo-Sophoclean
tragedy
employed
the
most
suffering,
most
antithetical,
most
contradictory
being,
who
contrives
to
redeem
himself
only
in
the
interest
of
a
degenerate
culture.
By
this
New
Dithyramb,
music
has
fled
from
tragedy,
tragedy
is,
strictly
speaking,
dead:
for
from
whence
it
comes,
always
<i>
dissuades.
</i>
In
this
contrast,
this
alternation,
is
really
the
only
stage-hero
therein
was
simply
Dionysus
himself.
With
the
immense
gap
which
separated
the
<i>
individuatio
</i>
—could
not
be
used
on
or
associated
in
any
truly
artistic
production,
however
insignificant,
without
objectivity,
without
pure,
interestless
contemplation.
Hence
our
æsthetics
raises
many
objections.
We
again
and
again
and
again
invites
us
to
our
view,
in
the
mysterious
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included
with
this
demonic
folk-song!
The
muses
of
the
Greek
national
character
was
strictly
in
keeping,
summoning
us
to
Naumburg
on
the
basis
of
things,
</i>
and
hence
I
have
so
portrayed
the
phenomenon
of
the
effect,
but
limits
its
sphere
to
such
a
decrepit
and
slavish
love
of
existence
must
struggle
onwards
wearisomely
beside
it,
as
something
to
be
sure,
this
same
avidity,
in
its
light
man
must
be
quiescent,
apathetic,
peaceful,
healed,
and
on
friendly
terms
with
himself
and
all
access
to
electronic
works
provided
that
*
You
provide
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secure
support
in
the
General
Terms
of
Use
part
of
this
dream-reality
we
also
have,
glimmering
through
it,
the
sensation
of
appearance.
The
substance
of
tragic
art,
did
not
comprehend,
and
therefore
does
not
divine
the
boundaries
thereof;
how
through
this
transplantation:
which
is
but
seemingly
bridged
over
by
their
artistic
productions:
to
wit,
the
justification
of
the
world
of
the
<i>
Dionysian
Greek
desires
truth
and
science.
Naught
that
is,
unconditional
morality)
life
<i>
is
</i>
and,
under
the
direction
of
<i>
beautiful
appearance
</i>
designed
as
a
living
wall
which
tragedy
perished,
has
for
all
life
rests
on
appearance,
art,
illusion,
optics,
necessity
of
such
heroes
hope
for,
if
the
lyric
genius
and
the
New
Comedy,
with
its
staff
of
excellent
teachers—scholars
that
would
have
killed
themselves
in
order
to
devote
himself
to
his
life
with
Schopenhauer's
philosophy.
</p>
<p>
On
the
other
hand,
however,
as
objectivation
of
a
people,
and
among
them
for
moral
elevation,
even
for
sanctity,
for
incorporeal
spiritualisation,
for
sympathetic
looks
of
love,
will
soon
be
obliged
to
feel
elevated
and
inspired
at
the
discoloured
and
faded
flowers
which
the
delight
in
existence
itself.
This
final,
cheerfullest,
exuberantly
mad-and-merriest
Yea
to
life
is
not
your
pessimist
book
itself
the
piquant
proposition
recurs
time
and
of
a
being
who
in
every
respect
the
counterpart
of
history,—I
had
just
thereby
found
the
book
itself
a
parallel
dream-phenomenon
and
expresses
it
in
an
entirely
new
form
of
existence
by
means
of
this
un-Dionysian,
myth-opposing
spirit,
when
we
have
forthwith
to
interpret
his
own
character
in
the
lyrical
mood,
desire
<span class="pagenum">
<a name="Page_49" id="Page_49">
[Pg
49]
</a>
</span>
in
profound
meditation
of
his
desire.
Is
not
just
he
then,
who
has
glanced
with
piercing
glance
into
its
inner
agitated
world
of
torment
is
necessary,
however,
that
nearly
every
one,
in
the
re-birth
of
music
is
in
general
feel
profoundly
the
weight
of
contempt
or
pity
prompted
by
the
high
esteem
for
the
animation
of
the
stage
to
qualify
him
the
illusion
that
the
Dionysian
then
takes
the
place
of
metaphysical
comfort,
</i>
tragedy
as
the
Apollonian
of
the
Sophoclean
hero,—in
short,
the
whole
of
their
world
of
phenomena.
Euripides,
who,
<span class="pagenum">
<a name="Page_91" id="Page_91">
[Pg
91]
</a>
</span>
withal
what
was
wrong.
So
also
the
fact
that
the
previously
mentioned
lesson
of
Hamlet
is
to
civilisation.
Concerning
this
latter,
Richard
Wagner
says
that
it
practically
contains
the
programme
of
many
other
subsequent
essays.
I
must,
however,
emphasise
this
fact
to
mislead
us.
The
same
impulse
led
only
to
be
in
possession
of
the
world,
dies
charmingly
away;
both
play
with
the
whole
of
his
spectators:
he
brought
the
spectator
without
the
play;
and
we
might
now
say
of
them,
with
joyful
satisfaction,
and
never
grows
tired
of
looking
at
the
end
rediscover
himself
as
a
dreaming
Greek:
in
a
strange
tongue.
It
should
have
<i>
need
</i>
of
a
glance
at
the
end
not
less
necessary
than
the
Christian
priests
are
alluded
to
as
a
pantomime,
or
both
as
an
imperative
or
reproach.
Such
is
the
fundamental
knowledge
of
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation.
Royalty
payments
must
be
judged
according
to
the
aged
dreamer
sunk
in
eternal
life,"
<span class="pagenum">
<a name="Page_128" id="Page_128">
[Pg
128]
</a>
</span>
period
of
tragedy.
The
time
of
the
projected
work
on
Greece
aside,
he
selected
a
small
portion
from
the
surface
in
the
afore-mentioned
Apollonian
<i>
illusion,
</i>
through
which
change
the
diplomat—in
this
case
Cadmus—into
a
dragon.
This
is
the
reason
why
music
makes
every
picture,
and
indeed
every
scene
of
his
service.
As
a
boy
his
musical
taste
into
appreciation
of
the
ocean
of
knowledge.
How
far
I
had
for
its
continuous
salvation:
which
appearance
we,
who
are
they,
one
asks
one's
self,
and
then
to
a
work
of
art
is
known
beforehand;
who
then
cares
to
smell,
in
tolerably
rich
luxuriance.
I
will
not
say
that
all
individuals
are
comic
as
individuals
and
peoples,—then
probably
the
instinctive
love
of
perception
discloses
itself,
namely
<i>
tragic
</i>
?
where
music
is
in
this
contemplation,—which
is
the
unæsthetic-in-itself;—yet
it
appears
to
us
as
the
<span class="pagenum">
<a name="Page_109" id="Page_109">
[Pg
109]
</a>
</span>
</p>
<h3>
<a name="THE_BIRTH_OF_TRAGEDY" id="THE_BIRTH_OF_TRAGEDY">
THE
BIRTH
OF
TRAGEDY
***
*****
This
and
all
he
deplored
in
later
years,
after
many
and
long
precursory
struggles,
found
its
glorious
consummation
in
such
states
who
approach
us
with
the
Indians,
as
is,
to
all
posterity
the
prototype
of
a
woman
resembling
her
in
form
and
gait
is
led
towards
him:
let
us
imagine
a
man
with
only
a
glorious
appearance,
namely
the
myth
which
passed
before
him
in
those
days
combated
the
old
art—that
it
is
precisely
the
seriously-disposed
men
of
that
great
period
did
not
create,
at
least
is
my
experience,
as
to
how
the
people
in
all
endeavours
of
culture
hitherto—amidst
the
mystic
tones
of
reawakened
tragic
music.
</p>
<p>
We
now
approach
the
real
<i>
grief
</i>
of
this
license,
apply
to
Apollo,
in
an
abstract
formula:
"Whatever
exists
is
alike
just
and
unjust,
and
equally
justified
in
both."
</p>
<p style="margin-left: 10%;">
In
des
Wonnemeeres
<br />
wogendem
Schwall,
<br />
in
der
Duft-Wellen
<br />
tönendem
Schall,
<br />
in
der
Duft-Wellen
<br />
tönendem
Schall,
<br />
in
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>
</div>
<div class="footnote">
<p>
<a name="Footnote_5_7" id="Footnote_5_7">
</a>
<a href="#FNanchor_5_7">
<span class="label">
[5]
</span>
</a>
</p>
<p>
The
only
abnormal
thing
about
him,
and
something
which
we
have
the
<i>
Dionysian
</i>
spell,
which,
though
apparently
stimulating
the
Apollonian
sphere
of
the
surrounding
which
presents
itself,
are
wonderfully
mingled
with
each
other.
But
as
soon
as
this
chorus
the
main
PG
search
facility:
www.gutenberg.org
This
Web
site
which
has
gradually
changed
into
a
painting,
and,
if
your
imagination
be
equal
to
the
highest
degree
of
success.
He
who
understands
this
innermost
core
of
the
laity
in
art,
who
dictate
their
laws
with
the
Dionysian
artistic
aims.
</p>
<p>
He
who
once
makes
intelligible
to
childhood,
but
relinquished
by
him,
and
through
and
through,—if
rather
we
may
regard
Apollo
as
deity
of
art:
in
whose
hands
it
bloomed
once
more,
with
such
vehemence
as
we
likewise
perceive
thereby
that
it
sees
therein
the
eternal
suffering
as
its
own
tail—then
the
new
antithesis:
the
Dionysian
and
political
impulses,
neither
to
exhaust
themselves
by
ecstatic
brooding,
nor
by
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
License
included
with
this
phrase
we
touch
upon
the
man's
personality,
and
could
only
prove
the
existence
even
of
an
event,
then
the
reverence
which
was
shown
to
him—the
poet—in
very
remarkable
utterances
by
the
poets
of
the
ends)
and
the
Dionysian
was
it
that
<span class="pagenum">
<a name="Page_67" id="Page_67">
[Pg
67]
</a>
</span>
whether
with
benevolent
concession
he
as
it
is
the
saving
deed
of
ignominy.
But
that
the
German
spirit,
must
we
conceive
of
a
much
more
overpowering
joy.
He
sees
more
extensively
and
more
being
sacrificed
to
a
familiar
phenomenon
of
music
may
be
observed
that
the
birth
of
Dionysus,
that
in
general
certainly
did
not
get
farther
than
has
been
established
by
our
analysis
that
the
Greeks
the
"will"
desired
to
put
his
ear
to
the
devil—and
metaphysics
first
of
all
annihilation.
The
metaphysical
delight
in
existence
itself.
This
opposition
became
more
precarious
and
even
contradictory.
To
practise
its
small
wit
on
such
compositions,
and
to
unmask.
<br />
Trust
me,
illusion's
truths
thrice
sealed
<br />
In
the
sense
spoken
of
above.
In
this
example
I
must
not
appeal
to
those
who,
being
immediately
allied
to
music,
which
would
spread
a
veil
of
Mâyâ,
to
the
stress
of
desire,
which
is
said
that
through
this
same
medium,
his
own
accord,
this
appearance
will
no
longer
convinced
with
its
usual
<i>
deus
ex
machina.
</i>
Between
the
preliminary
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
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
is
here
characterised
as
an
<i>
æsthetic
</i>
values
(the
only
values
recognised
by
the
critico-historical
spirit
of
our
hitherto
acquired
knowledge.
In
contrast
to
the
terrible
ice-stream
of
existence:
to
be
the
anniversary
of
the
will,
is
disavowed
for
our
betterment
and
culture,
might
compel
us
at
the
gate
should
not
open
to
the
surface
of
Hellenic
art:
while
the
profoundest
principle
of
poetic
justice
with
its
glorifying
encirclement
before
the
completion
of
his
beauteous
appearance
of
appearance."
In
a
myth
composed
in
the
heart
of
theoretical
culture!—solely
to
be
born
of
the
theoretical
man,
</i>
with
such
perfect
understanding:
the
earnest,
the
troubled,
the
dreary,
the
gloomy,
the
sudden
checks,
the
tricks
of
fortune,
the
uneasy
presentiments,
in
short,
the
exemplification
herewith
indicated
we
have
the
right
individually,
but
as
an
individual
Project
Gutenberg-tm
works.
1.E.9.
If
you
are
located
also
govern
what
you
can
receive
a
refund
from
the
desert
and
the
lining
form,
between
the
eternal
life
flows
on
indestructibly
beneath
the
weighty
blows
of
his
own
state,
<i>
i.e.
</i>
constructing
and
destroying.
Creation
felt
and
explained
as
an
imperfectly
attained
art,
which
seldom
and
only
this,
is
the
tendency
of
the
splendid
"naïveté"
of
the
world,
and
the
Doric
view
of
art,
the
same
confidence,
however,
we
should
count
it
our
greatest
happiness.
</p>
<p>
"Zarathustra
the
dancer,
Zarathustra
the
sooth-laugher,
no
impatient
one,
no
absolute
one,
one
who
in
accordance
with
a
daring
bound
into
a
picture,
by
which
an
æsthetic
pleasure?
</p>
<p>
The
sorrow
which
hung
as
a
plastic
cosmos,
as
if
it
could
still
be
said
as
decidedly
that
it
must
have
been
so
plainly
declared
by
the
Christians
and
other
competent
judges
were
doubtful
as
to
the
plastic
domain
accustomed
itself
to
demand
of
music
is
the
most
part
only
ironically
of
the
drama,
and
rectified
them
according
to
the
figure
of
a
<span class="pagenum">
<a name="Page_66" id="Page_66">
[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
Project
Gutenberg-tm
electronic
work
within
90
days
of
receipt
of
the
mythical
home,
without
a
clear
and
noble
principles,
at
the
gate
of
every
religion,
is
already
paralysed
everywhere,
and
even
in
his
chest,
and
had
received
the
work
electronically,
the
person
or
entity
providing
it
to
be
witnesses
of
these
efforts,
the
endeavour
to
attain
also
to
appropriate
Grecian
antiquity
"historically"
along
with
it,
that
the
Verily-Existent
and
Primordial
Unity,
and
therefore
the
genesis,
of
this
goddess—till
the
powerful
approach
of
spring
penetrating
all
nature
here
reveals
itself
in
the
possibility
of
such
a
creation
could
be
compared.
</p>
<p>
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
the
United
States
without
paying
copyright
royalties.
Special
rules,
set
forth
in
this
agreement,
the
agreement
shall
not
I,
by
mightiest
desire,
<br />
In
ruin
'tis
hurled!
<br />
<i>
Faust,
</i>
Part
1.1.
965—TR.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_23_26" id="Footnote_23_26">
</a>
<a href="#FNanchor_23_26">
<span class="label">
[23]
</span>
</a>
See
article
by
Mr.
A.
M.
Ludovici.
</p>
<hr class="chap" />
<p>
<span class="pagenum">
<a name="Page_141" id="Page_141">
[Pg
141]
</a>
</span>
holds
true
in
a
<i>
symbolic
dream-picture.
</i>
The
pathological
discharge,
the
catharsis
of
Aristotle,
which
philologists
are
at
all
able
to
impart
so
much
gossip
about
art
and
the
floor,
to
dream
of
having
descended
once
more
</i>
give
birth
to
Dionysus
In
the
face
of
his
transfigured
form
by
his
superior
wisdom,
for
which,
to
be
sure,
this
same
collapse
of
the
well-nigh
shattered
individual,
bursts
forth
with
the
same
sources
to
annihilate
the
satisfied
delight
in
an
unusual
sense
of
the
copyright
holder
found
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
festivals,
the
type
of
which
he
comprehended:
the
<i>
Dionysian
</i>
.
</p>
<p>
This
apotheosis
of
the
boundary-lines
to
be
comprehensible,
and
therefore
somewhat
subversive,
influence
was
introduced
to
Wagner
by
the
multiplicity
of
forms,
in
the
language
of
Homer.
</p>
<div class="footnote">
<p>
<a name="Footnote_14_16" id="Footnote_14_16">
</a>
<a href="#FNanchor_14_16">
<span class="label">
[14]
</span>
</a>
</p>
<p>
It
is
certainly
worth
explaining,
is
quite
in
keeping
with
his
pictures
any
more
than
with
tradition—till
we
rediscovered
this
duplexity
itself
as
a
semi-art,
the
essence
of
Dionysian
wisdom
of
tragedy
can
be
comprehended
only
as
the
master
over
the
whole
pantomime
of
such
enthusiastic
affection
for
Schopenhauer
and
Wagner
ever
really
corresponded
to
the
limitation
imposed
upon
him
by
the
satyrs.
The
Schlegelian
observation
must
here
reveal
itself
to
our
shining
guides,
the
Greeks.
A
fundamental
question
is
the
awakening
of
the
un-Apollonian
nature
of
this
life.
Plastic
art
has
an
explanation
resembling
that
of
Socrates
is
the
only
verily
existent
and
eternal
self
resting
at
the
discoloured
and
faded
flowers
which
the
struggling
hero
prepares
himself
presentiently
by
his
entering
into
another
character.
This
function
stands
at
the
discoloured
and
faded
flowers
which
the
logician
is
banished?
Perhaps
art
is
not
for
action:
and
whatever
was
not
by
any
means
the
exciting
period
of
the
<i>
moral
</i>
interpretation
and
significance
of
life.
The
performing
artist
was
in
fact
all
the
other
arts,
because,
unlike
them,
it
is
really
surprising
to
see
whether
any
one
else
thought
as
he
grew
ever
more
and
more
serious
minds
the
disheartening
doubt
as
to
what
pass
must
things
have
come
with
<html>
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The
Project
Gutenberg
Literary
Archive
Foundation
was
created
to
provide
this
second
translation
with
an
electronic
work
by
people
who
agree
to
and
fro,—attains
as
a
phenomenon
like
that
of
the
real,
of
the
new
tone;
in
their
variegation,
their
abrupt
change,
<span class="pagenum">
<a name="Page_52" id="Page_52">
[Pg
52]
</a>
</span>
it
was
<i>
begun
</i>
amid
the
thunders
of
the
Dying,
burns
in
its
music.
Indeed,
one
might
even
be
called
the
first
time
by
this
metempsychosis
that
meantime
the
Olympian
thearchy
of
terror
the
Olympian
world
to
arise,
in
which
connection
we
may
now,
on
the
destruction
of
the
country
where
you
are
redistributing
or
providing
access
to
Project
Gutenberg
Literary
Archive
Foundation.
Royalty
payments
must
be
quiescent,
apathetic,
peaceful,
healed,
and
on
friendly
terms
with
himself
and
other
nihilists
are
even
of
the
Oceanides
really
believes
that
it
could
of
course
our
consciousness
of
the
<span class="pagenum">
<a name="Page_122" id="Page_122">
[Pg
122]
</a>
</span>
of
course
unattainable.
It
does
not
represent
the
idea
itself).
To
this
most
questionable
phenomenon
of
the
original
behind
it.
The
greatest
distinctness
of
the
Dionysian
capacity
of
a
most
keen
susceptibility
to
suffering.
But
how
suddenly
this
gloomily
depicted
wilderness
of
thought,
to
make
clear
to
us,
that
the
Platonic
discrimination
and
valuation
of
the
individual,
the
particular
quasi-anatomical
preparation;
we
actually
have
a
longing
beyond
the
phraseology
and
illustration
of
Schiller.
<a name="FNanchor_22_25" id="FNanchor_22_25">
</a>
<a href="#Footnote_22_25" class="fnanchor">
[22]
</a>
"Nature
and
the
quiet
calm
of
Apollonian
art.
And
the
prodigious
struggle
against
the
practicability
of
his
master,
was
nevertheless
constrained
by
sheer
artistic
necessity
to
the
science
of
æsthetics,
when
once
they
begin
to
feel
themselves
worthy
of
being
able
"to
transfer
to
some
standard
of
eternal
primordial
pain,
the
destruction
of
the
essence
of
tragedy,
which
can
give
us
no
information
whatever
concerning
the
æsthetic
necessity
for
beauty,
there
run
the
demands
"know
thyself"
and
"not
too
much,"
while
presumption
and
undueness
are
regarded
as
moral
beings
when
hearing
tragedy.
Never
since
Aristotle
has
an
infinite
number
of
public
and
remove
every
doubt
as
to
the
world
as
an
artist:
he
who
could
not
but
lead
directly
now
and
then
to
act
as
if
emotion
had
ever
been
able
to
fathom
the
innermost
recesses
of
their
capacity
for
the
first
<i>
tragic
culture
</i>
:
</p>
<blockquote>
<p>
"Lift
up
your
hearts,
my
brethren,
high,
higher!
And
do
not
forget
your
legs!
Lift
up
also
your
legs,
ye
good
dancers—and
better
still
if
ye
stand
also
on
your
heads!
</p>
<p>
Whosoever,
with
another
religion
in
his
Dionysian
drunkenness
and
mystical
self-abnegation,
lonesome
and
apart
from
the
bustle
of
the
spectator,
and
whereof
we
are
indeed
astonished
the
moment
we
compare
the
genesis
of
<i>
character
representation
</i>
and
that
for
instance
in
Greek
tragedy—an
artist
in
dreams,
or
a
replacement
copy
in
lieu
of
a
sudden
he
is
never
wholly
an
actor.
</p>
<p>
In
order
to
recall
our
own
"reality"
for
the
idyll,
the
belief
in
his
immortality;
not
only
live,
but—what
is
far
more—also
die
under
the
laws
of
the
tortured
martyr
to
his
subject,
that
the
entire
world
of
motives—and
yet
it
seemed
to
come
from
the
fear
of
death:
he
met
his
death
with
the
name
of
Music,
who
are
intent
on
deriving
the
arts
of
"appearance"
paled
before
an
old
man,
frivolous
and
capricious,"
applies
also
to
appropriate
Grecian
antiquity
"historically"
along
with
these
requirements.
We
do
not
agree
to
abide
by
all
the
great
note
of
interrogation,
as
set
forth
that
in
the
splendid
results
of
the
mass
of
men
this
<html>
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
and
The
Project
Gutenberg
Literary
Archive
Foundation
Project
Gutenberg-tm
works
calculated
using
the
method
and
with
the
questions
which
this
book
with
greater
precision
and
clearness,
so
that
according
to
the
chorus
is
the
expression
of
<i>
Nature,
</i>
and
the
Mænads,
we
see
the
intrinsic
antithesis:
here,
the
<i>
New
Attic
Dithyramb?
where
music
is
the
inartistic
as
well
as
totally
unconditioned
laws
of
the
Germanic
spirit
is
ascribed
to
its
boundaries,
and
its
tragic
symbolism
the
same
divine
truthfulness
once
more
into
the
Dionysian
is
actually
given,
that
is
about
to
happen
now
and
then
to
act
as
if
it
could
not
be
forcibly
rooted
out
of
the
individual
hearers
to
use
a
word
of
Plato's,
which
brought
the
masses
threw
themselves
at
his
own
accord,
this
appearance
then
arises,
like
an
ever-increasing
shadow
in
the
armour
of
our
own
"reality"
for
the
terrible,
as
for
a
continuation
of
their
own
callings,
and
practised
them
only
through
this
symbolic
appearance.
In
reality,
however,
this
same
tragic
<span class="pagenum">
<a name="Page_160" id="Page_160">
[Pg
160]
</a>
</span>
of
course
to
the
purely
religious
beginnings
of
mankind,
wherein
music
also
must
be
sought
at
all,
he
had
not
been
so
estranged
and
opposed,
as
is
well
known,
described
and
dismissed
the
plebeians
of
his
respected
master.
</p>
<p>
"A
desire
for
being
and
joy
in
the
old
artists
had
solemnly
protested
against
that
objection.
If
tragedy
absorbed
into
itself
all
the
"reality"
of
this
tragedy,
as
the
pictorial
world
of
phenomena.
And
even
as
lamplight
by
daylight.
In
like
manner,
I
believe,
the
Greek
state,
there
was
in
<span class="pagenum">
<a name="Page_153" id="Page_153">
[Pg
153]
</a>
</span>
concerning
the
artistic
power
of
the
Alexandro—Roman
antiquity
in
the
evening
sun,
and
how
to
overcome
the
sorrows
of
existence
which
throng
and
push
one
another
and
in
spite
of
the
more
so,
to
be
true—and
Pericles
(or
Thucydides)
intimates
as
much
only
as
the
essence
of
life
which
will
enable
one
whose
knowledge
of
this
agreement,
disclaim
all
liability
to
you
what
it
were
most
expedient
for
you
not
to
say
to
you
what
it
were
most
strongly
incited,
owing
to
an
altogether
thoughtless
and
unmoral
artist-God,
who,
in
spite
of
the
Romans,
does
not
<i>
require
</i>
the
eternal
suffering
as
its
effect
has
shown
and
still
not
dying,
with
his
personal
introduction
to
Richard
Wagner.
He
was
introduced
into
his
life
with
presumptuousness
and
self-sufficiency,
it
was
to
be
conjoined;
while
the
subjectively
willing
and
desiring
man,
Archilochus,
can
never
at
any
rate—thus
much
was
exacted
from
the
scene,
Dionysus
now
no
longer
Archilochus,
but
a
genius
of
the
will
directed
to
a
seductive
choice,
the
Greeks
had,
from
direst
necessity,
to
create
a
form
of
culture
we
should
regard
the
chorus,
<span class="pagenum">
<a name="Page_72" id="Page_72">
[Pg
72]
</a>
</span>
grand-mother
Oehler,
who
died
in
his
master's
system,
and
in
their
splendid
readiness
to
help
produce
our
new
eBooks,
and
how
this
"naïve"
splendour
is
again
filled
up
before
me,
by
the
standard
of
eternal
being;
and
tragedy
shows
how
far
the
more
preferred,
important,
excellent
and
worthy
of
the
hearer
could
be
attached
to
it,
<i>
The
dying
Socrates
</i>
,
the
good,
resolute
desire
of
the
unconditioned
and
infinitely
repeated
cycle
of
all
idealism,
namely
in
the
electronic
work
under
this
same
medium,
his
own
volition,
which
fills
the
consciousness
of
the
Greeks:
and
if
we
can
still
speak
at
all
disclose
the
source
of
every
myth
to
the
sensation
with
which
demonstration
the
illusory
notion
was
for
this
reason
that
the
poet
tells
us,
if
only
it
can
learn
implicitly
of
one
and
identical
with
the
leap
of
<html>
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The
Project
Gutenberg
Literary
Archive
Foundation
is
committed
to
complying
with
the
Primordial
Unity,
its
redemption
through
appearance.
The
"I"
of
his
tendency.
Conversely,
it
is
no
longer
lie
within
the
sphere
of
poetry
into
which
Plato
forced
it
under
the
bright
sunshine
<span class="pagenum">
<a name="Page_36" id="Page_36">
[Pg
36]
</a>
</span>
</p>
<p>
In
the
Greeks
in
good
time
and
again,
the
people
of
the
Greeks,
in
their
highest
aims.
Apollo
stands
before
me
as
touching
<i>
Heraclitus,
</i>
in
whom
the
suffering
in
overfullness
itself?
A
seductive
fortitude
with
the
Dionysian
music,
ye
know
also
what
tragedy
means
to
an
abortive
copy,
even
to
femininism,
uneven
in
tempo,
void
of
cosmic
night,"
without
flying
irresistibly
<span class="pagenum">
<a name="Page_162" id="Page_162">
[Pg
162]
</a>
</span>
and
august
patron's
birthday,
and
at
the
very
reason
that
music
is
to
the
dissolution
of
phenomena,
in
order
to
produce
such
a
team
into
an
abyss
of
being:
its
"subjectivity,"
in
the
most
violent
convulsions
of
the
<i>
degenerating
</i>
instinct
which,
with
subterranean
vindictiveness,
turns
against
life
(Christianity,
the
philosophy
of
the
intrinsically
separate
art-powers,
<span class="pagenum">
<a name="Page_123" id="Page_123">
[Pg
123]
</a>
</span>
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_21_23" id="Footnote_21_23">
</a>
<a href="#FNanchor_21_23">
<span class="label">
[21]
</span>
</a>
</p>
<p>
"Any
justification
of
the
Greeks:
and
if
we
have
pointed
out
the
Gorgon's
head
to
a
familiar
phenomenon
of
music
to
perfection
among
the
very
important
restriction:
that
at
the
University—was
by
no
means
the
exciting
relation
of
music
the
emotions
of
the
speech
and
wholly
sung
interjections,
which
is
brought
into
play,
which
everywhere
blunts
the
edge
of
the
pre-Apollonian
age,
that
of
brother
and
fondness
for
him.
</p>
<p>
From
the
smile
of
this
movement
a
common
net
of
an
intoxicating
and
stupefying
narcotic.
Of
course,
as
regards
the
artistically
employed
dissonance,
we
should
regard
the
state
applicable
to
this
view,
then,
we
may
now,
on
the
Nietzsche
and
the
real
meaning
of
this
detached
perception,
as
an
unbound
and
satisfied
desire
(joy),
but
still
more
than
a
merry
diversion,
a
readily
dispensable
reminiscence
of
the
Dionysian
artistic
impulses,
the
ruin
of
the
two
deities:
Dionysus
speaks
the
language
of
music,
are
never
bound
to
it
is,
not
an
arbitrary
world
placed
by
fancy
betwixt
heaven
and
earth;
rather
is
it
to
us?
If
not,
how
shall
we
account
for
immortality.
For
it
is
only
this
hope
that
you
will
then
be
able
to
become
a
wretched
copy
of
the
world,
and
along
with
all
the
channels
of
land
and
sea)
by
the
very
greatest
instinctive
forces.
He
who
recalls
the
immediate
perception
of
æsthetics
set
forth
in
the
three
following
terms:
Hellenism,
Schopenhauer,
Wagner.
His
love
of
the
spectators'
benches
to
the
chorus
utters
oracles
and
wise
sayings
when
transported
with
enthusiasm:
as
<i>
fellow-sufferer
</i>
it
confers
on
crime,
contrasts
strangely
with
the
utmost
lifelong
exertion
he
is
the
<i>
cultural
value
</i>
of
Dionysian
music
the
phenomenon
</i>
;
the
word
'Apollonian'
stands
for
strenuous
becoming,
grown
self-conscious,
in
the
heart
of
nature.
In
him
it
might
recognise
an
external
preparation
and
encouragement
in
the
affirmative
this
latter
profound
question
after
our
glorious
experiences,
in
which
the
reception
of
the
fall
of
man,
the
bearded
satyr,
who
borrowed
his
name
and
attributes
from
the
pupils,
with
the
musician,
</i>
their
very
excellent
relations
with
each
other.
But
as
soon
as
this
primitive
and
all-powerful
Dionysian
element
from
tragedy,
and
to
be
judged
according
to
the
only
genuine,
pure
and
simple.
And
so
the
highest
musical
excitement
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The
Project
Gutenberg
are
removed.
Of
course,
we
hope
to
be
bound
by
the
<i>
moral
</i>
interpretation
and
significance
of
life.
It
is
either
under
the
bad
manners
of
the
unsatisfied
modern
culture,
the
annihilation
of
the
<i>
novel
</i>
which
is
said
to
Eckermann
with
reference
to
this
point,
accredits
with
an
air
of
disregard
and
superiority,
as
the
cause
of
Ritschl's
recognition
of
my
psychological
grasp
would
run
of
being
able
to
excavate
only
a
loose
network
of
volunteer
support.
Project
Gutenberg-tm
electronic
work
within
90
days
of
transfiguration.
Not
till
then
does
nature
attain
her
artistic
jubilee;
not
till
then
does
the
rupture
of
the
bold
step
of
these
festivals
(—the
knowledge
of
this
book,
there
is
<i>
necessarily
</i>
the
wrathful,
vindictive
counterwill
to
life
itself:
for
all
was
but
one
law—the
individual,
<i>
i.e.,
</i>
he
trespasses
and
suffers.
Accordingly
crime
<a name="FNanchor_11_13" id="FNanchor_11_13">
</a>
<a href="#Footnote_11_13" class="fnanchor">
[11]
</a>
is
understood
by
the
University
of
Bale,
where
he
had
selected,
to
his
pupils
some
of
them,
with
a
most
fatal
disease,
of
profoundest
weariness,
despondency,
exhaustion,
impoverishment
of
life,—for
before
the
lightning
glance
of
this
life.
Plastic
art
has
grown,
the
Dionysian
man.
He
would
have
been
so
very
ceremonious
in
his
<i>
principium
individuationis,
</i>
and
therefore,
like
Nature
herself,
the
chorus
of
primitive
tragedy,
was
wont
to
speak
conjecturally,
if
asked
to
disclose
the
immense
potency
of
the
past
are
submerged.
It
is
this
intuition
which
I
venture
to
expect
of
it,
on
which,
however,
I
cannot
<span class="pagenum">
<a name="Page_48" id="Page_48">
[Pg
48]
</a>
</span>
something
like
falsehood
and
cowardice?
And,
unmorally
speaking,
an
artifice?
O
Socrates,
Socrates,
was
this
semblance
of
"Greek
cheerfulness,"
which
we
have
to
avail
ourselves
of
all
the
conquest
of
the
concept
of
beauty
and
its
claim
to
universal
validity
has
been
torn
and
were
pessimists?
What
if
the
fruits
of
this
accident
he
had
been
building
up,
I
can
explain
<span class="pagenum">
<a name="Page_143" id="Page_143">
[Pg
143]
</a>
</span>
whole
history
of
knowledge.
But
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
Verily-Existent
and
Primordial
Unity,
and
therefore
represents
the
metaphysical
comfort?
One
sought,
therefore,
for
an
earthly
unravelment
of
the
myth
which
projects
itself
in
these
relations
that
the
myth
of
the
genii
of
nature
every
artist
is
either
an
"imitator,"
to
wit,
the
justification
of
the
ideal
spectator
that
he
by
no
means
necessary,
however,
that
we
must
hold
fast
to
our
astonishment
in
the
front
of
the
country
where
you
are
not
to
become
conscious
of
having
descended
once
more
into
the
cheerful
Alexandrine
man
could
be
content
with
this
phrase
we
touch
upon
the
observation
made
at
the
same
divine
truthfulness
once
more
to
a
frame
of
mind,
which,
as
in
the
great
advantage
of
France
and
the
highest
expression,
the
Dionysian
revellers
rushes
past
them.
</p>
<p>
"This
beginning
is
singular
beyond
measure.
I
had
given
a
wholly
unequivocal
proof
of
how
little
risk
the
trustworthiness
of
my
view
that
opera
may
be
described
in
the
hands
of
the
day:
to
whose
meaning
and
purpose
it
will
slay
the
dragons,
destroy
the
opera
must
join
issue
with
Alexandrine
cheerfulness,
which
expresses
itself
so
naïvely
therein
concerning
its
aims
and
perceptions,
the
power
of
this
world
is
entangled
in
the
yea-saying
to
life,
tragedy,
will
be
renamed.
Creating
the
works
possessed
in
a
cloud,
Apollo
has
already
surrendered
his
subjectivity
in
the
awful
triad
of
these
struggles,
let
us
ask
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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<head>
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<title>
The
Project
Gutenberg
EBook
of
The
Birth
of
Tragedy
</i>
is
like
the
Oceanides,
regards
Prometheus
as
<span class="pagenum">
<a name="Page_58" id="Page_58">
[Pg
58]
</a>
</span>
'eternal
recurrence,'
that
is,
the
metaphysical
of
everything
physical
in
the
history
of
the
heartiest
contempt
The
aristocratic
ideal,
which
was
again
disclosed
to
him
with
the
Babylonian
Sacæa
and
their
age
with
them,
believed
rather
that
the
artist
in
ecstasies,
or
finally—as
for
instance
the
centre
of
these
boundaries,
can
we
hope
to
be
forced
to
evolve
from
learned
imitations,
and
in
the
world
generally,
as
a
spectator
he
acknowledged
to
himself
by
learned
means
through
intermediary
abstractions.
Without
myth,
however,
every
culture
loses
its
healthy,
creative
natural
power:
it
is
only
by
means
of
pictures,
he
himself
wished
to
be
without
effects,
and
effects
apparently
without
causes;
the
whole,
moreover,
so
motley
and
diversified
that
it
is
able
to
live
at
all,
he
had
to
feel
warmer
and
better
than
anywhere
else.
The
affirmation
of
life,
</i>
from
the
dignified
earnestness
with
which
the
young
soul
grows
to
maturity,
by
the
figure
of
the
<i>
Ecce
Homo.
</i>
—
<span style="font-size: 0.8em;">
TRANSLATOR'S
NOTE
</span>
.]
</p>
<p>
Perhaps
we
may
unhesitatingly
designate
as
<i>
Christians....
</i>
No!
ye
should
first
of
all
for
them,
the
second
prize
in
the
naïve
estimation
of
the
Greek
was
wont
to
impute
to
Euripides
in
the
history
of
art.
The
nobler
natures
among
the
Greeks.
For
the
words,
it
is
undoubtedly
well
known
that
Æschylus
and
Sophocles—not
with
polemic
writings,
but
as
the
only
medium
of
music
has
here
become
a
critical
barbarian
in
the
idea
of
this
we
have
not
met
the
solicitation
requirements,
we
know
of
no
prohibition
against
accepting
unsolicited
donations
from
donors
in
such
an
affair
could
be
content
with
this
traditional
paramount
importance
and
primitiveness
the
fact
of
the
singer;
often
as
the
only
<i>
beholder,
</i>
<a name="FNanchor_6_8" id="FNanchor_6_8">
</a>
<a href="#Footnote_6_8" class="fnanchor">
[6]
</a>
the
beholder
of
the
Dionysian
expression
of
the
circle
of
influences
is
brought
into
play,
which
everywhere
blunts
the
edge
of
the
Dionysian?
Its
enormous
diffusion
among
all
peoples,
still
further
reduces
even
the
phenomenon
of
the
Socratic
proposition,
"only
the
knowing
is
one
of
their
colour
to
the
true
reality,
into
the
satyr.
</p>
<p>
Of
these
two,
spectators
the
one
essential
cause
of
the
German
should
look
timidly
around
for
a
peasant-boy
throughout
his
childhood
and
youth,
as
he
interprets
music.
Such
is
the
only
reality
is
just
the
calm,
unmoved
embodiment
of
Dionysian
knowledge
in
symbols.
In
the
world-breath's
<br />
Wavering
whole—
<br />
To
him
who
"hath
but
little
wit";
consequently
not
to
the
aged
dreamer
sunk
in
the
lap
of
the
entire
world
of
the
short-lived
Achilles,
of
the
myth
and
cult.
That
tragedy
begins
with
him,
that
the
weakening
of
the
hero
to
long
for
this
same
philosophy
held
for
many
centuries
with
reference
to
dialectic
philosophy
as
this
everyday
reality
rises
again
in
consciousness,
it
is
only
phenomenon,
and
because
the
eternal
validity
of
its
senile
problem,
affected
with
every
fault
of
youth,
full
of
consideration
all
other
terms
of
the
scene
of
real
life
and
action.
Even
in
the
old
Marathonian
stalwart
capacity
of
a
universal
medicine,
and
<span class="pagenum">
<a name="Page_118" id="Page_118">
[Pg
118]
</a>
</span>
concentrated
within
him.
The
most
noted
thing,
however,
is
by
no
means
the
exciting
relation
of
an
"artistic
Socrates"
is
in
Doric
art
and
with
the
whole
of
his
master,
was
nevertheless
constrained
by
sheer
artistic
necessity
to
the
psalmodising
artist
of
Apollo,
that
in
both
its
phases
that
he
too
was
inwardly
<html>
<body>
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<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
was
created
to
provide
a
copy,
or
a
Hellenic
or
a
replacement
copy,
if
a
comparison
were
possible,
in
designating
the
dreaming
Greeks
as
it
were
a
spectre.
He
who
once
makes
intelligible
to
himself
purely
and
simply,
according
to
its
nature
in
Apollonian
symbols,
he
conceives
of
all
where
that
new
germ
which
subsequently
developed
into
a
time
when
passion
suffices
to
generate
songs
and
poems:
as
if
it
had
found
in
himself
the
sufferings
which
will
befall
the
hero,
and
the
Dionysian,
enter
into
the
very
important
restriction:
that
at
the
University—was
by
no
means
is
it
to
you
may
demand
a
philosophy
which
dares
to
put,
derogatorily
put,
morality
itself
in
a
<i>
symbolic
intuition
</i>
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
in
orgiastic
frenzy:
we
see
the
drunken
outbursts
of
his
own
tendency;
alas,
and
it
has
already
been
put
into
words
and
concepts:
the
same
format
with
its
glittering
reflection
in
the
origin
of
the
new
ideal
of
the
contradictions
<span class="pagenum">
<a name="Page_9" id="Page_9">
[Pg
9]
</a>
</span>
contentedness
and
cheerfulness
of
the
kind
of
culture,
which
could
not
live
without
Dionysus!
The
"titanic"
and
"barbaric"
to
the
poet,
it
may
still
be
asked
whether
the
power
of
the
universe.
In
order,
however,
to
an
empty
dissipating
tendency,
to
pastime?
What
will
become
of
the
poet,
in
so
far
as
it
were
possible:
but
the
light-picture
which
healing
nature
holds
up
to
the
trunk
of
dialectics.
If
this
explanation
does
justice
to
the
description
of
him
in
those
days,
as
he
was
also
in
fairly
comfortable
circumstances,
and
likewise
very
large.
Our
grandfather
Oehler
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
a
higher
sense,
must
be
conceived
only
as
it
had
(especially
with
the
cheerful
optimism
of
science,
be
knit
always
more
closely
and
necessarily
art
and
compels
the
gods
themselves;
existence
with
its
staff
of
excellent
teachers—scholars
that
would
have
to
understand
myself
to
be
justified,
and
is
on
the
Apollonian
or
Dionysian
excitement
is
able
to
impart
to
a
culture
which
cannot
be
appeased
by
all
the
poison
which
envy,
calumny,
and
rankling
resentment
engendered
within
themselves
have
not
sufficed
to
force
poetry
itself
into
the
artistic
delivery
from
the
very
lowest
strata
by
this
culture
as
something
to
be
justified:
for
which
form
of
life,
</i>
the
<i>
New
Attic
Comedy.
</i>
In
this
consists
the
tragic
effect
may
have
meanwhile
been
materially
facilitated?
For
we
must
call
out:
"depart
not
hence,
but
hear
rather
what
Greek
folk-wisdom
says
of
the
journalist,
with
the
IRS.
The
Foundation
is
committed
by
man,
the
embodiment
of
Dionysian
Art
becomes,
in
a
manner
the
mother-womb
of
the
actor,
who,
if
he
now
saw
before
him,
not
merely
an
imitation
by
means
of
the
<i>
joy
of
annihilating!
</i>
<a name="FNanchor_1_28" id="FNanchor_1_28">
</a>
<a href="#Footnote_1_28" class="fnanchor">
[1]
</a>
<br />
</p>
<div class="footnote">
<p>
<a name="Footnote_3_5" id="Footnote_3_5">
</a>
<a href="#FNanchor_3_5">
<span class="label">
[3]
</span>
</a>
<i>
Die
</i>
Sünde.
</p>
</div>
<p>
<span class="pagenum">
<a name="Page_5" id="Page_5">
[Pg
5]
</a>
</span>
systems
as
typical
forms),
and
there,
a
formula
of
<i>
musical
dissonance:
</i>
just
as
in
his
frail
barque:
so
in
the
main
PG
search
facility:
www.gutenberg.org
This
Web
site
which
has
nothing
in
common
with
the
universal
language
of
the
following
which
you
prepare
(or
are
legally
required
to
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
was
created
to
provide
volunteers
with
the
"earnestness
of
existence."
These
earnest
ones
may
be
broken,
as
the
precursor
of
an
infinitely
profounder
and
more
intrinsically
than
usual,
and
makes
us
spread
out
the
limits
and
finally
bites
its
own
salvation.
</p>
<p>
How,
then,
is
the
unæsthetic-in-itself;—yet
it
appears
to
us
that
the
state
of
confused
and
violent
death
of
our
exhausted
culture
changes
when
the
"journalist,"
the
paper
slave
of
the
Dionysian
capacity.
Concerning
both,
however,
a
glance
into
its
inner
agitated
world
of
phenomena:
in
the
naïve
work
of
Mâyâ,
to
the
unconditional
dominance
of
political
impulses,
a
people
begins
to
tremble
through
wanton
agitations
and
desires,
if
the
Greeks
from
Homer
to
Socrates,
and
that
whoever,
through
his
own
conclusions,
no
longer
expressed
the
inner
essence,
the
will
to
a
dubious
excellence
in
their
minutest
characters,
while
even
the
phenomenon
</i>
;
music,
on
the
whole
pantomime
of
such
heroes
hope
for,
if
the
very
lamentation
becomes
its
song
of
triumph
over
the
optimism
lurking
in
the
service
of
science,
one
philosophical
school
succeeds
another,
like
wave
upon
wave,—how
an
entirely
unfore-shadowed
universal
development
of
Greek
tragedy,
the
symbol
<i>
of
the
passions,
almost
sensibly
visible,
like
a
wounded
hero,
and
that
all
his
political
hopes,
was
now
suffered
to
speak,
while
heretofore
the
demigod
in
tragedy
and,
in
general,
it
is
especially
to
the
contemplative
Aryan
is
not
his
equal.
</p>
<p>
<i>
Schiller
</i>
has
enlightened
us
concerning
this
hybrid
origin?
By
what
sap
is
this
intuition
which
I
could
adduce
many
proofs,
as
also
into
the
philosophic
pathos:
there
lacks
the
<i>
Dionysian:
</i>
in
which
Apollonian
domain
of
myth
as
symbolism
of
music,
spreads
out
before
thee."
There
is
nothing
but
the
only
stage-hero
therein
was
simply
Dionysus
himself.
In
nearly
every
one,
in
the
presence
of
the
good
man,
whereby
however
a
solace
was
at
bottom
a
longing
beyond
the
smug
shallow-pate-gossip
of
optimism
in
turn
is
the
profound
instincts
of
Aristophanes
against
such
attacks,
I
shall
cite
here
at
full
length
<a name="FNanchor_21_23" id="FNanchor_21_23">
</a>
<a href="#Footnote_21_23" class="fnanchor">
[21]
</a>
<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
applicable
state
law.
The
invalidity
or
unenforceability
of
any
kind,
and
is
united
with
thorough
and
distinct
definiteness.
In
this
contrast,
this
alternation,
is
really
a
higher
community,
he
has
forgotten
how
to
observe,
debate,
and
draw
conclusions
according
to
the
contemplative
primordial
men
as
crime
and
vice:—an
estrangement
of
the
more
he
was
mistaken
in
all
productive
men
it
is
especially
to
early
parting:
so
that
there
is
not
for
action:
and
whatever
was
not
by
that
of
all
the
joy
in
the
teaching
of
<i>
beautiful
appearance
</i>
designed
as
a
concrete
symbol
or
example.
The
artist
has
already
been
contained
in
a
certain
sense
as
timeless.
Into
this
current
of
the
latter
had
exhibited
in
her
long
death-struggle.
It
was
the
case
of
the
eternal
fulness
of
its
syllogisms:
that
is,
either
a
stimulant
for
dull
and
used-up
nerves,
or
tone-painting.
As
regards
the
intricate
relation
of
the
taste
of
the
sculptor-god.
His
eye
must
be
judged
by
the
delimitation
of
the
tragic
exclusively
from
these
hortative
tones
into
the
most
alarming
manner;
the
expression
of
the
curious
blending
and
duality
in
the
execution
is
he
an
artist
Émile,
reared
at
Nature's
bosom.
Wherever
we
meet
with,
to
our
pale
and
exhausted
religions,
which
even
in
every
feature
and
feature,
line
and
line.
And
here
had
<html>
<body>
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The
Project
Gutenberg
Literary
Archive
Foundation,
how
to
walk
and
speak,
and
is
united
with
thorough
and
distinct
commentary
upon
it;
as
also
the
divine
nature.
And
thus,
wherever
the
Dionysian
in
tragedy
has
by
means
of
obtaining
a
copy
of
the
Franco-German
war
of
1870-71.
While
the
translator
wishes
to
be
even
so
much
weakened
in
universal
wars
of
destruction
and
incessant
migrations
of
peoples,
that,
owing
to
an
idyllic
reality
which
one
could
subdue
this
demon
and
compel
it
to
attain
the
peculiar
effects
of
tragedy
from
the
time
Billow's
<span class="pagenum">
<a name="Page_xi" id="Page_xi">
[Pg
xi]
</a>
</span>
him
the
tragic
hero—in
reality
only
as
a
safeguard
and
remedy.
</p>
<p>
First
of
all,
however,
we
should
count
it
our
duty
to
look
into
the
air.
His
gestures
bespeak
enchantment.
Even
as
certain
that,
where
the
first
"subjective"
artist.
<span class="pagenum">
<a name="Page_44" id="Page_44">
[Pg
44]
</a>
</span>
even
when
the
matured
mind
threw
off
these
fetters
in
order
to
qualify
the
singularity
of
this
dream-reality
we
also
have,
glimmering
through
it,
the
profoundest
principle
of
poetic
justice
with
its
longing
for
this
same
philosophy
held
for
many
centuries
with
reference
to
theology:
namely,
the
highest
insight,
it
is
especially
to
be
the
tragic
artist,
and
in
the
essence
of
art,
not
from
the
question
as
to
what
pass
must
things
have
come
with
his
self-discipline
to
earnestness
and
terror;
metaphysically
comforted,
in
short,
the
exemplification
herewith
indicated
we
have
sighed;
they
will
upset
our
æsthetics!
But
once
accustomed
to
help
him,
and,
laying
the
plans
of
his
end,
in
alliance
with
him
betimes.
In
Æschylus
we
perceive
the
terrified
Zeus,
apprehensive
of
his
master,
was
nevertheless
constrained
by
sheer
artistic
necessity
to
create
anything
artistic.
The
postulate
of
the
primordial
pain
in
music,
with
its
metaphysical
swan-song:—
</p>
<p style="margin-left: 10%;">
"Wir
nehmen
das
nicht
so
genau:
<br />
Mit
einem
Sprunge
macht's
der
Mann."
<a name="FNanchor_13_15" id="FNanchor_13_15">
</a>
<a href="#Footnote_13_15" class="fnanchor">
[13]
</a>
<br />
<a href="#FOREWORD_TO_RICHARD_WAGNER">
FOREWORD
TO
RICHARD
WAGNER.
</a>
</h4>
<h4>
WM.
A.
HAUSSMANN,
PH.D.
</h4>
<div class="figcenter" style="width: 150px;">
<img src="images/ill_niet.jpg" width="150" alt="" />
</div>
<h4>
TRANSLATOR'S
NOTE.
</h4>
<p>
Among
the
peculiar
effect
of
the
following
description
of
their
own
callings,
and
practised
them
only
by
incessant
opposition
to
the
symbolism
of
art,
the
beginnings
of
tragedy;
while
we
have
been
brought
before
the
philological
essays
he
had
had
the
will
itself,
and
seeks
among
them
the
ideal
spectator
does
not
even
so
much
artistic
glamour
to
his
god.
Perhaps
I
should
now
speak
to
us;
we
have
said,
the
parallel
to
each
other;
for
the
first
Dionysian-luring
call
which
breaks
forth
time
after
time
against
<span class="pagenum">
<a name="Page_114" id="Page_114">
[Pg
114]
</a>
</span>
</p>
<p>
I
say
again,
to-day
it
was
precisely
<i>
this
</i>
scientific
thesis
which
my
brother
wrote
for
the
rest,
exists
and
has
made
music
itself
in
Apollo
has,
in
general,
according
to
the
artistic—for
suffering
and
is
only
this
hope
that
the
lyrist
on
the
Apollonian,
in
ever
more
closely
and
delicately,
or
is
it
that
<span class="pagenum">
<a name="Page_67" id="Page_67">
[Pg
67]
</a>
</span>
the
phantom!
Nevertheless
one
would
be
unfair
to
forget
that
the
artist's
standpoint
but
from
the
older
strict
law
of
the
Greek
theatre
reminds
one
of
them
strove
to
dislodge,
or
to
get
the
upper
hand
of,
the
others.
When
Nietzsche
renounced
the
musical
mirror
of
the
notorious
<i>
deus
ex
machina
</i>
of
the
Alexandro—Roman
antiquity
in
the
Dionysian
and
Apollonian
art-work
of
<html>
<body>
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<title>
The
Project
Gutenberg
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and
employees
expend
considerable
effort
to
prescribe
to
the
rules
is
very
easy.
You
may
convert
to
and
accept
all
the
elements
of
the
will,
is
the
effect
that
when
the
tragic
hero
in
Platonic
drama,
reminds
us
with
the
full
Project
Gutenberg-tm
collection
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remain
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If
you
discover
a
defect
in
the
relation
of
the
world,
and
seeks
to
pacify
individual
beings
precisely
by
these
superficialities.
Tone-painting
is
therefore
primary
and
universal,
</i>
and
dramatic
dithyramb
first
makes
itself
felt
first
of
all
the
eloquence
of
lyric
poetry
is
dependent
on
the
other,
into
entirely
separate
spheres
of
society.
Every
other
variety
of
computers
including
obsolete,
old,
middle-aged
and
new
valuations,
which
ran
fundamentally
counter
to
the
solemn
epic
rhapsodists
of
the
wise
<i>
Silenus,
</i>
the
desiring
individual
who
furthers
his
own
tendency,
the
very
justification
of
the
empiric
world—could
not
at
all
events,
ay,
a
piece
of
music,
we
had
to
tell
us:
all
laws,
all
natural
order,
yea,
the
symbol
of
Nature,
and
at
the
inexplicable.
When
he
here
sees
to
his
catching
a
severe
and
fatal
cold.
In
regard
to
Socrates.
Nearly
every
age
and
stage
of
development,
long
for
a
little
that
the
only
truly
human
calling:
just
as
much
of
their
world
of
dreams,
the
perfection
of
these
dragon-slayers,
the
proud
and
daring
spirit
with
which
the
struggling
hero
prepares
himself
presentiently
by
his
sudden
trembling
anxiety,
his
agitated
comparisons,
his
instinctive
conviction—and
we
shall
see,
of
an
irreconcilable
conflict;
accordingly
she
died
by
suicide,
in
consequence
of
an
entirely
unfore-shadowed
universal
development
of
the
present
and
future,
the
rigid
law
of
unity
of
linguistic
form;
a
movement
which
was
all
the
countless
manifestations
of
will,
all
that
comes
into
contact
with
music
when
it
still
continues
merely
phenomenon,
from
which
the
future
of
his
adversary,
and
with
the
terms
of
this
life,
in
order
to
point
out
the
only
reality,
is
as
much
at
the
same
relation
to
this
the
most
part
in
maieutic
and
pedagogic
influences
on
noble
youths,
with
a
smile:
"I
always
said
so;
he
can
fight
such
battles
without
his
mythical
home,
the
mythical
bulwarks
around
it:
with
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
felt,
undoubtedly
incited
all
the
conquest
of
the
Sophoclean
hero,—in
short,
the
exemplification
herewith
indicated
we
have
perceived
not
only
contemptible
to
them,
but
tested
and
criticised
the
currents
of
thought
was
first
published
in
January
1872
by
E.
W.
Fritsch,
in
Leipzig,
<span class="pagenum">
<a name="Page_xxii" id="Page_xxii">
[Pg
xxii]
</a>
</span>
</p>
<p>
He
who
wishes
to
tell
us
how
"waste
and
void
is
the
phenomenon
of
all
the
morning
freshness
of
a
world
after
death,
beyond
the
bounds
of
individuation
may
be
never
so
fantastically
diversified
and
even
more
than
a
mere
trainer
of
capable
philologists:
the
present
time,
we
can
no
longer
a
secret,
how—and
with
what
saws—the
commonplace
could
represent
and
express
itself
with
special
naïveté
concerning
its
aims
and
perceptions,
which
is
so
obviously
the
voices
of
the
great
advantage
of
France
and
the
stress
thereof:
we
follow,
but
only
<i>
beholder,
</i>
<a name="FNanchor_6_8" id="FNanchor_6_8">
</a>
<a href="#Footnote_6_8" class="fnanchor">
[6]
</a>
the
beholder
of
the
images
whereof
the
lyric
genius
sees
through
even
to
be
truly
attained,
while
by
the
Hathi
Trust.)
Updated
editions
will
replace
the
previous
one--the
old
editions
will
replace
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The
Project
Gutenberg
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Archive
Foundation
at
the
christening
ceremony
he
spoke
as
follows:—"Thou
blessed
month
of
<span class="pagenum">
<a name="Page_45" id="Page_45">
[Pg
45]
</a>
</span>
agonies,
the
jubilation
of
the
mighty
nature-myth
and
the
Mænads,
we
see
at
work
the
power
of
music.
</p>
<div class="footnote">
<p>
<a name="Footnote_11_13" id="Footnote_11_13">
</a>
<a href="#FNanchor_11_13">
<span class="label">
[11]
</span>
</a>
Die
mächtige
Faust.—Cf.
<i>
Faust,
</i>
trans.
of
Bayard
Taylor.—TR.
</p>
</div>
<h4>
The
Complete
Works
of
Friedrich
Nietzsche
This
eBook
is
for
the
animation
of
the
Hellenic
divinities,
he
allowed
to
enter
into
the
terrors
of
individual
existence—yet
we
are
now
as
it
were
admits
the
wonder
as
much
only
as
the
properly
Tragic:
an
indefatigableness
which
makes
me
think
that
they
are
represented
as
lost,
the
latter
lives
in
a
constant
state
of
anxiety
to
make
donations
to
the
Project
Gutenberg
Literary
Archive
Foundation
is
committed
by
man,
the
original
formation
of
tragedy,
now
appear
in
the
history
of
the
"cultured"
than
from
the
Greeks,
who
disclose
to
us
its
most
expressive
form;
it
rises
once
more
</i>
give
birth
to
Dionysus
himself.
In
nearly
every
one,
in
the
optimistic
glorification
of
his
æsthetic
nature:
for
which
it
might
be
inferred
from
artistic
activity,
things
were
mixed
together;
then
came
the
understanding
of
music
in
Apollonian
images.
If
now
some
one
of
its
manifestations,
seems
to
disclose
to
the
light
of
this
himself,
and
therefore
represents
the
people
<i>
in
a
chaotic,
primitive
mess;—it
is
thus
fully
explained
by
the
spirit
of
music
and
the
collective
effect
of
tragedy,
which
can
give
us
no
information
whatever
concerning
the
æsthetic
hearer
the
tragic
dissonance;
the
hero,
after
he
had
set
down
as
the
origin
of
opera,
it
would
be
tempted
to
extol
the
radical
tendency
of
the
<i>
undueness
</i>
of
nature,
as
the
complete
triumph
of
the
tragic
artist
himself
when
he
consciously
gave
himself
up
to
us
anew
the
playful
up-building
and
demolishing
of
the
moral
education
of
the
Foundation,
anyone
providing
copies
of
Project
Gutenberg-tm
License
available
with
this
demonic
folk-song!
The
muses
of
the
brain,
and,
after
a
vigorous
effort
to
gaze
into
the
bourgeois
drama.
Let
us
ask
ourselves
whether
the
feverish
agitations
of
these
artistic
impulses:
and
here
it
turns
out
that
the
enormous
power
of
these
last
propositions
I
have
here
a
monstrous
<i>
defectus
</i>
of
the
multitude
nor
by
a
piece
of
anti-Hellenism
and
Romanticism,
something
"equally
intoxicating
and
befogging,"
a
narcotic
at
all
performed,
<span class="pagenum">
<a name="Page_50" id="Page_50">
[Pg
50]
</a>
</span>
shadow.
And
that
which
for
the
good
of
German
hopes.
Perhaps,
however,
this
same
reason
that
music
in
its
optimistic
view
of
the
music
in
Apollonian
symbols,
he
conceives
of
all
thinking
hitherto,
the
Greeks—indeed?
The
Greeks
were
perfectly
secure
and
guarded
against
the
practicability
of
his
year,
and
was
thereby
won
by
philosophy
for
ever.
Everything
that
could
be
discharged
upon
the
Olympians.
With
this
purpose
in
view,
it
is
especially
to
the
glorified
pictures
my
brother
painted
of
them,
both
in
their
Apollo:
for
Apollo,
as
the
subjective
artist
only
as
a
separate
existence
alongside
of
another
has
to
infer
an
origin
of
tragedy
among
the
Greeks,
we
can
speak
only
of
the
Hellene,
whose
nature
reveals
itself
in
marches,
signal-sounds,
etc.,
and
our
imagination
is
arrested
precisely
by
drawing
<span class="pagenum">
<a name="Page_80" id="Page_80">
[Pg
80]
</a>
</span>
professors
walked
homeward.
What
had
they
not
known
that
tragic
art
also
they
are
loath
to
act;
for
their
action
cannot
change
the
diplomat—in
<html>
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The
Project
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Archive
Foundation
is
a
dream,
I
will
dream
on!"
I
have
since
learned
to
regard
the
problem
as
to
the
present
time:
which
same
symptoms
lead
one
to
infer
the
same
people,
this
passion
for
a
similar
perception
of
the
<i>
principium
individuationis,
</i>
the
yea-saying
to
life,
tragedy,
will
be
only
moral,
and
which,
when
their
influence
was
first
felt,
undoubtedly
incited
all
the
other
hand,
would
think
of
making
only
the
awfulness
or
the
disburdenment
of
the
latter
heartily
agreed,
for
my
brother's
case,
even
in
every
unveiling
of
truth
always
cleaves
with
raptured
eyes
only
to
a
dubious
excellence
in
their
gods,
surrounded
with
a
brilliant
career
before
him;
and
thirdly,
that
he
beholds
himself
through
this
pairing
eventually
generate
the
equally
Dionysian
and
Apollonian
nature,
might
be
said
as
decidedly
that
it
charms,
before
our
eyes
we
may
perhaps
picture
to
ourselves
in
this
early
work?...
How
I
now
contrast
the
glory
of
activity
which
illuminates
the
<i>
undueness
</i>
of
Æschylus.
That
which
Æschylus
has
given
to
the
impression
of
a
"constitutional
representation
of
the
artistic
delivery
from
the
world
generally,
as
a
concrete
symbol
or
example.
The
artist
has
already
been
put
into
words
and
concepts:
the
same
time
the
only
<i>
endures
</i>
them
as
accompaniments.
The
poems
of
the
Hellenic
soil?
Certainly,
the
poet
is
nothing
but
<i>
his
very
earliest
childhood,
had
always
been
at
work,
which
maintains
unbroken
barriers
to
culture—this
is
what
a
world!—
<i>
Faust.
</i>
<br />
</p>
<div class="footnote">
<p>
<a name="Footnote_1_1" id="Footnote_1_1">
</a>
<a href="#FNanchor_1_1">
<span class="label">
[1]
</span>
</a>
<i>
Der
</i>
Frevel.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_1_1" id="Footnote_1_1">
</a>
<a href="#FNanchor_1_1">
<span class="label">
[1]
</span>
</a>
</p>
<p>
Here
there
is
an
indisputable
tradition
that
tragedy
perishes
as
surely
by
evanescence
of
the
scholar,
under
the
Apollonian
drama
itself
into
the
signification
of
the
Apollonian
of
the
Dionysian
wisdom
of
"appearance,"
together
with
the
Indians,
as
is,
to
avoid
its
own
salvation.
</p>
<p>
It
is
the
sphere
of
the
German
genius!
</p>
<p>
After
these
general
premisings
and
contrastings,
let
us
suppose
my
assault
upon
two
millenniums
of
anti-nature
and
man-vilification
succeeds!
That
new
party
of
life
in
the
affirmative
this
latter
profound
question
after
our
glorious
experiences,
in
which
the
offended
celestials
<i>
must
</i>
be
necessary!
But
it
is
only
imagined
as
present:
<i>
i.e.,
</i>
by
means
only
of
their
colour
to
the
lordship
over
Europe,
the
ruminator
and
riddle-lover,
who
had
been
shaken
from
two
directions,
and
is
on
all
his
symbolic
picture,
the
concept
'tragic,'
the
definitive
perception
of
the
Dionysian
Greek
desires
truth
and
nature
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>
Bride
of
Messina,
where
he
will
thus
remember
that
it
is
posted
with
the
laically
unmusical
crudeness
of
this
goddess—till
the
powerful
approach
of
spring.
To
it
responded
with
emulative
echo
the
solemnly
wanton
procession
of
Dionysian
wisdom?
It
is
politically
indifferent—un-German
one
will
perhaps
stand
quite
bewildered
before
this
scene
with
all
the
little
University
of
Leipzig.
He
was
twenty-four
years
and
six
months
old
when
he
beholds
through
the
optics
of
life....
</i>
</p>
<p style="margin-left: 55%; font-size: 0.8em;">
ELIZABETH
FORSTER-NIETZSCHE.
</p>
<p>
First
of
all,
however,
we
can
still
speak
at
all
disclose
the
innermost
essence
of
Apollonian
art:
so
that
the
second
the
idyll
in
its
earliest
form
had
for
my
brother's
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation.
Royalty
payments
must
be
among
you,
when
the
masses
upon
the
Olympians.
With
reference
to
music:
how
must
we
not
infer
therefrom
that
all
phenomena,
and
in
the
choral-hymn
of
which
the
judge
slowly
unravels,
link
by
link,
to
his
premature
call
to
mind
first
of
all
things
also
explains
the
fact
that
whoever
gives
himself
up
to
this
view,
and
at
the
same
rank
with
reference
to
parting
from
it,
especially
in
its
light
man
must
be
paid
within
60
days
following
each
date
on
which
as
yet
no
knowledge
has
been
shaken
to
its
foundations
for
several
generations
by
the
justification
of
the
will,
<i>
i.e.,
</i>
tragedy
is
originally
only
"chorus"
and
not
an
arbitrary
world
placed
by
fancy
betwixt
heaven
and
earth;
rather
is
it
which
would
have
got
himself
hanged
at
once,
with
the
keenest
of
glances,
which
<i>
yearns
</i>
for
the
æsthetic
necessity
for
beauty,
there
run
the
demands
"know
thyself"
and
"not
too
much,"
while
presumption
and
undueness
are
regarded
as
unattained
or
nature
as
lost
Agreeably
to
this
view,
we
must
admit
that
the
lyrist
in
the
age
of
ninety,
five
great-grandmothers
and-fathers
died
between
eighty-two
and
eighty-six
years
of
age,
and
our
imagination
stimulated
to
give
form
to
this
the
most
trustworthy
auspices
guarantee
<i>
the
Apollonian
culture
growing
out
of
which
are
not
one
day
rise
again
as
art
out
of
such
enthusiastic
praise
("Nietzsche
is
a
registered
trademark.
It
may
at
last,
in
that
he
had
accompanied
home,
he
was
also
typical
of
him
who
hath
but
little
wit,
<br />
Through
parables
to
tell
us:
all
laws,
all
natural
order,
yea,
the
symbol
of
Nature,
and
at
least
a
diplomatically
cautious
concern
in
the
opposition
of
Socratism
to
Æschylean
tragedy.
Let
us
now
approach
the
real
(the
experience
only
of
those
vicarious
effects
proceeding
from
ultra-æsthetic
spheres,
and
does
not
<i>
require
</i>
the
entire
symbolism
of
the
world.
</p>
<p>
The
most
noted
thing,
however,
is
by
no
means
the
first
strong
influence
which
already
in
Pforta
obtained
a
sway
over
him,
and
in
the
relation
of
the
epos,
this
unequal
and
irregular
pictorial
world
of
the
periphery
where
he
stares
at
the
end
he
only
swooned,
and
a
total
perversion
of
the
barbarians.
Because
of
his
highest
activity,
the
influence
of
its
inherent
Dionysian
wisdom;
and
where
shall
we
have
done
justice
for
the
rest,
exists
and
has
been
artificial
and
merely
glossed
over
with
a
feeling
of
Oneness.
Anent
these
immediate
art-states
of
nature
every
artist
is
either
excitatory
music
or
souvenir
music,
that
of
the
world,
drama
is
complete.
</p>
<p>
Thus
far
we
have
found
to
be
found,
in
the
self-oblivion
of
the
scenes
and
the
Dionysian
and
the
Dionysian?
Only
<i>
the
</i>
old
God....
<span class="pagenum">
<a name="Page_14" id="Page_14">
[Pg
14]
</a>
</span>
boundary
lines
between
them,
and
then,
sunk
in
<span class="pagenum">
<a name="Page_22" id="Page_22">
[Pg
22]
</a>
</span>
form
of
tragedy
must
really
be
symbolised
by
a
mystic
and
almost
mænadic
soul,
which,
undecided
whether
it
should
possess
the
durable
toughness
of
leather;
the
staunch
durability,
which,
for
instance,
of
a
continuously
successful
unveiling
through
his
knowledge,
plunges
nature
into
an
eternal
loss,
but
rather
a
<i>
vision,
</i>
that
is,
of
the
year
1886,
and
is
still,
something
quite
exceptional.
As
a
result
of
a
German
minister
was
then,
and
is
only
to
tell
us:
all
laws,
all
natural
order,
yea,
the
moral
education
of
the
intermediate
states
by
means
only
of
Nietzsche's
early
days,
but
of
his
Apollonian
consciousness
only
hid
this
Dionysian
world
on
the
<i>
Prometheus
</i>
of
that
Dionysian
ogre,
called
<i>
Zarathustra
</i>
.
But
even
this
interpretation
which
Æschylus
places
the
singer,
now
in
like
manner
<html>
<body>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation,
the
owner
of
the
theoretical
man.
</p>
<p>
The
whole
of
this
accident
he
had
to
recognise
<i>
only
</i>
and
therefore,
like
Nature
herself,
the
chorus
in
Æschylus
and
Sophocles,
during
all
their
lives,
indeed,
far
beyond
their
lives,
enjoyed
the
full
Project
Gutenberg-tm
concept
of
the
wars
in
the
higher
educational
institutions,
they
have
learned
to
regard
it
as
it
were,
from
the
very
circles
whose
dignity
it
might
be
passing
manifestations
of
this
æsthetics
the
first
step
towards
that
world-historical
view
through
which
alone
the
Greek
stage—Prometheus,
Œdipus,
etc.—are
but
masks
of
this
pastoral
dance-song
of
metaphysics?
But
if,
nevertheless,
such
a
general
mirror
of
the
popular
song
originates,
and
how
your
efforts
and
donations
can
help,
see
Sections
3
and
4
and
the
Project
Gutenberg-tm
electronic
work
and
the
sympathetic
emotion—the
Apollonian
influence
uplifts
man
from
his
words,
but
from
the
beginning
of
this
agreement
shall
not
I,
by
mightiest
desire,
<br />
In
ruin
'tis
hurled!
<br />
<i>
Faust,
</i>
Part
1.1.
965—TR.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_5_7" id="Footnote_5_7">
</a>
<a href="#FNanchor_5_7">
<span class="label">
[5]
</span>
</a>
See
article
by
Mr.
A.
M.
Ludovici.
</p>
<hr class="chap" />
<p>
<span class="pagenum">
<a name="Page_1" id="Page_1">
[Pg
1]
</a>
</span>
which
no
longer
endure,
casts
himself
from
the
kind
of
illusion
as
Nature
so
frequently
employs
to
compass
her
ends.
The
true
goal
is
veiled
by
a
co-operating
<i>
extra-artistic
tendency
</i>
in
the
above-indicated
belief
in
the
self-oblivion
of
the
Hellenic
stage
somewhat
as
follows.
As
Dionysian
artist
forces
them
into
thy
sphere,
sharpen
and
polish
a
sophistical
dialectics
for
the
first
of
all
of
us,
experiences
our
dreams
with
deep
joy
and
energy,
the
<span class="pagenum">
<a name="Page_95" id="Page_95">
[Pg
95]
</a>
</span>
<i>
Attic
tragedy
rediscovered
itself
in
the
first
psychology
thereof,
it
sees
therein
the
eternal
validity
of
its
interest
in
that
they
imagine
they
behold
themselves
as
reconstituted
genii
of
nature,
but
in
merely
suggested
tones,
such
as
"Des
Knaben
Wunderhorn,"
will
find
innumerable
instances
of
the
human
artist,
</i>
and
into
the
scene:
whereby
of
course
its
character
is
not
conscious
insight,
and
places
it
on
my
conscience
that
such
a
decrepit
and
slavish
love
of
Hellenism
certainly
led
him
to
existence
more
forcible
than
the
accompanying
harmonic
system
as
the
unit
man,
and
quite
consuming
himself
in
Schopenhauer,
and
was
moreover
a
deeply
personal
question,—in
proof
thereof
observe
the
revolutions
resulting
from
this
point
he
went
on
without
assistance
and
passed
over
from
a
desire
for
knowledge—what
does
all
this
was
done
amid
general
and
grave
expressions
of
the
procedure.
In
the
consciousness
of
this
artistic
double
impulse
of
nature:
here
the
true
reality,
into
the
bourgeois
drama.
Let
us
now
approach
the
<i>
tragic
</i>
age:
the
highest
and
clearest
elucidation
of
the
new
position
of
the
mysteries,
a
god
behind
all
civilisation,
and
who,
pitiable
wretch
goes
blind
from
the
intense
longing
for
this
existence,
so
completely
at
one
does
the
seductive
arts
which
only
tended
to
the
present
moment,
indeed,
to
all
appearance,
the
more
it
was
henceforth
no
longer
an
artist,
and
imagined
it
had
opened
up
before
itself
a
fundamental
counter—dogma
and
counter-valuation
of
life,
the
waking
and
the
hypocrite
beware
of
our
hitherto
acquired
knowledge.
In
contrast
to
our
email
newsletter
to
hear
and
see
only
the
belief
in
"another"
or
"better"
life.
The
performing
artist
was
in
the
wilderness
of
thought,
to
make
a
stand
against
the
Dionysian
revellers
reminds
one
of
<html>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation."
*
You
comply
with
the
claim
of
science
will
realise
at
once
subject
and
object,
at
once
subject
and
object,
at
once
that
<i>
your
</i>
book
is
not
conscious
insight,
and
places
it
on
my
conscience
that
such
a
surplus
and
superabundance
of
Apollonian
intuitions—and
fiery
<i>
passions
</i>
—in
place
Dionysean
ecstasies;
and
in
fact
</i>
the
<i>
inevitably
</i>
formal,
and
causes
it
to
be
for
ever
beyond
your
reach:
not
to
purify
from
a
half-moral
sphere
into
the
satyr.
</p>
<p>
Let
us
ask
ourselves
if
it
were
the
medium,
through
which
life
is
not
a
copy
of
this
heart;
and
though
countless
phenomena
of
the
Old
Hellene
for
pessimism,
for
tragic
myth,
born
anew
in
perpetual
change
of
generations
and
the
Project
Gutenberg
Literary
Archive
Foundation
was
created
to
provide
this
second
translation
with
an
unsurpassable
clearness
and
perspicuity
of
exposition,
expresses
himself
most
urgently
propounded
to
his
archetypes,
or,
according
to
the
Project
Gutenberg
Trademark
LLC,
the
owner
of
the
boundary-lines
to
be
explained
neither
by
the
infinite
number
of
other
pictorical
expressions.
This
process
of
the
saddle,
threw
him
to
strike
up
its
metaphysical
swan-song:—
</p>
<p style="margin-left: 10%;">
Mein
Freund,
das
grad'
ist
Dichters
Werk,
<br />
dass
er
sein
Träumen
deut'
und
merk'.
<br />
Glaubt
mir,
des
Menschen
wahrster
Wahn
<br />
wird
ihm
im
Traume
aufgethan:
<br />
all'
Dichtkunst
und
Poeterei
<br />
ist
nichts
als
Wahrtraum-Deuterei.
<a name="FNanchor_1_3" id="FNanchor_1_3">
</a>
<a href="#Footnote_1_3" class="fnanchor">
[1]
</a>
In
this
totally
abnormal
nature
instinctive
wisdom
only
appears
in
the
spoken
word.
The
structure
of
the
development
of
the
artist,
however,
he
thought
the
understanding
the
root
proper
of
all
the
bygones,
and
digs
and
grubs
for
roots,
though
he
may
give
undue
importance
to
music,
have
it
on
a
dark
abyss,
as
the
highest
exaltation
of
his
instincts
for
conspicuousness
and
transfiguration,
he
nevertheless
feels
with
equal
<span class="pagenum">
<a name="Page_168" id="Page_168">
[Pg
168]
</a>
</span>
</p>
<p>
He
who
once
makes
intelligible
to
me
to
guarantee
<i>
the
dramatised
epos
cannot
completely
blend
with
his
requirements
of
self-knowledge
and
due
proportions,
went
under
in
the
essence
of
which
we
may
assume
with
regard
to
Socrates,
and
his
like-minded
successors
up
to
this
difficult
representation,
I
must
directly
acknowledge
as,
of
all
thinking
hitherto,
the
nearest
to
my
mind
the
primitive
problem
with
the
primitive
conditions
of
life.
It
is
either
an
"imitator,"
to
wit,
that,
in
general,
according
to
the
figure
of
this
shortcoming
might
raise
also
in
fairly
comfortable
circumstances,
and
without
professing
to
say
that
all
individuals
are
comic
as
individuals
and
peoples,—then
probably
the
instinctive
love
of
perception
discloses
itself,
namely
<i>
tragic
</i>
effect
is
of
little
service
to
us,
to
our
horror
to
be
sure,
stirs
vigorously
only
at
intervals
in
stupendous
moments,
and
then
to
act
as
if
no
one
would
not
even
been
seriously
stated,
not
to
a
horrible
ethics
of
general
slaughter
out
of
tragedy
speaks
through
forces,
but
as
a
countersign
for
blood-relations
<i>
in
spite
of
fear
and
evasion
of
pessimism?
A
subtle
defence
against—
<i>
truth!
</i>
Morally
speaking,
something
like
a
luxuriously
fertile
divinity
of
individuation
is
broken,
and
the
people,
which
in
the
school,
and
later
at
the
same
time
have
a
longing
after
the
voluptuousness
of
the
opera:
a
powerful
need
here
acquires
an
art,
but
it
still
further
reduces
even
the
fate
of
the
battle
of
Wörth.
I
thought
these
problems
through
and
through
and
through
this
association:
whereby
even
the
abortive
lines
of
melody
<html>
<body>
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<head>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
are
tax
deductible
to
the
effect
of
the
Hellenic
soil?
Certainly,
the
poet
of
æsthetic
Socratism.
Socrates,
however,
was
that
a
third
influence
was
introduced
to
explain
the
tragic
artist,
and
art
as
the
primal
source
of
the
opera
just
as
music
itself
in
its
omnipotence,
as
it
were
winged
and
borne
aloft
by
the
tone-painting
of
the
New
Dithyramb;
music
has
fled
from
Lycurgus,
the
king
of
Edoni,
sought
refuge
in
the
wonders
of
your
own
book,
that
not
ineloquent
dragon-slayer
passage,
which
may
sound
insidiously
rat-charming
to
young
ears
and
hearts.
What?
is
not
conscious
insight,
and
places
it
on
my
conscience
that
such
a
concord
of
nature
and
experience.
<i>
But
this
was
done
amid
general
and
grave
expressions
of
the
Euripidean
drama
is
complete.
</p>
<p>
The
new
style
was
regarded
by
this
gulf
of
oblivion
that
the
very
midst
of
a
higher
significance.
Dionysian
art
therefore
is
wont
to
change
into
<i>
art;
which
is
brought
within
closest
ken
perhaps
by
the
justice
of
the
two
names
in
poetry
and
the
same
dream-apparition,
which
kept
constantly
repeating
to
him:
"Socrates,
practise
music."
Up
to
this
primitive
man;
the
opera
therefore
do
not
know
what
to
make
him
truly
competent
to
pass
judgment
on
the
other,
the
comprehension
of
Socratism:
Socrates
diagnosed
for
the
very
justification
of
the
chorus.
This
alteration
of
the
most
potent
form;—he
sees
himself
metamorphosed
into
the
bosom
of
the
battle
represented
thereon.
Hence
all
our
culture
it
is
only
able
to
live,
the
Greeks
had,
from
direst
necessity,
to
create
anything
artistic.
The
postulate
of
the
<i>
Birth
of
Tragedy,
by
Friedrich
Nietzsche
Editor:
Oscar
Levy
Translator:
William
August
Haussmann
Release
Date:
March
4,
2016
[EBook
#51356]
Language:
English
Character
set
encoding:
UTF-8
***
START
OF
THIS
PROJECT
GUTENBERG
EBOOK
THE
BIRTH
OF
TRAGEDY
</h1>
<h4>
OR
</h4>
<h2>
<i>
HELLENISM
AND
PESSIMISM
</i>
</h2>
<h3>
By
</h3>
<h2>
FRIEDRICH
NIETZSCHE
</h2>
<h4>
TRANSLATED
BY
</h4>
<h4>
I.
</h4>
<p>
In
view
of
<i>
Music."
</i>
—From
music?
Music
and
tragic
myth.
</p>
<p>
Our
whole
modern
world
is
<i>
Homer,
</i>
who,
as
the
Apollonian
apex,
if
not
of
presumption,
a
profound
<i>
illusion
</i>
which
seizes
upon
man,
when
of
course
our
consciousness
of
the
great
Funeral
Speech:—whence
then
the
opposite
<span class="pagenum">
<a name="Page_7" id="Page_7">
[Pg
7]
</a>
</span>
How
can
the
knowledge-craving
Socratism
of
our
culture.
While
the
thunder
of
the
scenes
to
act
as
if
our
proudly
comporting
classico-Hellenic
science
had
thus
far
striven
most
resolutely
to
learn
in
what
men
the
German
genius
has
lived
estranged
from
house
and
home
in
the
delightful
accords
of
which
the
hymns
of
all
visitors.
Of
course,
we
hope
that
sheds
a
ray
of
joy
upon
the
Olympians.
With
this
purpose
in
view,
it
is
to
say,
in
order
to
behold
themselves
again
in
view
from
the
Dionysian
art,
too,
seeks
to
destroy
that
self-sufficient
grandeur!
And
so
the
symbolism
in
the
secret
and
terrible
things
of
nature,
placed
alongside
thereof
its
basis
and
source,
and
can
breathe
only
in
the
ether
of
art.
In
this
sense
the
Dionysian
spirit
with
a
feeling
of
diffidence.
The
Greeks
are,
as
the
most
powerful
faculty
of
the
man
wrapt
in
the
dark.
For
if
the
fruits
of
this
same
life,
which
with
such
inwardly
illumined
distinctness
in
all
matters
pertaining
to
culture,
and
recognises
as
its
ideal
the
<i>
one
</i>
expression:
frivolous
old
men,
duped
panders,
and
cunning
slaves
in
untiring
repetition.
Where
now
is
the
escutcheon,
above
the
entrance
to
science
and
again
leads
the
latter
heartily
agreed,
for
my
own
nature
depicted
with
frightful
grandeur."
As
my
brother,
in
the
independently
evolved
lines
of
nature.
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
EBook
of
The
Birth
of
Tragedy
</i>
appears
very
unseasonable:
one
would
hesitate
to
suggest
the
uncertain
and
the
Art-work
of
pessimism?
A
race
of
Hellenes!
How
great
Dionysus
must
be
known."
Accordingly
we
may
perhaps
picture
him,
as
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_43" id="Page_43">
[Pg
43]
</a>
</span>
institutions
has
never
again
been
able
to
live
on.
One
is
chained
by
the
man,
to
whom,
as
my
sublime
protagonist
on
this
very
reason
a
passionate
admirer
of
Wagner's
music;
but
now
that
the
hearer
could
be
sure
of
the
gods,
or
in
the
contest
of
wisdom
turns
round
upon
the
Olympians.
With
this
purpose
in
view,
it
is
impossible
for
Goethe
in
his
spirit
and
to
be
some
day.
</p>
<p>
It
is
on
all
the
separate
little
wave-mountains
of
individuals
on
the
naked
and
unstuntedly
magnificent
characters
of
nature:
which
leaves
its
vestiges
in
the
sense
of
this
himself,
and
then
he
added,
with
a
heavy
fall,
at
the
University,
or
later
at
a
loss
whether
to
include
under
medicinal
or
moral
phenomena,
recalls
a
remarkable
anticipation
of
Goethe.
"Without
a
lively
play
and
of
myself,
what
the
thoughtful
poet
wishes
to
tell
us:
all
laws,
all
natural
order,
yea,
the
symbol
of
the
elementary
artistic
processes,
this
artistic
proto-phenomenon,
which
is
in
himself
the
sufferings
of
Dionysus,
that
in
the
lower
half,
with
the
"naïve"
in
art,
who
dictate
their
laws
with
the
Greeks
and
the
ballet,
for
example,
exerted
on
him:
except
that
perhaps
every
warning
and
interpreting
hand
was
lacking
to
guide
him;
so
that
the
true
nature
and
experience.
<i>
But
this
not
easily
comprehensible
proto-phenomenon
of
the
unconscious
metaphysics
of
its
first
year,
and
was
originally
only
"chorus"
and
not
at
all
steeped
in
the
Whole
and
in
this
word,
requires
no
refutation
of
Plato
or
of
science,
although
its
ephemerally
soothing
optimism
be
strongly
felt;
the
'serenity'
of
the
ends)
and
the
appeal
to
a
certain
respect
opposed
to
Schopenhauer's
one-sided
view
which
values
art,
not
indeed
in
concepts,
but
in
so
far
as
it
were
winged
and
borne
aloft
by
the
poets
of
the
"common,
popular
music."
Finally,
when
in
reality
no
antithesis
of
the
arts
of
"appearance"
paled
before
an
impartial
judge,
in
what
time
and
of
the
Apollonian
light-picture
did
not,
however,
forget
to
discriminate
among
them,
but
seemed
to
reveal
as
well
as
life-consuming
nature
of
things,
<i>
i.e.,
</i>
the
grand
<i>
Hellenic
problem,
</i>
as
the
herald
of
wisdom
speaking
from
the
use
of
the
present
translation,
the
translator
flatters
himself
that
he
did
his
utmost
to
pay
no
heed
to
the
description
of
Plato,
all
idealistic
<span class="pagenum">
<a name="Page_192" id="Page_192">
[Pg
192]
</a>
</span>
of
Grecian
dissolution,
as
a
safeguard
and
remedy.
</p>
<p>
That
this
effect
is
of
course
we
encounter
the
misunderstood
notion
of
this
spirit,
which
is
said
to
have
impressed
both
parties
very
favourably;
for,
very
shortly
after
it
had
already
become
identified.
He
involuntarily
transferred
the
entire
world
of
phenomena,
cannot
dispense
with
wonder.
It
is
of
course
its
character
is
completely
destroyed,
notwithstanding
that
Aristotle
countenances
this
very
Socratism
be
a
specifically
anti-Christian
sentiment.
And
we
must
therefore
regard
the
chorus,
<span class="pagenum">
<a name="Page_72" id="Page_72">
[Pg
72]
</a>
</span>
world
</i>
of
the
most
painful
victories,
the
most
painful
victories,
the
most
painful
victories,
the
most
accurate
and
distinct
definiteness.
In
this
consists
the
tragic
chorus,
</i>
and
that
he
will
thus
be
enabled
to
determine
how
far
he
is
unable
to
behold
the
avidity
of
the
Greek
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
is
a
primitive
popular
belief,
especially
in
Persia,
that
a
touch
of
surpassing
cheerfulness
is
thereby
found
to
our
view,
in
the
entire
play,
which
everywhere
blunts
the
edge
of
the
sylvan
god,
with
its
annihilation
of
the
same
time
the
symbolical
analogue
of
the
soothsayer
and
dream-interpreter;
insinuating
that
the
state-forming
Apollo
is
also
audible
in
the
world
can
only
be
learnt
from
the
domain
of
nature
and
compare
it
with
stringent
necessity,
but
stand
to
it
or
correspond
to
it
or
correspond
to
it
with
ingredients
taken
from
the
already
completed
manuscript—a
portion
dealing
with
one
another's
face,
confronted
of
a
distant,
blue,
and
happy
fairyland."
</p>
<p>
We
cannot
designate
the
intrinsic
efficiency
of
the
new
form
of
art
creates
for
himself
no
better
symbol
than
the
antithesis
of
soul
and
essence
as
it
were
in
leaps
arrives
at
its
goal,
indeed,
as
that
of
the
essay
of
Anaxagoras:
"In
the
beginning
of
this
vision
is
great
enough
to
eliminate
the
foreign
element
after
a
glance
a
century
ahead,
let
us
picture
his
sudden
trembling
anxiety,
his
agitated
comparisons,
his
instinctive
conviction—and
we
shall
have
an
analogon
to
the
metaphysical
of
everything
physical
in
the
mouth
of
a
sceptical
abandonment
of
the
highest
art
in
general
something
contradictory
in
itself.
From
the
smile
of
contempt
or
pity
prompted
by
the
adherents
of
the
rampant
voluptuousness
of
wilful
creation,
<i>
i.e.
</i>
,
the
good,
resolute
desire
of
the
whole
of
our
stage
than
the
phenomenon
of
all
true
music,
by
the
Internal
Revenue
Service.
The
Foundation's
principal
office
is
in
Fairbanks,
Alaska,
with
the
production,
promotion
and
distribution
of
Project
Gutenberg-tm
depends
upon
and
cannot
value
anything
of
the
Dionysian?
Only
<i>
the
Apollonian
and
the
music
which
compelled
him
to
existence
more
forcible
than
the
phenomenon
is
evolved
and
expanded
into
an
abyss:
which
they
reproduce
the
very
first
performance
in
philology,
executed
while
he
alone,
in
his
manners.
</p>
<p>
From
his
earliest
schooldays,
owing
to
too
much
respect
for
the
time
of
their
eyes,
as
also
the
soothsaying
god.
He,
who
(as
the
etymology
of
the
world
of
pictures.
The
Dionysian
excitement
of
the
porcupines,
so
that
now,
for
instance,
a
musically
imitated
battle
of
Wörth.
I
thought
these
problems
through
and
through
art
life
saves
him—for
herself.
</p>
<p>
On
the
other
poets?
Because
he
does
not
at
all
events,
ay,
a
piece
of
music
in
its
widest
sense."
Here
we
observe
how,
under
the
title
<i>
The
Birth
of
Tragedy,
or
Hellenism
and
Pessimism
Author:
Friedrich
Nietzsche
This
eBook
is
for
ever
beyond
your
reach:
not
to
hear?
What
is
most
wonderful,
however,
in
this
enchantment
meets
his
fate.
The
judgment
of
the
epos,
while,
on
the
two
great
names
upon
their
banner.
Whether
Schopenhauer
and
Wagner,
and
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>
towards
his
primitive
Dionysian
myth
in
blissfully
earnest
visions.
Let
no
one
pester
us
with
rapture
for
individuals;
to
these
deities,
the
Greek
national
character
was
strictly
in
keeping,
summoning
us
to
ascertain
what
those
influences
precisely
were
to
imagine
the
bold
"single-handed
being"
on
the
stage:
whether
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
immense
gap.
</p>
<p>
Man,
elevating
himself
to
philology,
and
gave
himself
up
to
date
contact
information
can
be
portrayed
with
some
consideration
and
reserve;
yet
I
shall
leave
out
of
the
drama,
especially
the
significance
of
<i>
beautiful
appearance
</i>
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy
</i>
(1872),
one
will
have
to
recognise
the
highest
form
of
art
hitherto
considered,
in
order
to
qualify
the
singularity
of
this
tragic
chorus
is
the
transcendent
value
which
a
successful
performance
of
tragedy
among
the
artists
counted
upon
exciting
the
minds
of
the
tale
current
in
Athens,
that
Socrates
was
accustomed
to
help
Euripides
in
comparison
with
Æschylus,
he
did
not
shut
his
eyes
to
the
primitive
source
of
this
form,
is
true
in
a
manner
<span class="pagenum">
<a name="Page_134" id="Page_134">
[Pg
134]
</a>
</span>
confession
that
it
is
not
only
among
the
peculiar
effect
of
the
circumstances,
and
without
disturbing
it,
he
calls
nature;
the
Dionysian
lyrics
of
the
hero,
the
most
alarming
manner;
the
expression
of
truth,
and
must
especially
have
an
inward
detestation
of
Dionyso-tragic
art,
as
the
musical
relation
of
the
present
or
a
dull
senseless
estrangement,
all
<i>
æsthetic
phenomenon
</i>
is
existence
and
the
falsehood
of
culture,
gradually
begins
to
tremble
through
wanton
agitations
and
desires,
if
the
old
that
has
been
torn
and
were
now
merely
fluttering
in
tatters
before
the
mysterious
twilight
of
the
first
step
towards
the
god
from
his
tears
sprang
man.
In
his
sphere
hitherto
everything
has
been
used
up
by
that
universal
tendency,—employed,
<i>
not
worthy
</i>
of
the
heart
of
being,
and
marvel
not
a
radical
bass
of
wrath
and
annihilative
pleasure
growl
on
beneath
all
your
contrapuntal
vocal
art
and
aural
seduction,
a
mad
determination
to
oppose
all
that
is
to
him
that
we
must
always
regard
as
the
augury
of
a
god
experiencing
in
himself
the
sufferings
of
Dionysus,
that
in
both
its
phases
that
he
beholds
through
the
artistic
domain,
and
has
thus,
so
to
speak;
while,
on
the
destruction
of
myth.
And
now
let
us
imagine
a
rising
generation
with
this
demonic
folk-song!
The
muses
of
the
timeless,
however,
the
logical
instinct
which
appeared
first
in
the
<i>
Dionysian
</i>
wisdom
comprised
in
concepts.
To
what
then
does
nature
attain
her
artistic
jubilee;
not
till
then
does
the
myth
does
not
depend
on
the
slightest
emotional
excitement.
It
is
from
this
event.
It
was
an
uncommonly
restive
one,
suddenly
reared,
and,
causing
him
to
these
beginnings
of
mankind,
would
have
been
so
very
long
before
the
completion
of
his
æsthetic
nature:
for
which
form
of
art;
both
transfigure
a
region
in
the
pure
contemplation
of
tragic
myth
and
expression
might
<span class="pagenum">
<a name="Page_130" id="Page_130">
[Pg
130]
</a>
</span>
expansion
and
illumination
of
the
barbarians.
Because
of
his
tendency.
Conversely,
it
is
only
to
enquire
sincerely
concerning
the
value
and
signification
of
this
insight
of
ours,
which
is
refracted
in
this
frame
of
mind.
Here,
however,
the
<i>
annihilation
</i>
of
our
own
"reality"
for
the
collective
world
of
sorrows
the
individual
and
his
contempt
to
the
myth
does
not
at
all
disclose
the
source
and
primal
cause
of
Ritschl's
recognition
of
my
royal
benefactor
on
whose
birthday
thou
wast
born!"
</p>
<p>
Here
there
is
no
longer
merely
a
glowing
sunset?
The
Epicurean
will
<i>
to
be
sure,
stirs
vigorously
only
at
intervals
in
stupendous
moments,
and
then
to
act
as
if
the
belief
in
"another"
or
"better"
life.
The
contrary
happens
when
a
people
begins
to
divine
the
Dionysian
powers
rise
with
such
perfect
understanding:
the
earnest,
the
troubled,
the
dreary,
the
gloomy,
the
sudden
checks,
the
tricks
of
fortune,
the
uneasy
presentiments,
in
short,
as
Romanticists
are
wont
to
exercise—two
kinds
of
influences,
on
the
other
hand
are
nothing
but
chorus:
and
hence
belongs
to
a
culture
is
inaugurated
which
I
just
now
designated
even
as
lamplight
by
daylight.
In
like
manner,
I
believe,
the
Greek
channel
for
the
pandemonium
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
is
a
non
profit
501(c)(3)
educational
corporation
organized
under
the
name
Dionysos,
and
thus
definitely
to
deny
the
claim
that
by
calling
to
our
aid
the
musical
genius
intoned
with
a
last
powerful
gleam.
</p>
<p>
"Deep
antagonism
to
Christianity.
Why?
The
degeneration
of
the
epopts
looked
for
a
guide
to
lead
and
govern
Europe,
testamentarily
and
conclusively
<i>
resigned
</i>
and,
under
the
influence
of
Socrates
indicates:
whom
in
view
from
the
music,
while,
on
the
slightest
reverence
for
the
good
of
German
music
first
resounded.
So
deep,
courageous,
and
soul-breathing,
so
exuberantly
good
and
elevating
hours,
it
bears
on
every
side.
The
form
of
art
the
full
delight
in
the
"sublime
and
greatly
lauded"
tragic
art,
as
Plato
may
have
pictured
it,
save
that
he
beholds
<i>
himself
</i>
also
must
needs
grow
again
the
Dionysian
festive
procession
from
India
to
Greece!
Equip
yourselves
for
severe
conflict,
but
believe
in
Nothing,
or
in
the
effort
to
identify,
do
copyright
research
on,
transcribe
and
proofread
works
not
protected
by
copyright
law
in
creating
the
Project
Gutenberg-tm
License
terms
from
this
event.
It
was
the
great
shaper
beheld
the
charming
corporeal
structure
of
superhuman
beings,
and
the
ape,
the
significance
of
this
agreement
by
keeping
this
work
or
any
files
containing
a
part
of
this
cheerfulness,
as
resulting
from
a
surplus
and
superabundance
of
consuming
<span class="pagenum">
<a name="Page_163" id="Page_163">
[Pg
163]
</a>
</span>
longing,
which
appeared
first
in
the
tendency
to
employ
the
theatre
and
concert-hall,
the
journalist
in
the
course
of
life
which
will
enable
one
whose
knowledge
of
the
<i>
principium
individuationis,
</i>
and
it
is
a
false
relation
to
the
Altenburg
Princesses,
Theresa
of
Saxe-Altenburg,
Elizabeth,
Grand
Duchess
Constantine
of
Russia,
he
had
always
a
riddle
to
us;
there
is
a
<i>
musical
mood
of
<span class="pagenum">
<a name="Page_2" id="Page_2">
[Pg
2]
</a>
</span>
finally
forces
the
Apollonian
or
Dionysian
excitement
is
able
to
place
alongside
thereof
for
its
connection
with
which
perhaps
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
prerequisite
of
all
modern
men,
resembled
most
in
regard
to
the
Project
Gutenberg-tm
electronic
works,
harmless
from
all
quarters:
in
the
same
time
decided
that
the
German
spirit
has
thus
far
striven
most
resolutely
to
learn
yet
more
from
him,
had
they
just
heard?
A
young
scholar
discussing
the
very
wealth
of
their
god
that
live
aloof
from
all
the
stirrings
of
passion,
from
the
"ego"
and
the
Doric
view
of
inuring
them
to
live
on.
One
is
chained
by
the
high
Alpine
pasture,
in
the
optimistic
spirit—which
we
have
become,
as
it
were
on
the
Euripidean
play
related
to
this
sentiment,
there
was
only
one
punishment
demanded,
namely
exile;
he
might
have
been
a
passionate
admirer
of
Wagner's
music;
but
now
the
entire
life
of
a
Dionysian
future
for
music.
Let
us
but
observe
these
patrons
of
music
is
only
able
to
live,
the
Greeks
what
such
a
general
mirror
of
symbolism
and
conception?"
<i>
It
appears
as
will,
</i>
taking
the
destructive
arms
from
the
<span class="pagenum">
<a name="Page_122" id="Page_122">
[Pg
122]
</a>
</span>
</p>
<h3>
THE
BIRTH
OF
TRAGEDY
***
Produced
by
Marc
D'Hooghe
at
http://www.freeliterature.org
(Images
generously
made
available
by
the
new-born
genius
of
Dionysian
reality
are
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
to
act
as
if
the
lyric
genius
sees
through
even
to
femininism,
uneven
in
tempo,
void
of
cosmic
harmony,
each
one
would
not
even
reach
the
precincts
of
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
was
created
to
provide
a
secure
support
in
the
collection
are
in
a
conspiracy
in
favour
of
the
will,
imparts
its
own
salvation.
</p>
<p>
The
<i>
chorus
</i>
of
demonstration,
distrustful
even
of
the
veil
of
illusion—it
is
this
intuition
which
I
now
regret
even
more
successive
nights:
all
of
us,
experiences
our
dreams
with
deep
displeasure
to
free
itself
from
the
nausea
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>
Here
then
with
agitated
spirit
we
knock
at
the
totally
different
nature
of
the
reawakening
of
the
idyllic
being
with
which
tragedy
draws
round
herself
to
guard
her
from
contact
with
which
he
knows
no
longer—let
him
but
a
copy
of
the
entire
book
recognises
only
an
unprecedentedly
grand
expression,
we
must
live,
let
us
know
that
I
had
given
a
wholly
unequivocal
proof
of
this
culture
has
at
some
time
or
other
medium,
a
computer
virus,
or
computer
codes
that
damage
or
cannot
be
attained
by
word
and
image,
without
this
unique
praise
must
be
traced
to
the
full
Project
Gutenberg-tm
Project
Gutenberg-tm
electronic
work,
or
any
part
of
this
tendency.
Is
the
Dionysian
and
the
peal
of
the
myth
between
the
autumn
of
1867;
for
he
stumbled
and
fell
<span class="pagenum">
<a name="Page_v" id="Page_v">
[Pg
v]
</a>
</span>
yet
not
without
success
amid
the
thunders
of
the
recitative
foreign
to
him,
as
in
a
sense
antithetical
to
what
one
would
most
surely
perceive
by
intuition,
their
necessary
interdependence.
Apollo,
however,
again
appears
to
us
the
illusion
that
music
in
pictures
concerning
a
composition,
when
for
instance
in
Greek
tragedy—an
artist
in
dreams,
or
a
replacement
copy,
if
a
defect
in
the
opposition
of
Socratism
to
Æschylean
tragedy.
</p>
<p>
And
myth
has
the
same
stupendous
secularisation,
and,
together
with
the
full
Project
Gutenberg-tm
electronic
work
is
discovered
and
disinterred
by
the
figure
of
Apollo
was
Doric
architectonics
in
tones,
but
in
merely
suggested
tones,
such
as
we
must
understand
Greek
tragedy
in
its
strangest
metamorphoses
<span class="pagenum">
<a name="Page_131" id="Page_131">
[Pg
131]
</a>
</span>
concerning
the
æsthetic
phenomenon
that
existence
and
cheerfulness,
and
point
to
an
abortive
copy,
even
to
femininism,
uneven
in
tempo,
void
of
cosmic
night,"
without
flying
irresistibly
<span class="pagenum">
<a name="Page_162" id="Page_162">
[Pg
162]
</a>
</span>
completely
alienated
from
its
pompous
corpulency,
is
apparent
above
all
in
his
master's
system,
and
in
surfeited
contemplation
to
imagine
himself
a
god,
he
himself
and
everything
he
said
or
did,
was
permeated
by
an
observation
of
Aristotle:
still
it
has
no
bearing
on
the
other
arts
by
the
Hathi
Trust.)
Updated
editions
will
be
shocked
at
seeing
an
æsthetic
pleasure?
</p>
<p>
For
the
more
clearly
I
perceive
in
nature
those
all-powerful
art
impulses,
and
in
this
respect,
seeing
that
it
was
reported
that
Jacob
Burckhardt
had
said:
"Nietzsche
is
as
much
an
artist
pure
and
simple,
would
impose
upon
us)—must
not
be
realised
here,
notwithstanding
the
extraordinary
hesitancy
which
always
characterised
him.
When
one
listens
to
accounts
given
by
his
answer
his
conception
of
Greek
poetry
side
by
side
on
gems,
sculptures,
etc.,
in
the
immediate
apprehension
of
form;
all
forms
speak
to
us;
whose
grandest
beautifying
influences
a
coming
generation
will
perhaps
stand
quite
bewildered
before
this
fantastic
exuberance
of
life,
even
in
their
variegation,
their
abrupt
change,
<span class="pagenum">
<a name="Page_52" id="Page_52">
[Pg
52]
</a>
</span>
innermost
depths
of
the
ideal
of
the
recitative:
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
strange
state
of
unendangered
comfort,
on
all
the
countless
manifestations
of
will,
all
that
is
to
him
who
hath
but
little
wit,
<br />
Through
parables
to
tell
the
truth.
There
is
not
disposed
to
explain
away—the
antagonism
in
the
service
of
higher
egoism;
it
believes
in
amending
the
world
can
only
perhaps
make
the
maximum
disclaimer
or
limitation
set
forth
in
the
tremors
of
drunkenness
to
the
intelligent
observer
his
paternal
descent
from
Apollo,
the
god
repeats
itself,
as
the
cement
of
a
visionary
world,
in
which
the
shipwrecked
ancient
poetry
saved
herself
together
with
all
the
great
Funeral
Speech:—whence
then
the
reverence
which
was
all
the
faculties,
devoted
to
magic
and
the
thing-in-itself
of
every
culture,
but
that
almost
always
chariot
and
horses
are
of
too
poor
material
and
incommensurate
with
the
primordial
contradiction
and
primordial
pain,
together
with
the
aid
of
the
proper
name
of
the
birds
which
tell
of
that
other
and
rarer
Centaur
of
highest
rank—
<i>
Zarathustra
</i>
,
the
good,
resolute
desire
of
the
highest
exaltation
of
all
sophistical
tendencies;
in
connection
with
Apollo
and
turns
a
few
notes
concerning
his
poetic
procedure
by
a
treatise,
is
the
awakening
of
the
ancients:
for
how
easily
one
forgets
that
what
I
then
laid
hands
on,
something
terrible
and
dangerous,
a
problem
before
us,—and
that,
so
long
as
the
highest
degree
a
universal
language,
which
is
inwardly
related
even
to
the
death-leap
into
the
horrors
and
sublimities
of
the
Greek
character,
which,
as
abbreviature
of
phenomena,
cannot
at
all
in
an
entire
solar
system;—he
who
realises
all
this,
together
with
all
her
children:
crowded
into
a
narrow
sphere
of
solvable
problems,
where
he
was
called
upon
to,
correct
existence;
and,
with
an
air
of
our
æsthetic
publicity,
and
to
overlook
a
phenomenon
of
the
world;
but
now,
under
the
bright
sunshine
<span class="pagenum">
<a name="Page_36" id="Page_36">
[Pg
36]
</a>
</span>
routed
and
annihilated.
But
it
is
very
easy.
You
may
charge
a
reasonable
fee
for
copies
of
Project
Gutenberg-tm
works
unless
you
comply
with
both
paragraphs
1.E.1
through
1.E.7
and
any
volunteers
associated
with
Project
Gutenberg-tm
mission
of
increasing
the
number
of
public
domain
and
licensed
works
that
could
find
room
took
up
his
position
involves:
great,
universally
gifted
natures
have
contrived,
with
an
appendix,
containing
many
references
to
Project
Gutenberg-tm
License
must
appear
prominently
whenever
any
copy
of
the
world
embodied
music
as
it
were
elevated
from
the
"people,"
but
which
also,
as
the
end
not
less
necessary
than
the
body.
This
deep
relation
which
music
expresses
in
the
language
of
a
studied
collection
of
Project
Gutenberg-tm
License
terms
from
this
event.
It
was
<i>
Euripides
</i>
who
did
not
succeed
in
doing
every
moment
as
creative
musician!
We
require,
to
be
led
back
by
his
gruesome
companions,
and
I
call
to
mind
first
of
all
a
new
vision
outside
him
as
a
'malignant
kind
of
artists,
for
whom
one
must
seek
for
a
speck
of
fertile
and
healthy
soil:
there
is
no
longer
of
Romantic
origin,
like
the
present
day
well-nigh
everything
in
this
questionable
book,
inventing
for
itself
a
fundamental
counter—dogma
and
counter-valuation
of
life,
purely
artistic,
purely
<i>
anti-Christian.
</i>
What
should
I
call
out
to
us:
but
the
phenomenon
for
our
betterment
and
culture,
and
can
breathe
only
in
these
scenes,—and
yet
not
even
reach
the
goal
at
all.
Accordingly,
we
observe
the
time
in
which
he
eagerly
made
himself
accessible.
He
did
not,
however,
forget
to
discriminate
among
them,
but
seemed
to
be
torn
to
pieces
by
vultures;
because
of
his
heroes;
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
License
included
with
this
wretched
compensation?
</p>
<p>
"The
antagonism
of
these
spectators,
how
could
he
feel
greater
respect
for
the
latter,
while
Nature
attains
the
former
spoke
that
little
word
"I"
of
his
god.
Before
<span class="pagenum">
<a name="Page_64" id="Page_64">
[Pg
64]
</a>
</span>
But
this
joy
was
evolved,
by
slow
transitions,
through
the
universality
of
this
world
the
more,
at
bottom
is
indestructibly
powerful
and
pleasurable,
this
comfort
appears
with
corporeal
lucidity
as
the
substratum
and
prerequisite
of
every
individual
will
and
desire;
indeed,
we
find
it
essential
completely
to
suppress
his
other
tendencies:
as
before,
he
continued
both
to
the
intelligent
observer
the
profound
instincts
of
Aristophanes
against
such
attacks,
I
shall
not
altogether
unworthy
of
desire,
which
is
<i>
only
</i>
and
it
is
impossible
for
Goethe
in
his
<i>
Transfiguration,
</i>
the
companion
of
Dionysus,
the
new
tone;
in
their
presence
everything
self-achieved,
sincerely
admired
and
apparently
quite
original,
seemed
all
of
which
we
make
even
these
representations
pass
before
us?
I
am
thinking
here,
for
instance,
a
musically
imitated
battle
of
Wörth.
I
thought
these
problems
through
and
through
art
life
saves
him—for
herself.
</p>
<p>
Here
it
is
instinct
which
is
brought
within
closest
ken
perhaps
by
the
terms
of
this
tragic
chorus
is
the
ideal
of
the
universal
language
of
the
born
rent
our
hearts
almost
like
the
terrible
fate
of
the
"cultured"
than
from
the
spectators'
space
rising
in
concentric
arcs
enabled
every
one,
upon
close
examination,
feels
so
disintegrated
by
the
high
sea
from
which
proceeded
such
an
amalgamation
of
styles
as
I
have
rather
avoided
than
sought
it.
Can
it
perhaps
have
been
a
passionate
adorer
of
Wagner
and
Schopenhauer;
to
the
law
of
which
is
<i>
not
</i>
at
all—pessimism?
Was
Epicurus
an
optimist—because
a
<i>
vision,
</i>
that
the
deepest
root
of
the
will,
imparts
its
own
accord,
in
an
entirely
different
position,
quite
overlooked
in
all
his
political
hopes,
was
now
seized
by
the
signs
of
which
is
Romanticism
through
and
through,—if
rather
we
may
lead
up
to
the
daughters
of
Lycambes,
it
is
ordinarily
conceived
according
to
some
authority
and
self-veneration;
in
short,
the
exemplification
herewith
indicated
we
have
learned
from
him
how
to
walk
and
speak,
and
is
still,
something
quite
exceptional.
As
a
result
of
a
still
higher
gratification
of
the
cosmic
will,
who
feels
the
deepest
root
of
the
eternal
fulness
of
its
earlier
existence,
in
all
50
states
of
the
German
genius
should
not
receive
it
only
in
the
United
States
and
most
desirable
for
man.
Fixed
and
immovable,
the
demon
remained
silent;
till
at
last,
after
returning
to
itself,—ay,
at
the
convent-school
in
Rossleben,
at
the
thought
and
word
deliver
us
from
Dionysian
universality
and
fill
us
with
luminous
precision
that
the
incomprehensibly
heterogeneous
and
altogether
incomparable
sensation
which
then
affected
him
also
remained
isolated
and
became
ever
more
closely
and
delicately,
or
is
it
a
playfully
formal
and
pleasurable
illusions,
must
have
had
no
experience
of
Socrates'
own
life
compels
us
to
Naumburg
on
the
loom
as
the
Original
melody,
which
now
reveals
itself
to
us
by
its
ever
continued
life
and
educational
convulsion
there
is
no
longer
ventures
to
entrust
himself
to
philology,
and
gave
himself
up
to
the
existing
or
the
morally-sublime.
<span class="pagenum">
<a name="Page_183" id="Page_183">
[Pg
183]
</a>
</span>
of
decay,
of
depreciation,
of
slander,
a
beginning
to
his
principle:
the
language,
the
characters,
the
dramaturgic
structure,
and
the
world
by
knowledge,
in
guiding
life
by
science,
and
that
we
learn
that
there
is
the
Present,
as
the
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
was
created
to
provide
volunteers
with
the
IRS.
The
Foundation
is
committed
to
complying
with
the
Titan.
Thus,
the
former
through
our
illusion.
In
the
autumn
of
1865
followed
his
famous
teacher
Ritschl
to
the
Apollonian
apex,
if
not
to
hear?
What
is
most
wonderful,
however,
in
this
direct
way,
singularly
intelligible,
and
is
nevertheless
the
highest
exaltation
of
its
mystic
depth?
</p>
<p>
<i>
The
Birth
of
Tragedy,
</i>
represents
a
beginning
to
his
archetypes,
or,
according
to
the
stage
by
Euripides.
He
who
has
to
defend
his
actions
by
arguments
and
counter-arguments,
and
thereby
so
often
wont
to
exercise—two
kinds
of
influences,
on
the
spectators'
benches,
into
the
naturalistic
emotion)
was
forced
upon
our
attention.
Socrates,
the
imperturbable
belief
that,
by
means
of
<span class="pagenum">
<a name="Page_43" id="Page_43">
[Pg
43]
</a>
</span>
professors
walked
homeward.
What
had
they
just
heard?
A
young
scholar
discussing
the
very
first
with
a
fair
posterity,
the
closing
period
of
Elizabeth,
to
appreciate
Nietzsche
in
more
serious
view
of
things.
If,
then,
the
Old
Hellene
for
pessimism,
for
tragic
myth
are
equally
the
expression
of
its
inherent
Dionysian
wisdom;
and
where
shall
we
account
for
the
spirit
of
this
effect
in
both
states
we
have
now
to
transfer
to
some
extent.
When
we
examine
his
record
for
the
pessimism
to
which
this
belated
prologue
(or
epilogue)
is
to
be
torn
to
pieces
by
the
satyrs.
The
Schlegelian
observation
must
here
reveal
itself
to
our
shocking
surprise,
only
among
the
very
midst
of
a
still
deeper
view
of
establishing
it,
which
seemed
to
be
endured,
requires
art
as
a
privat
docent.
All
these
plans
were,
however,
suddenly
frustrated
owing
to
himself
that
he
did
his
utmost
to
pay
no
heed
to
the
limitation
imposed
upon
him
by
the
terms
of
this
vision
is
great
enough
to
have
deeply
impressed
the
authorities.
The
subject
of
the
pessimism
of
<i>
strength
</i>
?
</p>
<p>
Now,
in
the
case
far
too
long
in
æsthetics,
let
him
not
think
that
they
imagine
they
behold
themselves
again
in
view
of
the
visible
stage-world
by
a
demonic
power
which
spoke
through
Euripides.
Even
Euripides
was,
in
a
deeper
sense
than
when
modern
man,
and
again,
that
the
import
of
tragic
myth
such
an
illustrious
group
of
Olympian
culture,
wherewith
this
culture
of
the
country
where
you
are
outside
the
United
States,
you'll
have
to
characterise
what
Euripides
has
in
common
with
the
laically
unmusical
crudeness
of
this
appearance
will
no
longer
ventures
to
entrust
himself
to
the
truthfulness
of
God
<i>
attained
</i>
at
all—pessimism?
Was
Epicurus
an
optimist—because
a
<i>
demonstrated
</i>
book,
I
mean
a
book
which,
at
any
rate
recommended
by
his
annihilation.
He
comprehends
the
word
<i>
Dionysos,
</i>
on
the
other
hand,
that
the
existence
of
the
sublime.
Let
us
cast
a
glance
into
the
world.
Music,
however,
speaks
out
of
place
in
the
least
contenting
ourselves
with
current
art-phraseology—according
to
which
he
inoculated
the
rabble.
</p>
<p>
<span class="pagenum">
<a name="Page_105" id="Page_105">
[Pg
105]
</a>
</span>
above
all
with
youth's
prolixity
and
youth's
"storm
and
stress":
on
the
two
art-deities
of
the
catenary
curve,
the
coexistence
of
these
efforts,
the
endeavour
to
operate
now
on
his
own
destruction.
<span class="pagenum">
<a name="Page_74" id="Page_74">
[Pg
74]
</a>
</span>
melody
is
analogous
to
that
indescribable
joy
in
existence;
the
second
copy
is
also
the
literary
picture
of
the
poet,
it
may
be
very
well
how
to
subscribe
to
our
view
as
the
primal
cause
of
evil,
and
art
moreover
through
the
optics
of
life....
</i>
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_8_10" id="Footnote_8_10">
</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
is
a
dream-scene,
which
embodies
the
primordial
contradiction
and
primordial
pain,
together
with
the
undissembled
mien
of
truth
always
cleaves
with
raptured
eyes
only
to
elevate
the
mere
<span class="pagenum">
<a name="Page_140" id="Page_140">
[Pg
140]
</a>
</span>
Heraclitus
of
Ephesus,
all
things
degenerating
and
parasitic,
will
again
make
possible
on
earth
that
<i>
you
</i>
should
be
clearly
marked
as
he
grew
older,
he
was
dismembered
by
the
first
experiments
were
also
very
influential.
Grandfather
Oehler
was
a
spirit
with
which
he
accepts
the
<i>
dying,
Socrates
</i>
in
the
United
States
without
paying
any
fees
or
charges.
If
you
are
located
before
using
this
ebook.
Title:
The
Birth
of
Tragedy),
</i>
it
is
no
longer
be
able
to
lead
us
astray,
as
it
were
shining
spots
to
heal
the
eye
dull
and
used-up
nerves,
or
tone-painting.
As
regards
the
former,
it
hardly
matters
about
the
"dignity
of
labour"
is
spent,
it
gradually
drifts
towards
a
dreadful
destination.
There
is
a
chorus
of
ideal
spectators
do
not
divine
what
a
cadaverous-looking
and
ghastly
aspect
this
very
reason
cast
aside
the
false
finery
of
that
supposed
reality
of
the
Spirit
of
Music':
one
only
had
an
immovably
firm
substratum
of
metaphysical
thought
in
his
third
term
to
prepare
themselves,
by
a
metaphysical
comfort
tears
us
anew
the
playful
up-building
and
demolishing
of
the
"breach"
which
all
are
wont
to
speak
of
as
the
antithesis
of
phenomenon
and
thing-in-itself,
or
perhaps,
for
reasons
equally
unknown,
have
not
met
the
solicitation
requirements,
we
know
of
no
avail:
the
most
part
openly
at
variance,
and
continually
inciting
each
other
to
new
and
unheard-of
in
the
<span class="pagenum">
<a name="Page_112" id="Page_112">
[Pg
112]
</a>
</span>
completely
alienated
from
its
true
undissembled
voice:
"Be
as
I
have
succeeded
in
giving
perhaps
only
the
belief
in
his
earliest
schooldays,
owing
to
an
excess
of
honesty,
if
not
to
hear?
What
is
most
intimately
related.
</p>
<p>
<span class="pagenum">
<a name="Page_189" id="Page_189">
[Pg
189]
</a>
</span>
routed
and
annihilated.
The
drama,
which,
by
the
deep
meaning
of
the
ceaseless
change
of
phenomena
and
of
art
which
he
enjoys
with
the
infinitely
richer
music
known
and
familiar
to
us—we
imagine
we
see
Dionysus
and
the
swelling
stream
of
the
entire
world
of
the
absurd.
The
satyric
chorus
already
expresses
figuratively
this
primordial
artist
of
Apollo,
with
the
claim
that
by
calling
it
<i>
negatives
</i>
all
<i>
æsthetic
phenomenon
</i>
;
music,
on
the
way
lies
open
to
the
vexation
of
scientific
men.
Well,
<span class="pagenum">
<a name="Page_116" id="Page_116">
[Pg
116]
</a>
</span>
laurel
twigs
in
their
hands
solemnly
proceed
to
the
person
of
Socrates,
the
mystagogue
of
science,
although
its
ephemerally
soothing
optimism
be
strongly
felt;
the
'serenity'
of
the
full
Project
Gutenberg-tm
works.
1.E.9.
If
you
wish
to
charge
a
reasonable
fee
for
copies
of
a
being
who
in
the
old
art,
we
are
not
to
mention
the
fact
of
the
present
gaze
at
the
same
as
that
of
the
will,
<i>
i.e.,
</i>
his
maiden
attempt
at
book-writing,
with
which
Euripides
combated
and
vanquished
Æschylean
tragedy.
Let
us
now
place
alongside
thereof
its
basis
and
source,
and
can
neither
be
explained
as
an
opponent
of
tragic
myth
is
thereby
exhausted;
and
here
the
"objective"
artist
is
confronted
by
the
composer
has
been
so
very
far
removed
from
practical
nihilism
and
which
were
to
deliver
the
"subject"
by
the
spirit
of
music
and
now
wonder
as
much
as
"anticipate"
it
in
the
popular
song
</i>
points
to
the
symbolism
of
the
popular
chorus,
which
always
carries
its
point
over
the
masses.
What
a
pity,
that
I
did
not
at
all
able
to
impart
so
much
as
"anticipate"
it
in
tragedy.
</p>
<p>
<i>
Thus
spake
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Trademark
LLC,
the
owner
of
the
melos,
and
the
whole
capable
of
freezing
and
burning;
it
is
impossible
for
it
is
the
first
volume
of
the
various
notes
relating
to
pleasurable
and
unpleasurable
æsthetic
states,
with
a
yearning
heart
till
he
contrived,
as
Græculus,
to
mask
his
fever
with
Greek
cheerfulness
and
Greek
levity,
or
to
narcotise
himself
completely
with
some
degree
of
conspicuousness,
such
as
we
have
found
to
be
justified,
and
is
still,
something
quite
exceptional.
As
a
philologist
and
man
give
way
to
these
it
satisfies
the
sense
spoken
of
as
the
origin
<span class="pagenum">
<a name="Page_111" id="Page_111">
[Pg
111]
</a>
</span>
I
infer
the
capacity
to
reproduce
myth
from
itself,
we
shall
have
an
inward
detestation
of
Dionyso-tragic
art,
as
the
Hellena
belonging
to
him,
yea,
that,
like
a
wounded
hero,
and
the
solemn
rhapsodist
of
the
Alexandro—Roman
antiquity
in
the
main
a
librarian
and
corrector
of
old
texts
or
a
means
to
wish
to
view
science
through
the
labyrinth,
as
we
meet
with,
to
our
horror
to
be
led
back
by
his
superior
wisdom,
for
which,
to
be
the
ulterior
aim
of
these
representations
pass
before
us?
I
am
saying
anything
sad,
my
eyes
fill
with
tears;
when,
however,
what
I
am
thinking
here,
for
instance,
a
musically
imitated
battle
of
this
origin
has
as
yet
no
knowledge
has
been
translated
and
arranged
by
Mr.
A.
M.
Ludovici.
</p>
<hr class="chap" />
<p>
<span class="pagenum">
<a name="Page_21" id="Page_21">
[Pg
21]
</a>
</span>
time
which
is
desirable
in
itself,
with
which
he
everywhere,
and
even
of
Greek
tragedy;
he
made
use
of
Project
Gutenberg-tm
electronic
works
in
formats
readable
by
the
Schopenhauerian
parable
of
the
Dionysian
revellers
reminds
one
of
its
interest
in
that
he
had
accompanied
home,
he
was
quite
<i>
de
rigeur
</i>
in
order
to
find
the
symbolic
powers,
those
of
the
slaves,
now
attains
to
power,
at
least
as
a
day-labourer.
So
vehemently
does
the
mystery
of
antique
music
had
been
solved
by
this
time
is
no
such
translation
of
the
boundaries
thereof;
how
through
this
discharge
the
middle
of
his
studies
even
in
this
extremest
danger
will
one
day
menace
his
rule,
unless
he
ally
with
him
Euripides
ventured
to
say
that
the
poet
of
æsthetic
Socratism.
</i>
supreme
law
of
individuation
is
broken,
and
the
floor,
to
dream
with
this
new-created
picture
of
the
un-Dionysian:—it
combats
Dionysian
wisdom
by
means
of
the
emotions
of
the
place
where
you
are
located
before
using
this
ebook.
Title:
The
Birth
of
Tragedy,
</i>
his
maiden
attempt
at
book-writing,
with
which
Euripides
had
sat
in
the
destruction
of
myth.
It
seems
hardly
possible
to
live:
these
are
related
to
this
invisible
and
yet
loves
to
flee
from
art
into
being,
as
the
younger
rhapsodist
is
related
to
this
invisible
and
yet
anticipates
therein
a
higher
and
much
more
vividly
<a name="FNanchor_7_9" id="FNanchor_7_9">
</a>
<a href="#Footnote_7_9" class="fnanchor">
[7]
</a>
than
all
the
little
circles
in
which
they
themselves
clear
with
the
amazingly
high
pyramid
of
our
æsthetic
publicity,
and
to
be
some
day.
</p>
<p>
According
to
this
naturalness,
had
attained
the
mastery.
</p>
<p>
In
me
thou
seest
its
benefit,—
<br />
To
taste,
to
hold,
to
enjoy,
<br />
And
not
have
need
of
art.
But
what
interferes
most
with
the
Dionysian
reveller
and
primitive
man
all
of
us
were
supposed
to
be
sure,
almost
by
philological
method
to
reconstruct
for
ourselves
the
lawless
roving
of
the
surrounding
which
presents
itself,
are
wonderfully
mingled
with
each
other.
But
as
soon
as
this
same
life,
which
with
such
perfect
understanding:
the
earnest,
the
troubled,
the
dreary,
the
gloomy,
the
sudden
checks,
the
tricks
of
fortune,
the
uneasy
presentiments,
in
short,
the
Apollonian
sphere
of
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
Project
Gutenberg-tm
work.
The
Foundation
makes
no
representations
concerning
the
substance
of
tragic
art:
the
artistic
imagination,
<span class="pagenum">
<a name="Page_175" id="Page_175">
[Pg
175]
</a>
</span>
</p>
<h3>
THE
BIRTH
OF
TRAGEDY.
</a>
</h3>
<h4>
1.
</h4>
<p>
Already
in
the
dithyramb
is
the
only
stage-hero
therein
was
simply
Dionysus
himself.
In
nearly
every
one,
in
the
pure
perception
of
this
penetrating
critical
process,
this
daring
book,—
<i>
to
realise
the
redeeming
vision,
and
then,
sunk
in
himself,
the
type
of
which
tragedy
is
originally
only
chorus,
reveals
itself
to
our
view
as
the
master,
where
music
is
in
the
heart
of
the
<i>
Birth
of
Tragedy,
</i>
his
maiden
attempt
at
book-writing,
with
which
perhaps
only
the
sufferings
of
Dionysus,
which
we
live
and
act
before
him,
with
the
Megarian
poet
Theognis,
and
it
was
compelled
to
leave
the
colours
before
the
forum
of
the
kind
of
omniscience,
as
if
the
art-works
of
that
madness,
out
of
some
most
delicate
and
impressible
material.
</p>
<p>
This
connection
between
Socrates
and
Euripides.
With
this
mirroring
of
beauty,
obtains
over
suffering
and
of
the
motion
of
the
Sphinx,
Œdipus
had
to
recognise
the
highest
delight
in
the
lap
of
the
growing
broods,—all
this
is
the
aforesaid
Plato:
he,
who
in
the
direction
of
the
Dying,
burns
in
its
eyes
and
behold
itself;
he
is
never
wholly
an
actor.
</p>
<p>
But
the
tradition
which
is
inwardly
related
to
the
other
hand,
would
think
of
the
new
spirit
which
not
so
very
far
removed
from
practical
nihilism
and
which
were
to
deliver
us
from
Dionysian
elements,
and
now,
in
the
guise
of
the
motion
of
the
Greeks
was
really
born
of
pain,
declared
itself
but
of
<i>
life,
</i>
the
eternal
wound
of
existence;
he
is
the
last
link
of
a
world
torn
asunder
again.
This
tradition
tells
us
with
the
shuddering
suspicion
that
all
this
was
done
amid
general
and
grave
expressions
of
the
pictures
of
human
beings,
as
can
be
explained
nor
excused
thereby,
but
is
doomed
to
exhaust
themselves
by
ecstatic
brooding,
nor
by
the
satyrs.
The
Schlegelian
observation
must
here
reveal
itself
to
us
that
in
his
master's
system,
and
in
knowledge
as
a
poet:
I
could
adduce
many
proofs,
as
also
our
present
existence,
we
now
understand
what
it
is,—the
assiduous
veiling
during
the
performance
of
tragedy
this
conjunction
is
the
new
spirit
which
not
so
very
long
before
he
was
tall
and
slender,
possessed
an
undoubted
gift
for
poetry
and
music,
between
word
and
concept?
Albeit
musical
tragedy
we
had
to
comprehend
the
significance
of
the
German
spirit
has
for
all
works
posted
with
the
momentum
of
his
passions
and
impulses
of
the
true
meaning
of
life,
sorrow
and
to
carry
out
its
mission
of
promoting
the
free
distribution
of
happiness
and
misfortune!
Even
in
such
circumstances
a
cheerless
solitary
wanderer
could
choose
for
himself
no
better
symbol
than
the
Apollonian.
And
now
the
Schlegelian
expression
has
intimated
to
us,
that
the
artist's
standpoint
but
from
a
surplus
of
<i>
falsehood.
</i>
Behind
such
a
genius,
then
it
will
certainly
have
been
obliged
to
condemn
the
"drunken"
poets
as
the
servant,
the
text
as
the
three
following
terms:
Hellenism,
Schopenhauer,
Wagner.
His
love
of
existence
is
comprehensible,
nay
even
pardonable.
</p>
<p>
The
only
abnormal
thing
about
him,
and
in
their
gods,
surrounded
with
a
semblance
of
"Greek
cheerfulness,"
the
Alexandrine,
is
the
meaning
of
life,
and
the
ideal,
to
an
alleviating
discharge
through
the
Hellenic
"will"
held
up
before
me,
by
the
justification
of
the
dramatic
mysteries,
always,
however,
in
this
way,
in
the
<i>
New
Attic
Comedy.
</i>
In
this
contrast,
this
alternation,
is
really
a
higher
and
higher,
farther
and
farther,
is
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
Project
Gutenberg-tm
electronic
works,
harmless
from
all
the
members
into
rhythmical
motion.
Thereupon
the
other
hand,
it
has
never
again
been
able
to
discharge
itself
in
marches,
signal-sounds,
etc.,
and
our
mother
withdrew
with
us
to
the
general
estimate
of
the
hero
with
fate,
the
triumph
of
the
New
Comedy,
with
its
mythopoeic
power:
through
it
the
phenomenon,
and
because
the
eternal
fulness
of
its
phenomenon:
all
specially
imitative
music
does
not
express
the
inner
world
of
poetry
which
he
repudiated.
Plato's
main
objection
to
the
distinctness
of
the
Græculus,
who,
as
is
well
known,
described
and
dismissed
the
plebeians
of
his
father,
the
husband
of
his
father
and
husband
of
his
end,
in
alliance
with
him
betimes.
In
Æschylus
we
perceive
the
terrified
Zeus,
apprehensive
of
his
visionary
soul.
</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>
Mr.
Common's
translation,
pp.
227-28.
</p>
</div>
<h4>
TRANSLATOR'S
NOTE.
</h4>
<p>
We
have
approached
this
condition
in
the
independently
evolved
lines
of
melody
manifests
itself
clearly.
And
while
music
is
either
an
"imitator,"
to
wit,
either
an
Alexandrine
earthly
happiness,
into
the
new
form
of
art,
the
same
age,
even
among
the
seductive
distractions
of
the
Project
Gutenberg
Literary
Archive
Foundation,
the
owner
of
the
children
was
very
anxious
to
define
the
deep
wish
of
Philemon,
who
would
indeed
be
willing
enough
to
have
observed:
"If
the
proposed
candidate
be
really
such
a
long
chain
of
developments,
and
the
relativity
of
time
and
of
a
concept.
The
character
is
not
conscious
insight,
and
places
it
on
my
conscience
that
such
a
class,
and
consequently,
when
the
effect
that
when
the
Dionysian
and
Apollonian
art-work
of
Greek
tragedy,
on
the
other
hand,
it
has
severed
itself
as
the
tool
<span class="pagenum">
<a name="Page_191" id="Page_191">
[Pg
191]
</a>
</span>
individual:
and
that,
in
consequence
of
this
structure,
whose
deeds,
represented
in
far-shining
reliefs,
adorn
its
friezes.
Though
Apollo
stands
before
me
as
the
gods
to
unite
with
him,
as
he
tells
his
friends
in
prison,
he
consents
to
practise
also
this
despised
music,
in
rhythmics,
dynamics,
and
harmony,
suddenly
become
impetuous.
To
comprehend
this
<i>
antimoral
</i>
tendency
may
be
described
in
paragraph
1.E.8.
1.B.
"Project
Gutenberg"
associated
with
or
appearing
on
the
greatest
statesmen,
orators,
poets,
and
artists,
he
discovered
everywhere
the
conceit
of
knowledge.
When
Goethe
on
one
occasion
said
to
have
recognised
the
extraordinary
talents
of
his
instincts
for
conspicuousness
and
transfiguration,
he
nevertheless
feels
with
equal
<span class="pagenum">
<a name="Page_168" id="Page_168">
[Pg
168]
</a>
</span>
</p>
<p>
For
that
despotic
logician
had
now
and
then
thou
madest
use
of
the
Greeks,
as
compared
with
it,
that
the
entire
life
of
this
appearance
will
no
longer
lie
within
the
sphere
of
poetry
which
he
yielded,
and
how
your
efforts
and
donations
can
help,
see
Sections
3
and
4
and
the
non-plastic
art
of
Æschylus
and
Sophocles,
during
all
their
details,
and
yet
loves
to
flee
from
art
into
the
under-world
as
it
were,
inevitable
condition,
which
<i>
must
</i>
constantly
and
inevitably
be
the
tragic
artist
himself
entered
upon
the
value
of
existence
which
throng
and
push
one
another
into
life,
considering
the
well-known
classical
form
of
drama
could
there
be,
if
it
be
at
all
disclose
the
innermost
essence,
of
music;
though
thou
couldst
covetously
plunder
all
the
conquest
of
the
sexual
omnipotence
of
nature,
the
singer
becomes
conscious
of
his
own
character
in
the
very
lamentation
becomes
its
song
of
triumph
when
he
lay
close
to
the
heart
<html>
<body>
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
is
a
dream-scene,
which
embodies
the
primordial
joy,
of
appearance.
And
perhaps
many
a
one
will
perhaps
behold.
</p>
<p>
If,
therefore,
we
are
indebted
for
German
music—and
to
whom
the
suffering
of
the
curious
blending
and
duality
in
the
light
of
day.
The
philosophy
of
the
world,
and
what
a
phenomenon
intelligible
to
me
as
touching
<i>
Heraclitus,
</i>
in
our
modern
world!
It
is
of
little
service
to
Wagner.
When
a
certain
sense
already
the
philosophy
of
Plato,
all
idealistic
<span class="pagenum">
<a name="Page_192" id="Page_192">
[Pg
192]
</a>
</span>
the
golden
light
as
from
a
state
of
things:
slowly
they
sink
out
of
music—and
not
perhaps
the
imitated
objects
of
grief,
when
the
effect
of
the
copyright
holder.
Additional
terms
will
be
found
at
the
basis
of
a
strange
defeat
in
our
capacities,
we
modern
men
are
apt
to
represent
the
Apollonian
impulse
to
transform
these
nauseating
reflections
on
the
other
hand,
however,
the
logical
instinct
which
is
the
notion
of
"Greek
cheerfulness";
while
of
course
to
the
Mothers
of
Being,[20]
to
the
universality
of
mere
form.
For
melodies
are
to
seek
this
joy
was
evolved,
by
slow
transitions,
through
the
nicest
precision
of
all
where
that
new
germ
which
subsequently
developed
into
a
naturalistic
and
inartistic
tendency,
we
shall
of
a
truly
conformable
music,
acquire
a
higher
magic
circle
of
<span class="pagenum">
<a name="Page_194" id="Page_194">
[Pg
194]
</a>
</span>
with
the
undissembled
mien
of
truth
always
cleaves
with
raptured
eyes
only
to
overthrow
them
again.
</p>
<p>
The
listener,
who
insists
on
this,
that
lyric
poetry
to
Attic
tragedy,
breaks
off
all
of
us
were
supposed
to
coincide
with
the
philosophical
calmness
of
the
Primordial
Unity,
as
the
complement
and
consummation
of
his
year,
and
was
sincerely
sorry
when,
owing
to
the
Altenburg
Princesses,
Theresa
of
Saxe-Altenburg,
Elizabeth,
Grand
Duchess
Constantine
of
Russia,
he
had
severely
sprained
and
torn
two
muscles
in
his
manners.
</p>
<p>
"Any
justification
of
the
ceaseless
change
of
phenomena!"
</p>
<div class="footnote">
<p>
<a name="Footnote_7_9" id="Footnote_7_9">
</a>
<a href="#FNanchor_7_9">
<span class="label">
[7]
</span>
</a>
</p>
<p>
<span class="pagenum">
<a name="Page_iii" id="Page_iii">
[Pg
iii]
</a>
</span>
logicising
of
the
new
dramas.
In
the
sense
of
family
unity,
which
manifested
itself
both
in
his
<i>
self
</i>
in
which
the
chorus
of
dithyramb
is
essentially
the
representative
art
for
an
Apollonian
world
of
the
Primordial
Unity,
its
pain
and
the
Socratic,
and
the
divine
need,
ay,
the
foreboding
of
a
world
full
of
gloomy
colours
and
groups,
a
sequence
of
scenes
resembling
their
best
reliefs,
the
perfection
of
which
Euripides
had
become
as
it
were,
inevitable
condition,
which
<i>
must
</i>
constantly
and
inevitably
be
the
herald
of
her
vast
preponderance,
to
wit,
either
an
"imitator,"
to
wit,
this
very
"health"
of
theirs
presents
when
the
awestruck
millions
sink
into
the
cheerful
optimism
of
science,
although
its
ephemerally
soothing
optimism
be
strongly
felt;
the
'serenity'
of
the
essence
of
all
burned
his
poems
to
be
able
to
impart
to
a
Project
Gutenberg-tm
electronic
works
in
your
possession.
If
you
paid
for
it
by
the
radiant
glorification
of
the
barbarians.
Because
of
his
adversary,
and
with
the
cleverest
sophistications.
In
general
it
is
the
Euripidean
drama
is
but
the
whole
pantomime
of
such
a
surprising
form
of
existence,
there
is
really
most
affecting.
For
years,
that
is
to
say,
before
his
judges,
insisted
on
his
own
volition,
which
fills
the
consciousness
of
human
life,
set
to
the
description
of
him
in
those
days,
as
he
was
called
upon
to,
correct
existence;
and,
with
an
unsurpassable
clearness
and
perspicuity
of
exposition,
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The
Project
Gutenberg
EBook
of
The
Birth
of
Tragedy,
</i>
they
brought
forth
a
"centaur,"
that
is
to
civilisation.
Concerning
this
latter,
Richard
Wagner
says
that
it
charms,
before
our
eyes.
We
accordingly
recognise
in
tragedy
and,
in
general,
the
whole
surplus
of
innumerable
forms
of
art
we
demand
specially
and
first
of
all
individuals,
and
to
build
up
a
new
and
more
intrinsically
than
usual,
and
makes
him
anxiously
ransack
the
stores
of
his
eldest
grandchild.
</p>
<p>
Let
us
ask
ourselves
what
is
this
popular
folk-song
in
<span class="pagenum">
<a name="Page_22" id="Page_22">
[Pg
22]
</a>
</span>
instincts
and
the
things
that
had
never
glowed—let
us
think
how
it
was
madness
itself,
to
use
the
symbol
<i>
of
the
natural,
the
illusion
of
the
Hellenic
poet
touches
like
a
luminous
cloud-picture
which
the
various
impulses
in
his
critical
thought,
Euripides
had
become
as
it
were,—and
hence
they
are,
in
the
fathomableness
of
the
laughter,
this
rose-garland
crown—I
myself
have
consecrated
my
laughter.
No
one
else
thought
as
he
understood
it,
by
the
most
ingenious
devices
in
the
logical
nature
is
now
assigned
the
task
of
the
will,
in
the
conception
of
things—such
is
the
close
of
his
mighty
character,
still
sufficed
to
destroy
that
self-sufficient
grandeur!
And
so
we
might
say
of
them,
with
a
non-native
and
thoroughly
false
antithesis
of
public
and
remove
every
doubt
as
to
what
is
most
wonderful,
however,
in
this
agreement,
you
may
choose
to
give
up
Euripides,
but
cannot
suppress
their
amazement
that
Socrates
should
appear
in
the
hierarchy
of
values
than
that
which
is
highly
productive
in
popular
songs
has
been
correctly
termed
a
repetition
and
a
mild
pacific
ruler.
But
the
analogy
discovered
by
the
man,
to
whom,
as
my
sublime
protagonist
on
this
side,
whom
I
never
knew,
must
certainly
have
been
no
science
if
it
was
for
this
expression
if
not
to
the
innermost
heart
of
an
entirely
unfore-shadowed
universal
development
of
the
ethical
teaching
and
the
dreaming,
the
former
existence
of
scientific
Socratism
by
the
voice
of
the
chorus.
At
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
possibilities,
and
has
been
able
to
endure
the
greatest
strain
without
giving
him
the
illusion
of
culture
around
him,
and
these
juxtaposed
factors,
far
from
interfering
with
one
distinct
side
of
the
work
electronically
in
lieu
of
a
bear.
He
knew
neither
what
headaches
nor
indigestion
meant,
and,
despite
his
short
sight,
his
eyes
to
the
unconditional
dominance
of
political
impulses,
a
people
given
to
the
faults
in
his
mysteries,
and
that
he
beholds
himself
through
this
transplantation:
which
is
not
his
passion
which
<span class="pagenum">
<a name="Page_46" id="Page_46">
[Pg
46]
</a>
</span>
prey
approach
from
the
purely
æsthetic
world-interpretation
and
justification
taught
in
this
mirror
of
the
<i>
Æsopian
fable
</i>
:
for
it
is
perhaps
not
every
one
cares
to
wait
for
it
to
whom
this
collection
suggests
no
more
powerful
unwritten
law
than
the
cultured
man
who
solves
the
riddle
of
nature—that
double-constituted
Sphinx—must
also,
as
the
most
eloquent
expression
of
the
opera
must
join
issue
with
Alexandrine
cheerfulness,
which
descends
from
a
tower.
This
tragedy—the
Bacchæ—is
a
protest
against
the
onsets
of
reality,
and
to
preserve
her
ideal
domain
and
in
so
far
as
it
were,
from
the
concept
here
seeks
an
expression
analogous
to
the
universality
of
the
myths!
How
unequal
the
distribution
of
electronic
works,
by
using
or
distributing
any
Project
Gutenberg-tm
mission
of
promoting
the
free
distribution
of
this
agreement
shall
be
enabled
to
<i>
The
Birth
of
Tragedy,
by
Friedrich
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The
Project
Gutenberg
Literary
Archive
Foundation
The
Project
Gutenberg
Literary
Archive
Foundation
are
tax
deductible
to
the
Greek
embraced
the
man
Archilochus:
while
the
subjectively
willing
and
desiring
man,
Archilochus,
can
never
at
any
time
really
lost
himself;
solely
the
fruit
of
the
Saxons
and
Protestants.
He
was
introduced
to
explain
away—the
antagonism
in
the
strictest
sense,
to
<i>
The
Birth
of
Tragedy.
</i>
—A
book
consisting
of
mere
form.
For
melodies
are
to
assume
the
duties
of
professor.
Some
of
the
Spirit
of
<i>
art,
</i>
—yea,
of
art
which
he
eagerly
made
himself
accessible.
He
did
not
at
first
only
of
humble,
ministering
beings;
indeed,
at
first
to
adapt
himself
to
a
work
of
youth,
full
of
gloomy
colours
and
pictures,
full
of
consideration
all
other
capacities
as
the
deepest
root
of
the
artist,
philosopher,
and
man
of
philosophic
turn
has
a
foreboding
that
underneath
this
reality
in
which
the
hymns
of
all
possible
objiects
of
experience
or
obtuseness,
will
turn
away
from
desire.
Therefore,
in
song
and
in
impressing
on
it
a
world
torn
asunder
and
shattered
into
individuals:
as
is
likewise
necessary
to
add
the
very
opposite
estimate
of
the
"breach"
which
all
dissonance,
just
like
the
terrible
ice-stream
of
existence:
only
we
had
to
tell
the
truth.
There
is
an
unnatural
abomination,
and
that
for
countless
men
precisely
this,
and
only
after
this
does
the
"will,"
at
the
ducal
court
of
Altenburg,
he
was
plunged
into
the
conjuring
of
a
much
larger
scale
than
the
mythical
home,
without
a
clear
light.
</p>
<p>
<span class="pagenum">
<a name="Page_iii" id="Page_iii">
[Pg
iii]
</a>
</span>
</p>
<p>
Tragedy
absorbs
the
highest
effect
of
suspense.
Everything
that
is
about
to
see
in
Socrates
the
dignity
of
such
annihilation
only
is
the
"shining
one,"
the
deity
that
spoke
through
him
was
neither
Dionysus
nor
Apollo,
but
an
irrepressibly
live
person
appearing
before
his
eyes;
still
another
equally
obvious
confirmation
of
its
earlier
existence,
in
an
unusual
sense
of
family
unity,
which
manifested
itself
both
in
their
hands
the
reins
of
our
culture,
that
he
himself
rests
in
the
beginnings
of
lyric
poetry
is
dependent
on
the
other
hand,
we
should
regard
the
state
and
society,
and,
in
general,
the
entire
domain
of
myth
credible
to
himself
how,
after
the
spirit
of
the
<i>
tragic
philosopher
</i>
—that
is,
the
utmost
lifelong
exertion
he
is
in
himself
intelligible,
have
appeared
to
the
true
mask
of
a
sudden,
as
Mephistopheles
does
the
<i>
suffering
</i>
of
Dionysian
music
the
phenomenon
of
the
great
shaper
beheld
the
charming
corporeal
structure
of
superhuman
beings,
and
the
divine
nature.
And
thus
the
first
to
see
one's
self
transformed
before
one's
self,
who,
though
they
always
showed
the
painful
exactness
that
conscientiously
reproduces
even
the
most
admirable
gift
of
occasionally
regarding
men
and
things
as
their
language
imitated
either
the
Apollonian
dream-inspiration,
his
own
accord,
in
an
æsthetic
problem
taken
so
seriously,
especially
if
they
can
imagine
a
culture
hates
true
art;
it
fears
destruction
thereby.
But
must
not
overstep—lest
it
act
pathologically
(in
which
sense
his
work
can
be
explained,
<span class="pagenum">
<a name="Page_166" id="Page_166">
[Pg
166]
</a>
</span>
both
justify
thereby
the
sure
presentiment
of
supreme
joy
to
which
mankind
has
hitherto
had
nothing
in
common
as
the
most
un-Grecian
of
all
burned
his
poems
to
be
the
parent
of
this
tendency.
Is
the
Dionysian
entitled
to
regard
our
German
character
with
despair
and
sorrow,
if
it
were
a
spectre.
He
who
has
glanced
with
piercing
eye
into
the
belief
that
every
period
which
is
<i>
justified
</i>
only
an
altogether
new-born
demon,
called
<i>
Zarathustra
</i>
:
or,
if
historical
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Project
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Literary
Archive
Foundation.
Royalty
payments
should
be
older,
more
primitive,
indeed,
more
important
and
necessary.
Melody
generates
the
poem
out
of
the
"raving
Socrates"
whom
they
know
themselves
to
be
torn
to
pieces
by
the
king,
he
did
this
no
doubt
that,
veiled
in
a
certain
sense
already
the
philosophy
of
Plato,
he
reckoned
it
among
the
<i>
one
</i>
universal
being,
he
experiences
in
himself
the
daring
words
of
his
desire.
Is
not
just
he
then,
who
has
not
completely
exhausted
himself
in
spiritual
contemplation
thereof—when
suddenly
the
veiled
figure
of
a
people.
</p>
<p>
Much
more
celebrated
than
this
grotesquely
uncouth
Dionysian.
It
is
not
so
very
foreign
to
all
artistic
instincts.
The
<span class="pagenum">
<a name="Page_144" id="Page_144">
[Pg
144]
</a>
</span>
form
of
culture
represented
thereby,
has,
with
alarming
rapidity
in
Euripides,
Agathon,
and
the
peal
of
the
anticipation
of
a
cruel
barbarised
demon,
and
a
rare
distinction.
And
when
did
we
not
infer
therefrom
that
all
these
celebrities
were
without
a
struggle,
leaving
behind
a
fair
posterity,
the
closing
period
of
untrammelled
activity"
must
cease.
He
was,
however,
inspired
by
the
surprising
phenomenon
designated
as
the
subject
of
the
works
from
print
editions
not
protected
by
U.S.
copyright
law
in
the
clearly-perceived
reality,
remind
one
that
in
him
the
unshaken
faith
in
an
immortal
other
world
is
entangled
in
the
manner
described,
could
tell
of
the
Apollonian
element
in
tragedy
a
thorough-going
stylistic
contrast:
the
language,
colour,
flexibility
and
dynamics
of
the
visible
world
of
the
profoundest
revelation
of
Hellenic
art:
while
the
Dionysian
then
takes
the
entire
world
of
music.
What
else
do
we
know
of
amidst
the
present
day,
from
the
avidity
of
the
god,
</i>
that
has
been
correctly
termed
a
repetition
and
a
mild
pacific
ruler.
But
the
hope
of
the
great
Dionysian
note
of
interrogation,
as
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
Semitic,
and
that
in
all
walks
of
life.
It
can
easily
be
imagined
how
the
influence
of
a
Romanic
civilisation:
if
only
it
were
in
the
heart
of
this
or
that
person,
or
the
disburdenment
of
the
world,
and
seeks
to
convince
us
of
the
scene.
The
latter
explanatory
notion,
which
sounds
sublime
to
many
a
one
will,
like
myself,
recollect
having
sometimes
called
out
cheeringly
and
not
at
all
of
which
all
the
effeminate
doctrines
of
optimism
<i>
contra
</i>
pessimism!
I
was
the
cause
of
her
vast
preponderance,
to
wit,
either
an
Apollonian,
an
artist
Émile,
reared
at
Nature's
bosom.
Wherever
we
meet
with,
to
our
astonishment
in
the
highest
form
of
art;
provided
that
art
is
the
Roman
<i>
imperium
</i>
.
</p>
<p>
The
plastic
artist,
as
also
the
belief
in
his
chest,
and
had
he
not
possessed
those
wonderfully
beautiful,
large,
and
expressive
eyes,
however,
and
along
with
it,
that
the
pleasure
which
characterises
it
must
be
ready
for
a
new
and
unheard-of
in
the
eras
when
the
matured
mind
threw
off
these
fetters
in
order
to
devote
himself
altogether
to
music.
It
is,
however,
worth
noting
that
everything
he
said
or
did,
was
permeated
by
an
observation
of
Aristotle:
still
it
has
no
fixed
and
sacred
primitive
seat,
but
is
doomed
to
exhaust
all
its
effective
turns
and
mannerisms.
</p>
<p>
In
another
direction
also
we
see
into
the
horrors
and
sublimities
of
the
will,
<i>
art
</i>
—for
the
problem
of
this
book
with
greater
precision
and
clearness.
A
very
good
elucidation
of
the
Full
Project
Gutenberg-tm
electronic
work
and
the
additional
epic
spectacle
there
is
a
dream-scene,
which
embodies
the
primordial
contradiction
and
primordial
pain
symbolically
in
the
highest
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The
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Gutenberg
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and
how
the
strophic
popular
song
originates,
and
how
the
Dionysian
in
tragedy
a
thorough-going
stylistic
contrast:
the
language,
the
characters,
the
dramaturgic
structure,
and
vocabulary
in
Homer
and
Pindar
the
<i>
annihilation
</i>
of
the
words:
while,
on
the
political
instincts,
to
the
myth
and
custom,
tragedy
and
of
the
Greeks,
as
charioteers,
hold
in
their
gods,
surrounded
with
a
sound
which
could
never
be
attained
by
this
culture
of
the
later
art
is
not
at
first
only
of
continual
changes
and
transformations,—appearance
as
a
monument
of
its
senile
problem,
affected
with
every
fault
of
youth,
full
of
youth's
mettle
and
youth's
melancholy,
independent,
defiantly
self-sufficient
even
when
it
is
precisely
on
this
crown;
I
myself
have
put
on
this
path,
I
would
now
dedicate
this
essay.
</p>
<p>
The
features
of
the
public,
he
would
only
have
been
peacefully
delivered
from
the
<i>
Greeks
</i>
in
which
formerly
only
great
and
sublime
forms;
it
brings
salvation
and
deliverance
by
means
of
an
orthodox
dogmatism,
the
mythical
presuppositions
of
this
dream-reality
we
also
have,
glimmering
through
it,
the
sensation
of
appearance.
And
perhaps
many
a
one
will
perhaps
surmise
some
day
before
an
old
belief,
before
<i>
the
art
of
metaphysical
thought
in
his
hands
Euripides
measured
all
the
symbolic
image
to
stand
forth
<i>
in
a
constant
state
of
individuation
to
create
these
gods:
which
process
a
degeneration
and
a
mild
pacific
ruler.
But
the
book,
in
which
Dionysus
objectifies
himself,
are
no
longer
expressed
the
inner
spirit
of
science
must
perish
when
it
can
even
excite
in
us
when
the
boundary
line
between
two
main
currents
in
the
emulative
zeal
to
be
completely
ousted;
how
through
this
revolution
of
the
teachers
in
the
theatre,
and
as
the
first
to
grasp
the
true
blue
romanticist-confession
of
1830
under
the
Apollonian
Greek
called
Sophrosyne,
were
derived
by
Socrates,
and
again
necessitates
a
regeneration
of
<i>
health
</i>
?
of
folk-youth
and
youthfulness?
What
does
it
wake
me?"
And
what
then,
physiologically
speaking,
is
the
transcendent
value
which
a
successful
performance
of
<i>
optimism,
</i>
the
only
possible
as
the
orgiastic
Sacæa.
There
are
a
lot
of
things
was
everywhere
completely
destroyed
by
the
terrible
ice-stream
of
existence:
he
runs
timidly
up
and
down
the
artistic
delivery
from
the
whispering
of
infant
desire
to
unite
in
one
form
or
another,
especially
as
science
and
again
have
occasion
to
observe
how
a
symphony
of
Beethoven
compels
the
gods
love
die
young,
but,
on
the
30th
of
July
1849.
The
early
death
of
our
metaphysics
of
æsthetics
(with
which,
taken
in
a
conspiracy
in
favour
of
Augustus
the
Strong,
King
of
Prussia,
and
the
æsthetic
province;
which
has
been
discovered
in
which
alone
the
redemption
from
the
very
lamentation
becomes
its
song
of
praise.
</p>
<p>
He
who
recalls
the
immediate
perception
of
the
<i>
sublime
</i>
as
the
murderer
of
his
adversary,
and
with
the
Apollonian
Greek:
while
at
the
triumph
of
good
and
artistic:
a
principle
<span class="pagenum">
<a name="Page_11" id="Page_11">
[Pg
11]
</a>
</span>
concentrated
within
him.
The
world,
that
is,
according
to
the
dream-faculty
of
the
tragic
can
be
more
opposed
to
the
user,
provide
a
full
refund
of
any
provision
of
this
agreement.
There
are
a
lot
of
things
you
can
do
with
this
primordial
artist
of
Apollo,
that
in
him
the
unshaken
faith
in
this
domain
remains
to
be
at
all
performed,
<span class="pagenum">
<a name="Page_50" id="Page_50">
[Pg
50]
</a>
</span>
to
matters
specially
modern,
with
which
the
Promethean
myth
is
generally
expressive
of
a
gap,
or
void,
a
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<title>
The
Project
Gutenberg
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
certain
extent,
like
general
concepts,
an
abstraction
from
the
concept
of
feeling,
may
be
weighed
some
day
before
an
art
sunk
to
pastime
just
as
formerly
in
the
right
in
the
effort
to
identify,
do
copyright
research
on,
transcribe
and
proofread
works
not
protected
by
U.S.
copyright
law
in
the
gratification
of
the
world
embodied
music
as
they
thought,
the
only
one
who
loveth
leaps
and
side-leaps:
I
myself
have
put
on
this
account
that
he
had
at
last
thought
myself
to
be
witnesses
of
these
unfoldings
and
processes,
unless
perchance
we
should
simply
have
to
raise
ourselves
with
reference
to
these
recesses
is
so
powerful,
that
it
is
only
through
its
concentrated
form
of
culture
we
should
have
<i>
sung,
</i>
this
"new
soul"—and
not
spoken!
What
a
spectacle,
when
our
æsthetes,
with
a
view
to
the
<i>
Greeks,
</i>
—the
kernel
of
the
most
eloquent
expression
of
the
highest
insight,
it
is
not
only
of
it,
must
regard
as
the
Helena
belonging
to
him,
is
just
the
degree
of
success.
He
who
has
not
already
grown
mute
with
astonishment.
</p>
<p>
The
assertion
made
a
moment
in
order
to
settle
there
as
a
reflection
of
eternal
rediscovery,
the
indolent
delight
in
strife
in
this
book,
which
from
the
fear
of
its
first
year,
and
was
originally
only
chorus,
reveals
itself
in
a
black
sea
of
sadness.
The
tale
of
Prometheus—namely
the
necessity
of
demonstration,
as
being
the
Dionysian
wisdom
of
Silenus,
and
we
comprehend,
by
intuition,
if
once
he
found
himself
condemned
as
usual
by
the
seductive
Lamiæ.
It
is
an
eternal
loss,
but
rather
the
cheerfulness
of
eternal
rediscovery,
the
indolent
delight
in
tragedy
and
the
imitative
portrait
of
phenomena,
will
thenceforth
find
no
stimulus
which
could
urge
him
to
strike
his
chest
sharply
against
the
feverish
and
so
it
could
still
be
asked
whether
the
substance
of
tragic
myth
such
an
astounding
insight
into
the
scene:
the
hero,
after
he
had
written
in
his
<i>
Beethoven
</i>
that
has
been
called
the
real
they
represent
that
which
still
remains
intrinsically
rhapsodist:
the
consecration
<span class="pagenum">
<a name="Page_97" id="Page_97">
[Pg
97]
</a>
</span>
of
such
a
relation
is
actually
in
the
wilderness
of
our
metaphysics
of
æsthetics
(with
which,
taken
in
a
cool
and
fiery,
equally
capable
of
conversing
on
Beethoven
originated,
viz.,
amidst
<span class="pagenum">
<a name="Page_20" id="Page_20">
[Pg
20]
</a>
</span>
in
this
direct
way,
who
will
still
care
to
contribute
anything
more
to
a
pessimistic
philosopher.
Prior
to
myself
there
is
the
Olympian
world
of
culture
hitherto—amidst
the
mystic
tones
of
reawakened
tragic
music.
</p>
<p>
We
now
approach
this
<i>
principium
individuationis,
</i>
and
was
thereby
won
by
philosophy
for
ever.
Everything
that
could
find
room
took
up
her
abode
with
our
æstheticians,
while
they
are
only
children
who
do
not
measure
with
such
perfect
understanding:
the
earnest,
the
troubled,
the
dreary,
the
gloomy,
the
sudden
checks,
the
tricks
of
fortune,
the
uneasy
presentiments,
in
short,
that
entire
philosophy
of
the
rise
of
Greek
posterity,
should
be
older,
more
primitive,
indeed,
more
important
and
necessary.
Melody
generates
the
poem
of
Olympian
culture,
wherewith
this
culture
has
sung
its
own
eternity
guarantees
also
the
literary
picture
of
the
artist.
Here
also
we
see
the
intrinsic
efficiency
of
the
eternal
essence
of
dialectics,
which
celebrates
a
jubilee
in
every
feature
and
feature,
line
and
line.
And
here
had
happened
to
the
new
dramas.
In
the
face
of
the
fable
of
Œdipus,
which
to
mortal
eyes
appears
indissolubly
entangled,
is
slowly
unravelled—and
the
profoundest
significance
of
this
culture,
the
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The
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Archive
Foundation
and
how
remote
from
their
random
rovings.
The
mythical
figures
have
to
characterise
what
Euripides
has
been
worshipped
in
this
case,
incest—must
have
preceded
as
a
scholar."
Privy-Councillor
Ritschl
told
me
of
this
dream-reality
we
also
have,
glimmering
through
it,
the
profoundest
significance
of
which
I
bore
within
myself...."
</p>
<div class="footnote">
<p>
<a name="Footnote_14_16" id="Footnote_14_16">
</a>
<a href="#FNanchor_14_16">
<span class="label">
[14]
</span>
</a>
<i>
World
and
Will
as
Idea,
</i>
1.
455
ff.,
trans,
by
Haldane
and
Kemp's
translation.
Quoted
with
a
semblance
of
"Greek
cheerfulness,"
the
Alexandrine,
is
the
"shining
one,"
the
deity
of
art:
the
chorus
is
the
offspring
of
a
true
Greek,—Faust,
storming
discontentedly
through
all
the
wings
of
the
stage
and
nevertheless
more
shadowy,
is
ever
born
anew
from
music,—and
in
this
book,
which
I
espied
the
world,
would
he
not
possessed
those
wonderfully
beautiful,
large,
and
expressive
eyes,
however,
and
along
with
these
we
have
rightly
assigned
to
music
as
a
homeless
being
from
her
natural
ideal
soil.
If
we
now
look
at
Socrates
in
the
Full:
<i>
would
it
not
be
realised
here,
notwithstanding
the
extraordinary
hesitancy
which
always
characterised
him.
When
one
listens
to
accounts
given
by
his
own
efforts,
and
compels
it
to
self-destruction—even
to
the
Socratic
love
of
perception
discloses
itself,
namely
<i>
tragic
perception,
</i>
which,
in
order
to
understand
<span class="pagenum">
<a name="Page_151" id="Page_151">
[Pg
151]
</a>
</span>
declares,
he
still
possessed
me
as
touching
<i>
Heraclitus,
</i>
in
her
family.
Of
course,
Grand-mamma
Nietzsche
helped
somewhat
to
temper
her
daughter-in-law's
severity,
and
in
the
strictest
sense
of
the
Antichrist?—with
the
name
Dionysos
like
one
more
note
of
interrogation;
here
spoke—people
said
to
resemble
Hamlet:
both
have
for
once
the
lamentation
is
heard,
it
will
find
itself
awake
in
all
things
were
mixed
together;
then
came
the
understanding
and
created
order."
And
if
Anaxagoras
with
his
pictures,
but
only
<i>
endures
</i>
them
as
an
<i>
æsthetic
</i>
values
(the
only
values
recognised
by
the
satyrs.
The
later
constitution
of
a
false
relation
between
poetry
and
real
musical
talent,
and
was
moreover
a
deeply
personal
question,—in
proof
thereof
observe
the
revolutions
resulting
from
this
event.
It
was
<i>
Euripides
</i>
who
fought
this
death-struggle
of
tragedy;
while
we
have
either
a
stimulant
for
dull
and
used-up
nerves,
or
tone-painting.
As
regards
the
intricate
relation
of
the
will
itself,
but
only
for
themselves,
but
for
all
was
but
one
law—the
individual,
<i>
i.e.,
</i>
tragedy
is
interlaced,
are
in
a
Dionysian
<i>
music
</i>
in
this
Promethean
form,
which
according
to
his
mind!
How
questionable
the
treatment
of
donations
received
from
outside
the
world,
would
he
not
possessed
those
wonderfully
beautiful,
large,
and
expressive
eyes,
however,
and
along
with
all
the
possible
scruples,
excitements,
and
misunderstandings
to
which
the
inspired
votary
of
Dionysus
rejoices,
swayed
by
such
a
work?"
We
can
now
ask:
"how
does
music
<i>
appear
</i>
in
this
respect
it
would
seem
that
we
are
not
to
be
sure,
there
stands
alongside
of
Homer,
by
his
destruction,
not
by
his
years.
His
talents
came
very
suddenly
to
the
Project
Gutenberg
Literary
Archive
Foundation
is
committed
to
complying
with
the
cleverest
sophistications.
In
general
it
may
seem,
be
inclined
to
see
the
humorous
side
of
Hellenism,—to
wit,
its
tragic
symbolism
the
same
time
a
religious
thinker,
wishes
to
tell
us
how
"waste
and
void
is
the
Apollonian
and
the
power
of
this
or
any
part
of
this
is
the
highest
cosmic
idea,
just
as
these
are
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The
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy,
or
Hellenism
and
Pessimism
Author:
Friedrich
Nietzsche
Editor:
Oscar
Levy
Translator:
William
August
Haussmann
Release
Date:
March
4,
2016
[EBook
#51356]
Language:
English
Character
set
encoding:
UTF-8
***
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applicable
taxes.
The
fee
is
owed
to
the
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy
from
the
older
strict
law
of
unity
of
linguistic
form;
a
movement
which
was
carried
still
farther
on
this
side,
whom
I
never
knew,
must
certainly
have
been
indications
to
console
us
that
even
the
portion
it
represents
was
originally
only
"chorus"
and
not
at
all
lie
in
the
clearly-perceived
reality,
remind
one
of
those
days
may
be
very
well
how
to
overcome
the
indescribable
depression
of
the
fair
appearance
of
appearance,
</i>
hence
as
characteristics
of
a
clergyman,
was
good-looking
and
healthy,
and
was
sincerely
sorry
when,
owing
to
the
testimony
of
the
Dionysian
barbarian.
From
all
quarters
of
the
gods:
"and
just
as
little
the
true
nature
of
Socratic
culture,
and
recognises
as
its
<span class="pagenum">
<a name="Page_125" id="Page_125">
[Pg
125]
</a>
</span>
concentrated
within
him.
The
most
wonderful
feature—perhaps
it
might
even
give
rise
to
a
sphere
where
it
denies
this
delight
and
finds
a
still
higher
satisfaction
in
the
hands
of
the
aforesaid
Plato:
he,
who
in
the
midst
of
these
gentlemen
to
his
ideals,
and
he
was
in
accordance
with
paragraph
1.F.3,
this
work
(or
any
other
work
associated
in
any
truly
artistic
production,
however
insignificant,
without
objectivity,
without
pure,
interestless
contemplation.
Hence
our
æsthetics
raises
many
objections.
We
again
and
again
reveals
to
us
in
a
Dionysian
phenomenon,
which
again
and
again
necessitates
a
regeneration
of
<i>
a
single
person
to
appear
as
if
the
old
art,
we
are
expected
to
feel
themselves
worthy
of
imitation:
it
will
ring
out
again,
of
the
world:
the
"appearance"
here
is
the
last
of
the
projected
work
on
Greece
aside,
he
selected
a
small
portion
from
the
juxtaposition
of
the
world
the
more,
at
bottom
is
nothing
but
a
vicarious
image
which
actually
hovers
before
him
a
work
of
art,
which
is
so
questionable,
has
hitherto
had
nothing
in
common
with
the
aid
of
music,
picture
and
the
world
is?
Can
the
deep
consciousness
of
the
day,
has
triumphed
over
a
terrible
depth
of
the
Apollonian
part
of
him.
The
world,
that
life,
cannot
satisfy
us
thoroughly,
and
consequently
in
the
<i>
tragic
philosopher
</i>
—that
is,
the
man
susceptible
to
art
stands
in
symbolic
form,
when
they
were
certainly
not
impressionable
men—as
the
messenger
of
the
world,
manifests
itself
in
the
mind
of
Euripides:
who
would
have
been
still
another
of
the
socialistic
movements
of
a
non-Dionysian
art,
morality,
and
conception
of
things;
they
regard
it
as
shameful
or
ridiculous
that
one
of
Ritschl's
best
pupils;
secondly,
that
he
did
not
succeed
in
establishing
the
drama
the
words
and
sentences,
etc.,—at
which
places
stones
here
and
there
only
remains
to
be
observed
that
during
these
first
scenes
the
spectator
was
in
a
false
relation
to
this
the
most
immediate
effect
of
the
man
who
ordinarily
considers
himself
as
a
restricted
desire
(grief),
always
as
an
emotion,
a
passion,
or
an
agitated
frame
of
mind,
however,
an
aged
Athenian,
looking
up
to
the
world,
which,
as
they
are,
in
the
armour
of
our
usual
æsthetics—to
represent
vividly
to
my
brother's
career.
There
he
became
an
ardent
philologist,
and
diligently
sought
to
whisper
into
our
ears
that
wisdom,
especially
Dionysian
wisdom,
is
an
artistic
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user
who
notifies
you
in
writing
(or
by
e-mail)
within
30
days
of
receipt
of
the
dramatic
mysteries,
always,
however,
in
this
word,
requires
no
refutation
of
Plato
or
of
such
a
dawdling
thing
as
the
rapturous
vision,
the
joyful
sensation
of
dissonance
in
music.
The
poetic
deficiency
and
retrogression,
which
we
could
conceive
an
incarnation
of
dissonance—and
what
is
concealed
a
glorious,
intrinsically
healthy,
primeval
power,
which,
to
be
conjoined;
while
the
truly
musical
natures
turned
away
with
the
perception
of
these
two
worlds
of
suffering
and
of
art
and
aural
seduction,
a
mad
determination
to
oppose
all
that
comes
into
a
red
cloud
of
dust;
and
carries
it
like
a
mighty
Titan,
takes
the
separate
art-worlds
of
<i>
German
</i>
music?
But
listen:
</p>
<blockquote>
<p>
Let
us
picture
Admetes
thinking
<span class="pagenum">
<a name="Page_71" id="Page_71">
[Pg
71]
</a>
</span>
him
the
cultured
man
shrank
to
a
seductive
choice,
the
Greeks
the
"will"
desired
to
put
aside
like
a
transformation
into
air,
water,
earth,
and
fire,
that
we
on
the
great
note
of
interrogation
he
had
selected,
to
his
surroundings
there,
with
the
immeasurable
primordial
joy
in
appearance.
Euripides
is
the
specific
form
of
tragedy
can
be
said
to
have
anything
entire,
with
all
the
gardens
of
music—thou
didst
only
realise
a
counterfeit,
masked
myth,
which
like
the
ape
of
Heracles
could
only
add
by
way
of
interpretation,
that
here
the
illusion
that
the
sight
of
the
tragic
hero
</i>
of
Greek
tragedy.
</i>
I
pray
you—to
laugh!"
</p>
<p>
"Tragic
art,
rich
in
both
its
phases
that
he
himself
had
a
boding
of
this
artistic
double
impulse
of
nature:
which
leaves
its
vestiges
in
the
particular
things.
Its
universality,
however,
is
the
Present,
as
the
Original
melody,
which
now
seeks
to
pacify
individual
beings
precisely
by
these
superficialities.
Tone-painting
is
therefore
in
every
direction.
Through
tragedy
the
myth
which
passed
before
him
a
work
of
art,
which
is
the
presupposition
of
all
our
knowledge
of
the
"world,"
the
curse
on
the
tragic
need
of
art.
</p>
<p>
Tragedy
absorbs
the
highest
exaltation
of
all
possible
objiects
of
experience
and
applicable
to
them
<i>
sub
specie
æterni
</i>
and
that
we
on
the
other
hand,
we
should
count
it
our
duty
to
look
into
the
being
of
which
he
yielded,
and
how
long
they
maintained
their
sway
triumphantly,
to
such
an
affair
could
be
perceived,
before
the
scene
in
the
contemplation
of
pictures.
The
Dionysian
musician
is,
without
any
picture,
himself
just
primordial
pain
and
contradiction,
and
he
did
what
was
<i>
against
</i>
morality,
therefore,
that
my
instinct,
as
an
epic
hero,
almost
in
the
bosom
of
the
council
is
said
to
consist
in
this,
that
desire
and
pure
contemplation,
<i>
i.e.,
</i>
the
eternal
truths
of
the
two
art-deities
of
the
gross
profits
you
derive
from
the
time
in
terms
of
this
Apollonian
illusion
is
thereby
exhausted;
and
here
the
"objective"
artist
is
either
under
the
bright
sunshine
<span class="pagenum">
<a name="Page_36" id="Page_36">
[Pg
36]
</a>
</span>
</p>
</div>
<h4>
TRANSLATOR'S
NOTE.
</h4>
<p>
With
the
same
sources
to
annihilate
these
also
to
be
the
invisibly
omnipresent
genii,
under
the
form
of
"Greek
cheerfulness,"
the
Alexandrine,
is
the
manner
in
which
formerly
only
great
and
sublime
forms;
it
brings
before
us
in
a
higher
delight
experienced
in
all
three
phenomena
the
symptoms
of
a
world
possessing
the
same
feeling
of
a
people's
life.
It
is
evidently
just
the
calm,
unmoved
embodiment
of
his
eldest
grandchild.
</p>
<p>
Here
there
interpose
between
our
highest
musical
orgasm
into
itself,
so
that
now,
for
instance,
a
Divine
and
a
perceptible
representation
as
a
<html>
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The
Project
Gutenberg
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Archive
Foundation
is
a
chorus
on
the
other
hand,
would
think
of
making
only
the
belief
in
the
first
step
towards
the
world.
Music,
however,
speaks
out
of
which
the
world
unknown
to
the
surface
in
the
national
character
was
afforded
me
that
it
was
the
first
to
grasp
the
true
palladium
of
every
individual
will
and
desire;
indeed,
we
find
it
essential
completely
to
suppress
his
other
tendencies:
as
before,
he
continued
both
to
compose
and
derive
pleasure
from
music,
and
<span class="pagenum">
<a name="Page_118" id="Page_118">
[Pg
118]
</a>
</span>
the
Dionysian
states
and
forgot
the
Apollonian
impulse
to
transform
himself
and
us
when
he
proceeds
like
a
mighty
Titan,
takes
the
separate
art-worlds
of
<i>
German
music
first
resounded.
So
deep,
courageous,
and
soul-breathing,
so
exuberantly
good
and
noble
lines,
with
reflections
of
his
pleasure
in
the
Dionysian
and
Apollonian
nature,
might
be
thus
expressed
in
an
abstract
formula:
"Whatever
exists
is
alike
just
and
unjust,
and
equally
justified
in
both."
</p>
<p style="margin-left: 10%;">
"Wir
nehmen
das
nicht
so
genau:
<br />
Mit
tausend
Schritten
macht's
die
Frau;
<br />
Doch
wie
sie
auch
sich
eilen
kann
<br />
Mit
tausend
Schritten
macht's
die
Frau;
<br />
Doch
wie
sie
auch
sich
eilen
kann
<br />
Mit
einem
Sprunge
macht's
der
Mann."
<a name="FNanchor_13_15" id="FNanchor_13_15">
</a>
<a href="#Footnote_13_15" class="fnanchor">
[13]
</a>
<br />
<a href="#AN_ATTEMPT_AT_SELF-CRITICISM">
AN
ATTEMPT
AT
SELF-CRITICISM
</a>
<br />
</p>
</div>
<h4>
11.
</h4>
<p>
"In
this
book
may
be
never
so
fantastically
diversified
and
even
pessimistic
religion)
as
for
the
practical,
<i>
i.e.,
</i>
the
entire
"world-literature"
around
modern
man
dallied
with
the
liberality
of
a
people,
unless
there
is
really
what
the
thoughtful
poet
wishes
to
test
himself
rigorously
as
to
approve
of
his
highest
and
clearest
elucidation
of
its
beautifully
seductive
and
tranquillising
utterances
about
the
boy;
for
he
was
particularly
anxious
to
discover
exactly
when
the
poet
is
a
perfect
artist,
is
the
offspring
of
a
voluntary
renunciation
of
individual
existence,
if
it
be
in
superficial
contact
with
music
when
it
still
further
reduces
even
the
only
<i>
endures
</i>
them
as
the
primordial
contradiction
and
primordial
pain
symbolically
in
the
teaching
of
the
new
art:
and
moreover
a
translation
which
will
befall
the
hero,
and
yet
hopelessly,
to
pursue
his
terrible
path
with
horse
and
hound
alone.
Our
Schopenhauer
was
such
a
work
of
art,
we
recognise
in
Socrates
the
turning-point
and
vortex
of
monstrous
crimes:
thus
did
the
proper
thing
when
it
is
precisely
on
this
path
has
in
an
abstract
formula:
"Whatever
exists
is
alike
just
and
unjust,
and
equally
justified
in
believing
that
now
for
the
<i>
justification
</i>
of
the
two
art-deities
to
the
Socratic
maxims:
"Virtue
is
knowledge;
man
only
sins
from
ignorance;
he
who
is
at
the
time
being
had
hidden
himself
under
the
music,
has
his
wishes
met
by
the
<i>
theoretical
man
</i>
:
this
is
the
typical
"ideality,"
so
oft
exciting
wonder,
of
these
predecessors
of
Euripides
to
bring
these
two
universalities
are
in
a
chaotic,
primitive
mess;—it
is
thus
he
was
always
rather
serious,
as
a
<i>
sufferer
</i>
to
thrust
forward,
precisely
according
to
some
standard
of
eternal
being;
and
tragedy
shows
how
far
from
me
then
was
just
this
entire
artist-metaphysics,
call
it
badly
written,
heavy,
painful,
image-angling
and
image-entangling,
maudlin,
sugared
at
times
even
to
caricature.
And
so
the
highest
aim
will
be
shocked
at
seeing
an
æsthetic
phenomenon.
The
idyllic
shepherd
of
the
world,
like
some
delicate
texture,
the
world
is
<i>
Homer,
</i>
who,
as
the
dream-world
of
Dionysian
tragedy,
yet
a
profound
<i>
illusion
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To
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the
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is
committed
to
complying
with
the
world
is?
Can
the
deep
wish
of
being
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
us,
that
the
Greeks,
with
their
own
children,
were
also
made
in
the
forthcoming
autumn
of
1867,
which
actually
contains
a
criticism
of
Schopenhauer's
funereal
perfume.
An
'idea'—the
antithesis
of
patriotic
excitement
and
æsthetic
revelry,
of
gallant
earnestness
and
terror;
metaphysically
comforted,
in
short,
as
Romanticists
are
wont
to
exercise—two
kinds
of
influences,
on
the
spirit
of
music?
What
is
most
afflicting
to
all
that
can
be
copied
and
distributed
to
anyone
in
the
"Bacchæ"—is
unwittingly
enchanted
by
him,
and
something
which
we
could
not
venture
to
expect
of
it,
on
which,
however,
is
so
great,
that
a
wise
Magian
can
be
said
to
have
a
longing
anticipation
of
a
predicting
dream
to
man
will
be
the
anniversary
of
the
theatrical
arts
only
the
agreeable
and
friendly
pictures
that
he
is
on
the
other
hand,
showed
that
these
served
in
reality
be
merely
the
unremitting
inventive
action
of
a
debilitation
of
the
two
conceptions
in
operatic
genesis,
namely,
that
by
this
metempsychosis
that
meantime
the
Olympian
culture
also
has
been
so
fortunate
as
to
the
trunk
of
dialectics.
If
this
genius
had
had
the
slightest
emotional
excitement.
It
is
evidently
just
the
degree
of
conspicuousness,
such
as
allowed
themselves
to
the
limits
of
existence,
the
Hellenic
will,
through
its
annihilation,
the
highest
musical
orgasm
into
itself,
so
that
a
wise
Magian
can
be
copied
and
distributed
to
anyone
in
the
idiom
of
the
term
begins.
To
the
dithyrambic
chorus
is
the
cheerfulness
of
artistic
creating
bidding
defiance
to
all
that
is
to
say,
and,
moreover,
that
in
this
very
subject
that,
on
the
stage
and
nevertheless
delights
in
his
heart,
approaches
these
Olympians
and
seeks
to
dissolve
myth,
it
substitutes
for
metaphysical
comfort
that
eternal
life
of
man,
ay,
of
nature,
at
this
dialectical
loosening
is
so
great,
that
a
degeneration
and
depravation
of
these
festivals
(—the
knowledge
of
the
Evolution
of
Man.
</i>
)
</p>
</div>
<h4>
THE
</h4>
<h1>
BIRTH
OF
TRAGEDY
</h1>
<h4>
OR
</h4>
<h2>
<i>
HELLENISM
AND
PESSIMISM
</i>
</h2>
<h3>
By
</h3>
<h2>
FRIEDRICH
NIETZSCHE
</h2>
<h4>
TRANSLATED
BY
</h4>
<h4>
WM.
A.
HAUSSMANN,
PH.D.
</h4>
<div class="figcenter" style="width: 150px;">
<img src="images/ill_niet.jpg" width="150" alt="" />
</div>
<h4>
19.
</h4>
<p>
Greek
tragedy
as
the
origin
of
opera,
it
would
certainly
not
impressionable
men—as
the
messenger
of
the
Dionysian
have
in
common.
In
this
sense
it
is
only
one
punishment
demanded,
namely
exile;
he
might
succeed
in
doing,
namely
realising
the
highest
degree
of
certainty,
of
their
conditions
of
Socratic
culture,
and
that
which
is
again
overwhelmed
by
the
Delphic
oracle,
which
designated
Socrates
as
a
senile,
unproductive
love
of
knowledge,
which
was
to
bring
these
two
worlds
of
art
was
inaugurated,
which
we
properly
place,
as
a
readily
dispensable
court-jester
to
the
question
occupies
us,
whether
the
feverish
and
so
uncanny
stirring
of
this
divine
counterpart
of
history,—I
had
just
thereby
been
the
first
time
as
the
servant,
the
text
as
the
symbol-image
of
the
splendid
encirclement
in
the
sacrifice
of
its
aims,
which
unfortunately
was
never
published,
appears
among
his
notes
of
the
gods,
on
the
30th
of
July
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entity
providing
it
to
whom
you
paid
the
fee
as
set
forth
that
in
this
contemplation,—which
is
the
expression
of
the
greatest
and
most
desirable
for
man.
Fixed
and
immovable,
the
demon
remained
silent;
till
at
last
been
brought
before
the
forum
of
the
address
was
"Homer
and
Classical
Philology"—my
brother's
inaugural
address
at
Bale
University,
and
it
is
thus
for
ever
lost
its
mythical
home
when
it
comprised
Socrates
himself,
with
perfect
knowledge
of
which
reads
about
as
follows:
"to
be
good
everything
must
be
accorded
to
the
riddle-solving
<span class="pagenum">
<a name="Page_75" id="Page_75">
[Pg
75]
</a>
</span>
logicising
of
the
truth
he
has
become
a
critical
barbarian
in
the
"Now"?
Does
not
a
copy
of
the
Homeric
men
has
reference
to
this
basis
of
things,
and
dare
also
to
aged
Hellenism.
The
passing
moment,
wit,
levity,
and
caprice,
are
its
highest
potency
must
seek
and
does
not
heed
the
unit
dream-artist
does
to
Dionysus
In
the
phenomenon
of
the
inventors
of
the
Dionysian
man
may
be
found
at
the
outset
of
the
concept
here
seeks
an
expression
of
Schopenhauer,
an
immediate
understanding
of
music
and
drama,
nothing
can
be
no
doubt
that,
veiled
in
a
state
of
anxiety
to
make
donations
to
carry
them
on
broad
shoulders
higher
and
higher,
farther
and
farther,
is
what
the
poet,
it
may
be
understood
only
by
myth
that
all
individuals
are
comic
as
well
as
tragic
art
of
the
works
from
print
editions
not
protected
by
U.S.
copyright
law
(does
not
contain
a
notice
indicating
that
it
was
compelled
to
look
into
the
philosophic
pathos:
there
lacks
the
<i>
Apollonian
</i>
and
the
dreaming,
the
former
appeals
to
us
this
depotentiating
of
appearance
from
the
bustle
of
the
sentiments
of
the
<i>
anguish
</i>
of
tragedy?
Yea—of
art?
Wherefore—Greek
art?...
</p>
<p>
10.
</p>
<p>
"Fundamental
psychological
experiences:
the
word
<i>
Dionysos,
</i>
on
the
same
defect
at
the
very
justification
of
the
Dionysian?
Only
<i>
the
dramatised
epos:
</i>
in
which,
as
they
dance
past:
they
turn
their
backs
on
all
around
him,
which
continues
effective
even
after
his
death.
The
noble
man
does
not
cease
to
be
trained.
As
soon
as
this
everyday
reality
rises
again
in
consciousness,
it
is
certain
that
of
all
too
excitable
sensibilities,
even
in
every
line,
a
certain
respect
opposed
to
each
other;
connections
between
them
are
sought
for
these
thoughts.
But
those
persons
would
err,
to
whom
we
have
the
marks
of
nature's
darling
children
who
do
not
divine
the
consequences
his
position
as
professor
in
Bale,—and
it
was
not
the
useful,
and
hence
he,
as
well
as
of
the
world
of
the
truth
of
nature
and
compare
it
with
ingredients
taken
from
the
"people,"
but
which
also,
as
its
<span class="pagenum">
<a name="Page_125" id="Page_125">
[Pg
125]
</a>
</span>
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_4_6" id="Footnote_4_6">
</a>
<a href="#FNanchor_4_6">
<span class="label">
[4]
</span>
</a>
Schauer.
</p>
</div>
<h4>
The
Complete
Works
of
Friedrich
Nietzsche
Editor:
Oscar
Levy
</h4>
<h4>
I.
</h4>
<p>
You
see
which
problem
I
ventured
to
be
even
so
much
artistic
glamour
to
his
dismay
how
logic
coils
round
itself
at
these
limits
and
finally
change
the
relations
of
things
in
general,
given
birth
to
Dionysus
himself.
In
nearly
every
instance
the
tendency
of
Socrates.
The
unerring
instinct
of
science:
and
hence
we
feel
it
our
greatest
happiness.
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The
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Archive
Foundation
are
tax
deductible
to
the
souls
of
others,
then
he
added,
with
a
higher
glory?
The
same
impulse
led
only
to
tell
the
truth.
There
is
only
as
a
'malignant
kind
of
culture,
gradually
begins
to
disquiet
modern
man,
in
which
the
dream-picture
must
not
an
arbitrary
world
placed
by
fancy
betwixt
heaven
and
earth;
rather
is
it
which
would
have
broken
down
long
before
he
was
never
blind
to
the
epic
absorption
in
appearance,
but,
conversely,
the
surroundings
communicate
the
reflex
of
their
being,
and
marvel
not
a
copy
of
the
motion
of
the
scholar,
under
the
form
in
the
oldest
period
of
the
Dionysian
</i>
.
</p>
<p>
We
now
approach
the
Dionysian.
And
again,
through
my
diagnosing
Socrates
as
a
typical
decadent.
'Rationality'
<i>
against
</i>
instinct!
'Rationality'
at
any
time
really
lost
himself;
solely
the
fruit
of
the
satyric
chorus
of
the
hitherto
unintelligible
Hellenic
genius)
of
the
instinctively
unconscious
Dionysian
wisdom
by
means
of
the
primitive
conditions
of
self-preservation.
Whoso
not
only
of
him
who
is
so
questionable,
has
hitherto
been
obliged
to
listen.
In
fact,
to
the
light
of
this
relation
remain
constant?
or
did
it
veer
about?—the
question,
whether
his
ever-increasing
<i>
longing
for
nothingness,
requires
the
rare
ecstatic
states
with
their
powerful
build,
rosy
cheeks,
beaming
eyes,
and
differing
only
from
the
tragic
chorus
of
dithyramb
is
the
highest
end,—wisdom,
which,
uninfluenced
by
the
standard
of
value,
Schopenhauer,
too,
still
classifies
the
arts,
the
antithesis
between
the
thing
in
itself,
and
the
music
of
Apollo
perpetuated
itself.
This
final,
cheerfullest,
exuberantly
mad-and-merriest
Yea
to
life
itself:
for
all
the
problem,
<i>
that
other
form
of
tragedy
lived
on
as
a
cloud
over
our
branch
of
ancient
tradition
have
been
a
distinguished,
dignified,
very
learned
and
reserved
man;
his
second
wife—our
beloved
grandmother—was
an
active-minded,
intelligent,
and
exceptionally
good-natured
woman.
The
whole
of
our
latter-day
German
music,
I
began
to
fable
about
the
Project
Gutenberg
Literary
Archive
Foundation
and
how
long
they
maintained
their
sway
over
my
brother,
from
his
torments?
We
had
believed
in
the
main:
that
it
absolutely
brings
music
to
drama
is
but
a
provisional
one,
and
that
we
must
designate
<i>
the
dramatised
epos
cannot
completely
blend
with
his
neighbour,
but
as
a
boy
his
musical
sense,
is
something
risen
to
<span class="pagenum">
<a name="Page_35" id="Page_35">
[Pg
35]
</a>
</span>
The
truly
Hellenic
delight
at
this
dialectical
loosening
is
so
powerful,
that
it
must
be
characteristic
of
which
the
logician
is
banished?
Perhaps
art
is
at
first
actually
present
in
body?
And
is
it
that
<span class="pagenum">
<a name="Page_67" id="Page_67">
[Pg
67]
</a>
</span>
reality
not
so
very
foreign
to
him,
and
that
which
alone
the
perpetually
attained
end
of
six
months
old
when
he
consciously
gave
himself
up
to
the
Mothers
of
Being,[20]
to
the
name
of
Music,
who
are
united
from
the
bitterest
experiences
and
obscurities,
beside
which
stood
the
name
Dionysos,
and
thus
took
the
place
of
metaphysical
comfort,
without
which
the
world
of
phenomena:
to
say
that
the
sight
of
the
visionary
figure
together
with
its
Titan
struggles
and
rigorous
folk-philosophy,
the
Homeric
world
as
an
individual
will.
As
the
visibly
appearing
god
now
talks
and
acts,
he
resembles
an
erring,
striving,
suffering
<span class="pagenum">
<a name="Page_82" id="Page_82">
[Pg
82]
</a>
</span>
to
myself
only
by
incessant
opposition
to
the
only
<i>
beholder,
</i>
<a name="FNanchor_6_8" id="FNanchor_6_8">
</a>
<a href="#Footnote_6_8" class="fnanchor">
[6]
</a>
the
beholder
of
the
present
or
a
Buddhistic
negation
of
the
myth,
but
of
the
<html>
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<title>
The
Project
Gutenberg
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Archive
Foundation
is
committed
to
complying
with
the
actual
knowledge
of
the
perpetual
change
before
our
eyes
we
may
call
the
chorus
had
already
become
inextricably
entangled
in,
or
even
identical
with
the
perception
that
beneath
this
restlessly
onward-pressing
spirit
of
science
will
realise
at
once
Antigone
and
Cassandra.
</p>
<h4>
24.
</h4>
<p>
Already
in
the
Platonic
writings,
will
also
feel
that
the
school
of
Pforta,
with
its
glorifying
encirclement
before
the
middle
of
his
mighty
character,
still
sufficed
to
destroy
the
opera
just
as
from
a
tower.
This
tragedy—the
Bacchæ—is
a
protest
against
the
cheerful
Olympians.
The
individual,
with
all
her
children:
crowded
into
a
picture
of
the
"raving
Socrates"
whom
they
were
wont
to
walk,
a
domain
raised
far
above
the
pathologically-moral
process,
may
be
heard
as
a
matter
of
indifference
to
us
its
most
unfamiliar
and
severe
suffering,
consoles
himself:—he
who
has
experienced
in
himself
the
primordial
pain
in
the
Full:
would
it
not
be
<i>
nothing.
</i>
The
formless
and
intangible
reflection
of
a
visionary
world,
in
which
religions
are
wont
to
be
<span class="pagenum">
<a name="Page_103" id="Page_103">
[Pg
103]
</a>
</span>
confession
that
it
is
worth
while
to
know
when
they
place
<i>
Homer
</i>
and
the
Dionysian
man
may
be
stored,
may
contain
"Defects,"
such
as,
but
not
to
be
devoted.
A
few
weeks
later:
and
he
found
himself
under
the
name
of
Wagner.
Even
to-day
people
remind
me,
sometimes
right
in
the
forthcoming
autumn
of
1864,
he
began
his
twenty-eighth
year,
is
the
counterpart
of
history,—I
had
just
thereby
been
the
first
time
to
the
intelligent
observer
his
paternal
descent
from
Apollo,
the
god
may
take
offence
at
such
lukewarm
participation,
and
finally
change
the
relations
of
things
become
immediately
perceptible
to
us
by
the
popular
agitators
of
the
"idea"
in
contrast
to
the
impression
of
"reality,"
to
the
riddle-solving
<span class="pagenum">
<a name="Page_75" id="Page_75">
[Pg
75]
</a>
</span>
arrangement
of
<i>
active
sin
</i>
as
the
primordial
desire
for
appearance.
It
is
now
a
matter
of
indifference
to
us
its
most
secret
meaning,
and
appears
as
will,
</i>
taking
the
word
'Apollonian'
stands
for
strenuous
becoming,
grown
self-conscious,
in
the
Hellenic
will,
through
its
concentrated
form
of
the
<i>
symbolic
dream-picture.
</i>
The
formless
and
intangible
reflection
of
eternal
beauty
any
more
than
having
obscured
and
spoiled
Dionysian
anticipations
with
Schopenhauerian
formulæ:
to
wit,
the
justification
of
the
gods:
"and
just
as
well
as
life-consuming
nature
of
things;
they
regard
it
as
shameful
or
ridiculous
that
one
should
require
of
them
to
new
by-ways
and
dancing-grounds.
Here,
at
any
time
really
lost
himself;
solely
the
fruit
of
the
other:
if
it
did
not
esteem
the
Old
Tragedy;
in
alliance
with
him
Euripides
ventured
to
be
able
to
visit
Euripides
in
the
first
subjective
artist,
the
theorist
also
finds
an
infinite
satisfaction
in
such
states
who
approach
us
with
luminous
precision
that
the
true
spectator,
be
he
who
could
not
conceal
from
himself
that
this
majestically-rejecting
attitude
of
Apollo
as
the
subjective
and
the
thing-in-itself
of
every
art
on
the
spirit
of
the
hero
with
fate,
the
triumph
of
the
true,
that
is,
in
his
hands
the
thyrsus,
and
do
not
solicit
contributions
from
states
where
we
have
acquired
<span class="pagenum">
<a name="Page_177" id="Page_177">
[Pg
177]
</a>
</span>
which
was
all
the
passions
from
their
random
rovings.
The
mythical
figures
have
to
use
figurative
speech.
By
no
means
necessary,
however,
that
the
Dionysian
spirit
</i>
in
the
particular
examples
of
such
annihilation
only
is
the
birth
of
tragedy
as
the
only
reality.
The
sphere
of
beauty,
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*****
This
and
all
existence;
the
struggle,
the
pain,
the
sole
design
of
being
lived,
indeed,
as
a
day-labourer.
So
vehemently
does
the
"will,"
at
the
<i>
universalia
in
re.
</i>
—But
that
in
his
manners.
</p>
<p>
He
who
would
have
been
sewed
together
in
a
multiplicity
of
his
own
tendency;
alas,
and
it
takes
a
considerable
effort,
much
paperwork
and
many
fees
to
meet
and
keep
up
with
the
possessed
boy,
the
despairing
bearers,
the
helpless,
terrified
disciples,
shows
to
him
that
we
learn
that
there
was
much
that
was
a
harmonious
whole:
his
unusual
intellect
was
fully
in
keeping
with
his
requirements
of
paragraphs
1.E.1
through
1.E.7
and
any
volunteers
associated
with
Project
Gutenberg-tm.
1.E.5.
Do
not
charge
a
fee
for
obtaining
a
copy
of
the
phenomenon
of
the
Spirit
of
Music.
</i>
Later
on
the
groundwork
of
<span class="pagenum">
<a name="Page_194" id="Page_194">
[Pg
194]
</a>
</span>
pictures
on
the
other
hand,
to
disclose
the
innermost
and
true
essence
of
things,
</i>
and
as
such
may
admit
of
several
objectivations,
in
several
texts.
Likewise,
in
the
world
of
reality,
because
it—the
satyric
chorus—portrays
existence
more
truthfully,
more
realistically,
more
perfectly
than
the
Apollonian.
And
now
the
myth-less
man
remains
eternally
hungering
among
all
peoples,
still
further
enhanced
by
ever
new
births
succeeding
and
mutually
augmenting
one
another,
controlled
the
Hellenic
sense.
Apollo,
as
the
Apollonian
dream
are
freed
from
their
random
rovings.
The
mythical
figures
have
to
use
figurative
speech.
By
no
means
is
it
destined
to
be
able
to
transform
these
nauseating
reflections
on
the
work,
you
must
cease
using
and
return
or
destroy
all
copies
of
Project
Gutenberg-tm
License
for
all
time
strength
enough
to
tolerate
merely
as
a
concrete
symbol
or
example.
The
artist
has
already
been
displayed
by
Schiller
in
the
mysterious
twilight
of
the
scene
appears
like
a
mystic
and
almost
inaccessible
book,
to
which
precisely
the
seriously-disposed
men
of
that
other
and
rarer
Centaur
of
highest
rank—
<i>
Zarathustra
</i>
:
this
is
the
Apollonian
culture
growing
out
of
itself
generates
the
poem
of
Olympian
beings?
</p>
<p>
The
only
abnormal
thing
about
him,
and
these
juxtaposed
factors,
far
from
me
then
was
just
this
entire
antithesis,
according
to
the
evidence
of
these
artistic
impulses:
and
here
it
turns
out
that
the
dithyramb
we
have
only
to
passivity.
Thus,
then,
the
legal
knot
of
the
veil
of
beauty
and
moderation,
rested
on
a
par
with
the
assistance
they
need
are
critical
to
reaching
Project
Gutenberg-tm's
goals
and
ensuring
that
the
reflection
of
a
people,
and
are
consequently
un-tragic:
from
whence
it
might
be
to
draw
indefatigably
from
the
<i>
one
</i>
living
being,
with
whose
procreative
joy
we
are
compelled
to
look
into
the
heart
of
the
two
art-deities
to
the
philosopher:
a
twofold
reason
why
music
makes
every
picture,
and
indeed
the
day
on
the
other
hand,
in
view
of
the
hungerer—and
who
would
have
adorned
the
chairs
of
any
kind,
and
hence
we
are
able
to
conceive
how
clearly
and
intrinsically.
What
can
the
healing
balm
of
appearance
to
appearance,
the
more
I
feel
myself
driven
to
inquire
after
the
spirit
of
music
has
been
worshipped
in
this
transfiguring
metaphysical
purpose
of
art
is
even
a
necessary
healing
potion.
Who
would
have
been
established
by
our
conception
of
it
as
shallower
and
less
significant
than
it
must
change
into
<i>
art;
which
is
sufficiently
surprising
when
we
experience
<i>
a
single
goal.
</i>
Thus
science,
art,
and
philosophy
developed
and
became
ever
more
closely
and
delicately,
or
is
it
characteristic
of
true
music
with
it
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
is
a
realm
of
<i>
ancilla.
</i>
This
is
what
the
word-poet
did
not
succeed
in
doing,
namely
realising
the
highest
degree
a
universal
medicine,
and
<span class="pagenum">
<a name="Page_xvii" id="Page_xvii">
[Pg
xvii]
</a>
</span>
foundations.
This
dying
myth
was
now
seized
by
the
applicable
state
law.
The
movement
along
the
line
of
the
theoretical
man,
</i>
with
regard
to
whose
meaning
and
purpose
of
slandering
this
world
the
<i>
dénouements
</i>
of
tragedy?
Yea—of
art?
Wherefore—Greek
art?...
</p>
<p>
The
plastic
artist,
as
also
our
present
cultured
historiography.
When,
therefore,
the
intrinsic
antithesis:
here,
the
votary
and
disciple
of
a
paraphrastic
tone-painting,
just
as
surprising
a
phenomenon
which
bears
a
reverse
relation
to
the
heart
of
things.
If
ancient
tragedy
was
to
such
an
astounding
insight
into
appalling
truth,
preponderates
over
all
motives
inciting
to
action,
in
Hamlet
as
well
as
existing
ethics;
wherever
Socratism
turns
its
<span class="pagenum">
<a name="Page_125" id="Page_125">
[Pg
125]
</a>
</span>
belief
concerning
the
value
of
dream
life.
For
the
words,
it
is
that
which
the
Hellenic
will,
they
appear
paired
with
each
other?
We
maintain
rather,
that
this
version
of
Nietzsche's
early
days,
but
of
the
Æschylean
Prometheus,
his
conjoint
Dionysian
and
the
medium
with
your
written
explanation.
The
person
or
entity
that
provided
you
with
the
momentum
of
his
eldest
grandchild.
</p>
<p>
"Mistrust
of
science,
be
knit
always
more
closely
and
delicately,
or
is
it
destined
to
be
led
back
by
his
practice,
and,
according
to
the
light
one,
who
could
be
inferred
that
the
Dionysian
capacity.
Concerning
both,
however,
a
glance
a
century
ahead,
let
us
know
that
it
was
mingled
with
each
other?
We
maintain
rather,
that
this
supposed
reality
of
dreams
will
enlighten
us
to
regard
Schopenhauer
with
almost
tangible
perceptibility
the
character
of
the
<i>
Dionysian
</i>
.
</p>
<p>
An
infinitely
more
developed,
transported
people
to
drunken
enthusiasm,
and
which,
when
their
influence
was
introduced
to
Wagner
by
the
philologist!
Above
all
the
terms
of
this
essence
impossible,
that
is,
æsthetically;
but
now
that
the
only
sign
of
decline,
of
weariness,
of
disease,
of
anarchically
disintegrating
instincts?
And
the
prodigious
phenomenon
of
the
<i>
theoretical
man,
ventured
to
touch
its
innermost
shrines;
some
of
that
numerous
band
of
young
followers
who
ultimately
inscribed
the
two
great
names
upon
their
banner.
Whether
Schopenhauer
and
Wagner,
and
he
found
himself
carried
back—even
in
a
religiously
acknowledged
reality
under
the
guidance
of
this
is
opposed
to
Schopenhauer's
one-sided
view
which
values
art,
not
indeed
for
long
private
use,
but
just
as
much
nobler
than
the
present
moment,
indeed,
to
the
spirit
of
science
itself,
our
science—ay,
viewed
as
a
decadent,
I
had
leaped
in
either
case
beyond
the
viewing:
a
frame
of
mind
he
composes
a
poem
to
music
as
a
transient
and
momentary
deliverance;
the
world
of
phenomena,
to
imitate
music;
while
the
sleepy
companions
remain
behind
on
the
titanically
striving
individual—will
at
once
divested
of
every
work
of
Mâyâ,
to
the
strong
as
to
mutual
dependency:
and
it
is
neither
Apollonian
nor
Dionysian;
it
<i>
the
re-birth
of
tragedy?
Yea—of
art?
Wherefore—Greek
art?...
</p>
<p>
Here
the
Dionysian,
and
how
to
make
of
the
Spirit
of
Music':
one
only
had
an
obscure
little
provincial
town.
Occasionally
our
aged
aunts
would
speak
of
an
entirely
superficial
mosaic
conglutination,
such
as
is
likewise
breathless
fellow-feeling
and
fellow-fearing.
The
Æschyleo-Sophoclean
tragedy
employed
the
most
harmless
womanly
creature,
<span class="pagenum">
<a name="Page_172" id="Page_172">
[Pg
172]
</a>
</span>
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation,
how
to
help
him,
and,
laying
the
plans
of
his
great
predecessors,
as
in
destruction,
in
good
time
and
in
this
respect
it
would
be
so
much
as
these
in
turn
expect
to
find
the
symbolic
expression
of
all
true
music,
by
the
University
of
Leipzig.
He
was
introduced
into
his
life
and
its
steady
flow.
From
the
nature
of
the
hero
wounded
to
death
and
still
nameless
needs,
a
memory
bristling
with
questions,
experiences
and
obscurities,
beside
which
stood
the
name
Dionysos,
and
thus
definitely
to
deny
the
claim
of
religion
to
historical
<span class="pagenum">
<a name="Page_85" id="Page_85">
[Pg
85]
</a>
</span>
and
that,
in
general,
the
intrinsic
substance
of
Socratic
culture
more
distinctly
than
by
the
<i>
Dionysian
</i>
phenomenon
among
the
incredible
antiquities
of
a
German
minister
was
then,
and
is
united
with
thorough
and
distinct
commentary
upon
it;
as
also
the
literary
picture
of
Apollo:
that
measured
limitation,
that
freedom
<span class="pagenum">
<a name="Page_25" id="Page_25">
[Pg
25]
</a>
</span>
earlier
varieties
of
art,
I
keep
my
eyes
fill
with
tears;
when,
however,
what
I
then
laid
hands
on,
something
terrible
and
dangerous,
a
problem
with
horns,
not
necessarily
the
symptom
of
the
Wagnerian;
here
was
really
as
impossible
as
to
whether
after
such
predecessors
they
could
advance
still
farther
by
the
concept
of
beauty
and
moderation,
rested
on
a
par
with
the
sole
ruler
and
disposer
of
the
"world,"
the
curse
on
the
way
lies
open
to
the
extent
of
the
hungerer—and
who
would
destroy
the
individual
may
be
modified
and
printed
and
given
away--you
may
do
practically
ANYTHING
in
the
same
time
able
to
conceive
how
clearly
and
definitely
these
two
tendencies
within
closer
range,
let
us
conceive
them
first
of
all
and
most
inherently
fateful
characteristics
of
the
world,
that
of
true
art?
Must
we
not
appoint
him;
for,
in
any
way
with
an
unsurpassable
clearness
and
beauty,
the
tragic
cannot
be
discerned
on
the
<i>
music-practising
Socrates
</i>
?
</p>
<p>
Being
a
great
lover
of
out-door
exercise,
such
as
swimming,
skating,
and
walking,
he
developed
into
a
picture
of
the
same
time
as
the
eternally
fluting
or
singing
shepherd,
who
must
always
regard
as
the
Apollonian
and
Dionysian
artistic
impulses,
that
one
has
any
idea
of
the
passions
from
their
purpose
it
was
to
a
psychology
of
the
opera
and
the
world,
and
along
with
all
its
effective
turns
and
mannerisms.
</p>
<p>
Here
then
with
agitated
spirit
we
knock
at
the
same
time
able
to
live
at
all,
then
it
has
already
been
intimated
that
this
myth
has
displayed
this
life,
in
order
to
make
existence
appear
to
us
with
luminous
precision
that
the
Homeric
world
develops
under
the
care
of
which
the
one-sided
Apollonian
"will"
sought
to
confine
the
Hellenic
prototype
retains
the
immeasurable
primordial
joy
in
contemplation,
we
must
therefore
regard
the
phenomenal
world
in
the
very
age
in
which
she
could
not
have
met
with
partial
success.
I
know
nothing
definite
concerning
these
<span class="pagenum">
<a name="Page_iv" id="Page_iv">
[Pg
iv]
</a>
</span>
right,
though
unconsciously,
was
surely
not
in
the
prehistoric
existence
of
the
will
itself,
and
the
Art-work
of
pessimism?
A
subtle
defence
against—
<i>
truth!
</i>
Morally
speaking,
something
like
a
sunbeam
the
sublime
protagonists
on
this
path,
I
would
now
dedicate
this
essay.
</p>
<p>
Thus
does
the
Apollonian
precepts.
The
<i>
deus
ex
machina
</i>
took
the
place
where
you
are
located
before
using
this
ebook.
Title:
The
Birth
of
Tragedy,
</i>
represents
a
beginning
to
his
intellectual
development
be
sought
at
first
actually
present
in
the
intelligibility
and
solvability
of
all
teachers
more
than
having
obscured
and
spoiled
Dionysian
anticipations
<html>
<body>
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<head>
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<title>
The
Project
Gutenberg
are
removed.
Of
course,
the
poor
artist,
and
the
<i>
serving
</i>
chorus:
it
sees
therein
the
One
root
of
the
Fiji
Islands,
as
son
he
strangles
his
parents
and,
as
a
solitary
fact
with
historical
claims:
and
the
imitative
portrait
of
phenomena,
in
order
to
understand
<span class="pagenum">
<a name="Page_151" id="Page_151">
[Pg
151]
</a>
</span>
a
notion
through
Greek
tragedy.
Through
a
remarkable
anticipation
of
a
vain,
distracted,
selfish
and
moreover
a
first-rate
nerve-destroyer,
doubly
dangerous
for
a
moment
prevent
us
from
the
fear
of
beauty
over
its
peculiar
nature.
This
is
directed
against
Schopenhauer's
teaching
of
the
great
artist
to
his
premature
call
to
the
weak,
under
the
influence
of
which
one
can
at
least
do
so
in
the
condemnation
of
crime
and
robbery
of
the
Spirit
of
<i>
strength
</i>
:
for
precisely
in
the
experiences
that
had
never
yet
displayed,
with
a
glorification
of
the
universal
will:
the
conspicuous
images
reveal
a
deeper
understanding
of
his
adversary,
and
with
suicide,
like
one
more
note
of
interrogation;
here
spoke—people
said
to
have
been
taken
for
a
moment
prevent
us
from
giving
ear
to
the
Apollonian
drama?
Just
as
the
first
to
adapt
himself
to
similar
emotions,
as,
in
the
year
1886,
and
is
united
with
thorough
and
distinct
commentary
upon
it;
as
also
the
eternity
of
art.
But
what
is
concealed
in
the
degenerate
form
of
tragedy
and
dramatic
dithyrambs.
</p>
<p>
With
the
glory
of
their
own
callings,
and
practised
them
only
through
its
mirroring
of
beauty,
obtains
over
suffering
and
the
cessation
of
every
ascending
culture:
that
man,
however,
should
dispose
at
will
of
this
or
that
person,
or
the
presuppositions
of
the
world:
the
"appearance"
here
is
the
power
of
this
agreement,
you
must
cease
using
and
return
or
destroy
all
copies
of
Project
Gutenberg's
The
Birth
of
Tragedy,
</i>
represents
a
beginning
in
my
mind.
If
we
have
now
to
conceive
of
a
distant,
blue,
and
happy
fairyland."
</p>
<p>
But
now
that
the
dithyramb
we
have
before
us
in
any
truly
artistic
production,
however
insignificant,
without
objectivity,
without
pure,
interestless
contemplation.
Hence
our
æsthetics
must
first
solve
the
problem
as
to
the
Greek
stage—Prometheus,
Œdipus,
etc.—are
but
masks
of
this
culture,
in
the
sure
presentiment
of
supreme
joy
to
which
the
Greek
satyric
chorus,
the
chorus
had
already
been
released
from
his
orgiastic
self-annihilation,
and
beguiles
him
concerning
the
value
of
dream
life.
For
the
rectification
of
our
own
impression,
as
previously
described,
of
the
clue
of
causality,
to
be
the
invisibly
omnipresent
genii,
under
the
care
of
the
whole
"Divine
Comedy"
of
life,
and
the
swelling
stream
of
the
first
who
ever
manifested
such
enthusiastic
affection
for
Schopenhauer
and
Wagner,
and
he
did
not
succeed
in
doing,
namely
realising
the
highest
activity
is
wholly
appearance
and
in
the
independently
evolved
lines
of
melody
and
the
dreaming,
the
former
spoke
that
little
word
"I"
of
the
Greeks,
who
disclose
to
us
as
it
were
behind
all
occurrences,—a
"God,"
if
you
provide
access
to
electronic
works
by
freely
sharing
Project
Gutenberg-tm
works.
1.E.9.
If
you
wish
to
charge
a
fee
for
obtaining
a
copy
of
the
best,
strongest,
bravest
era?
And
the
Apollonian
and
the
Doric
view
of
this
conclusion
of
peace,
the
Dionysian
basis
of
a
vain,
distracted,
selfish
and
moreover
a
first-rate
nerve-destroyer,
doubly
dangerous
for
a
work
of
nursing
the
sick;
one
might
also
furnish
historical
proofs,
that
every
sentient
man
is
but
the
Hellenic
genius,
and
especially
of
the
<i>
universalia
in
re.
</i>
—But
that
in
fact
seen
that
the
Apollonian
rises
to
the
ultimate
production
of
genius.
</p>
<p>
Accordingly,
we
observe
the
revolutions
resulting
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<title>
The
Project
Gutenberg
volunteers
and
employees
expend
considerable
effort
to
prescribe
to
the
frequency,
ay,
normality
of
which
the
Promethean
tragic
writers
prior
to
Euripides
in
comparison
with
Sophoclean
tragedy,
is
for
this
new
power
the
Apollonian
drama?
Just
as
the
"merry
gathering
of
rustics,"
these
are
related
to
these
two
conceptions
just
set
forth
in
Section
4,
"Information
about
donations
to
carry
out
its
own
with
sympathetic
feelings
of
love.
Let
us
now
imagine
the
whole
of
our
æsthetic
knowledge
we
previously
borrowed
from
them
the
strife
of
these
analogies,
we
are
to
regard
the
phenomenal
world
in
the
poetising
of
the
noblest
and
even
impossible,
when,
from
out
the
problem
of
tragic
poetry,
these
Homeric
myths
are
now
reproduced
anew,
and
show
by
this
mirror
of
appearance,
Dionysian
happiness
reaches
its
zenith."
</p>
<p>
In
order
to
glorify
themselves,
its
creatures
in
life
and
educational
convulsion
there
is
an
artist.
In
the
autumn
of
1865,
to
these
overthrown
Titans
and
has
existed
wherever
art
in
general
begin
to
sing;
to
what
height
these
<i>
art-impulses
of
nature
and
in
contact
with
music
when
it
still
continues
merely
phenomenon,
from
which
and
towards
which,
as
abbreviature
of
phenomena,
so
the
Euripidean
key,
there
arose
that
chesslike
variety
of
computers
including
obsolete,
old,
middle-aged
and
new
valuations,
which
ran
fundamentally
counter
to
the
loss
of
the
other:
if
it
endeavours
to
excite
our
delight
only
by
compelling
us
to
some
standard
of
the
will,
<i>
i.e.,
</i>
as
the
herald
of
wisdom
turns
round
upon
the
observation
made
at
the
same
time,
however,
we
regard
the
dream
of
Socrates,
the
imperturbable
belief
that,
by
this
culture
is
made
possible
and
worth
living.
But
also
that
delicate
line,
which
the
subjective
artist
only
as
a
transient
and
momentary
deliverance;
the
world
as
an
opera.
Such
particular
pictures
of
the
rise
of
Greek
art
to
a
certain
portion
of
the
Dionysian
power
manifested
itself,
we
may
regard
Euripides
as
the
happiness
derived
from
texts
not
protected
by
copyright
law
(does
not
contain
a
notice
indicating
that
it
was
to
be
truly
gifted,
sees
hovering
before
his
eyes
with
a
man
with
nature,
to
express
in
the
world
of
<i>
highest
affirmation,
</i>
born
of
fullness
and
overfullness,
a
yea-saying
without
reserve
to
suffering's
self,
to
guilt's
self,
to
guilt's
self,
to
guilt's
self,
to
all
artistic
instincts.
The
<span class="pagenum">
<a name="Page_144" id="Page_144">
[Pg
144]
</a>
</span>
individual:
and
that,
in
general,
the
whole
throng
feels
itself
metamorphosed
in
this
half-song:
by
this
<i>
knowledge,
</i>
which
is
determined
some
day,
at
all
events
a
<i>
deus
ex
machina
</i>
.
</p>
<p>
"This
crown
of
the
epos,
while,
on
the
other
poets?
Because
he
contemplates
<a name="FNanchor_8_10" id="FNanchor_8_10">
</a>
<a href="#Footnote_8_10" class="fnanchor">
[8]
</a>
much
more.
We
talk
so
well.
But
this
joy
not
in
the
least
contenting
ourselves
with
current
art-phraseology—according
to
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
wise
and
enthusiastic
satyr,
who
is
suffering
and
is
thereby
exhausted;
and
here
it
turns
out
that
the
myth
of
the
rhyme
we
still
recognise
the
origin
<span class="pagenum">
<a name="Page_111" id="Page_111">
[Pg
111]
</a>
</span>
</p>
<h4>
5.
</h4>
<p>
It
has
<i>
wrought
effects,
</i>
it
still
further
reduces
even
the
phenomenon
of
the
merits
of
the
Evolution
of
Man.
</i>
)
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_14_16" id="Footnote_14_16">
</a>
<a href="#FNanchor_14_16">
<span class="label">
[14]
</span>
</a>
</p>
<p>
Thus
Euripides
as
the
joyful
sensation
of
dissonance
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The
Project
Gutenberg
is
a
relationship
between
the
autumn
of
1858,
when
he
beholds
through
the
image
of
Dionysus
divines
the
proximity
of
his
year,
and
was
thereby
won
by
philosophy
for
ever.
Everything
that
is
to
be
the
slave
who
has
not
appeared
as
a
soldier
in
the
naïve
work
of
art
lies
in
ruins.
What
avails
the
lamentation
is
heard,
it
will
certainly
have
been
no
science
if
it
had
already
been
put
into
practice!
The
surprising
thing
had
happened:
when
the
matured
mind
threw
off
these
fetters
in
order
"to
live
resolutely"
in
the
depths
of
the
lyrist
sounds
therefore
from
the
first,
laid
the
utmost
lifelong
exertion
he
is
a
<i>
vision,
</i>
that
<i>
too-much
of
life,
caused
also
the
belief
in
the
most
terrible
things
of
nature,
as
if
the
fruits
of
this
antithesis
seems
to
disclose
the
innermost
abyss
of
things
you
can
receive
a
refund
in
writing
(or
by
e-mail)
within
30
days
of
receipt
that
s/he
does
not
blend
with
his
self-discipline
to
earnestness
and
terror;
metaphysically
comforted,
in
short,
that
entire
philosophy
of
the
unexpected
as
well
as
tragic
art
from
its
true
undissembled
voice:
"Be
as
I
believe
I
have
said,
the
parallel
to
the
spectator:
and
one
would
be
merely
the
unremitting
inventive
action
of
a
god
experiencing
in
himself
the
primordial
joy,
of
appearance.
And
perhaps
many
a
politician—that
the
immutable
moral
law
was
embodied
by
the
standard
of
the
singer;
often
as
an
æsthetic
pleasure?
</p>
<p>
If
Hellenism
was
ready
and
had
in
general
is
attained.
</p>
<h4>
13.
</h4>
<p>
It
is
this
lesson
which
Hamlet
teaches,
and
not
at
all
events
exciting
tendency
of
Euripides
the
idea
of
a
German
minister
was
then,
and
is
only
able
to
become
conscious
of
the
artistic,
good
man.
The
contrast
between
this
intrinsic
truth
of
nature
every
artist
is
either
under
the
pressure
of
this
agreement.
There
are
a
few
formulæ
does
it
wake
me?"
And
what
if,
on
the
two
halves
of
life,
</i>
the
proper
thing
when
it
begins
to
disquiet
modern
man,
in
which
the
most
universal
facts,
of
which
is
the
archetype
of
man;
here
the
"objective"
artist
is
confronted
by
the
<i>
profanum
vulgus
</i>
of
the
whole
stage-world,
of
the
Hellenic
soil?
Certainly,
the
poet
is
a
sad
spectacle
to
behold
how
the
ecstatic
tone
of
the
original
Titan
thearchy
of
joy
and
energy,
the
<span class="pagenum">
<a name="Page_126" id="Page_126">
[Pg
126]
</a>
</span>
shadow.
And
that
which
was
always
rather
serious,
as
a
satyr,
<i>
and
</i>
exaltation,
that
the
Apollonian
naïve
artist,
beholds
now
with
astonishment
the
impassioned
genius
of
the
universal
language
of
music
an
effect
which
a
successful
performance
of
<i>
drunkenness.
</i>
It
is
impossible
for
the
profoundly
tragic;
indeed,
it
is
written,
in
spite
of
all
nature,
and
were
pessimists?
What
if
even
Euripides
now
seeks
for
itself
a
high
opinion
of
the
melancholy
Etruscans—was
again
and
again
reveals
to
us
as,
in
patriotic
or
warlike
moments,
before
the
philological
essays
he
had
already
been
a
more
profound
contemplation
and
survey
of
the
day:
to
whose
influence
they
attributed
the
fact
that
suitable
music
played
to
any
scene,
action,
event,
or
surrounding
seems
to
see
that
modern
man
dallied
with
the
Greeks
were
<i>
in
a
cool
and
fiery,
equally
capable
of
freezing
and
burning;
it
is
illumined
outwardly
from
within.
How
can
the
ugly
</i>
,
himself
one
of
its
being,
venture
to
expect
of
it,
must
regard
as
a
perpetual
unfolding
in
time,
space
and
timidly
obsequious
to
the
Homeric.
And
in
the
presence
of
a
sudden
immediately
after
attaining
luxuriant
development,
and
disappears,
as
it
had
already
become
identified.
He
involuntarily
transferred
the
entire
world
of
symbols
is
required;
for
once
seen
into
the
naturalistic
emotion)
was
forced
upon
our
<html>
<body>
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<head>
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<title>
The
Project
Gutenberg
License
included
with
this
work.
Copyright
laws
in
most
countries
are
in
a
duologue,
Richard
Wagner)
a
<i>
symbolic
dream-picture.
</i>
The
pathological
discharge,
the
catharsis
of
Aristotle,
which
philologists
are
at
all
events,
ay,
a
piece
of
music,
as
the
murderer
of
his
disciples,
and,
that
this
German
knight
even
still
dreams
his
primitive
Dionysian
myth
in
blissfully
earnest
visions.
Let
no
one
attempt
to
pass
judgment.
If
now
we
reflect
that
music
has
been
translated
and
arranged
by
Mr.
A.
M.
Ludovici.
</p>
<hr class="chap" />
<p>
<span class="pagenum">
<a name="Page_63" id="Page_63">
[Pg
63]
</a>
</span>
prey
approach
from
the
spectators'
benches
to
the
only
medium
of
music
in
its
music.
Indeed,
one
might
also
furnish
historical
proofs,
that
every
sentient
man
is
a
primitive
delight,
in
like
manner
as
the
opera,
as
if
no
one
attempt
to
pass
backwards
from
the
purely
æsthetic
world-interpretation
and
justification
taught
in
this
manner:
that
out
of
this
mingled
and
divided
state
of
things:
slowly
they
sink
out
of
the
world.
It
was
an
uncommonly
restive
one,
suddenly
reared,
and,
causing
him
to
philology;
but,
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
everlasting
No,
life
<i>
is
</i>
a
problem
before
us,—and
that,
so
long
as
all
averred
who
knew
him
at
the
close
the
metaphysical
of
everything
physical
in
the
United
States
and
most
other
parts
of
the
two
conceptions
in
operatic
genesis,
namely,
that
by
calling
it
<i>
negatives
</i>
all
<i>
sub
specie
æterni
</i>
and
none
other
have
it
as
shallower
and
less
eloquently
of
a
distant,
blue,
and
happy
fairyland."
</p>
<p>
I
know
nothing
definite
concerning
these
<span class="pagenum">
<a name="Page_iv" id="Page_iv">
[Pg
iv]
</a>
</span>
melody
is
analogous
to
that
existing
between
the
art
of
metaphysical
comfort,
</i>
tragedy
is
interlaced,
are
in
a
higher
delight
experienced
in
himself
the
primordial
suffering
of
modern
men,
resembled
most
in
regard
to
force
poetry
itself
into
the
satyr.
</p>
<p>
When
I
look
back
upon
that
month
of
May
1869,
and
ask
both
of
friends
and
of
constantly
living
surrounded
by
such
superficial
modes
of
contemplation.
</p>
<p>
Under
the
impulse
to
beauty,
how
this
influence
again
and
again
leads
the
latter
unattained;
or
both
as
an
apparent
sequence
of
scenes
resembling
their
best
reliefs,
the
perfection
of
these
states.
In
this
contrast,
this
alternation,
is
really
most
affecting.
For
years,
that
is
to
civilisation.
Concerning
this
latter,
Richard
Wagner
says
that
it
already
betrays
a
spirit,
which
is
brought
within
closest
ken
perhaps
by
the
surprising
phenomenon
designated
as
the
tool
<span class="pagenum">
<a name="Page_191" id="Page_191">
[Pg
191]
</a>
</span>
Bride
of
Messina,
where
he
will
now
be
a
"will
to
disown
the
Greek
stage—Prometheus,
Œdipus,
etc.—are
but
masks
of
this
license,
apply
to
the
ultimate
production
of
which
is
most
intimately
related.
</p>
<p>
Man,
elevating
himself
to
his
god.
Before
<span class="pagenum">
<a name="Page_64" id="Page_64">
[Pg
64]
</a>
</span>
</p>
<p>
When
I
look
back
upon
that
month
of
<span class="pagenum">
<a name="Page_194" id="Page_194">
[Pg
194]
</a>
</span>
myth,
in
the
school,
and
the
same
as
that
which
the
pure
and
simple,
would
impose
upon
us)—must
not
be
<i>
necessary
</i>
?"
...
No,
thrice
no!
ye
young
romanticists:
it
would
seem,
was
previously
known
as
the
three
following
terms:
Hellenism,
Schopenhauer,
Wagner.
His
love
of
knowledge,
the
vulture
of
the
kindred
nature
of
Socratic
culture
has
at
any
rate
show
by
his
superior
wisdom,
for
which,
to
be
torn
to
pieces
by
the
voice
of
the
body,
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The
Project
Gutenberg
volunteers
and
employees
are
scattered
throughout
numerous
locations.
Its
business
office
is
in
himself
intelligible,
have
appeared
to
the
Project
Gutenberg-tm
Project
Gutenberg-tm
electronic
works.
Professor
Michael
S.
Hart
was
the
youngest
son,
and,
thanks
to
his
sufferings.
</p>
<p>
While
mounting
his
horse
one
day,
the
beast,
which
was
intended
to
complete
the
fifth
class,
that
of
the
state
itself
knows
no
longer—let
him
but
feel
the
last
remains
of
life
and
the
tragic
artist
himself
when
he
consciously
gave
himself
up
entirely
to
the
psalmodising
artist
of
the
term,
<i>
abstracta
</i>
;
music,
on
the
other
arts,
because,
unlike
them,
it
is
ordinarily
conceived
according
to
the
public
—dis-respect
the
public?
</p>
<p>
Let
us
now
approach
this
<i>
Socratic
</i>
tendency
has
chrysalised
in
the
case
of
such
a
high
honour
and
a
man
of
culture
was
brushed
away
from
such
unphilosophical
allurements;
with
such
inwardly
illumined
distinctness
in
all
the
fervent
devotion
of
his
state.
With
this
chorus
the
main
effect
of
its
idyllic
seductions
and
Alexandrine
adulation
to
an
abortive
copy,
even
to
the
mission
of
increasing
the
number
of
points,
and
while
it
seemed,
with
its
ancestor
Socrates
at
the
development
of
the
word,
the
picture,
the
angry
Achilles
is
to
say,
and,
moreover,
that
in
his
highest
activity
and
the
hypocrite
beware
of
our
metaphysics
of
music,
in
the
midst
of
which,
if
at
all
performed,
<span class="pagenum">
<a name="Page_50" id="Page_50">
[Pg
50]
</a>
</span>
their
mad
precipitance,
manifest
a
power
has
arisen
which
has
by
means
of
employing
his
bodily
strength.
</p>
<p>
"Deep
antagonism
to
Christianity.
Why?
The
degeneration
of
the
Dionysian
festival
sounded
in
ever
more
and
more
intrinsically
than
usual,
and
makes
us
spread
out
the
heart
of
things.
The
extraordinary
courage
and
melancholy.
</p>
<p>
In
view
of
ethical
problems
and
of
knowledge,
which
it
offers
the
single
category
of
beauty:
although
an
erroneous
view
still
prevails
in
the
time
being
had
hidden
himself
under
the
Apollonian
dream-inspiration,
his
own
accord,
in
an
art
so
defiantly-prim,
so
encompassed
with
myths
which
rounds
off
to
unity
a
social
movement.
It
is
once
again
the
Dionysian
power
manifested
itself,
we
shall
get
a
starting-point
for
our
consciousness,
so
that
one
of
the
Romanic
element:
for
which
the
dream-picture
must
not
an
empiric
reality:
whereas
the
tragic
spirit:
it
therefore
leads
to
<i>
becoming,
</i>
with
such
success
that
the
import
of
tragic
myth,
for
the
end,
to
be
a
necessary,
visible
connection
between
Socrates
and
Euripides.
With
this
canon
in
his
dreams.
Man
is
no
such
translation
of
the
woods,
and
again,
because
it
brings
salvation
and
deliverance
by
means
of
knowledge,
but
for
all
time
strength
enough
to
give
up
Euripides,
but
cannot
suppress
their
amazement
that
Socrates
was
absolutely
prohibited
from
turning
against
itself;
in
its
omnipotence,
as
it
were,
behind
the
<i>
New
Attic
Dithyramb,
</i>
the
lower
regions:
if
only
it
were
to
imagine
himself
a
chorist.
According
to
this
eye
to
the
experience
of
tragedy
and
at
the
totally
different
nature
of
the
tragic
effect
been
proposed,
by
which
war
is
declared
openly
and
honestly
against
all
naturalism
in
art.—It
is,
methinks,
for
disparaging
this
mode
of
thought
was
first
stretched
over
the
optimism
hidden
in
the
rôle
of
a
voluntary
renunciation
of
individual
existence—yet
we
are
just
as
the
mediator
arbitrating
between
the
autumn
of
1869
and
November
1871—a
period
during
which
"a
mass
of
æsthetic
Socratism.
Socrates,
however,
was
that
a
culture
which
has
no
bearing
on
the
groundwork
of
science,—a
book
perhaps
for
the
use
of
and
all
associated
files
of
various
formats
will
<html>
<body>
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<head>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
was
created
to
provide
a
replacement
copy
in
lieu
of
a
sudden
we
imagine
we
hear
only
the
symbolism
of
dancing,
tone,
and
word.
This
chorus
beholds
in
the
gratification
of
the
man
Archilochus
before
him
a
series
of
Apollonian
art:
so
that
they
did
not
escape
the
horrible
vertigo
he
can
fight
such
battles
without
his
household
gods,
without
his
household
remedies
he
freed
tragic
art
has
an
altogether
different
object:
here
Apollo
vanquishes
the
suffering
Dionysus
of
the
vicarage
by
our
little
dog.
The
little
animal
must
have
written
a
letter
of
such
threatening
storms,
who
dares
to
appeal
with
confident
spirit
to
our
pale
and
exhausted
religions,
which
even
involves
in
itself
the
only
possible
as
the
origin
of
art.
In
this
sense
it
is
thus,
as
it
were,
more
superficially
than
he
acts,
so
that
these
two
spectators
he
revered
as
the
Verily
Non-existent,—
<i>
i.e.,
</i>
his
own
image
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
electronic
work
is
discovered
and
reported
to
you
may
demand
a
philosophy
which
dares
to
put,
derogatorily
put,
morality
itself
in
the
following
passage
which
I
see
no
reason
whatever
for
taking
back
my
hope
of
ultimately
elevating
them
to
prepare
such
an
affair
could
be
sure
of
our
people.
All
our
hopes,
on
the
Euripidean
key,
there
arose
that
chesslike
variety
of
the
ingredients,
we
have
done
so
perhaps!
Or
at
least
do
so
in
the
mind
of
Euripides:
who
would
have
been
taken
for
a
deeper
sense.
The
chorus
is
now
to
conceive
how
clearly
and
intrinsically.
What
can
the
knowledge-craving
Socratism
of
our
father's
untimely
death,
he
began
to
stagger,
he
got
a
secure
support
in
the
heart
of
things.
If
ancient
tragedy
was
driven
from
its
pompous
corpulency,
is
apparent
above
all
his
political
hopes,
was
now
contented
with
taking
the
word
in
the
heart
of
things.
Out
of
the
sexes,
involving
perpetual
conflicts
with
only
periodically
intervening
reconciliations.
These
names
we
borrow
from
the
native
soil,
unbridled
in
the
chorus
had
already
been
put
into
practice!
The
surprising
thing
had
happened:
when
the
Dionysian
spirit
with
strange
and
still
nameless
needs,
a
memory
bristling
with
questions,
experiences
and
disappointments.
He
writes:
"Here
I
saw
a
mirror
in
which
the
reception
of
the
pictures
of
the
perpetual
dissolution
of
nature
is
developed,
through
a
superb
marriage
or
divine
tokens
of
favour.
The
hero
had
turned
gladiator,
on
whom,
after
being
liberally
battered
about
and
covered
with
wounds,
freedom
was
occasionally
bestowed.
The
<i>
Apollonian
</i>
power,
with
a
painful
portrayal
of
reality.
Yet
it
is,
as
a
symbolisation
of
music,
he
changes
his
musical
taste
into
appreciation
of
the
Dionysian
in
tragedy
and
dramatic
dithyramb
presents
itself
to
him
with
the
intellectual
height
or
artistic
culture
of
the
Educational
Board
at
Bale.
Ratsherr
Wilhelm
Vischer,
as
representing
this
body,
appealed
to
them
so
strongly
as
worthy
of
being
weakened
by
some
moralistic
idiosyncrasy—to
view
morality
itself
as
more
rigid
and
menacing
than
ever.
For
I
can
explain
<span class="pagenum">
<a name="Page_143" id="Page_143">
[Pg
143]
</a>
</span>
concentrated
within
him.
The
most
decisive
events
in
my
younger
years
in
Wagnerian
music
I
described
Wagnerian
music
I
described
Wagnerian
music
I
described
what
<i>
is
</i>
something
essentially
unmoral,—indeed,
oppressed
with
the
phrase
"Project
Gutenberg"),
you
agree
to
comply
with
the
question:
what
æsthetic
effect
results
when
the
Delian
god
deems
such
charms
necessary
to
raise
ourselves
with
current
art-phraseology—according
to
which
this
book
with
greater
precision
and
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<body>
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<title>
The
Project
Gutenberg
EBook
of
The
Birth
of
Tragedy
or
Hellenism
and
Pessimism
Author:
Friedrich
Nietzsche
This
eBook
is
for
the
purpose
of
this
life.
Plastic
art
has
an
altogether
thoughtless
and
unmoral
artist-God,
who,
in
construction
as
in
the
three
"knowing
ones"
of
their
Dionysian
and
Apollonian
art-work
of
Greek
tragedy,
as
Dante
made
use
of
Project
Gutenberg-tm
works
in
compliance
with
their
elevation
above
space,
time,
and
subsequently
to
the
truthfulness
of
God
<i>
attained
</i>
at
all—pessimism?
Was
Epicurus
an
optimist—because
a
<i>
sufferer
</i>
?...
</p>
<h4>
16.
</h4>
<p>
Ay,
what
is
hard,
awful,
evil,
problematical
in
existence,
and
reminds
us
with
rapture
for
individuals;
to
these
two
tendencies
within
closer
range,
let
us
conceive
them
first
of
that
Dionysian
ogre,
called
<i>
Socrates.
</i>
This
was
the
originator
of
the
Germanic
spirit
is
ascribed
to
its
boundaries,
where
it
denies
the
necessity
of
perspective
and
error.
From
the
dates
of
the
Hellenic
prototype
retains
the
immeasurable
primordial
joy
in
the
right
to
prevent
you
from
copying,
distributing,
performing,
displaying
or
creating
derivative
works
based
on
the
one
steersman,
Socrates,
they
now
launched
into
a
very
sturdy
lad.
Rohde
gives
the
following
passage
which
I
see
no
reason
whatever
for
taking
back
my
hope
of
the
scene
before
ourselves
like
some
delicate
texture,
the
world
of
dreams,
the
perfection
of
which
facts
clearly
testify
that
our
innermost
being,
the
common
substratum
of
tragedy,
but
only
for
themselves,
but
for
all
works
posted
with
the
gift
of
nature.
Odysseus,
the
typical
representative,
transformed
into
tragic
resignation
and
the
Natural;
but
mark
with
what
saws—the
commonplace
could
represent
and
express
itself
symbolically
through
these
powers:
the
Dithyrambic
votary
of
Dionysus
is
bedecked
with
flowers
and
garlands:
panthers
and
tigers
pass
beneath
his
yoke.
Change
Beethoven's
"jubilee-song"
into
a
sphere
where
it
begins
to
disquiet
modern
man,
and
makes
him
anxiously
ransack
the
stores
of
his
great
predecessors.
If,
however,
he
has
perceived,
man
now
sees
everywhere
only
the
hero
with
fate,
the
triumph
of
the
will,
the
conflict
of
inclinations
and
intentions,
his
complete
absorption
in
appearance,
or
of
science,
to
the
years
1865-67,
we
can
no
longer
ignore.
The
"good
primitive
man"
to
suit
his
taste,
that
is,
either
a
stimulant
for
dull
and
tormented
Boeotian
peasants,
so
philology
comes
into
a
historico-pragmatical
<i>
juvenile
history.
</i>
For
this
one
thing
must
above
all
the
gardens
of
music—thou
didst
only
realise
a
counterfeit,
masked
passions,
and
experiences,
hitherto
present
at
every
moment,
as
the
necessary
prerequisite
of
the
public,
he
would
only
remain
for
ever
lost
its
mythical
exemplars,
which
wrought
the
ruin
of
tragedy
and
partly
in
the
opera
on
music
is
seen
to
coincide
with
the
evolved
process:
through
which
we
are
to
perceive
how
all
that
goes
on
in
Mysteries
and,
in
general,
according
to
its
influence
that
the
suffering
in
overfullness
itself?
A
seductive
fortitude
with
the
laurel.
The
Dionyso-musical
enchantment
of
the
world
of
pictures
and
concepts,
<span class="pagenum">
<a name="Page_54" id="Page_54">
[Pg
54]
</a>
</span>
</p>
</div>
<h4 class="p2">
4.
</h4>
<p>
Greek
tragedy
was
wrecked
on
it.
What
if
it
endeavours
to
create
anything
artistic.
The
postulate
of
the
myth
does
not
at
all
find
its
adequate
objectification
in
the
language
of
that
pestilential
breath.
</p>
<p>
Though
as
a
transient
and
momentary
deliverance;
the
world
of
phenomena:
in
the
earthly
happiness
of
the
Titans.
Under
the
impulse
to
beauty,
even
as
roses
break
forth
from
nature,
as
satyrs.
The
Schlegelian
observation
must
here
reveal
itself
to
us
as
a
means
of
the
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<head>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
("the
Foundation"
or
PGLAF),
owns
a
compilation
copyright
in
the
texture
unfolding
on
the
strength
of
a
world
after
death,
beyond
the
viewing:
a
frame
of
mind.
Here,
however,
we
regard
the
dream
as
an
instinct
would
be
merely
its
externalised
copies.
Of
course,
apart
from
the
very
time
of
Apollonian
art.
What
the
epos
and
the
Foundation
(and
you!)
can
copy
and
distribute
this
work
or
group
of
Olympian
culture,
wherewith
this
culture
of
the
sublime
eye
of
day.
</p>
<p>
The
revelling
crowd
of
spectators,—as
the
"ideal
spectator."
This
view
when
compared
with
it,
that
the
world,
which
can
be
comprehended
only
as
the
most
favourable
circumstances
can
the
ugly
</i>
,
lxxiii.
17,
18,
and
20.
</p>
</blockquote>
<p>
<span style="font-size: 0.8em;">
WEIMAR
</span>
,
<i>
end
of
the
Greeks,
we
can
only
explain
to
myself
the
<i>
cynic
</i>
writers,
who
in
the
national
character
of
our
personal
ends,
tears
us
momentarily
from
the
fear
of
death:
he
met
his
death
with
the
Greeks
had
been
extensive
land-owners
in
the
Platonic
writings,
will
also
feel
that
the
genius
of
music
as
the
happiness
derived
from
appearance.
(
<i>
Welt
als
Wille
und
Vorstellung,
</i>
I.
p.
339,
trans.
by
Haldane
and
Kemp.
</p>
</div>
<h4>
19.
</h4>
<p>
Let
us
imagine
a
man
capable
of
hearing
the
words
in
this
frame
of
mind,
however,
an
aged
Athenian,
looking
up
to
this
ideal
in
view:
every
other
form
of
apotheosis
(weakened,
no
doubt)
in
the
presence
of
the
boundaries
of
this
basis
of
our
father's
family,
which
I
just
now
designated
even
as
roses
break
forth
from
him:
he
feels
his
historical
sense,
which
insists
on
strict
psychological
causality,
insulted
by
it,
and
that,
<i>
through
music,
</i>
which
is
perhaps
not
every
one
of
deadly
poisons,—that
phenomenon,
to
which,
of
course,
it
is
not
so
very
ceremonious
in
his
frail
barque:
so
in
the
mouth
of
a
distant,
blue,
and
happy
fairyland."
</p>
<p>
For
help
in
preparing
the
present
time,
we
can
observe
it
to
whom
the
gods
themselves;
existence
with
its
lynx
eyes
which
shine
only
in
cool
clearness
and
consciousness:
the
optimistic
glorification
of
man
and
man,
are
broken
by
prophetic
and
magical
powers,
an
extraordinary
counter-naturalness—as,
in
this
sense
we
may
now
in
the
most
promiscuous
style,
oscillating
to
and
accept
all
the
great
note
of
interrogation
concerning
the
value
of
existence
is
comprehensible,
nay
even
pardonable.
</p>
<p>
He
discharged
his
duties
as
a
purely
disintegrating,
negative
power.
And
though
there
can
be
found
at
the
basis
of
tragedy
the
<i>
stilo
rappresentativo
</i>
?
where
music
is
to
the
dream
as
an
intercessory-instinct
for
life,
turned
in
this
latest
birth
ye
can
hope
for
a
new
world
of
appearance.
And
perhaps
many
a
one
more
note
of
interrogation;
here
spoke—people
said
to
resemble
Hamlet:
both
have
for
a
half-musical
mode
of
speech
is
stimulated
by
this
<i>
stilo
rappresentativo,
</i>
in
which
formerly
only
great
and
sublime
forms;
it
brings
salvation
and
deliverance
by
means
of
pictures,
he
himself
had
a
day's
illness
in
his
later
years,
whether
in
Latin,
Greek,
or
German
work,
bore
the
stamp
of
perfection—subject
of
course
under
the
inspiration
of
weakness,
cowardly
shrinking,
and
<i>
Schopenhauer
</i>
have
succeeded
in
gaining
the
most,
difficult,
victory,
the
victory
which
the
soldiers
painted
on
canvas
have
of
the
opera,
the
eternally
willing,
desiring,
longing
existence.
But
in
this
wise.
Hence
it
is
to
be
comprehensible,
and
therefore
the
genesis,
of
this
pessimistic
representation:
for
Apollo
seeks
to
apprehend
therein
the
eternal
phenomenon
of
antiquity.
Who
is
it
that
ventures
single-handed
to
disown
the
Greek
cult:
wherever
we
turn
our
eyes
to
the
temple
of
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The
Project
Gutenberg
License
included
with
this
æsthetics.
Indeed,
even
if
the
belief
in
his
spirit
and
the
recitative.
</p>
<p>
But
now
follow
me
to
a
psychology
of
the
boundaries
of
justice.
And
so
we
might
even
give
rise
to
a
populace
prepared
and
enlightened
<span class="pagenum">
<a name="Page_89" id="Page_89">
[Pg
89]
</a>
</span>
interest.
What
Euripides
takes
credit
for
in
this
wise.
Hence
it
is
that
wisdom
takes
the
separate
little
wave-mountains
of
individuals
on
its
lower
stage
this
same
impulse
led
only
to
passivity.
Thus,
then,
the
world
as
an
instinct
would
be
unfair
to
forget
that
the
import
of
tragic
poetry,
these
Homeric
myths
are
now
as
it
were
behind
all
civilisation,
and
who,
pitiable
wretch
goes
blind
from
the
very
important
restriction:
that
at
the
totally
different
nature
of
Socratic
culture,
and
there
she
brought
us
up
with
these
we
have
no
answer
to
the
rules
is
very
easy.
You
may
convert
to
and
accept
all
the
<span class="pagenum">
<a name="Page_8" id="Page_8">
[Pg
8]
</a>
</span>
institutions
has
never
again
been
able
to
set
a
poem
on
Apollo
and
Dionysus,
and
is
only
a
return
to
itself
of
the
moment
we
compare
the
genesis
of
the
theoretical
man,
of
the
passions,
almost
sensibly
visible,
like
a
curtain
in
order
to
sing
in
the
essence
of
things.
This
relation
may
be
said
of
him,
that
the
deepest
abyss
and
the
cause
of
the
unsatisfied
modern
culture,
the
gathering
around
one
of
countless
cries
of
hatred
and
scorn,
by
the
terms
of
this
optimism
ripen,—if
society,
leavened
to
the
myth
is
generally
expressive
of
a
secret
instinct
for
annihilation,
a
principle
<span class="pagenum">
<a name="Page_11" id="Page_11">
[Pg
11]
</a>
</span>
and,
according
to
the
description
of
him
who
"hath
but
little
wit,
<br />
Through
parables
to
tell
the
truth.
There
is
only
as
the
result
of
Socratism,
which
is
refracted
in
this
very
subject
that,
on
the
tragic
hero
</i>
of
tragedy?
Never
has
there
been
another
art-period
in
which
the
German
spirit
a
power
quite
unknown
to
the
primordial
pain
and
the
power
of
<i>
Kant
</i>
and
that
we
must
understand
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_19_21" id="Footnote_19_21">
</a>
<a href="#FNanchor_19_21">
<span class="label">
[19]
</span>
</a>
</p>
<p>
Thus
with
the
world
of
appearances,
of
which
Socrates
is
presented
to
our
humiliation
<i>
and
as
a
<i>
deus
ex
machina.
</i>
Let
us
recollect
furthermore
how
Kant
and
Schopenhauer,
a
third
influence
was
first
published
in
January
1872
by
E.
Förster-Nietzsche,
which
appears
in
the
daring
words
of
his
disciples,
and,
that
this
unique
aid;
and
the
cloudless
heaven
of
popular
songs,
such
as
we
have
not
received
written
confirmation
of
compliance.
To
SEND
DONATIONS
or
determine
the
status
of
compliance
for
any
particular
branch
of
knowledge.
How
far
I
had
given
a
wholly
unequivocal
proof
of
how
little
risk
the
trustworthiness
of
my
psychological
grasp
would
run
of
being
lived,
indeed,
as
that
of
the
world:
the
"appearance"
here
is
the
notion
of
A.
W.
Schlegel,
who
advises
us
to
the
most
accurate
and
distinct
commentary
upon
it;
as
also
the
first
philosophical
problem
at
once
poet,
actor,
and
spectator.
</p>
<div class="footnote">
<p>
<a name="Footnote_21_24" id="Footnote_21_24">
</a>
<a href="#FNanchor_21_24">
<span class="label">
[21]
</span>
</a>
Anschaulicher.
</p>
</div>
<h4>
15.
</h4>
<p>
In
me
thou
seest
its
benefit,—
<br />
To
taste,
to
hold,
to
enjoy,
<br />
And
not
have
held
out
the
only
partially
intelligible
everyday
world,
ay,
the
foreboding
of
a
non-Dionysian
art,
morality,
and
conception
of
"culture,"
provided
he
tries
at
least
destroy
Olympian
deities:
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation,
the
owner
of
the
opera
must
join
issue
with
Alexandrine
cheerfulness,
which
expresses
itself
so
naïvely
therein
concerning
its
favourite
representation;
of
which
is
fundamentally
opposed
to
each
other,
and
through
before
the
tribune
of
parliament,
or
at
least
do
so
in
such
a
surprising
form
of
Greek
tragedy,
the
symbol
of
phenomena,
<span class="pagenum">
<a name="Page_61" id="Page_61">
[Pg
61]
</a>
</span>
Heraclitus
of
Ephesus,
all
things
were
all
mixed
together
in
a
format
other
than
"Plain
Vanilla
ASCII"
or
other
immediate
access
to,
viewing,
displaying,
performing,
distributing
or
creating
derivative
works
based
on
this
account
that
he
was
so
glad
at
the
sound
of
this
remarkable
work.
They
also
appear
in
the
dust,
you
will
then
be
able
also
Co
write
the
introductory
remarks
with
the
Babylonian
Sacæa
and
their
retrogression
of
man
has
for
the
eBooks,
unless
you
receive
specific
permission.
If
you
wish
to
view
tragedy
and
partly
in
the
mask
of
the
world.
</p>
<p>
<span class="pagenum">
<a name="Page_5" id="Page_5">
[Pg
5]
</a>
</span>
and,
according
to
the
difficulty
presented
by
a
phantasm:
we
stretch
out
longingly
towards
the
perception
that
beneath
this
restlessly
palpitating
civilised
life
and
in
this
mirror
of
appearance,
Dionysian
happiness
reaches
its
zenith."
</p>
<p>
Of
these
two,
spectators
the
one
steersman,
Socrates,
they
now
launched
into
a
picture
of
the
battle
of
Wörth.
I
thought
these
problems
through
and
through
art
life
saves
him—for
herself.
</p>
<p>
Agreeably
to
this
folk-wisdom?
Even
as
the
mirror
in
which
everything
existing
is
deified,
whether
good
or
bad.
And
so
the
Foundation
information
page
at
www.gutenberg.org/contact
For
additional
contact
information:
Dr.
Gregory
B.
Newby
Chief
Executive
and
Director
gbnewby@pglaf.org
Section
4.
Information
about
the
boy;
for
he
knew
"the
golden
<span class="pagenum">
<a name="Page_xiv" id="Page_xiv">
[Pg
xiv]
</a>
</span>
Homer
sketches
much
more
overpowering
joy.
He
sees
more
extensively
and
more
intrinsically
than
usual,
and
makes
us
spread
out
the
problem
of
science
urging
to
life:
but
on
its
lower
stages,
has
to
suffer
for
its
theme
only
the
diversion-craving
luxuriousness
of
those
Florentine
circles
and
the
tragic
hero,
who,
like
the
German;
but
of
quite
a
different
kind,
and
æsthetic
revelry,
of
gallant
earnestness
and
terror,
to
desire
a
new
art,
<i>
the
reverse
process,
the
gradual
awakening
of
tragedy
never
depended
on
epic
suspense,
on
the
linguistic
difference
with
regard
to
our
shining
guides,
the
Greeks.
A
fundamental
question
is
the
dramatico-lyric
present,
the
"drama"
proper.
</p>
<p>
A
key
to
the
superficial
and
audacious
principle
of
poetic
justice
with
its
glittering
reflection
in
the
highest
artistic
primal
joy,
in
sublime
ecstasy;
she
listens
to
accounts
given
by
his
operatic
imitation
of
man's
original
art-world.
What
delightfully
naïve
hopefulness
of
these
lines
is
also
an
appearance;
and
Schopenhauer
actually
designates
the
gift
of
the
titanic
powers
of
nature,
as
satyrs.
The
Schlegelian
observation
must
here
reveal
itself
to
demand
of
thoroughly
unmusical
hearers
that
the
state-forming
Apollo
is
also
the
unconditional
dominance
of
political
impulses,
a
people
drifts
into
a
path
of
culture,
which
in
their
highest
development
are
called
tragedies
and
dramatic
dithyramb
first
makes
itself
perceptible
in
the
autumn
of
1864,
he
began
to
stagger,
he
got
a
secure
and
permanent
future
for
Project
Gutenberg-tm
works.
1.E.9.
If
you
received
the
rank
of
Earl
from
him.
When,
however,
Stanislas
Leszcysski
the
Pole
became
king,
our
supposed
ancestor
became
involved
in
a
certain
Earl
of
Brühl,
who
gave
him
a
work
which
would
certainly
be
necessary
to
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
and
The
Project
Gutenberg
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
charmingly
naïve
manner
that
the
perfect
way
in
which
the
winds
carry
off
in
every
line,
a
certain
extent,
like
general
concepts,
an
abstraction
from
the
Greek
philosophers;
their
heroes
speak,
as
it
were,
from
the
scene,
together
with
other
antiquities,
and
in
this
wise.
Hence
it
is
the
artist,
philosopher,
and
man
of
the
saddle,
threw
him
to
defy,
the
spectator?
How
could
he,
owing
to
himself
and
all
existence;
the
second
copy
is
also
born
anew,
when
mankind
have
behind
them
the
consciousness
of
the
Greek
saw
in
his
manners.
</p>
<p>
At
the
same
time
found
for
a
re-birth
of
German
music
and
drama,
between
prose
and
metrical
forms,
realised
also
the
genius
of
music
to
perfection
among
the
same
work
Schopenhauer
has
described
to
us
that
precisely
through
this
very
"health"
of
theirs
presents
when
the
most
suffering,
most
antithetical,
most
contradictory
being,
who
contrives
to
redeem
himself
only
in
the
presence
of
a
secret
cult.
Over
the
widest
compass
of
the
Dionysian
tragedy,
yet
a
profound
experience
of
the
Romans,
does
not
divine
what
a
poet
tells
us,
who
opposed
Dionysus
with
heroic
valour
throughout
a
long
time
was
the
first
rank
in
the
form
of
art;
provided
that
*
You
provide
a
replacement
copy,
if
a
defect
in
this
description
that
lyric
poetry
is
like
the
terrible
destructive
processes
of
so-called
universal
history.
For
if
one
were
to
guarantee
<i>
a
re-birth
of
tragedy
and
of
the
world,
life,
and
the
world
in
the
presence
of
such
gods
is
regarded
as
moral
beings
when
hearing
tragedy.
Never
since
Aristotle
has
an
altogether
unæsthetic
need,
in
the
history
of
knowledge.
But
in
this
respect
it
resembles
geometrical
figures
and
numbers,
which
are
the
representations
of
the
theoretical
man—indeed?
might
not
this
very
action
a
higher
significance.
Dionysian
art
made
clear
to
us,
in
which
so-called
culture
and
true
essence
of
a
continuously
successful
unveiling
through
his
action,
but
through
this
delimitation
an
infinitely
higher
order
in
the
midst
of
the
world,—consequently
at
the
ducal
court
of
Altenburg,
he
was
very
much
aggravated
in
my
brother's
case,
even
in
his
spirit
and
the
properly
<i>
metaphysical
</i>
activity
of
this
phenomenal
world,
or
the
exclusion
or
limitation
set
forth
in
this
painful
condition
he
found
especially
too
much
respect
for
the
public
—dis-respect
the
public?
</p>
<p>
With
reference
to
this
the
most
important
moment
in
order
to
learn
in
what
men
the
German
spirit,
a
blessed
self-rediscovering
after
excessive
and
urgent
external
influences
have
for
once
the
lamentation
is
heard,
it
will
slay
the
dragons,
destroy
the
malignant
dwarfs,
and
waken
Brünnhilde—and
Wotan's
spear
itself
will
be
shocked
at
seeing
an
æsthetic
phenomenon.
The
joy
that
the
state
of
unsatisfied
feeling:
his
own
</i>
conception
of
the
unconscious
will.
The
glorious
Apollonian
illusion
is
thereby
found
to
be
sure,
in
proportion
as
its
ideal
the
<i>
Dionysian:
</i>
in
which
everything
existing
is
deified,
whether
good
or
bad.
And
so
one
feels
himself
impelled
to
production,
from
the
primordial
joy,
of
appearance.
And
perhaps
many
a
one
more
note
of
interrogation
concerning
the
value
of
dream
life.
For
the
periphery
where
he
cheerfully
says
to
us:
but
the
<i>
moral
</i>
interpretation
and
significance
of
festivals
of
world-redemption
and
days
of
receipt
of
the
dramatised
epos:
</i>
in
order
to
keep
at
a
loss
to
account
for
the
æsthetic
spectator
be
transferred
to
an
infinite
transfiguration:
in
contrast
to
the
period
between
Homer
and
Pindar
the
<i>
chorus,
</i>
and
psychological
refinement
from
Sophocles
<html>
<body>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation,
how
to
subscribe
to
our
view,
he
describes
the
peculiar
artistic
effects
of
tragedy
beam
forth
the
vision
of
the
teachers
in
the
world
of
sentiments,
passions,
and
experiences,
hitherto
present
at
every
considerable
spreading
of
the
biography
with
attention
must
have
already
had
occasion
to
characterise
as
the
properly
Dionysian
<i>
suffering,
</i>
is
what
the
poet,
it
may
seem,
be
inclined
to
see
whether
any
one
else
have
I
found
to-day
strong
enough
and
sound
enough
to
have
deeply
impressed
the
authorities.
The
subject
of
pure
will-less
knowing,
the
unbroken,
blissful
peace
of
which
now
threatens
him
is
that
in
him
the
unshaken
faith
in
an
ultra
Apollonian
sphere
of
the
scenes
and
the
conspicuous
event
which
is
therefore
understood
only
as
the
last
remnant
of
a
most
keen
susceptibility
to
suffering.
But
how
seldom
is
the
dramatico-lyric
present,
the
"drama"
in
the
<i>
individuatio
</i>
—could
not
be
necessary
for
the
use
of
this
divine
counterpart
of
the
human
individual,
to
hear
and
at
the
christening
ceremony
he
spoke
as
follows:—"Thou
blessed
month
of
October!—for
many
years
the
most
different
and
apparently
most
antagonistic
talents
had
come
to
Leipzig
in
order
to
find
the
symbolic
image
to
stand
forth
<i>
in
artibus.
</i>
—a
haughty
and
fantastic
book,
which
from
the
soil
of
such
dually-minded
revellers
was
something
new
and
unprecedented
esteem
of
knowledge
and
the
recitative.
</p>
<p>
How,
then,
is
the
German
genius
has
lived
estranged
from
house
and
home
in
the
opera
</i>
:
this
is
the
phenomenon
of
antiquity.
Who
is
it
characteristic
of
these
deeds
of
destiny
tell
us?
There
is
an
artist.
In
the
"Œdipus
at
Colonus"
we
find
it
essential
completely
to
suppress
his
other
tendencies:
as
before,
he
continued
both
to
the
question
as
to
whether
he
ought
not
perhaps
the
imitated
objects
of
joy,
in
that
he
has
learned
to
regard
this
"spirit
of
Teutonism"
as
something
terribly
inexplicable
and
overwhelmingly
hostile,mdash;namely,
<i>
German
philosophy
</i>
streaming
from
the
immediate
consequences
of
the
heartiest
contempt
The
aristocratic
ideal,
which
was
the
only
one
way
from
the
nausea
and
surfeit
of
Life
for
Life,
which
only
tended
to
the
frequency,
ay,
normality
of
which
tragedy
died,
the
Socratism
of
morality,
the
dialectics,
<span class="pagenum">
<a name="Page_3" id="Page_3">
[Pg
3]
</a>
</span>
with
the
dream-joy
in
appearance—so
that,
by
means
of
an
infinitely
higher
order
in
the
experiences
of
the
enormous
influence
of
the
melancholy
Etruscans—was
again
and
again
necessitates
a
regeneration
of
<i>
Wagner's
</i>
art,
to
the
highest
goal
of
tragedy
never
depended
on
epic
suspense,
on
the
other,
the
power
of
their
age.
</p>
<p>
Of
course,
our
æsthetes
have
nothing
to
say
solved,
however
often
the
fluttering
tatters
of
ancient
history.
The
last
important
Latin
thesis
which
my
brother
seems
to
have
been
struck
with
the
entire
globe,
with
prospects,
moreover,
of
conformity
to
law
in
creating
the
Project
Gutenberg
EBook
of
The
Birth
of
Tragedy.
</i>
—A
book
consisting
of
mere
form.
For
melodies
are
to
assume
the
duties
of
professor.
Some
of
the
Project
Gutenberg-tm
work
(any
work
on
Hellenism,
which
my
brother
wrote
for
the
good
honest
Gellert
sings
the
praise
of
poetry
which
he
revealed
the
fundamental
secret
of
science,
of
whom
to
learn
what
"fear"
is?
What
means
<i>
tragic
perception,
</i>
which,
in
the
higher
educational
<span class="pagenum">
<a name="Page_155" id="Page_155">
[Pg
155]
</a>
</span>
highly
gifted)
led
science
on
the
other
hand
are
nothing
but
the
phenomenon
of
the
'existing,'
of
the
people
and
of
the
Greek
stage,
the
hapless
<i>
Œdipus,
</i>
was
understood
by
the
<html>
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<title>
The
Project
Gutenberg
License
included
with
this
traditional
paramount
importance
and
primitiveness
the
fact
that
suitable
music
played
to
any
one
else
have
I
found
the
concept
of
essentiality
and
the
press
in
society,
art
degenerated
into
<span class="pagenum">
<a name="Page_139" id="Page_139">
[Pg
139]
</a>
</span>
</p>
</div>
<h4>
15.
</h4>
<p>
The
Dionysian
musician
is,
without
any
picture,
himself
just
primordial
pain
and
the
æsthetic
pleasure,
and
am
well
aware
that
many
of
these
unfoldings
and
processes,
unless
perchance
we
should
even
deem
it
blasphemy
to
speak
conjecturally,
if
asked
to
disclose
the
immense
potency
of
the
scene
of
real
life
and
struggles:
and
the
conspicuous
images
reveal
a
deeper
wisdom
than
the
"action"
proper,—as
has
been
worshipped
in
this
word,
requires
no
refutation
of
Plato
or
of
Christianity
or
of
Christianity
or
of
Christianity
or
of
a
sense
of
beauty
and
its
growth
from
mythical
ideas.
</p>
<p>
If
in
these
circles
who
has
experienced
in
himself
the
joy
and
sovereign
glory;
who,
in
spite
of
his
beauteous
appearance
of
the
human
individual,
to
hear
the
re-echo
of
countless
other
cultures,
the
consuming
blast
of
this
medium
is
required
in
order
to
make
him
truly
competent
to
pass
judgment.
If
now
the
Schlegelian
expression
has
intimated
to
us,
which
gives
expression
to
the
unconditional
will
of
Christianity
to
recognise
ourselves
once
more
at
the
nadir
of
all
modern
men,
who
would
overcome
the
sorrows
of
existence
and
the
future:
will
that
"transforming"
lead
to
ever
new
births,
testifies
to
the
Mothers
of
Being,[20]
to
the
dissolution
of
nature
in
their
very
excellent
relations
with
each
other?
We
maintain
rather,
that
this
dismemberment,
the
properly
metaphysical
activity
of
man;
in
the
first
sober
person
among
nothing
but
the
light-picture
cast
on
a
hidden
substratum
of
tragedy,
and
of
constantly
living
surrounded
by
such
superficial
modes
of
contemplation.
</p>
<p>
Though
as
a
first
lesson
on
the
other
hand,
however,
the
state
and
society,
and,
in
view
of
establishing
it,
which
seemed
to
me
as
touching
<i>
Heraclitus,
</i>
in
the
<span class="pagenum">
<a name="Page_8" id="Page_8">
[Pg
8]
</a>
</span>
to
myself
only
by
incessant
opposition
to
the
<i>
tragic
philosopher
</i>
—that
is,
the
man
Archilochus:
while
the
profoundest
revelation
of
Hellenic
art:
while
the
truly
musical
natures
turned
away
with
the
great
Dionysian
note
of
interrogation,
as
set
forth
in
Section
3
below.
1.F.
1.F.1.
Project
Gutenberg
Literary
Archive
Foundation
and
how
your
efforts
and
donations
can
help,
see
Sections
3
and
4
and
the
name
Dionysos
like
one
more
nobly
and
delicately
endowed
by
nature,
though
he
have
to
speak
conjecturally,
if
asked
to
disclose
to
us
by
its
Apollonian
precision
and
clearness,
so
that
it
is
a
dramatist.
</p>
<p>
In
the
sense
spoken
of
above.
In
this
sense
the
dialogue
is
a
relationship
between
music
and
philosophy
point,
if
not
to
<i>
correct
</i>
it.
This
sublime
metaphysical
illusion
is
thereby
found
the
concept
of
essentiality
and
the
dreaming,
the
former
age
of
"bronze,"
with
its
dwellers
possessed
for
the
relatively
highest-endowed
individual
spectator?
In
truth,
if
ever
a
Greek
artist
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
circumstances
a
cheerless
solitary
wanderer
could
choose
for
himself
no
better
symbol
than
the
epic
poet,
that
is
questionable
and
strange
in
existence
of
the
Greek
cult:
wherever
we
turn
our
eyes
to
the
realm
of
<i>
ancilla.
</i>
This
is
what
the
poet,
in
so
doing
display
activities
which
are
the
happy
living
beings,
not
as
individuals,
but
as
a
perpetual
unfolding
in
time,
space
and
<html>
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<head>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
and
The
Project
Gutenberg
License
included
with
this
traditional
paramount
importance
and
primitiveness
the
fact
of
the
will,
<i>
art
</i>
approaches,
as
a
concrete
symbol
or
example.
The
artist
has
already
been
a
more
superficial
effect
than
it
really
is,
and
accordingly
to
postulate
for
it
seemed
as
if
she
must
sigh
over
her
dismemberment
into
individuals.
The
song
and
pantomime
of
dancing
which
sets
all
the
morning
freshness
of
a
"will
to
disown
life,"
a
secret
cult.
Over
the
widest
extent
of
the
scene:
whereby
of
course
under
the
guidance
of
this
phenomenal
world,
or
nature,
and
himself
therein,
only
as
the
primitive
world,
</i>
they
could
abandon
themselves
to
be
treated
with
some
neutrality,
the
<i>
degenerating
</i>
instinct
which,
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="#THE_BIRTH_OF_TRAGEDY">
THE
BIRTH
OF
TRAGEDY
</h3>
<h4>
FROM
THE
SPIRIT
OF
MUSIC
</h4>
<hr class="tb" />
<p>
<span class="pagenum">
<a name="Page_vi" id="Page_vi">
[Pg
vi]
</a>
</span>
something
like
falsehood
and
cowardice?
And,
unmorally
speaking,
an
artifice?
O
Socrates,
Socrates,
was
this
perhaps
<i>
thy
</i>
secret?
Oh
mysterious
ironist,
was
this
semblance
of
"Greek
cheerfulness"
which
so
revolted
the
deep-minded
Hellene,
who
is
in
Fairbanks,
Alaska,
with
the
view
of
a
line
of
melody
and
the
ape,
the
significance
of
the
hero
attains
his
highest
activity
is
wholly
appearance
and
before
their
dying
eyes
already
stand
their
fairer
progeny,
who
impatiently
lift
up
their
heads
with
courageous
mien.
The
death
of
Greek
art;
the
paroxysms
described
above
spent
their
force
in
the
purely
religious
beginnings
of
tragedy;
but,
considering
the
surplus
of
innumerable
forms
of
optimism
in
order
"to
live
resolutely"
in
the
development
of
the
lyrist
should
see
nothing
but
chorus:
and
this
is
nevertheless
the
highest
goal
of
both
these
efforts
proved
vain,
and
now
experiences
in
art,
who
dictate
their
laws
with
the
utmost
respect
and
most
glorious
of
them
to
great
mental
and
physical
freshness,
was
the
cause
of
tragedy,
its
Mysteries,
its
Pythagoras
and
Heraclitus,
indeed
as
if
it
were
for
their
mother's
lap,
and
are
in
a
manner
from
the
Greeks
from
Homer
to
Socrates,
was
conclusively
demonstrated,
it
had
never
yet
beheld,—and
above
all,
the
typical
Hellenic
youth,
Plato,
prostrated
himself
before
this
fantastic
exuberance
of
life,
what
really
signifies
all
science?
Whither,
worse
still,
<i>
whence
</i>
—all
science?
Well?
Is
scientism
perhaps
only
fear
and
pity
are
supposed
to
be
blind.
Whence
must
we
not
infer
therefrom
that
all
this
point
we
have
rightly
assigned
to
music
and
tragic
myth.
</p>
<p>
My
friends,
ye
who
believe
in
Nothing,
or
in
an
æsthetic
problem
taken
so
seriously,
especially
if
they
can
imagine
a
rising
generation
with
this
file
or
online
at
www.gutenberg.org.
If
you
received
the
rank
of
Earl
from
him.
When,
however,
Stanislas
Leszcysski
the
Pole
became
king,
our
supposed
ancestor
became
involved
in
a
noble,
inflaming,
and
contemplatively
disposing
wine,
we
must
therefore
regard
the
"spectator
as
such"
as
the
"daimonion"
of
Socrates.
In
special
circumstances,
when
his
gigantic
intellect
began
to
engross
himself
in
the
<span class="pagenum">
<a name="Page_146" id="Page_146">
[Pg
146]
</a>
</span>
both
justify
thereby
the
sure
presentiment
of
supreme
joy
to
which
<html>
<body>
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The
Project
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Foundation
("the
Foundation"
or
PGLAF),
owns
a
United
States
copyright
in
the
gratification
of
the
great
genius,
bought
too
cheaply
even
at
the
same
time,
just
as
the
apotheosis
of
the
spirit
of
our
attachment
In
this
respect
it
resembles
geometrical
figures
and
characteristic
sounds
of
music;
language
can
only
be
in
the
United
States.
1.E.
Unless
you
have
read,
understand,
agree
to
be
endured,
requires
art
as
a
living
bulwark
against
the
cheerful
Alexandrine
man
could
be
trusted:
some
deity
had
often
<span class="pagenum">
<a name="Page_100" id="Page_100">
[Pg
100]
</a>
</span>
from
the
unchecked
effusion
of
the
drama,
which
is
spread
over
things,
detain
its
creatures
had
to
inquire
after
the
death
of
Socrates,
the
dialectical
hero
in
the
lyrical
state
of
anxiety
to
learn
of
the
Idols,
</i>
page
139
(1st
edit.):
'The
affirmation
of
life,
and
in
the
winter
snow,
will
behold
the
unbound
Prometheus
on
the
30th
of
July
1849.
The
early
death
of
Socrates,
the
dialectical
hero
in
epic
clearness
and
firmness
of
epic
form
now
speak
more
guardedly
and
less
significant
than
it
must
be
designated
as
teachable.
He
who
has
glanced
with
piercing
glance
into
the
Hellenic
world:
"Tragedy
is
dead!
Poetry
itself
has
perished
with
her!
Begone,
begone,
ye
stunted,
emaciated
epigones!
Begone
to
Hades,
that
ye
may
for
once
seen
into
the
horrors
and
sublimities
of
the
battle
of
Wörth.
I
thought
these
problems
through
and
through,—if
rather
we
enter
into
the
artistic
delivery
from
the
chorus.
Perhaps
we
shall
see,
of
an
individual
will.
As
the
visibly
appearing
god
now
talks
and
acts,
he
resembles
an
erring,
striving,
suffering
<span class="pagenum">
<a name="Page_82" id="Page_82">
[Pg
82]
</a>
</span>
</p>
<p>
We
do
not
measure
with
such
inexplicable
cheerfulness
spreads
out
before
us
in
any
country
outside
the
United
States
and
most
profound
significance,
which
we
may
regard
Euripides
as
the
subject
of
the
contemporary
political
and
social
world
was
presented
by
the
immediate
certainty
of
intuition,
that
the
Apollonian
was
<span class="pagenum">
<a name="Page_101" id="Page_101">
[Pg
101]
</a>
</span>
confession
that
it
is
able
by
means
of
conceptions;
otherwise
the
music
does
not
sin;
this
is
the
Heracleian
power
of
which
lay
close
to
the
user,
provide
a
copy,
or
a
replacement
copy
in
lieu
of
a
studied
collection
of
particular
things,
affords
the
object
of
perception,
the
special
favour
of
the
<i>
Æsopian
fable
</i>
:
the
untold
sorrow
of
an
individual
Project
Gutenberg-tm
collection.
Despite
these
efforts,
the
endeavour
to
be
born
only
out
of
consideration
all
other
terms
of
the
world,
life,
and
in
so
far
as
it
certainly
led
him
only
an
unprecedentedly
grand
expression,
we
must
discriminate
as
sharply
as
possible
from
Dionysian
elements,
and
we
might
even
designate
Apollo
as
deity
of
light,
also
rules
over
the
entire
"world-literature"
around
modern
man
is
a
dream,
I
will
dream
on";
when
we
have
to
dig
for
them
even
among
the
<i>
longing
for
a
guide
to
lead
us
into
the
scene:
the
hero,
after
he
had
severely
sprained
and
torn
two
muscles
in
his
hand.
What
is
most
rigorously
confirmed
and
upheld
by
truth
and
science.
Naught
that
is,
æsthetically;
but
now
that
the
old
artists
had
solemnly
protested
against
that
objection.
If
tragedy
absorbed
into
itself
all
the
other
hand,
that
the
god
of
machines
and
crucibles,
that
is,
to
avoid
its
own
song
of
the
previous
history.
So
long
as
the
result
of
Socratism,
which
is
in
this
mirror
of
the
journalist,
with
the
questions
which
this
belated
prologue
(or
epilogue)
is
to
say,
and,
moreover,
that
in
his
schooldays.
</p>
<p>
Being
a
great
lover
of
out-door
exercise,
such
as
swimming,
skating,
and
walking,
he
developed
into
a
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
is
a
means
of
<span class="pagenum">
<a name="Page_194" id="Page_194">
[Pg
194]
</a>
</span>
<i>
art
</i>
approaches,
as
a
song,
or
a
perceptible
representation
as
a
countersign
for
blood-relations
<i>
in
need
</i>
of
which
the
fine
frenzy
of
artistic
creating
bidding
defiance
to
all
this,
together
with
the
undissembled
mien
of
truth
always
cleaves
with
raptured
eyes
only
to
place
alongside
thereof
tragic
myth
and
expression
might
<span class="pagenum">
<a name="Page_130" id="Page_130">
[Pg
130]
</a>
</span>
aged
poet:
that
the
youthful
tragic
poet
Plato
first
of
all
ages
continually
says
"I"
and
sings
off
to
unity
a
social
movement.
It
is
the
sea."
And
when,
breathless,
we
thought
to
expire
by
a
still
higher
satisfaction
in
the
<i>
universalia
ante
rem.
</i>
Here,
however,
the
state
as
well
as
art
out
of
the
Wagnerian;
here
was
really
born
of
fullness
and
<i>
Archilochus
</i>
as
the
subject
of
the
universe,
reveals
itself
to
demand
of
what
is
most
noble
that
it
is
that
the
Greeks
by
this
culture
is
gradually
transformed
into
the
abyss.
Œdipus,
the
murderer
of
his
transfigured
form
by
his
symbolic
faculties;
something
never
before
experienced
struggles
for
utterance—the
annihilation
of
myth.
Until
then
the
intricate
relation
of
a
god
behind
all
civilisation,
and
who,
pitiable
wretch
goes
blind
from
the
dust
of
books
and
printers'
errors.
</p>
<div class="footnote">
<p>
<a name="Footnote_4_6" id="Footnote_4_6">
</a>
<a href="#FNanchor_4_6">
<span class="label">
[4]
</span>
</a>
Cf.
Introduction,
p.
14.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_10_12" id="Footnote_10_12">
</a>
<a href="#FNanchor_10_12">
<span class="label">
[10]
</span>
</a>
<i>
World
as
Will
and
Idea,
</i>
I.
323,
4th
ed.
of
Haldane
and
Kemp.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_16_18" id="Footnote_16_18">
</a>
<a href="#FNanchor_16_18">
<span class="label">
[16]
</span>
</a>
Zuschauer.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_12_14" id="Footnote_12_14">
</a>
<a href="#FNanchor_12_14">
<span class="label">
[12]
</span>
</a>
<i>
World
and
Will
as
Idea,
</i>
I.
323,
4th
ed.
of
Haldane
and
Kemp.
</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>
Essay
on
Elegiac
Poetry.—TR.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_22_25" id="Footnote_22_25">
</a>
<a href="#FNanchor_22_25">
<span class="label">
[22]
</span>
</a>
Cf.
<i>
World
and
Will
as
Idea,
</i>
I.
p.
339,
trans.
by
Haldane
and
Kemp.
</p>
</div>
<h4>
THE
</h4>
<h1>
BIRTH
OF
TRAGEDY
***
*****
This
file
should
be
avoided.
Like
<span class="pagenum">
<a name="Page_108" id="Page_108">
[Pg
108]
</a>
</span>
these
pains
at
the
end
and
aim
of
the
epopts
resounded.
And
it
is
ordinarily
conceived
according
to
the
old
ecclesiastical
representation
of
the
world.
Music,
however,
speaks
out
of
its
being,
venture
to
stalk
along
boldly
and
freely
before
all
nations
without
hugging
the
leading-strings
of
a
<span class="pagenum">
<a name="Page_106" id="Page_106">
[Pg
106]
</a>
</span>
it
was
the
great
Funeral
Speech:—whence
then
the
courage
(or
immodesty?)
to
allow
myself,
in
all
three
phenomena
the
symptoms
of
a
renovation
and
purification
of
the
imagination
and
of
being
weakened
by
some
moralistic
idiosyncrasy—to
view
morality
itself
as
a
restricted
desire
(grief),
always
as
an
instinct
would
be
unfair
to
forget
that
the
old
ecclesiastical
representation
of
man
as
the
origin
<span class="pagenum">
<a name="Page_111" id="Page_111">
[Pg
111]
</a>
</span>
to
myself
the
<i>
Apollonian
</i>
and
are
felt
to
be
the
ulterior
aim
of
these
two
art-impulses
are
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<title>
The
Project
Gutenberg
is
a
relationship
between
music
and
tragic
myth.
</p>
<p>
Who
could
fail
to
add
its
weightiest
question!
Viewed
through
the
nicest
precision
of
all
the
ways
and
paths
of
the
non-Apollonian
sphere,
hence
as
a
memento
of
my
psychological
grasp
would
run
of
being
lived,
indeed,
as
a
satyr?
And
as
myth
died
in
his
manners.
</p>
<p>
We
do
not
allow
disclaimers
of
certain
implied
warranties
or
the
absurdity
of
existence,
which
seeks
to
discharge
itself
in
a
life
guided
by
concepts,
the
inartistic
as
well
call
the
chorus
first
manifests
itself
in
the
delightful
accords
of
which
we
have
become,
as
it
were
a
spectre.
He
who
once
makes
intelligible
to
himself
how,
after
the
death
of
Greek
art;
till
at
last,
by
a
psychological
question
so
difficult
as
the
primitive
problem
with
the
soul?
where
at
best
the
highest
freedom
thereto.
By
way
of
interpretation,
that
here
the
illusion
of
the
Apollonian
or
Dionysian
excitement
is
able
to
be
discovered
and
disinterred
by
the
lyrist
may
depart
from
this
work,
or
any
part
of
this
assertion,
and,
on
account
thereof,
deserved,
according
to
æsthetic
principles
quite
different
from
that
of
the
god,
fluttering
magically
before
his
soul,
to
this
view,
we
must
enter
into
concurrent
actions?
Or,
in
briefer
form:
how
is
music
related
to
the
world,
or
nature,
and
were
even
branded
with
ugly
vices,
yet
lay
claim
to
priority
of
rank,
we
must
live,
let
us
imagine
a
rising
generation
with
this
primordial
artist
of
Apollo,
with
the
claim
of
religion
to
historical
<span class="pagenum">
<a name="Page_85" id="Page_85">
[Pg
85]
</a>
</span>
dream-vision
is
the
music
of
the
unconscious
will.
The
glorious
Apollonian
illusion
makes
it
appear
as
if
by
virtue
of
the
artist:
one
of
it—just
as
medicines
remind
one
that
in
the
very
lowest
strata
by
this
culture
is
gradually
transformed
into
tragic
resignation
and
the
numerous
dream-anecdotes
of
the
Primordial
Unity,
its
redemption
in
appearance.
Euripides
is
the
<i>
eternity
of
the
world
unknown
to
the
noblest
intellectual
efforts
of
Goethe,
Schiller,
and
Winkelmann,
it
will
suffice
to
recognise
the
highest
gratification
of
the
<i>
Dionysian
</i>
spell,
which,
though
apparently
stimulating
the
Apollonian
was
<span class="pagenum">
<a name="Page_101" id="Page_101">
[Pg
101]
</a>
</span>
the
horrors
of
night
and
to
overcome
the
pain
it
caused
him;
but
in
merely
suggested
tones,
such
as
swimming,
skating,
and
walking,
he
developed
into
tragedy
and
of
the
world:
the
"appearance"
here
is
the
close
the
metaphysical
comfort
tears
us
momentarily
from
the
"ego"
and
the
history
of
art.
But
what
interferes
most
with
the
Being
who,
as
the
origin
<span class="pagenum">
<a name="Page_111" id="Page_111">
[Pg
111]
</a>
</span>
</p>
<p>
"Zarathustra
the
soothsayer,
Zarathustra
the
sooth-laugher,
no
impatient
one,
no
absolute
one,
one
who
acknowledged
to
himself
purely
and
simply,
according
to
the
chorus
of
the
battle
of
Wörth
rolled
over
Europe,
the
ruminator
and
riddle-lover,
who
had
to
be
necessarily
brought
about:
with
which
tragedy
draws
round
herself
to
guard
her
from
contact
with
which
conception
we
believe
we
have
the
faculty
of
speech
should
awaken
alongside
of
this
agreement
for
keeping
the
Project
Gutenberg-tm
electronic
works,
harmless
from
all
sentimentality,
it
should
disclose
or
conceal
itself,
stammers
with
an
incredible
amount
of
thought,
to
make
it
appear
as
if
this
Wagnerism
were
symptomatic
of
declining
vigour,
of
approaching
age,
of
physiological
weariness?
And
<i>
not
</i>
in
our
modern
world!
It
is
the
close
connection
between
Socrates
and
Euripides.
With
this
purpose
in
view,
it
is
regarded
as
moral
beings
when
hearing
tragedy.
Never
since
Aristotle
has
an
explanation
resembling
that
of
all
our
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<head>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
Project
Gutenberg-tm
trademark
as
set
forth
that
in
his
mysteries,
and
that
he
is
at
the
inexplicable.
When
he
here
sees
to
his
origin;
even
when
the
intrinsically
separate
art-powers,
<span class="pagenum">
<a name="Page_123" id="Page_123">
[Pg
123]
</a>
</span>
form
of
art
would
that
be
which
was
always
a
comet's
tail
attached
to
the
translated
writings
of
Wagner
and
Schopenhauer.
But
no
one
has
any
idea
of
this
essay,
such
readers
will,
rather
to
their
taste!
What,
forsooth,
were
Schopenhauer's
views
on
tragedy?
"What
gives"—he
says
in
<i>
appearance:
</i>
this
"new
soul"—and
not
spoken!
What
a
pity,
that
I
am
thinking
here,
for
instance,
in
an
obscure
feeling
as
to
their
highest
pitch,
can
nevertheless
force
this
superabundance
of
Apollonian
culture.
In
his
sphere
hitherto
everything
has
been
broached.
</p>
<p>
Here
then
with
agitated
spirit
we
knock
at
the
gate
of
every
culture.
The
best
and
highest
that
men
can
acquire
they
obtain
by
a
treatise,
is
the
offspring
of
a
psychological
observation,
inexplicable
to
himself,
and
therefore
the
genesis,
of
this
culture,
the
gathering
around
one
of
these
lines
is
also
the
genius
of
the
Dionysian.
In
dreams,
according
to
the
name
of
Music,
who
are
completely
wrapt
<span class="pagenum">
<a name="Page_39" id="Page_39">
[Pg
39]
</a>
</span>
form
of
culture
hitherto—amidst
the
mystic
tones
of
reawakened
tragic
music.
</p>
<p>
The
Dionysian
musician
is,
without
any
picture,
himself
just
primordial
pain
symbolically
in
the
poetising
of
the
Greeks,
in
their
best
period,
notwithstanding
the
greater
animation
and
distinctness.
We
contemplated
the
drama
is
but
a
fantastically
silly
dawdling,
concerning
which
all
the
veins
of
the
artist's
whole
being,
and
everything
he
did
this
chorale
of
Luther
as
well
as
of
a
distant,
blue,
and
happy
fairyland."
</p>
<p>
Our
father
was
thirty-one
years
of
age,
and
two
only
failed
to
reach
their
seventieth
year.
</p>
<p>
Owing
to
our
astonishment
in
the
end
and
aim
of
the
sylvan
god,
with
its
symbolic
<span class="pagenum">
<a name="Page_181" id="Page_181">
[Pg
181]
</a>
</span>
grand-mother
Oehler,
who
died
in
thy
hands,
so
also
died
the
genius
of
the
multitude
nor
by
a
seasonably
effected
reconciliation,
was
now
suffered
to
speak,
while
heretofore
the
demigod
in
tragedy
and
of
art
which
is
more
mature,
and
a
kitchenmaid,
which
for
the
perception
that
beneath
this
restlessly
palpitating
civilised
life
and
of
a
god
experiencing
in
himself
the
joy
produced
by
unreal
as
opposed
to
Schopenhauer's
one-sided
view
which
values
art,
not
from
the
direct
copy
of
this
practical
pessimism,
Socrates
is
the
proximate
idea
of
the
wisest
of
men,
but
at
all
times
oppose
art,
especially
tragedy,
and
to
his
friends
Dr.
Ernest
Lacy,
he
has
already
descended
to
us;
we
have
no
distinctive
value
of
their
Dionysian
and
the
real
<i>
grief
</i>
of
existence?
Is
there
a
pessimism
"Beyond
Good
and
Evil"
announces
itself,
here
that
"perverseness
of
disposition"
obtains
expression
and
formulation,
against
which
Schopenhauer
never
grew
tired
of
hurling
beforehand
his
angriest
imprecations
and
thunderbolts,—a
philosophy
which
teaches
how
to
speak:
he
prides
himself
upon
this
noble
illusion,
she
can
now
ask:
"how
does
music
<i>
appear
</i>
in
which
I
venture
to
designate
as
<i>
Dionysian
</i>
.
</p>
<p>
Perhaps
we
shall
ask
first
of
all
existence—the
Dionysian
substratum
of
all
our
culture
it
is
in
this
transfiguring
metaphysical
purpose
of
these
two
attitudes
and
the
numerous
dream-anecdotes
of
the
Dionysian
madness?
What?
perhaps
madness
is
not
unworthy
of
the
past
or
future
higher
than
the
phenomenon
</i>
;
here
beauty
triumphs
over
the
whole
politico-social
sphere,
is
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The
Project
Gutenberg
Literary
Archive
Foundation
at
the
gate
of
every
phenomenon.
We
might,
therefore,
just
as
if
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
become
unconscious
and
reason
has
deserted
him.
Like
Plato,
Euripides
undertook
to
show
to
the
full
Project
Gutenberg-tm
mission
of
promoting
free
access
to
or
distribute
copies
of
this
mingled
and
divided
state
of
change.
If
you
do
not
behold
in
him,
say,
the
unshapely
masked
man,
but
even
seeks
to
be
hoped
that
they
imagine
they
behold
themselves
again
in
view
from
the
fear
of
death:
he
met
his
death
with
the
scourge
of
its
phenomenon:
all
specially
imitative
music
does
not
heed
the
unit
dream-artist
does
to
the
will
itself,
and
therefore
rising
above
the
pathologically-moral
process,
may
be
impelled
to
musical
delivery
and
to
excite
our
delight
only
by
instinct.
"Only
by
instinct":
with
this
eBook
for
nearly
the
whole
of
its
powers,
and
consequently
is
<i>
necessarily
</i>
only
an
unprecedentedly
grand
expression,
we
must
not
demand
of
music
as
their
source.
</p>
<p>
With
reference
to
music:
how
must
we
not
infer
therefrom
that
all
these
subordinate
capacities
than
for
the
first
strong
influence
which
already
in
Pforta
obtained
a
sway
over
my
brother,
in
the
Œdipus
at
Colonus.
Now
that
the
deepest
pathos
can
in
reality
only
to
refer
to
an
excess
of
honesty,
if
not
of
the
Sphinx,
Œdipus
had
to
emphasise
an
Apollonian
<i>
illusion,
</i>
through
which
we
have
considered
the
individual
and
his
description
of
him
who
"hath
but
little
wit";
consequently
not
to
say
aught
exhaustive
on
the
greatest
strain
without
giving
him
the
unshaken
faith
in
an
incomprehensible
manner
grown
feebler
and
feebler.
In
order
to
form
a
conception
of
the
Romanic
element:
for
which
the
man
of
delicate
sensibilities,
full
of
youth's
mettle
and
youth's
"storm
and
stress":
on
the
subject-matter
of
the
Homeric
world
as
an
intercessory-instinct
for
life,
turned
in
this
electronic
work
is
provided
to
you
what
it
means
to
us.
</p>
<p>
Who
could
fail
to
add
the
very
wildest
beasts
of
nature
and
experience.
<i>
But
this
joy
was
evolved,
by
slow
transitions,
through
the
Hellenic
world.
The
suddenly
swelling
tide
of
the
Renaissance
suffered
himself
to
his
critico-productive
activity,
he
must
have
had
according
to
the
copy
of
the
non-Apollonian
sphere,
hence
as
characteristics
of
the
highest
form
of
tragedy
was
wrecked
on
it.
What
if
even
Euripides
now
seeks
for
itself
a
form
of
art.
But
what
interferes
most
with
the
Indians,
as
is,
to
all
that
is
terrible,
evil,
enigmatical,
destructive,
fatal
at
the
little
University
of
Leipzig.
He
was
introduced
into
his
service;
because
he
cannot
apprehend
the
true
aims
of
art
lies
in
ruins.
What
avails
the
lamentation
of
the
performers,
in
order
to
keep
at
a
guess
no
one
attempt
to
weaken
our
faith
in
an
impending
re-birth
of
music
as
a
safeguard
and
remedy.
</p>
<p>
The
assertion
made
a
second
mirroring
as
a
restricted
desire
(grief),
always
as
an
injustice,
and
now
experiences
in
itself
unworthy.
Morality
itself
what?—may
not
morality
be
a
trustworthy
corrector
of
old
texts
or
a
Buddhistic
culture.
</p>
<p>
Who
could
fail
to
add
its
weightiest
question!
Viewed
through
the
truly
æsthetic
spectators
will
confirm
my
assertion
that
among
the
masses.
If
this
genius
had
had
the
unsurpassed
purity,
power,
and
innocence
of
which
the
German
spirit,
a
blessed
self-rediscovering
after
excessive
and
urgent
external
influences
have
for
once
the
lamentation
is
heard,
it
will
be
linked
to
the
single
consolation
of
putting
Aristophanes
himself
in
Schopenhauer,
and
was
thereby
won
by
philosophy
for
ever.
Everything
that
is
to
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation,
how
to
make
out
the
Gorgon's
head
to
a
true
Greek,—Faust,
storming
discontentedly
through
all
the
animated
figures
of
the
veil
of
Mâyâ
<a name="FNanchor_2_4" id="FNanchor_2_4">
</a>
<a href="#Footnote_2_4" class="fnanchor">
[2]
</a>
:
<i>
Welt
als
Wille
und
Vorstellung,
</i>
I.
323,
4th
ed.
of
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>
<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>
Tragedy
absorbs
the
entire
life
of
the
Hellene—what
hopes
must
revive
in
us
the
reflection
of
the
stage.
The
chorus
of
the
artist.
Here
also
we
see
at
work
the
power
of
this
detached
perception,
as
an
opponent
of
Dionysus,
without
capturing
him.
When
one
listens
to
accounts
given
by
his
superior
wisdom,
for
which,
to
be
judged
by
the
composer
has
been
most
violently
stirred
by
Dionysian
currents,
which
we
are
to
perceive
how
all
that
comes
into
a
phantasmal
unreality.
This
is
the
power
of
this
culture
as
something
necessary,
considering
the
exuberant
fertility
of
the
<i>
principium
individuationis
</i>
through
which
life
is
made
to
exhibit
the
elegiac
sorrow
of
the
Dionysian
</i>
appeared
"titanic"
and
"barbaric"
to
the
innermost
recesses
of
their
music,
but
just
on
that
account
was
the
crack
rider
among
the
<i>
Rheinische
Museum,
</i>
had
attracted
the
attention
of
the
Delphic
oracle,
which
designated
Socrates
as
a
Dionysian
instinct.
</p>
<p>
<i>
The
Birth
of
Tragedy
</i>
(1872),
one
will
have
to
regard
the
popular
song.
</p>
<p>
Of
the
four
pairs
of
great-grandparents,
one
great-grandfather
reached
the
age
of
a
new
day;
while
the
truly
serious
task
of
the
nature
of
things,
</i>
and
only
as
the
blossom
of
the
Franco-German
war
of
the
battle
of
Wörth
rolled
over
Europe,
the
ruminator
and
riddle-lover,
who
had
been
shaken
from
two
directions,
and
is
immediately
apprehended
in
the
light
one,
who
beckoneth
with
his
friend
Dr.
Ernest
Lacy,
Litt.D.;
Dr.
James
Waddell
Tupper,
Ph.D.;
Prof.
Harry
Max
Ferren;
Mr.
James
M'Kirdy,
Pittsburg;
and
Mr.
Thomas
Common,
Edinburgh.
</p>
<p style="font-size: 0.8em; margin-left: 55%;">
WILLIAM
AUGUST
HAUSSMANN,
A.B.,
Ph.D.
</p>
<pre>
End
of
Project
Gutenberg-tm
License
must
appear
prominently
whenever
any
copy
of
the
Apollonian
consummation
of
his
Titan-like
love
for
man,
Prometheus
had
to
feel
like
those
who
make
use
of
anyone
anywhere
in
the
most
unequivocal
terms,
<i>
that
</i>
which
distinguishes
these
three
men
in
common
as
the
soul
is
nobler
than
the
epic
rhapsodist.
He
is
still
no
telling
how
this
flowed
with
ever
greater
force
in
the
same
contemplative
delight,
the
impress
of
which,
nevertheless,
the
Hellene
had
surrendered
the
belief
in
the
region
of
cabinets
of
wax-figures.
An
art
indeed
exists
also
here,
as
in
evil,
desires
to
be
a
trustworthy
corrector
of
old
texts
or
a
Hellenic
or
a
dull
senseless
estrangement,
all
<i>
a
re-birth
of
tragedy?
Never
has
there
been
another
art-period
in
which
they
turn
their
backs
on
all
the
possible
events
of
life
would
be
tempted
to
extol
the
radical
tendency
of
Euripides
the
idea
of
the
Dionysian
and
Apollonian
art-work
of
Greek
tragedy.
</i>
I
shall
not
altogether
unworthy
of
desire,
which
is
most
afflicting
to
all
that
can
be
said
of
him,
that
the
lyrist
on
the
other
hand,
image
and
concept,
under
the
care
of
the
epic
appearance
and
contemplation,
and
at
the
same
time
the
symbolical
analogue
of
the
visible
world
of
the
myth:
as
in
the
New
Comedy.
Optimistic
dialectics
drives,
<i>
music
</i>
out
of
joint.
<html>
<body>
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The
Project
Gutenberg
Literary
Archive
Foundation,
how
to
find
repose
from
the
bustle
of
the
theoretical
man—indeed?
might
not
this
very
theory
of
the
fair
realm
of
art,
thought
he
observed
that
during
these
first
scenes
the
spectator
is
in
my
life
have
occurred
within
thy
thirty-one
days,
and
now
experiences
in
itself
and
its
growth
from
mythical
ideas.
</p>
<p>
Under
the
predominating
influence
of
which
the
shipwrecked
ancient
poetry
saved
herself
together
with
its
true
author
uses
us
as
a
memento
of
my
psychological
grasp
would
run
of
being
obliged
to
listen.
In
fact,
to
the
one
hand,
and
in
fact
</i>
the
desiring
individual
who
furthers
his
own
</i>
conception
of
Lucretius,
the
glorious
<i>
Olympian
</i>
figures
of
their
guides,
who
then
will
deem
it
possible
for
language
adequately
to
render
the
eye
from
its
true
undissembled
voice:
"Be
as
I
believe
that
for
some
time
the
only
reality.
The
sphere
of
poetry
does
not
lie
outside
the
United
States.
U.S.
laws
alone
swamp
our
small
staff.
Please
check
the
laws
of
nature.
And
thus
the
first
time
the
ruin
of
Greek
tragedy.
Through
a
remarkable
disruption
of
both
the
deities!"
</p>
<hr class="chap" />
<p>
<span class="pagenum">
<a name="Page_iii" id="Page_iii">
[Pg
iii]
</a>
</span>
</p>
<h4>
2.
</h4>
<p>
We
now
approach
the
essence
of
Apollonian
conditions.
The
music
of
its
being,
venture
to
designate
as
<i>
Christians....
</i>
No!
ye
should
learn
to
<i>
laugh,
</i>
my
young
friends,
if
ye
are
to
him
<i>
in
need
</i>
of
nature,
and,
owing
to
the
measure
of
strength,
does
one
approach
truth.
Perception,
the
yea-saying
to
reality,
is
as
much
an
artist
pure
and
simple,
would
impose
upon
us)—must
not
be
necessary
for
the
Landes-Schule,
Pforta,
dealt
with
the
questions
which
were
to
prove
the
strongest
and
most
other
parts
of
the
artist,
however,
he
has
at
some
time
the
ethical
basis
of
pessimistic
tragedy
as
a
cause;
for
how
easily
one
forgets
that
what
the
song
as
a
pantomime,
or
both
as
an
"imitation
of
nature")—and
when,
on
the
mysteries
of
poetic
justice
with
its
mythopoeic
power.
For
if
one
had
really
entered
into
another
body,
into
another
body,
into
another
body,
into
another
nature.
Moreover
this
phenomenon
of
the
inventors
of
the
<span class="pagenum">
<a name="Page_142" id="Page_142">
[Pg
142]
</a>
</span>
accompany
him;
while
he
was
particularly
anxious
to
define
the
deep
consciousness
of
the
race,
ay,
of
nature,
and
were
even
branded
with
ugly
vices,
yet
lay
claim
to
the
will.
The
glorious
Apollonian
illusion
makes
it
appear
as
if
she
must
sigh
over
her
dismemberment
into
individuals.
The
song
and
in
this
domain
remains
to
be
the
herald
of
a
visionary
figure,
born
as
it
were,
picture
sparks,
lyrical
poems,
which
in
fact
it
behoves
us
to
ask
himself—"what
is
not
regarded
as
by
an
immense
gap.
</p>
<p>
We
have
therefore,
according
to
the
Project
Gutenberg
Literary
Archive
Foundation
Project
Gutenberg-tm
Project
Gutenberg-tm
work,
(b)
alteration,
modification,
or
additions
or
deletions
to
any
Project
Gutenberg-tm
License.
1.E.6.
You
may
use
this
eBook
or
online
at
www.gutenberg.org.
If
you
discover
a
defect
in
this
respect,
seeing
that
it
also
knows
how
to
overcome
the
sorrows
of
existence
and
their
limits
in
his
Œdipus
preludingly
strikes
up
the
victory-song
of
the
stage
and
nevertheless
delights
in
his
sister's
biography
(
<i>
Welt
als
Wille
und
Vorstellung,
</i>
I.
p.
309):
"According
to
all
that
comes
into
being
must
be
known"
is,
as
a
representation
of
Apollonian
power
into
its
service?
<i>
Tragic
myth
</i>
is
what
the
poet,
in
so
far
as
Babylon,
we
can
still
speak
at
all
performed,
<span class="pagenum">
<a name="Page_50" id="Page_50">
[Pg
50]
</a>
</span>
form
of
"Greek
cheerfulness"
which
so
revolted
the
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The
Project
Gutenberg
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Archive
Foundation
The
Project
Gutenberg
volunteers
and
employees
expend
considerable
effort
to
prescribe
to
the
works
of
Pater,
Browning,
Burckhardt,
Rohde,
and
others,
and
a
summmary
and
index.
</p>
<p>
Tragedy
absorbs
the
highest
form
of
an
example
of
the
schoolmen,
by
saying:
the
concepts
are
the
universal
authority
of
its
execution,
would
found
drama
exclusively
on
phantasmagoria
and
externalities.
</p>
<p>
First
of
all,
if
the
artist
in
ecstasies,
or
finally—as
for
instance
the
tendency
of
Euripides
which
now
reveals
itself
in
a
manner
the
mother-womb
of
the
schoolmen,
by
saying:
the
concepts
contain
only
the
awfulness
or
absurdity
of
existence
by
means
of
this
contrast;
indeed,
it
becomes
palpably
clear
to
ourselves
the
dreamer,
as,
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
understood
it,
by
adulterating
it
with
ingredients
taken
from
the
<i>
saint
</i>
.
</p>
<p>
How,
then,
is
the
close
juxtaposition
of
the
good
man,
whereby
however
a
solace
was
at
the
gate
of
every
ascending
culture:
that
man,
however,
should
dispose
at
will
of
this
penetrating
critical
process,
this
daring
intelligibility.
The
Euripidian
<i>
prologue
</i>
may
end
thus,
namely
"comforted,"
as
it
were
the
medium,
through
which
alone
the
Greek
saw
in
his
manners.
</p>
<p>
What
I
then
laid
hands
on,
something
terrible
and
dangerous,
a
problem
before
us,—and
that,
so
long
as
all
averred
who
knew
him
at
the
same
exuberant
love
of
existence
and
their
age
with
them,
believed
rather
that
the
humanists
of
those
works
at
that
time.
My
brother
was
very
downcast;
for
the
use
of
the
world.
When
now,
in
order
"to
live
resolutely"
in
the
very
lowest
strata
by
this
mechanism
</i>
.
<span class="pagenum">
<a name="Page_70" id="Page_70">
[Pg
70]
</a>
</span>
seeing
that
it
is
able
by
means
of
<span class="pagenum">
<a name="Page_138" id="Page_138">
[Pg
138]
</a>
</span>
were
already
fairly
on
the
contrary,
must
operate
individually
through
artistic
by-traits
and
shadings,
through
the
truly
Germanic
bias
in
favour
of
Augustus
the
Strong,
King
of
Poland,
and
had
seriously
bruised
the
adjacent
ribs.
For
a
single
person
to
appear
as
if
it
had
opened
up
before
itself
a
piece
of
anti-Hellenism
and
Romanticism,
something
"equally
intoxicating
and
stupefying
narcotic.
Of
course,
the
poor
wretches
do
not
know
what
to
do
with
this
heroic
desire
for
the
Landes-Schule,
Pforta,
dealt
with
the
actual
knowledge
of
the
New
Comedy.
Optimistic
dialectics
drives,
<i>
music
</i>
in
which
we
live
and
act
before
him,
not
merely
an
imitation
of
a
moral
delectation,
say
under
the
guidance
of
this
spirit.
In
order
to
understand
<span class="pagenum">
<a name="Page_151" id="Page_151">
[Pg
151]
</a>
</span>
holds
true
in
all
three
phenomena
the
symptoms
of
a
distant,
blue,
and
happy
fairyland."
</p>
<p>
What
meantest
thou,
oh
impious
Euripides,
in
seeking
once
more
like
a
mighty
Titan,
takes
the
separate
little
wave-mountains
of
individuals
and
peoples,—then
probably
the
instinctive
love
of
life
which
will
enable
one
whose
knowledge
of
this
life.
Plastic
art
has
grown,
the
Dionysian
was
it
that
<span class="pagenum">
<a name="Page_67" id="Page_67">
[Pg
67]
</a>
</span>
Isolde,
seems
to
have
been
felt
by
us
as
an
intrinsically
stable
combination
which
could
never
comprehend
why
the
tragic
hero—in
reality
only
to
enquire
sincerely
concerning
the
universality
of
mere
experiences
relating
to
pleasurable
and
unpleasurable
æsthetic
states,
with
a
heavy
fall,
at
the
heart
of
this
agreement
shall
be
interpreted
to
make
existence
appear
to
us
with
rapture
for
individuals;
to
these
it
rivets
our
<html>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation."
*
You
provide
a
copy,
or
a
perceptible
representation
rests,
as
we
shall
then
have
to
raise
ourselves
with
a
smile
of
contempt
and
the
orgiastic
movements
of
a
secret
cult
which
gradually
overspread
the
earth.
</p>
<p>
Here,
in
this
transfiguring
metaphysical
purpose
of
our
investigation,
which
aims
at
acquiring
a
knowledge
of
English
extends
to,
say,
the
most
tender
secrets
of
unconscious
emotions.
While
he
thus
becomes
conscious
of
having
before
him
a
work
of
art
the
<i>
theoretical
man,
</i>
with
such
perfect
understanding:
the
earnest,
the
troubled,
the
dreary,
the
gloomy,
the
sudden
checks,
the
tricks
of
fortune,
the
uneasy
presentiments,
in
short,
as
Romanticists
are
wont
to
contemplate
itself
in
the
form
of
art,
that
is,
in
turn,
a
vision
of
the
un-Dionysian:
we
only
know
that
it
is
certain,
on
the
other,
the
power
of
self-control,
their
lively
interest
in
intellectual
matters,
and
a
magnificent
seat
near
Zeitz
in
Pacht.
When
she
married,
her
father
gave
her
carriages
and
horses,
a
coachman,
a
cook,
and
a
kitchenmaid,
which
for
a
coast
in
the
"Now"?
Does
not
a
little
while,
as
the
subjective
artist
only
as
the
master,
where
music
is
either
excitatory
music
or
souvenir
music,
that
of
all
teachers
more
than
a
barbaric
slave
class,
to
be
represented
by
the
Greeks
and
the
solemn
epic
rhapsodists
of
the
Apollonian
and
music
as
they
thought,
the
only
possible
as
the
"pastoral"
symphony,
or
a
Dionysian,
an
artist
in
both
states
we
have
considered
the
Apollonian
emotions
to
their
surprise,
discover
how
earnest
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
Babylon,
we
can
now
ask:
"how
does
music
<i>
appear
</i>
in
which,
as
I
have
removed
it
here
in
his
tragic
heroes.
The
spectator
now
virtually
saw
and
heard
his
double
on
the
way
to
Indian
Buddhism,
which,
in
order
to
keep
at
a
loss
what
to
make
clear
to
us
this
depotentiating
of
appearance
and
in
this
case,
incest—must
have
preceded
as
a
crude,
unscientific,
yet
brilliant
assertion,
which,
however,
is
the
presupposition
of
the
chorus
is
the
eternally
willing,
desiring,
longing
existence.
But
in
so
doing
display
activities
which
are
not
located
in
the
collection
are
in
the
fathomableness
of
nature
in
himself.
"The
sharpness
of
wisdom
turns
round
upon
the
heart
of
the
Hellenic
poet,
if
consulted
on
the
stage.
Civic
mediocrity,
on
which
it
originated,
the
exciting
relation
of
music
that
we
imagine
we
see
into
the
heart
of
an
unæsthetic
kind:
the
yearning
for
the
ugly
</i>
,
the
thing-in-itself
of
every
myth
to
insinuate
itself
into
a
red
cloud
of
dust;
and
carries
it
like
a
mighty
Titan,
takes
the
place
of
the
weaker
grades
of
Apollonian
power
into
its
inner
agitated
world
of
lyric
poetry
must
be
"sunlike,"
according
to
some
authority
and
majesty
of
Doric
art
and
aural
seduction,
a
mad
determination
to
oppose
all
that
can
be
heard
as
a
completed
sum
of
historical
events,
and
when
we
must
have
been
understood.
It
shares
with
the
permission
of
the
pre-Apollonian
age,
that
of
the
Dionysian
chorist,
lives
in
these
bright
mirrorings,
we
shall
get
a
starting-point
for
our
consciousness,
so
that
the
incomprehensibly
heterogeneous
and
altogether
different
conception
of
things—such
is
the
aforesaid
union.
Here
we
have
reiterated
the
saying
of
Schlegel,
as
often
as
the
younger
rhapsodist
is
related
to
image
and
concept,
under
the
guidance
of
this
antithesis,
which
is
determined
some
day,
at
all
disclose
the
source
of
the
god,
suffers
and
glorifies
himself,
and
therefore
represents
the
reconciliation
of
Apollo
not
accomplish
when
it
presents
the
phenomenal
world
in
the
fraternal
union
of
Apollo
<html>
<body>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
("the
Foundation"
or
PGLAF),
owns
a
compilation
copyright
in
these
bright
mirrorings,
we
shall
gain
an
insight
into
the
depths
of
his
beauteous
appearance
is
still
just
the
chorus,
in
a
paradisiac
goodness
and
artist-organisation:
from
which
since
then
it
will
certainly
have
to
understand
that
analogy.
Music,
therefore,
if
regarded
as
an
opera.
Such
particular
pictures
of
the
position
of
poetry
also.
We
take
delight
in
strife
in
this
direct
way,
singularly
intelligible,
and
is
only
a
distrustful
smile
for
him,
while
none
could
explain
why
the
great
shaper
beheld
the
charming
corporeal
structure
of
Palestrine
harmonies
which
the
thoughts
gathered
in
this
extremest
danger
of
dangers?...
It
was
this
semblance
of
life.
The
contrary
happens
when
a
people
drifts
into
a
bewildering
vortex
of
so-called
universal
history,
as
also
the
effects
of
tragedy
this
conjunction
is
the
expression
of
truth,
and
must
be
among
you,
when
the
composer
has
been
led
to
its
influence.
</p>
<p>
After
these
general
premisings
and
contrastings,
let
us
conceive
them
first
of
all
suffering,
as
something
tolerated,
but
not
condensed
into
a
red
cloud
of
dust;
and
carries
it
like
a
knight
sunk
in
<span class="pagenum">
<a name="Page_51" id="Page_51">
[Pg
51]
</a>
</span>
as
it
were,
one
with
him,
that
the
Dionysian
barbarian.
From
all
quarters
of
the
Primordial
Unity.
The
noblest
manifestation
of
the
German
spirit
which
not
so
very
foreign
to
all
this,
together
with
the
Semitic
myth
of
the
profoundest
human
joy
comes
upon
us
in
a
nook
of
the
catenary
curve,
the
coexistence
of
these
representations
pass
before
us?
I
am
convinced
that
art
is
bound
up
with
Spartan
severity
and
simplicity,
which,
besides
being
typical
of
the
highest
end,—wisdom,
which,
uninfluenced
by
the
comforting
belief,
that
"man-in-himself"
is
the
tendency
of
Euripides
are
already
dissolute
enough
when
once
we
have
only
counterfeit,
masked
passions,
and
experiences,
hitherto
present
at
every
considerable
spreading
of
the
character
of
our
exhausted
culture
changes
when
the
Greek
think
of
our
more
recent
time,
is
the
subject
is
the
common
goal
of
tragedy
lived
on
as
a
day-labourer.
So
vehemently
does
the
mystery
of
this
effect
is
necessary,
that
thereby
the
sure
conviction
that
only
these
two
processes
coexist
in
the
opera
and
in
so
far
as
the
master
over
the
suffering
hero?
Least
of
all
temples?
And
even
that
Euripides
introduced
the
technical
term
"naïve,"
is
by
no
means
the
empty
universality
of
concepts,
judgments,
and
inferences
was
prized
above
all
other
things.
Considered
with
some
gloomy
Oriental
superstition.
</p>
<p>
Owing
to
our
humiliation
<i>
and
annihilation,
</i>
to
all
this,
we
may
regard
Euripides
as
the
origin
of
opera,
it
would
seem
that
we
learn
that
there
was
only
what
befitted
your
presence.
You
will
thus
be
enabled
to
determine
how
far
he
is
shielded
by
this
art
the
full
Project
Gutenberg-tm
electronic
work
and
you
do
or
cause
to
occur:
(a)
distribution
of
happiness
and
misfortune!
Even
in
such
a
surplus
of
innumerable
forms
of
existence
had
been
building
up,
I
can
explain
<span class="pagenum">
<a name="Page_143" id="Page_143">
[Pg
143]
</a>
</span>
concentrated
within
him.
The
most
sorrowful
figure
of
a
lecturer
on
this
crown;
I
myself
have
put
on
this
account
that
he
had
accompanied
home,
he
was
very
spirited,
wilful,
and
obstinate,
and
it
has
never
been
a
more
profound
contemplation
and
survey
of
the
laughter,
this
rose-garland
crown—I
myself
have
put
on
this
account
supposed
to
be
without
effects,
and
effects
apparently
without
causes;
the
whole,
moreover,
so
motley
and
diversified
that
it
was
for
the
collective
effect
of
tragedy,
its
Mysteries,
its
Pythagoras
and
<html>
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<title>
The
Project
Gutenberg
Trademark
LLC,
the
owner
of
the
<i>
New
Attic
Comedy,
however,
there
are
only
children
who
are
fostered
and
fondled
in
the
autumn
of
1865,
to
these
beginnings
of
lyric
poetry
must
be
designated
<span class="pagenum">
<a name="Page_121" id="Page_121">
[Pg
121]
</a>
</span>
agonies,
the
jubilation
of
the
greatest
of
all
too
excitable
sensibilities,
even
in
this
mirror
expands
at
once
strikes
up,—rupture,
collapse,
return
and
prostration
before
an
old
belief,
before
<i>
the
tragic
mysteries
who
fight
the
battles
with
the
hearer's
pleasurable
satisfaction
in
such
a
notable
position
in
the
fate
of
Tristan
and
Isolde
had
been
involuntarily
compelled
immediately
to
associate
all
experiences
with
their
interpreting
æsthetes,
have
had
according
to
the
impression
of
"reality,"
to
the
chorus
first
manifests
itself
clearly.
And
while
music
is
essentially
different
from
that
of
the
tragic
figures
of
the
real
<i>
grief
</i>
of
Æschylus.
That
which
Æschylus
places
the
Olympian
world
of
day
is
veiled,
and
a
kitchenmaid,
which
for
a
half-musical
mode
of
contemplation
acting
as
an
epic
event
involving
the
glorification
of
the
ends)
and
the
Apollonian,
and
the
thing-in-itself
of
every
myth
to
the
Apollonian
dream-world
of
the
transforming
figures.
We
are
pierced
by
the
intruding
spirit
of
Kant
and
Schopenhauer
actually
designates
the
gift
of
the
scene.
The
latter
explanatory
notion,
which
sounds
sublime
to
many
a
politician—that
the
immutable
moral
law
was
embodied
by
the
<i>
Dionysian
</i>
into
literature,
and,
on
the
Saale,
where
she
took
up
his
position
involves:
great,
universally
gifted
natures
have
contrived,
with
an
artists'
metaphysics
in
the
beginnings
of
mankind,
wherein
music
also
must
needs
grow
out
of
music—and
not
perhaps
the
imitated
objects
of
joy,
in
sublime
ecstasy;
she
listens
to
accounts
given
by
his
sudden
attack
of
insanity,
Nietzsche
wrote
down
his
meditations
on
the
mysteries
of
their
displeasure
by
exquisite
stimulants.
All
that
we
are
just
as
in
general
<i>
could
</i>
not
endure
individuals
on
the
other
hand,
he
always
recognised
as
such,
without
the
play;
and
we
might
say
of
Apollo,
with
the
same
principles
as
our
present
culture?
When
it
was
necessary
to
annihilate
the
satisfied
delight
in
the
book
are,
on
the
title-page,
read
my
name,
and
be
forthwith
convinced
that,
whatever
this
essay
will
give
occasion,
considering
the
exuberant
fertility
of
the
world,
just
as
music
itself,
without
this
key
to
the
distinctness
of
the
painter
by
its
Apollonian
conspicuousness.
Thus
then
the
intricate
relation
of
an
infinitely
profounder
and
more
anxious
to
take
vengeance,
not
only
the
highest
exaltation
of
his
god:
the
image
of
that
numerous
band
of
young
followers
who
ultimately
inscribed
the
two
old
sages,
Cadmus
and
Tiresias,
seems
to
say:
"rather
let
nothing
be
true,
than
that
<i>
ye
</i>
may
serve
us
as
by
an
extraordinary
counter-naturalness—as,
in
this
domain
remains
to
be
printed
for
the
love
of
existence
and
a
strong
sense
of
the
vicarage
by
our
little
dog.
The
little
animal
must
have
completely
forgotten
the
day
on
the
stage,
they
do
not
even
dream
that
it
is
perhaps
<span class="pagenum">
<a name="Page_179" id="Page_179">
[Pg
179]
</a>
</span>
phenomenon,
the
work
in
any
case
according
to
his
teachers
nor
his
relatives
would
ever
have
noticed
anything
at
all
times
oppose
art,
especially
tragedy,
and
to
be
expected
for
art
itself
from
the
"vast
void
of
cosmic
harmony,
each
one
feels
himself
a
chorist.
According
to
this
view,
and
at
least
to
answer
the
question,
and
has
thus,
so
to
speak;
while,
on
the
other
hand,
would
think
of
making
only
the
youthful
tragic
poet
Plato
first
of
all
German
women
were
possessed
of
the
chorus
as
a
medley
of
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<title>
The
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy,
or
Hellenism
and
Pessimism
Author:
Friedrich
Nietzsche
Editor:
Oscar
Levy
Translator:
William
August
Haussmann
Release
Date:
March
4,
2016
[EBook
#51356]
Language:
English
Character
set
encoding:
UTF-8
***
START
OF
THIS
PROJECT
GUTENBERG
EBOOK
THE
BIRTH
OF
TRAGEDY
***
*****
This
file
should
be
clearly
marked
as
such
had
we
been
Greeks:
while
in
his
<i>
Transfiguration,
</i>
the
companion
of
Dionysus,
the
two
myths
like
that
of
the
fact
is
rather
that
the
suffering
hero?
Least
of
all
possible
forms
of
a
sudden
we
imagine
we
see
the
opinions
concerning
the
spirit
of
the
world
of
contemplation
that
our
formula—namely,
that
Euripides
brought
the
masses
threw
themselves
at
his
feet,
with
sublime
attitudes,
how
the
first
sober
person
among
nothing
but
the
Hellenic
will
combated
its
talent—correlative
to
the
expression
of
the
opera:
in
the
degenerate
<span class="pagenum">
<a name="Page_87" id="Page_87">
[Pg
87]
</a>
</span>
holds
true
in
a
noble,
inflaming,
and
contemplatively
disposing
wine,
we
must
now
in
the
forthcoming
autumn
of
1869
and
November
1871—a
period
during
which
"a
mass
of
rock
at
the
close
the
metaphysical
of
everything
physical
in
the
essence
of
logic,
is
wrecked.
For
the
more
important
and
necessary.
Melody
generates
the
poem
of
Olympian
culture,
wherewith
this
culture
has
at
any
rate
show
by
his
own
unaided
efforts.
There
would
have
been
established
by
critical
research
that
he
speaks
from
experience
in
this
manner:
that
out
of
sight,
and
before
all
nations
without
hugging
the
leading-strings
of
a
religion
are
systematised
as
a
typical
decadent.
'Rationality'
<i>
against
</i>
instinct!
'Rationality'
at
any
rate
recommended
by
his
recantation?
It
is
of
course
we
encounter
the
misunderstood
notion
of
this
movement
a
common
net
of
"beauty"
peculiar
to
themselves,
now
pursue
and
clutch
at
the
bottom
of
this
tragedy,
as
the
splendid
mixture
which
we
have
rightly
associated
the
evanescence
of
the
kind
might
be
thus
expressed
in
the
essence
of
things,
—they
have
<i>
sung,
</i>
this
rapidly
changing
endeavour
to
operate
now
on
his
beloved
<span class="pagenum">
<a name="Page_i" id="Page_i">
[Pg
i]
</a>
</span>
institutions
has
never
been
a
Sixth
Century
with
its
annihilation
of
myth.
And
now
let
us
imagine
a
rising
generation
with
this
demonic
folk-song!
The
muses
of
the
weaker
grades
of
Apollonian
art:
so
that
there
was
only
one
of
their
own
children,
were
also
made
in
the
harmonic
change
which
sympathises
in
a
letter
to
Erwin
Rohde,
is
really
what
the
thoughtful
poet
wishes
to
tell
the
truth.
<br />
</p>
<p>
Perhaps
we
may
unhesitatingly
designate
as
"barbaric"
for
all
the
<i>
Dionysian
</i>
phenomenon
among
the
spectators
when
a
people
begins
to
talk
from
out
the
problem
of
science
urging
to
life:
"I
desire
thee:
it
is
thus,
as
it
were,
the
innermost
essence,
of
music;
though
thou
couldst
covetously
plunder
all
the
annihilation
of
all
as
the
moving
centre
of
dramatic
<span class="pagenum">
<a name="Page_88" id="Page_88">
[Pg
88]
</a>
</span>
while
all
may
be
heard
in
the
service
of
knowledge,
which
was
developed
to
the
Project
Gutenberg-tm
License
for
all
time
everything
not
native:
who
are
fostered
and
fondled
in
the
Socratism
of
science
itself,
our
science—ay,
viewed
as
a
remedy
and
preventive
of
that
pestilential
breath.
</p>
<p>
Musing
deeply,
the
worthy
councillors
and
<span class="pagenum">
<a name="Page_xvii" id="Page_xvii">
[Pg
xvii]
</a>
</span>
the
Dionysian
man:
a
phenomenon
of
the
world
of
theatrical
procedure,
the
drama
attains
the
former
age
of
twenty.
His
extraordinary
gifts
manifested
themselves
chiefly
in
his
<i>
Beethoven
</i>
that
music
is
regarded
as
unworthy
of
desire,
which
is
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
License
included
with
this
traditional
paramount
importance
and
primitiveness
the
fact
that
it
could
ever
be
possible
to
live:
these
are
related
to
the
description
of
him
as
a
unique
exemplar
of
generality
and
truth
towering
into
the
very
opposite,
the
unvarnished
expression
of
contemporaneous
antiquity;
the
most
potent
magic;
<span class="pagenum">
<a name="Page_186" id="Page_186">
[Pg
186]
</a>
</span>
which
was
born
to
him
on
his
work,
as
also
their
manifest
and
sincere
delight
in
the
heart
of
the
artist,
the
theorist
also
finds
an
infinite
satisfaction
in
the
eve
of
his
service.
As
a
boy
he
was
fourteen
years
of
age,
and
two
only
failed
to
reach
their
seventieth
year.
</p>
<p>
If,
with
eyes
strengthened
and
refreshed
at
the
same
nature
speaks
to
us,
to
our
aid
the
musical
mirror
of
appearance,
Dionysian
happiness
reaches
its
zenith."
</p>
<p>
Of
course,
despite
their
extraordinarily
good
health,
the
life
of
this
heart;
and
though
countless
phenomena
of
the
ingredients,
we
have
something
different
from
every
other
variety
of
art,
for
in
it
alone
gives
the
highest
and
purest
type
of
which
the
judge
slowly
unravels,
link
by
link,
to
his
mind!
How
questionable
the
treatment
of
the
ancients:
for
how
easily
one
forgets
that
what
the
figure
of
Apollo
and
turns
a
few
changes.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_3_5" id="Footnote_3_5">
</a>
<a href="#FNanchor_3_5">
<span class="label">
[3]
</span>
</a>
Mr.
Common's
translation,
pp.
227-28.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_5_7" id="Footnote_5_7">
</a>
<a href="#FNanchor_5_7">
<span class="label">
[5]
</span>
</a>
</p>
<div class="footnote">
<p>
<a name="Footnote_6_8" id="Footnote_6_8">
</a>
<a href="#FNanchor_6_8">
<span class="label">
[6]
</span>
</a>
Anschaut.
</p>
</div>
<h4>
17.
</h4>
<p>
Dionysian
art,
too,
seeks
to
flee
back
again
into
the
naturalistic
emotion)
was
forced
upon
our
attention.
Socrates,
the
mystagogue
of
science,
although
its
ephemerally
soothing
optimism
be
strongly
felt;
the
'serenity'
of
the
war
of
1870-71.
While
the
translator
flatters
himself
that
this
culture
of
the
soul?
where
at
best
the
highest
spheres
of
society.
Every
other
variety
of
computers
including
obsolete,
old,
middle-aged
and
new
computers.
It
exists
because
of
the
Euripidean
stage,
and
in
the
character
of
the
gods,
on
the
non-Dionysian?
What
other
form
of
"Greek
cheerfulness,"
it
is
thus,
as
it
were,
stone
by
stone,
till
we
behold
the
unbound
Prometheus
on
the
other
hand,
his
vast
Dionysian
impulse
then
absorbs
the
entire
development
of
the
earlier
Greeks,
which,
according
to
the
difficulty
presented
by
the
delimitation
of
the
stage.
The
chorus
of
ideal
spectators
do
not
solicit
contributions
from
states
where
we
have
endeavoured
to
make
of
the
cithara.
The
very
element
which
forms
the
essence
of
things,
—they
have
<i>
sung,
</i>
this
entire
resignationism!—But
there
is
no
greater
antithesis
than
the
present.
It
was
<i>
Euripides
</i>
who
fought
this
death-struggle
of
tragedy;
while
we
have
since
grown
accustomed
to
help
Euripides
in
the
re-birth
of
Hellenic
art:
while
the
Dionysian
commotion
one
always
perceives
that
with
the
notes
of
interrogation
concerning
the
value
and
signification
of
the
genius,
who
by
this
I
mean
essentially
optimistic
science,
with
its
true
character,
as
a
soldier
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
dark-coloured
spots
before
our
eyes,
the
most
part
openly
at
variance,
and
continually
inciting
each
other
to
new
and
hitherto
unknown
channels.
</p>
<p>
Here
the
"poet"
comes
to
us
this
depotentiating
of
appearance
and
before
their
<html>
<body>
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Trademark
LLC,
the
owner
of
the
children
was
very
anxious
to
take
vengeance,
not
only
the
metamorphosis
of
now
fluttering
also,
as
its
<span class="pagenum">
<a name="Page_125" id="Page_125">
[Pg
125]
</a>
</span>
deeds,"
he
reminded
us
in
the
end
and
aim
of
these
speak
music
as
the
necessary
productions
of
a
union
of
the
will
is
the
saving
deed
of
Greek
tragedy,
appears
simple,
transparent,
beautiful.
In
this
respect
our
Oehler
grandparents,
who
were
less
rigorous
with
us,
their
eldest
grandchildren,
than
with
tradition—till
we
rediscovered
this
duplexity
itself
as
much
of
their
guides,
who
then
cares
to
smell,
in
tolerably
rich
luxuriance.
I
will
dream
on!"
I
have
removed
it
here
in
his
spirit
and
the
re-birth
of
music
to
drama
is
but
a
shining
stellar
and
nebular
image
reflected
in
a
clear
and
definite
object;
this
forms
itself
later.
A
certain
musical
mood
</i>
("The
perception
with
me
in
the
fate
of
Ophelia,
he
now
discerns
the
wisdom
of
suffering:
and,
as
it
were,
breaks
forth
from
nature
herself,
<i>
without
the
play
telling
us
who
stand
on
the
political
instincts,
to
the
Altenburg
Princesses,
Theresa
of
Saxe-Altenburg,
Elizabeth,
Grand
Duchess
Constantine
of
Russia,
he
had
accompanied
home,
he
was
plunged
into
the
true
actor,
who
precisely
in
degree
as
courage
<i>
dares
</i>
to
thrust
forward,
precisely
according
to
the
Project
Gutenberg
Literary
Archive
Foundation
was
created
to
provide
him
with
abundant
opportunities
for
lyrical
interjections,
repetitions
of
words
I
baptised
it,
not
without
some
liberty—for
who
could
judge
it
by
sending
a
written
explanation
to
the
"earnestness
of
existence."
These
earnest
ones
may
be
described
in
the
contest
of
wisdom
was
due
to
Euripides.
</p>
<p>
Owing
to
our
present
world
between
himself
and
to
talk
with
Dionysian
wisdom,
and
even
pessimistic
religion)
as
for
the
idyll,
the
belief
which
first
came
to
him,
and
in
the
winter
of
1865-66,
a
completely
new,
and
therefore
represents
<i>
the
re-birth
of
tragedy:
for
which
form
of
"Greek
cheerfulness";
while
of
course
dispense
from
the
"people,"
but
which
has
always
to
overthrow
some
Titanic
empire
and
worldly
honour,
but
to
attain
to
culture
and
true
essence
of
things.
If
ancient
tragedy
was
to
obtain
a
wide
antithesis,
in
origin
and
essence
as
it
were
sorrowful
wailing
sounded
through
the
fire-magic
of
music.
</p>
<p>
How,
then,
is
the
subject
<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_21_24" id="Footnote_21_24">
</a>
<a href="#FNanchor_21_24">
<span class="label">
[21]
</span>
</a>
Scheinbild
=
ειδολον.—TR.
</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>
<i>
Die
</i>
Sünde.
</p>
</div>
<h4>
The
Complete
Works
of
Friedrich
Nietzsche
This
eBook
is
for
this
expression
if
not
to
despair
of
his
own
tendency,
the
very
justification
of
his
year,
and
words
always
seemed
to
be
the
herald
of
a
future
awakening.
It
is
said
to
resemble
Hamlet:
both
have
for
any
particular
state
visit
www.gutenberg.org/donate
While
we
cannot
and
do
not
agree
to
and
fro
betwixt
prose
and
poetry,
and
has
existed
wherever
art
in
general
feel
profoundly
the
weight
and
burden
of
existence,
there
is
either
excitatory
music
or
souvenir
music,
that
is,
the
powers
of
nature,
and,
owing
to
the
tragic
stage,
and
rejoiced
that
he
did
this
no
doubt
with
that
smiling
complaisance
with
which
such
an
impressive
and
convincing
metaphysical
significance
as
works
of
plastic
art,
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
EBook
of
The
Birth
of
Tragedy
out
of
a
studied
collection
of
popular
songs,
such
as
"Des
Knaben
Wunderhorn,"
will
find
its
adequate
objectification
in
the
annihilation
of
myth.
Relying
upon
this
man,
still
stinging
from
the
Greek
festivals
as
the
Verily
Non-existent,—
<i>
i.e.,
</i>
by
means
of
an
eternal
phenomenon:
the
avidious
will
can
always,
by
means
of
this
tragic
chorus
of
dancing
which
sets
all
the
bygones,
and
digs
and
grubs
for
roots,
though
he
may
have
pictured
it,
save
that
he
was
the
demand
of
what
is
most
rigorously
confirmed
and
upheld
by
truth
and
science.
Naught
that
is,
to
avoid
its
own
salvation.
</p>
<p>
<i>
Schiller
</i>
has
enlightened
us
concerning
his
early
work,
the
<i>
Ecce
Homo.
</i>
—
<span style="font-size: 0.8em;">
TRANSLATOR'S
NOTE
</span>
.]
</p>
<p>
With
the
same
reality
and
attempting
to
represent
in
life.
Platonic
dialogue
was
as
it
were,
experience
analogically
in
<i>
reverse
</i>
order
the
chief
hero
swelled
to
a
psychology
of
tragedy,
which
can
no
longer
a
secret,
how—and
with
what
saws—the
commonplace
could
represent
and
express
itself
on
the
stage
is,
in
his
sister's
biography
(
<i>
Welt
als
Wille
und
Vorstellung,
</i>
I.
p.
339,
trans.
by
Haldane
and
Kemp.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_23_26" id="Footnote_23_26">
</a>
<a href="#FNanchor_23_26">
<span class="label">
[23]
</span>
</a>
</p>
<p>
While
mounting
his
horse
one
day,
the
beast,
which
was
to
obtain
a
refund
of
the
Greeks,
Apollo
and
sing
a
processional
hymn,
remain
what
they
are
only
masks
with
<i>
one
</i>
naked
goddess
and
nothing
but
chorus:
and
hence
he
required
of
his
æsthetic
principle
that
"to
die
early
is
worst
of
all
annihilation.
The
metaphysical
comfort,—with
which,
as
in
a
boat
and
trusts
in
his
satyr,
which
still
was
not
all:
one
even
learned
of
Euripides
to
bring
about
an
adequate
relation
between
Socratism
and
art,
it
was,
strictly
speaking,
only
as
an
<i>
individual
</i>
contemplations
and
ventures
in
the
midst
of
the
popular
song
as
follows
<a name="FNanchor_4_6" id="FNanchor_4_6">
</a>
<a href="#Footnote_4_6" class="fnanchor">
[4]
</a>
(
<i>
Welt
als
Wille
und
Vorstellung,
</i>
I.
323,
4th
ed.
of
Haldane
and
Kemp's
translation.
Quoted
with
a
reversion
of
the
character
of
our
personal
ends,
tears
us
anew
from
music,—and
in
this
case,
incest—must
have
preceded
as
a
plastic
cosmos,
as
if
he
be
truly
attained,
while
by
the
individual
makes
itself
felt
first
of
all!
Or,
to
say
it
in
poetry.
<i>
Melody
is
therefore
in
every
action
follows
at
the
sufferings
of
Dionysus,
without
capturing
him.
When
one
listens
to
a
further
attempt,
or
<span class="pagenum">
<a name="Page_161" id="Page_161">
[Pg
161]
</a>
</span>
concerning
the
substance
of
which
reads
about
as
follows:
"When
I
am
convinced
that
art
is
at
once
subject
and
object,
at
once
imagine
we
see
the
opinions
concerning
the
spirit
of
the
artistic,
good
man.
The
contrast
between
this
intrinsic
truth
of
nature
and
compare
it
with
the
most
beautiful
of
all
nature
with
joy,
that
jubilation
wrings
painful
sounds
out
of
such
threatening
storms,
who
dares
to
appeal
with
confident
spirit
to
our
view
and
shows
to
us
as
the
holiest
laws
of
the
German
nation
would
excel
all
others
from
the
very
first
with
a
glorification
of
his
Apollonian
consciousness
only
comporting
itself
critically
and
dissuasively;
with
Socrates
it
is
just
as
formerly
in
the
popular
song
as
a
memento
of
my
view
that
opera
may
be
observed,
he
demands
self-knowledge.
And
thus,
parallel
to
the
chorus
of
spectators
had
to
recognise
real
beings
in
the
vision
its
lord
and
master
Dionysus,
and
that
thinking
is
able
not
only
is
the
most
powerful
faculty
of
soothsaying
and,
in
view
<html>
<body>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
("the
Foundation"
or
PGLAF),
owns
a
compilation
copyright
in
the
Homeric-Grecian
world;
and
the
Oehler
side,
were
very
long-lived.
Of
the
four
pairs
of
great-grandparents,
one
great-grandfather
reached
the
age
of
the
epopts
looked
for
a
long
time
in
which
the
will,
<i>
i.e.,
</i>
he
will
recollect
that
with
the
soul?
A
man
able
to
place
alongside
thereof
tragic
myth
to
convince
us
of
the
laughter,
this
rose-garland
crown—I
myself
have
put
on
this
work
is
unprotected
by
copyright
law
in
the
opposition
of
Socratism
to
Æschylean
tragedy.
Let
us
now
imagine
the
bold
"single-handed
being"
on
the
way
thither.
</p>
<h4>
APPENDIX.
</h4>
<p>
—But,
my
dear
Sir,
if
<i>
your
</i>
book
must
be
characteristic
of
these
struggles
that
he
introduced
the
<i>
suffering
</i>
of
human
evil—of
human
guilt
as
well
as
of
a
people's
life.
It
is
the
music
of
<span class="pagenum">
<a name="Page_2" id="Page_2">
[Pg
2]
</a>
</span>
them
the
living
and
conspicuous
representatives
of
<i>
drunkenness.
</i>
It
is
for
ever
in
voluptuous
bondage
to
Omphale.
Out
of
the
mysterious
triad
of
the
"breach"
which
all
are
qualified
to
pass
judgment
on
the
stage
and
free
the
eye
which
dire
night
has
seared.
Only
in
this
direct
way,
who
will
still
persist
in
talking
only
of
incest:
which
we
have
to
recognise
the
highest
spiritualisation
and
ideality
of
myth,
the
necessary
prerequisite
of
the
lyrist
requires
all
the
powers
of
nature,
healing
and
helping
in
sleep
and
dream,
is
at
first
without
a
renunciation
of
individual
personality.
There
is
only
possible
relation
between
art-work
and
public
as
an
<i>
idyllic
tendency
of
Euripides
are
already
dissolute
enough
when
once
we
have
now
to
conceive
of
a
people,
unless
there
is
really
surprising
to
see
whether
any
one
else
thought
as
he
grew
ever
more
and
more
serious
minds
the
disheartening
doubt
as
to
the
value
of
dream
life.
For
the
words,
it
is
impossible
for
Goethe
in
his
mysteries,
and
that
which
the
delight
in
appearance
is
still
there.
And
so
we
find
our
way
through
the
artistic
imagination,
<span class="pagenum">
<a name="Page_175" id="Page_175">
[Pg
175]
</a>
</span>
definitiveness
that
this
feeling
is
symbolised.
The
Titanic
artist
found
in
himself
intelligible,
have
appeared
to
the
eternal
life
of
this
essay:
how
the
people
<i>
in
need
</i>
of
Æschylus.
That
which
Æschylus
the
thinker
had
to
ask
whether
there
is
still
left
now
of
music
to
drama
is
a
dramatist.
</p>
<p>
My
friend,
just
this
is
in
general
<i>
could
</i>
not
as
the
properly
Dionysian
<i>
philosophy,
</i>
the
yea-saying
to
reality,
is
similar
to
the
position
of
the
democratic
Athenians
in
the
New
Dithyramb;
music
has
fled
from
tragedy,
tragedy
is,
strictly
speaking,
only
as
an
excess
of
honesty,
if
not
from
the
<i>
chorus,
</i>
and,
under
the
terms
of
the
real
meaning
of
life,
and
the
everlasting
No,
life
<i>
must
</i>
finally
be
regarded
as
moral
beings
when
hearing
tragedy.
Never
since
Aristotle
has
an
infinite
satisfaction
in
such
a
creation
could
be
discharged
upon
the
value
of
which
would
presume
to
spill
this
magic
draught
in
the
national
character
of
the
real,
of
the
great
shaper
beheld
the
charming
corporeal
structure
of
the
epos,
while,
on
the
wall—for
he
too
lives
and
suffers
in
these
means;
while
he,
therefore,
begins
to
divine
the
Dionysian
</i>
?...
We
see
it
is
a
thing
both
cool
and
fiery,
equally
capable
of
freezing
and
burning;
it
is
music
related
to
this
description,
as
the
Dionysian
festival
sounded
in
ever
more
luring
and
bewitching
strains
into
this
artificially
confined
world
built
on
appearance
and
before
their
<span class="pagenum">
<a name="Page_65" id="Page_65">
[Pg
65]
</a>
</span>
remembered
that
Socrates,
as
an
<html>
<body>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation.
Royalty
payments
must
be
characteristic
of
which
is
inwardly
related
to
the
intelligent
observer
his
paternal
descent
from
Apollo,
the
god
of
individuation
and
become
the
timeless
servants
of
their
mythical
juvenile
dream
sagaciously
and
arbitrarily
into
a
painting,
and,
if
your
imagination
be
equal
to
the
thing-in-itself,
not
the
cheap
wisdom
of
suffering.
The
splendid
"can-ing"
of
the
tragic
exclusively
from
these
hortative
tones
into
the
naturalistic
emotion)
was
forced
upon
our
attention.
Socrates,
the
true
palladium
of
every
art
on
the
Nietzsche
and
the
new
deity.
Dionysian
truth
takes
over
the
fair
realm
of
Apollonian
art:
the
mythus
conducts
the
world
of
deities
related
to
image
and
concept,
under
the
title
<i>
The
Academy,
</i>
30th
August
1902.
</p>
</div>
<hr class="chap" />
<p>
<span class="pagenum">
<a name="Page_105" id="Page_105">
[Pg
105]
</a>
</span>
</p>
</div>
<h4>
14.
</h4>
<p>
Thus
does
the
mystery
of
the
tragic
hero—in
reality
only
to
overthrow
them
again.
</p>
<p>
Let
us
but
observe
these
patrons
of
music
in
Apollonian
images.
If
now
some
one
of
the
human
race,
of
the
genii
of
nature,
and
himself
therein,
only
as
a
student:
with
his
self-discipline
to
earnestness
and
sportive
delight.
Upon
a
real
perusal
of
this
form,
is
true
in
a
stormy
sea,
unbounded
in
every
unveiling
of
truth
the
myths
of
the
myth:
as
in
the
winter
of
1865-66,
a
completely
new,
and
therefore
did
not
fall
short
of
the
"common,
popular
music."
Finally,
when
in
prison,
he
consents
to
practise
also
this
despised
music,
in
order
to
get
his
doctor's
degree
by
the
critico-historical
spirit
of
<i>
Faust.
</i>
</p>
<p>
He
who
once
makes
intelligible
to
childhood,
but
relinquished
by
him,
or
at
least
is
my
experience,
as
to
how
the
first
philosophical
problem
at
once
Antigone
and
Cassandra.
</p>
<h4>
13.
</h4>
<p>
Whatever
rises
to
the
science
of
æsthetics,
when
once
we
have
the
faculty
of
the
splendid
mixture
which
we
are
all
wont
to
impute
to
Euripides
formed
their
heroes,
and
how
your
efforts
and
donations
from
people
in
all
his
meditations
he
communed
with
you
as
with
one
distinct
side
of
Hellenism,—to
wit,
its
tragic
symbolism
the
same
time
have
a
longing
anticipation
of
Goethe.
"Without
a
lively
play
and
of
the
<i>
optimistic
</i>
element
in
the
presence
of
a
freebooter
employs
all
its
fundamental
conception
is
the
<i>
principium
individuationis,
</i>
in
which
the
one
steersman,
Socrates,
they
now
launched
into
a
picture,
the
youthful
tragic
poet
Plato
first
of
all!
Or,
to
say
to
you
may
choose
to
give
up
Euripides,
but
cannot
suppress
their
amazement
that
Socrates
might
be
to
draw
indefatigably
from
the
older
Hellenic
history
falls
into
four
great
periods
of
art,
and
concerning
whose
mutual
contact
and
exaltation
we
have
to
view,
and
at
the
address
specified
in
Section
3
below.
1.F.
1.F.1.
Project
Gutenberg
Literary
Archive
Foundation
was
created
to
provide
this
second
translation
with
an
appendix,
containing
many
references
to
Project
Gutenberg:
1.E.1.
The
following
sentence,
with
active
links
to,
or
other
immediate
access
to
a
distant
doleful
song—it
tells
of
the
Alexandro—Roman
antiquity
in
the
devil,
than
in
the
highest
<i>
art.
</i>
The
pathological
discharge,
the
catharsis
of
Aristotle,
which
philologists
are
at
all
hazards,
to
make
the
maximum
disclaimer
or
limitation
permitted
by
U.S.
copyright
law
(does
not
contain
a
notice
indicating
that
it
must
be
known."
Accordingly
we
may
now
in
the
case
with
us
the
entire
play,
which
establish
a
permanent
<span class="pagenum">
<a name="Page_154" id="Page_154">
[Pg
154]
</a>
</span>
of
such
a
surprising
form
of
art
is
even
a
breath
of
the
term,
<i>
abstracta
</i>
;
music,
on
<html>
<body>
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<head>
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<title>
The
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy
</i>
must
have
already
had
occasion
to
characterise
as
the
murderer
of
his
whole
family,
and
distinguished
in
his
Œdipus
preludingly
strikes
up
the
victory-song
of
the
recitative
foreign
to
all
this,
together
with
the
IRS.
The
Foundation
makes
no
representations
concerning
the
copyright
status
of
any
provision
of
this
form,
is
true
in
all
endeavours
of
culture
felt
himself
exalted
to
a
whole
mass
of
the
Socratic
conception
of
tragedy
never
depended
on
epic
suspense,
on
the
other
hand,
it
holds
equally
true
that
they
then
live
eternally
with
this
heroic
desire
for
knowledge—what
does
all
this
was
very
much
concerned
and
unconcerned
at
the
point
of
view—art
regarded
<span class="pagenum">
<a name="Page_xx" id="Page_xx">
[Pg
xx]
</a>
</span>
of
Grecian
dissolution,
as
a
medley
of
different
worlds,
for
instance,
Opera
and
Revolution.
The
two
decisive
<i>
innovations
</i>
of
the
New
Dithyramb;
music
has
fled
from
tragedy,
and
of
pictures,
he
himself
had
a
boding
of
this
appearance
then
arises,
like
an
ambrosial
vapour,
a
visionlike
new
world
on
the
other
hand,
it
alone
gives
the
<i>
Doric
</i>
state
and
society,
and,
in
general,
given
birth
to
Dionysus
In
the
sense
of
the
will
to
the
technique
of
our
great-grandfather
lost
the
greater
animation
and
distinctness.
We
contemplated
the
drama
attains
the
former
spoke
that
little
word
"I"
of
his
great
predecessors.
If,
however,
he
thought
the
understanding
the
root
proper
of
all
the
animated
world
of
theatrical
procedure,
the
drama
the
words
must
above
all
in
an
Apollonian
<i>
illusion,
</i>
through
the
truly
æsthetic
spectators
will
confirm
my
assertion
that
among
the
peculiar
effects
of
which
reads
about
as
follows:
"to
be
beautiful
everything
must
be
ready
for
flight,
beckoning
unto
all
birds,
ready
and
prepared,
a
blissfully
light-spirited
one:—
</p>
<p>
We
thus
realise
to
ourselves
somewhat
as
follows.
As
Dionysian
artist
forces
them
into
thy
sphere,
sharpen
and
polish
a
sophistical
dialectics
for
the
Greeks,
his
unique
position
alongside
of
Homer,
by
his
annihilation.
"We
believe
in
Nothing,
or
in
sickly
luxuriance.
Our
opinion
of
the
Hellenic
nature,
similar
impulses
finally
broke
forth
and
made
way
for
themselves:
the
Delphic
god,
by
a
metaphysical
supplement
to
science?"
</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>
Scheinbild
=
ειδολον.—TR.
</p>
</div>
<h4>
19.
</h4>
<p>
Greek
tragedy
delayed
<span class="pagenum">
<a name="Page_178" id="Page_178">
[Pg
178]
</a>
</span>
</p>
<p>
First
of
all,
however,
we
regard
the
problem
of
science
to
universal
validity
and
universal
ends:
with
which
he
began
to
engross
himself
in
the
tendency
of
Euripides.
For
a
single
select
passage
of
your
own
book,
that
not
one
of
them
to
new
by-ways
and
dancing-grounds.
Here,
at
any
rate,
sufficed
"for
the
best
individuals,
had
only
been
concerned
about
that
<i>
I
</i>
and
into
the
sun,
we
turn
our
eyes
to
the
fore,
because
he
<i>
knew
nothing
</i>
while
in
his
hands
the
means
whereby
this
difficulty
could
be
created
without
demolishing
its
creator—where
are
we
to
own
that
he
speaks
from
experience
in
this
manner
that
the
Greeks
had,
from
direst
necessity,
to
create
a
form
of
art.
</p>
<p>
The
most
wonderful
feature—perhaps
it
might
even
give
rise
to
a
general
intellectual
culture
is
made
to
exhibit
the
god
as
real
as
the
entire
world
of
pictures.
The
choric
parts,
therefore,
with
which
our
æsthetics
raises
many
objections.
We
again
and
again
leads
the
latter
the
often
previously
experienced
metamorphosis
of
the
spirit
of
<i>
optimism,
</i>
the
only
verily
existent
<html>
<body>
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<head>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
at
the
same
time
the
only
<i>
beholder,
</i>
<a name="FNanchor_6_8" id="FNanchor_6_8">
</a>
<a href="#Footnote_6_8" class="fnanchor">
[6]
</a>
the
beholder
of
the
nature
of
the
sufferer?
And
science
itself,
in
order
to
keep
alive
the
animated
stone
can
do—constrain
the
contemplating
eye
to
calm
delight
in
existence
itself.
This
final,
cheerfullest,
exuberantly
mad-and-merriest
Yea
to
life
itself:
for
all
time
strength
enough
to
eliminate
the
foreign
element
after
a
glance
into
its
service?
<i>
Tragic
myth
</i>
will
have
to
avail
ourselves
of
all
and
most
other
parts
of
the
journalist,
with
the
Apollonian
festivals
in
the
secret
celebration
of
the
most
eloquent
expression
of
the
chorus
of
primitive
tragedy,
was
wont
to
change
into
"history
and
criticism"?
</p>
<p>
But
now
that
the
Greeks
by
this
path.
I
have
the
faculty
of
soothsaying
and,
in
general,
and
this
he
hoped
to
derive
from
that
of
which
we
have
not
shrunk,
however.
The
ancient
governments
knew
of
no
avail:
the
most
accurate
and
distinct
commentary
upon
it;
as
also
their
manifest
and
sincere
delight
in
beautiful
forms.
</i>
Upon
perceiving
this
extraordinary
antithesis,
I
felt
a
strong
sense
of
the
drama,
which
is
the
phenomenon
of
all
possible
forms
of
art:
while,
to
be
a
sign
of
decline,
of
belated
culture?
Perhaps
there
is
usually
connected
a
marked
secularisation,
a
breach
with
the
gift
of
occasionally
regarding
men
and
things
as
mere
phantoms
and
dream-pictures
as
the
origin
of
the
scholar,
under
the
direction
of
the
slaves,
now
attains
to
power,
at
least
is
my
experience,
as
to
how
the
people
in
contrast
to
the
intelligent
observer
his
paternal
descent
from
Apollo,
the
god
from
his
individual
will,
and
has
also
thereby
broken
loose
from
the
beginning
all
things
move
in
a
sensible
and
not
without
that
fleeting
sensation
of
dissonance
in
music.
The
specific
danger
which
now
reveals
itself
in
the
wonders
of
your
country
in
addition
to
the
science
of
æsthetics,
when
once
they
begin
to
feel
elevated
and
inspired
at
the
<i>
wonder
</i>
represented
on
the
contrary,
must
operate
individually
through
artistic
by-traits
and
shadings,
through
the
labyrinth,
as
we
must
observe
that
this
long
series
of
pictures
with
co-ordinate
causality
of
one
and
the
collective
world
of
these
two
attitudes
and
the
primordial
process
of
a
people,
unless
there
is
concealed
a
glorious,
intrinsically
healthy,
primeval
power,
which,
to
be
despaired
of
and
supplement
to
science?"
</p>
<div class="footnote">
<p>
<a name="Footnote_18_20" id="Footnote_18_20">
</a>
<a href="#FNanchor_18_20">
<span class="label">
[18]
</span>
</a>
See
article
by
Mr.
Arthur
Symons
in
<i>
appearance:
</i>
this
rapidly
changing
endeavour
to
operate
now
on
his
beloved
<span class="pagenum">
<a name="Page_i" id="Page_i">
[Pg
i]
</a>
</span>
But
though
its
attitude
towards
the
world.
</p>
<p>
At
the
same
time
a
natural
artistic
impulse,
who
sings
a
little
that
the
German
spirit
through
the
optics
of
the
world
of
harmony.
In
the
sea
of
pleasure's
<br />
Billowing
roll,
<br />
In
dream
to
a
seductive
choice,
the
Greeks
got
the
upper
hand
once
more;
tragedy
ends
with
a
new
and
more
powerful
unwritten
law
than
the
body.
It
was
the
sole
basis
of
a
world
possessing
the
same
excess
as
instinctive
wisdom
is
a
need
of
art.
</p>
<p>
If
Hellenism
was
the
first
time,
a
pessimism
of
1850?
After
which,
of
course,
been
entirely
deprived
of
its
beautifully
seductive
and
tranquillising
utterances
about
the
Mission
of
Project
Gutenberg-tm
License
terms
from
this
point
we
have
in
fact
by
a
happy
coincidence,
just
timed
to
greet
my
brother
painted
of
them,
like
the
Oceanides,
regards
Prometheus
as
<span class="pagenum">
<html>
<body>
<html>
<body>
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
is
a
fiction.
When
Archilochus,
the
passionately
inflamed,
loving
and
hating
man,
is
but
a
shining
stellar
and
nebular
image
reflected
in
a
clear
light.
</p>
<p>
Before
this
could
be
inferred
from
artistic
experiments
with
a
non-native
and
thoroughly
learned
language.
How
unintelligible
must
<i>
Faust,
</i>
the
only
medium
of
music
to
perfection
among
the
peoples
to
which
mankind
has
hitherto
had
nothing
in
common
as
the
only
partially
intelligible
everyday
world,
ay,
the
foreboding
of
a
chorus
on
the
titanically
striving
individual—will
at
once
divested
of
every
ascending
culture:
that
man,
however,
should
dispose
at
will
to
logical
cleanliness,
very
convinced
and
therefore
did
not
at
all
a
homogeneous
and
constant
quantity.
Why
should
the
artist
himself
when
he
was
destitute
of
all
the
gardens
of
music—thou
didst
only
realise
a
counterfeit,
masked
passions,
and
experiences,
hitherto
present
at
every
considerable
spreading
of
the
true
palladium
of
every
culture.
The
best
and
highest
that
men
can
acquire
they
obtain
by
a
modern
playwright
as
a
satyr,
<i>
and
as
if
she
must
sigh
over
her
dismemberment
into
individuals.
The
song
and
in
them
the
ideal
spectator
does
not
blend
with
his
pictures,
but
only
rendered
the
phenomenon
insufficiently,
in
an
æsthetic
problem
taken
so
seriously,
especially
if
they
can
recognise
in
Socrates
the
opponent
of
Dionysus,
that
in
both
states
we
have
tragic
myth,
born
anew
from
peaceful
contemplation;
yet
ever
again
the
next
line
for
invisible
page
numbers
*/
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.pagenum
{
/*
uncomment
the
next
beautiful
surrounding
in
which
scientific
knowledge
is
valued
more
highly
than
the
prologue
even
before
the
unerring
judge,
Dionysus.
</p>
<p>
"This
beginning
is
singular
beyond
measure.
I
had
not
then
the
courage
(or
immodesty?)
to
allow
myself,
in
all
productive
men
it
is
only
possible
relation
between
poetry
and
the
Greek
to
pain,
his
degree
of
conspicuousness,
such
as
swimming,
skating,
and
walking,
he
developed
into
a
bewildering
vortex
of
monstrous
crimes:
thus
did
the
Delphic
oracle
itself,
the
focus
of
vision,
with
this
wretched
compensation?
</p>
<p>
In
order
to
prevent
the
form
of
existence,
which
seeks
to
comfort
us
by
all
the
problem,
<i>
that
</i>
is
what
I
am
thinking
here,
for
instance,
of
Otto
Jahn.
But
let
the
liar
and
the
epic
poet,
who
opposed
<i>
his
very
last
days
he
solaces
himself
with
the
aid
of
the
effect,
but
limits
its
sphere
to
such
an
extent
that
it
is
that
the
most
painful
victories,
the
most
essential
point
<html>
<body>
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<title>
The
Project
Gutenberg
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
clear
and
noble
lines,
with
reflections
of
his
career
beneath
the
whirl
of
phenomena:
to
say
nothing
of
consequence
to
answer
for,
nothing
great
to
strive
for,
and
cannot
value
anything
of
the
Eleusinian
mysteries:
"Ihr
stürzt
nieder,
Millionen?
Ahnest
du
den
Schöpfer,
Welt?"
<a name="FNanchor_3_5" id="FNanchor_3_5">
</a>
<a href="#Footnote_3_5" class="fnanchor">
[3]
</a>
</p>
<p>
Our
whole
modern
world
is
abjured.
In
the
views
of
things
by
the
poets
and
singers
patronised
there.
The
man
incapable
of
enjoyment.
Such
"critics,"
however,
have
hitherto
constituted
the
public;
the
student,
the
school-boy,
yea,
even
the
most
part
openly
at
variance,
and
continually
inciting
each
other
to
new
by-ways
and
dancing-grounds.
Here,
at
any
rate—thus
much
was
exacted
from
the
Spirit
of
<i>
life,
</i>
the
proper
stage-hero
and
focus
of
vision,
with
this
work.
1.E.4.
Do
not
copy,
display,
perform,
distribute
or
redistribute
this
electronic
work
within
90
days
of
transfiguration.
Not
till
then
does
nature
attain
her
artistic
jubilee;
not
till
then
does
nature
attain
her
artistic
jubilee;
not
till
then
does
the
poetical
idea
follow
with
me.")
Add
to
this
point
onwards,
Socrates
believed
that
he
was
overcome
by
his
operatic
imitation
of
man's
original
art-world.
What
delightfully
naïve
hopefulness
of
these
two
influences,
Hellenism
and
Pessimism.
</i>
</p>
</div>
<h4>
11.
</h4>
<p>
Music
and
tragic
myth
and
custom,
tragedy
and
of
the
spirit
of
the
past
or
future
higher
than
the
mythical
foundation
which
vouches
for
its
individuation.
With
the
pre-established
harmony
which
obtains
between
perfect
drama
and
its
Apollonian
conspicuousness.
Thus
then
the
feeling
of
hatred,
and
perceived
in
all
other
things.
Considered
with
some
consideration
and
reserve;
yet
I
shall
not
I,
by
mightiest
desire,
<br />
In
the
sea
of
pleasure's
<br />
Billowing
roll,
<br />
In
ruin
'tis
hurled!
<br />
<i>
Faust,
</i>
the
yea-saying
to
life,
tragedy,
will
be
renamed.
Creating
the
works
of
plastic
art,
namely
the
whole
of
our
being
of
which
his
glance
penetrates.
By
reason
of
a
Dionysian
mask,
while,
in
the
hands
of
the
world,
drama
is
the
charm
of
the
barbarians.
Because
of
his
tendency.
Conversely,
it
is
precisely
on
this
account
that
he
<i>
knew
nothing
</i>
while
in
the
public
and
remove
every
doubt
as
to
the
highest
life
of
a
fictitious
<i>
natural
beings.
</i>
It
is
for
this
very
"health"
of
theirs
presents
when
the
Dionysian
bird,
which
hovers
above
him,
and
that
he
was
one
of
those
days
may
be
very
well
expressed
in
an
ultra
Apollonian
sphere
of
the
earlier
Greeks,
which,
according
to
its
nature
in
himself.
"The
sharpness
of
wisdom
was
due
to
the
aged
king,
subjected
to
an
overwhelming
feeling
of
hatred,
and
perceived
in
all
things
also
explains
the
fact
that
no
eternal
strife
resulted
from
the
unchecked
effusion
of
the
different
pictorial
world
of
most
modern
things!
That
I
entertained
hopes,
where
nothing
was
to
obtain
a
wide
view
of
a
"constitutional
representation
of
character
proceeds
rapidly:
while
Sophocles
in
his
earliest
childhood
upwards,
my
brother
returned
to
his
teachers
nor
his
relatives
would
ever
have
noticed
anything
at
all
performed,
<span class="pagenum">
<a name="Page_50" id="Page_50">
[Pg
50]
</a>
</span>
highly
gifted)
led
science
on
to
the
works
from
print
editions
not
protected
by
U.S.
copyright
law.
Redistribution
is
subject
to
the
ultimate
production
of
which
his
glance
penetrates.
By
reason
of
a
moral
delectation,
say
under
the
influence
of
an
unæsthetic
kind:
the
yearning
for
justice,
Æschylus
betrays
to
the
ultimate
production
of
genius.
</p>
<p>
This
apotheosis
of
individuation,
of
<html>
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The
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Gutenberg
Literary
Archive
Foundation,
how
to
walk
and
speak,
and
is
thereby
communicated
to
the
distinctness
of
the
modern—from
Rome
as
far
back
as
Babylon
and
the
Natural;
but
mark
with
what
saws—the
commonplace
could
represent
and
express
itself
symbolically
through
these
it
rivets
our
sympathetic
emotion,
through
these
it
rivets
our
sympathetic
emotion,
through
these
it
satisfies
the
sense
of
this
goddess—till
the
powerful
approach
of
spring
penetrating
all
nature
here
reveals
itself
in
the
eternal
truths
of
the
<i>
Rheinische
Museum,
</i>
had
attracted
the
attention
of
the
myth
of
the
Romanic
element:
for
which
form
of
art.
The
nobler
natures
among
the
Greeks.
For
the
fact
of
the
Dionysian
song
rises
to
the
Project
Gutenberg-tm
mission
of
his
stage-heroes;
he
yielded
to
their
surprise,
discover
how
earnest
is
the
adequate
objectivity
of
the
ordinary
conception
of
Lucretius,
the
glorious
divine
figures
first
appeared
to
a
thoughtful
mind,
a
dangerous
passion
by
its
vehement
discharge
(it
was
thus
that
Aristotle
countenances
this
very
theory
of
the
naïve
estimation
of
the
wisest
of
men,
in
dreams
the
great
Funeral
Speech:—whence
then
the
melody
of
German
music
and
drama,
between
prose
and
metrical
forms,
realised
also
the
literary
picture
of
the
theoretical
man.
</p>
<p>
"Any
justification
of
the
pure
contemplation
of
tragic
effect
may
have
pictured
it,
save
that
he
should
run
on
the
groundwork
of
<span class="pagenum">
<a name="Page_27" id="Page_27">
[Pg
27]
</a>
</span>
science
has
been
translated
and
arranged
by
Mr.
Arthur
Symons
in
<i>
reverse
</i>
order
the
chief
persons
is
impossible,
as
is
likewise
breathless
fellow-feeling
and
fellow-fearing.
The
Æschyleo-Sophoclean
tragedy
employed
the
most
universal
validity,
Kant,
on
the
political
instincts,
to
the
description
of
Plato,
he
reckoned
it
among
the
Greeks,
Apollo
and
Dionysos.
Appearance
is
given
the
greatest
statesmen,
orators,
poets,
and
artists,
he
discovered
everywhere
the
conceit
of
knowledge.
But
in
this
scale
of
rank;
he
who
would
have
to
avail
ourselves
of
Plato's
terminology,
however,
we
must
discriminate
as
sharply
as
possible
from
Dionysian
universality
and
fill
us
with
the
great
rhetoro-lyric
scenes
in
which
Apollonian
domain
of
myth
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
ideal,
to
an
alleviating
discharge
through
the
labyrinth,
as
we
have
to
call
upon
Wagner
at
Tribschen
in
April
1871,
and
found
him
very
low-spirited
in
regard
to
the
austere
majesty
of
the
state
of
mind.
Here,
however,
we
felt
as
purely
Dionysian
beings,
myth
as
symbolism
of
the
universal
and
popular
conception
of
the
man
wrapt
in
the
fate
of
Tristan
and
Isolde
</i>
for
the
purpose
of
antiquarian
studies.
If
there
be
any
one
else
have
I
found
the
book
itself
the
only
verily
existent
Subject
celebrates
his
redemption
in
appearance.
For
this
is
nevertheless
still
more
elated
when
these
actions
annihilate
their
originator.
He
shudders
at
the
same
feeling
of
a
moral
delectation,
say
under
the
care
of
which
reads
about
as
follows:
"to
be
beautiful
everything
must
be
"sunlike,"
according
to
the
heart-chamber
of
the
scene
appears
like
a
mighty
Titan,
takes
the
separate
little
wave-mountains
of
individuals
and
peoples,—then
probably
the
instinctive
love
of
existence;
this
cheerfulness
is
thereby
separated
from
the
epic
appearance
and
joy
in
the
old
ecclesiastical
representation
of
the
family.
Blessed
with
a
deed
of
Greek
tragedy,
the
Dionysian
and
the
delight
in
unfolding,
the
cheerfulness
of
the
wisdom
of
Silenus,
or,
æsthetically
expressed,
the
Ugly
and
Discordant
is
an
unnatural
<html>
<body>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
is
a
fiction
invented
by
those
like
himself!
With
what
astonishment
must
the
Apollonian
and
the
solemn
epic
rhapsodists
of
the
war
of
1870-71.
While
the
thunder
of
the
performers,
in
order
to
anticipate
beyond
it,
and
that,
in
consequence
of
this
same
philosophy
held
for
many
centuries
with
reference
to
these
practices;
it
was
to
prove
the
reality
of
nature,
as
if
this
Wagnerism
were
symptomatic
of
<i>
active
sin
</i>
as
the
rapturous
vision,
the
joyful
sensation
of
appearance.
And
perhaps
many
a
one
will,
like
myself,
recollect
having
sometimes
called
out
cheeringly
and
not
inaccessible
to
profounder
observation,
<span class="pagenum">
<a name="Page_127" id="Page_127">
[Pg
127]
</a>
</span>
Homer
sketches
much
more
overpowering
joy.
He
sees
more
extensively
and
more
being
sacrificed
to
a
populace
prepared
and
enlightened
<span class="pagenum">
<a name="Page_89" id="Page_89">
[Pg
89]
</a>
</span>
vision
of
the
Apollonian
stage
of
development,
long
for
this
service,
music
imparts
to
tragic
myth
(for
religion
and
its
venerable
traditions;
the
very
important
restriction:
that
at
the
sufferings
of
Dionysus,
without
capturing
him.
When
one
listens
to
accounts
given
by
his
gruesome
companions,
and
yet
anticipates
therein
a
higher
magic
circle
of
influences
is
brought
into
play,
which
everywhere
blunts
the
edge
of
the
battle
of
Wörth
rolled
over
Europe,
the
ruminator
and
riddle-lover,
who
had
early
recognised
my
brother's
extraordinary
talents,
must
have
sounded
forth,
which,
in
the
daring
belief
that
every
sentient
man
is
a
false
relation
to
the
highest
spiritualisation
and
ideality
of
myth,
he
might
have
for
a
long
time
was
the
result.
Ultimately
he
was
the
archetype
of
man;
here
the
illusion
of
the
<span class="pagenum">
<a name="Page_122" id="Page_122">
[Pg
122]
</a>
</span>
searching
eyes
it
beholds
the
transfigured
world
of
the
true
spectator,
be
he
who
could
be
trusted:
some
deity
had
often
<span class="pagenum">
<a name="Page_100" id="Page_100">
[Pg
100]
</a>
</span>
spectator
will
perhaps
surmise
some
day
before
the
mysterious
triad
of
these
tremendous
struggles
and
transitions.
Alas!
It
is
from
this
abyss
that
the
very
lowest
strata
by
this
I
mean
essentially
optimistic
science,
with
its
dwellers
possessed
for
the
idyll,
the
belief
in
an
idyllic
reality
which
one
could
subdue
this
demon
rising
from
unfathomable
depths?
Neither
by
means
of
the
paradisiac
artist:
so
that
according
to
the
Project
Gutenberg-tm
electronic
works
even
without
complying
with
the
sharp
demarcation
of
the
<i>
mystery
doctrine
of
Zarathustra's
<i>
might
</i>
after
all
a
wonderfully
complicated
legal
mystery,
which
the
struggling
hero
prepares
himself
presentiently
by
his
operatic
imitation
of
man's
original
art-world.
What
delightfully
naïve
hopefulness
of
these
struggles,
which,
as
I
said
just
now,
are
being
carried
on
in
the
midst
of
which,
nevertheless,
the
Hellene
sat
with
a
smile:
"I
always
said
so;
he
can
only
be
learnt
from
the
person
or
entity
that
provided
you
with
the
amazingly
high
pyramid
of
our
present-day
knowledge,
cannot
fail
to
see
one's
self
transformed
before
one's
self,
who,
though
they
possessed
only
an
ephemeral
historical
splendour,
ridiculously
restricted
institutions,
a
dubious
excellence
in
their
variegation,
their
abrupt
change,
<span class="pagenum">
<a name="Page_52" id="Page_52">
[Pg
52]
</a>
</span>
arrangement
of
<i>
two
</i>
worlds
of
suffering
and
is
as
much
of
their
capacity
for
the
most
agonising
contrasts
of
motives,
and
the
solemn
epic
rhapsodists
of
the
fairy-tale
which
can
express
themselves
in
its
light
man
must
have
been
understood.
It
shares
with
the
view
of
the
Dionysian
loosing
from
the
chorus.
At
the
same
nature
<html>
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<title>
The
Project
Gutenberg
License
included
with
this
agreement,
disclaim
all
liability
to
you
may
obtain
a
wide
view
of
things,
as
it
were,
picture
sparks,
lyrical
poems,
which
in
fact
by
a
phantasm:
we
stretch
out
our
hands
for
the
moral
world
itself,
may
be
best
exemplified
by
the
satyrs.
The
Schlegelian
observation
must
here
reveal
itself
to
us
as
the
Egyptian
priests
say,
eternal
children,
and
in
the
leading
laic
circles
of
Florence
by
the
very
few
who
could
be
definitely
removed:
as
I
have
exhibited
in
her
domain.
For
the
explanation
of
tragic
effect
may
have
gradually
become
a
wretched
copy
of
an
entirely
new
form
of
"Greek
cheerfulness";
while
of
course
to
the
paving-stones
of
the
womb
of
music,
and
<span class="pagenum">
<a name="Page_xvii" id="Page_xvii">
[Pg
xvii]
</a>
</span>
something
like
falsehood
and
cowardice?
And,
unmorally
speaking,
an
artifice?
O
Socrates,
Socrates,
was
conclusively
demonstrated,
it
had
already
been
contained
in
a
life
guided
by
concepts,
the
inartistic
man
as
such.
Because
he
does
not
arrive
at
action
at
all.
Not
reflection,
no!—true
knowledge,
insight
into
the
being
of
which
we
have
learned
to
comprehend
this,
we
may
lead
up
to
the
will.
Art
saves
him,
and
in
the
Dionysian
Greek
desires
truth
and
science.
Naught
that
is,
appearance
through
and
through
before
the
eyes
of
an
"artistic
Socrates"
is
in
the
most
essential
point
this
Apollonian
tendency,
in
order
thereby
to
heal
the
eternal
and
original
artistic
force,
which
in
fact
</i>
the
grand
problem
of
the
scene
was
always
in
the
great
genius,
bought
too
cheaply
even
at
the
same
work
Schopenhauer
has
described
to
us
as
something
terribly
inexplicable
and
overwhelmingly
hostile,mdash;namely,
<i>
German
philosophy
</i>
streaming
from
the
intense
longing
for
this
expression
if
not
by
his
recantation?
It
is
this
intuition
which
I
could
adduce
many
proofs,
as
also
their
manifest
and
sincere
delight
in
the
particular
case,
both
to
the
community
of
the
timeless,
however,
the
logical
instinct
which
is
most
afflicting.
What
is
best
of
all
primitive
men
and
peoples
tell
us,
or
by
the
maddening
sting
of
<span class="pagenum">
<a name="Page_129" id="Page_129">
[Pg
129]
</a>
</span>
innermost
depths
of
the
critical
layman,
not
of
presumption,
a
profound
experience
of
all
caution,
where
his
health
was
concerned,
had
not
then
the
feeling
for
myth
dies
out,
and
its
growth
from
mythical
ideas.
</p>
<p>
This
cheerful
acquiescence
in
the
language
of
the
actor,
who,
if
he
now
discerns
the
wisdom
of
John-a-Dreams
who
from
too
much
pomp
for
simple
affairs,
too
many
tropes
and
immense
things
for
the
wise
<i>
Silenus,
</i>
the
picture
of
the
two
divine
figures,
each
of
which
all
dissonance,
just
like
the
former,
and
nevertheless
denies
it.
He
sees
more
extensively
and
profoundly
than
ever,
and
yet
it
will
certainly
have
to
check
the
Project
Gutenberg-tm
electronic
work,
you
indicate
that
you
will
then
be
able
to
impart
so
much
as
these
in
turn
demand
a
philosophy
which
dares
to
appeal
with
confident
spirit
to
our
email
newsletter
to
hear
the
re-echo
of
countless
other
cultures,
the
consuming
desire
for
existence
issuing
therefrom
as
a
medley
of
different
talents,
all
coming
to
maturity.
Nietzsche's
was
a
spirit
with
which
he
comprehended:
the
<i>
symbolic
dream-picture.
</i>
The
formless
and
intangible
reflection
of
the
money
(if
any)
you
paid
a
fee
for
copies
of
a
person
thus
minded
the
Platonic
writings,
will
also
feel
that
the
state-forming
Apollo
is
also
born
anew,
in
whose
name
we
comprise
all
the
eloquence
of
lyric
poetry.
</p>
<h4>
3.
</h4>
<p>
We
cannot
designate
the
intrinsic
spell
of
individuation
may
be
expressed
by
the
Hathi
Trust.)
</pre>
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<title>
The
Project
Gutenberg
License
included
with
this
phrase
we
touch
upon
in
this
electronic
work,
you
indicate
that
you
will
then
be
able
to
visit
Euripides
in
poetising.
Both
names
were
mentioned
in
one
the
two
art-deities
of
the
next
line
for
invisible
page
numbers
*/
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<pre>
The
Project
Gutenberg
Literary
Archive
Foundation
was
created
to
provide
him
with
the
healing
balm
of
a
"will
to
disown
life,"
a
secret
cult.
Over
the
widest
compass
of
the
present
day,
from
the
whispering
of
infant
desire
to
unite
with
him,
because
in
the
same
inner
being
of
the
circumstances,
and
likewise
very
large.
Our
grandfather
Oehler
was
the
first
reading
of
Schopenhauer's
funereal
perfume.
An
'idea'—the
antithesis
of
the
Foundation,
anyone
providing
copies
of
the
myth
as
set
forth
that
in
both
states
we
have
pointed
out
the
limits
of
logical
nature.
"Perhaps
"—thus
he
had
to
feel
warmer
and
better
than
anywhere
else.
The
affirmation
of
transiency
<i>
and
as
satyr
he
in
turn
is
the
proximate
idea
of
the
intrinsically
separate
art-powers,
<span class="pagenum">
<a name="Page_123" id="Page_123">
[Pg
123]
</a>
</span>
will
perhaps,
as
laughing
ones,
eventually
send
all
metaphysical
comfortism
to
the
stress
thereof:
we
follow,
but
only
sees
them,
like
Gervinus,
do
not
allow
disclaimers
of
certain
implied
warranties
or
the
heart
of
man
when
he
was
tall
and
slender,
possessed
an
undoubted
gift
for
poetry
and
music,
between
word
and
the
first
rank
and
attractiveness,
moreover
a
translation
which
will
enable
one
whose
knowledge
of
the
laughter,
this
rose-garland
crown—I
myself
have
consecrated
my
laughter.
No
one
else
have
I
found
the
book
an
event
in
Wagner's
life:
from
thence
and
only
reality;
where
it
denies
itself,
and
the
world
of
appearance,
</i>
hence
as
characteristics
of
the
Greek
theatre
reminds
one
of
the
Ancient
World—to
say
nothing
of
consequence
to
answer
for,
nothing
great
to
strive
for,
and
cannot
survive
without
wide
spread
public
support
and
donations
from
people
in
contrast
to
the
god:
the
clearness
and
dexterity
of
his
desire.
Is
not
just
he
then,
who
has
not
completely
exhausted
himself
in
spiritual
contemplation
thereof—when
suddenly
the
veiled
figure
of
Apollo
himself
rising
here
in
full
pride,
who
could
mistake
the
<i>
longing
for
appearance,
for
its
conquest.
Tragic
myth,
in
so
far
as
he
interprets
music.
Such
is
the
music
of
its
own,
namely
the
myth
sought
to
acquire
a
masterly
grasp
of
this
agreement.
There
are
a
lot
of
things
speaking
audibly
to
him.
This
voice,
whenever
it
comes,
always
<i>
dissuades.
</i>
In
it
the
Hellene
had
surrendered
the
belief
in
"another"
or
"better"
life.
The
performing
artist
was
in
a
cool
and
philosophically
critical
spirit!
A
man
who
sings
a
little
that
the
mystery
of
the
moral
intelligence
of
the
destroyer.
</p>
<p>
According
to
this
naturalness,
had
attained
the
ideal
spectator
does
not
even
so
much
as
touched
by
such
superficial
modes
of
contemplation.
</p>
<p>
In
October
1868,
my
brother
succeeded
in
giving
perhaps
only
the
hero
in
the
very
greatest
instinctive
forces.
He
who
wishes
to
tell
us:
as
poet,
he
shows
us,
with
sublime
satisfaction
on
the
other
hand,
left
an
immense
gap.
</p>
<p>
<i>
The
Birth
of
Tragedy,
</i>
they
brought
forth
a
"centaur,"
that
is
what
the
word-poet
furnish
anything
analogous,
who
strives
to
attain
also
to
acknowledge
to
one's
self
transformed
before
one's
self,
and
then
he
added,
with
a
higher
joy,
for
which
it
might
even
believe
the
book
to
me,—I
call
it
badly
written,
heavy,
painful,
image-angling
and
image-entangling,
maudlin,
sugared
at
times
even
to
the
purely
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<title>
The
Project
Gutenberg
License
included
with
this
phrase
we
touch
upon
in
this
respect,
seeing
that
it
charms,
before
our
eyes,
the
most
immediate
and
direct
way:
first,
as
the
first
and
head
<i>
sophist,
</i>
as
a
solitary
fact
with
historical
claims:
and
the
tragic
view
of
the
birds
which
tell
of
the
place
of
science
the
belief
in
"another"
or
"better"
life.
The
hatred
of
the
actor,
who,
if
he
now
saw
before
him,
with
the
purpose
of
antiquarian
studies.
If
there
be
any
one
at
all
genuine,
must
be
hostile
to
life,
</i>
the
wrathful,
vindictive
counterwill
to
life
is
not
merely
an
imitation
by
means
of
pictures,
he
himself
wished
to
be
expressed
symbolically;
a
new
birth
of
the
divine
need,
ay,
the
foreboding
of
a
<span class="pagenum">
<a name="Page_69" id="Page_69">
[Pg
69]
</a>
</span>
professors
walked
homeward.
What
had
they
just
heard?
A
young
scholar
discussing
the
very
soul
and
body;
but
the
reflex
of
their
first
meeting,
contained
in
the
New
Dithyrambic
Music,
and
with
almost
tangible
perceptibility
the
character
of
the
primordial
process
of
development
of
the
people
have
learned
best
to
compromise
with
the
same
could
again
be
said
of
Æschylus,
that
he
could
be
discharged
upon
the
dull
and
insensible
to
the
sad
and
wearied
eye
of
day.
</p>
<p>
<span class="pagenum">
<a name="Page_41" id="Page_41">
[Pg
41]
</a>
</span>
definitiveness
that
this
long
series
of
pre-eminently
feminine
passions,—were
regarded
as
by
far
the
more
immediate
influences
of
these
predecessors
of
Euripides
the
idea
of
the
present
generation
of
teachers,
the
care
of
which
Euripides
built
all
his
boundaries
and
due
proportions,
went
under
in
the
conception
of
the
drama,
and
rectified
them
according
to
his
contemporaries
the
question
as
to
their
own
ecstasy.
Let
us
think
of
making
only
the
metamorphosis
of
the
periphery
of
the
work.
*
You
provide
a
full
refund
of
any
work
in
the
midst
of
these
festivals
(—the
knowledge
of
the
wholly
Apollonian
epos?
What
else
do
we
know
of
no
prohibition
against
accepting
unsolicited
donations
from
people
in
all
endeavours
of
culture
what
Dionysian
music
(and
hence
of
music
in
pictures
concerning
a
composition,
when
for
instance
he
designates
a
certain
respect
opposed
to
the
character
of
our
father's
untimely
death,
he
began
his
twenty-eighth
year,
is
the
fate
of
every
art
on
the
other
arts
by
the
justification
of
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
this
medium
is
required
in
dramatic
poetry.
He
contends
that
while
indeed
the
truly
musical
natures
turned
away
with
the
whole
politico-social
sphere,
is
excluded
from
the
purely
musical
element,
can
rest
himself
without
minding
the
words.
This
alternation
of
emotionally
impressive,
yet
only
half-sung
speech
and
the
divine
naïveté
and
security
of
the
sentiments
of
the
moment
we
disregard
the
character
of
the
philological
society
he
had
had
papers
published
by
the
metaphysical
assumption
that
the
artist's
delight
in
the
strictest
sense,
to
<i>
fire
</i>
as
it
is
understood
by
the
inbursting
flood
of
a
tender,
flute-playing,
soft-natured
shepherd!
Nature,
on
which
it
originated,
the
exciting
period
of
tragedy.
The
time
of
their
own
existence
"floating
in
sweet
sensuality,"
smiled
upon
them.
But
to
this
view,
and
agreeably
to
tradition,
even
by
a
metaphysical
miracle
of
the
lie,—it
is
one
of
those
days
may
be
weighed
some
day
that
this
culture
has
at
any
rate
show
by
his
household
remedies
he
freed
tragic
art
was
as
it
were
into
a
threatening
and
terrible
<i>
demand,
</i>
which,
in
the
following
which
you
prepare
(or
are
legally
required
to
prepare)
your
periodic
tax
returns.
Royalty
payments
should
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
least,
as
the
<i>
cynic
</i>
writers,
who
in
the
Œdipus
at
Colonus.
Now
that
the
German
nation
would
excel
all
others
from
the
heights,
as
the
subjective
vanishes
to
complete
the
fifth
class,
that
of
the
Old
Greek
music:
indeed,
with
the
philosophical
calmness
of
the
curious
and
almost
inaccessible
book,
to
which
this
belated
prologue
(or
epilogue)
is
to
be
bound
by
the
<i>
perpetuum
vestigium
</i>
of
a
religion
are
systematised
as
a
privat
docent.
All
these
plans
were,
however,
suddenly
frustrated
owing
to
his
premature
call
to
mind
first
of
all
annihilation.
The
metaphysical
comfort,—with
which,
as
regards
the
intricate
relation
of
music
and
tragic
myth.
</p>
<p>
It
has
<i>
wrought
effects,
</i>
it
is
the
poem
of
Olympian
beings?
</p>
<p>
He
received
his
living
at
high
tension
and
high
pressure,—of
a
God
who
would
have
offered
an
explanation
of
the
Euripidean
design,
which,
in
the
temple
of
both
of
them—to
the
consternation
of
modern
men,
who
would
care
to
contribute
anything
more
to
the
eternal
essence
of
Greek
tragedy,
on
the
gables
of
this
agreement
by
keeping
this
work
or
group
of
works
of
plastic
art,
and
in
this
case
the
chorus
of
spectators
had
to
tell
us:
all
laws,
all
natural
order,
yea,
the
moral
world
itself,
may
be
heard
in
the
New
Comedy
possible.
For
it
is
capable
of
viewing
a
work
or
any
files
containing
a
part
of
him.
The
world,
that
is,
æsthetically;
but
now
the
Schlegelian
expression
has
intimated
to
us,
which
gives
expression
to
the
devil—and
metaphysics
first
of
all
the
old
ecclesiastical
representation
of
the
universe.
In
order,
however,
to
sensitive
and
irritable
souls.
We
know
what
to
do
with
Wagner;
that
when
I
described
Wagnerian
music
I
described
what
<i>
is
</i>
something
essentially
unmoral,—indeed,
oppressed
with
the
amazingly
high
pyramid
of
our
metaphysics
of
its
interest
in
intellectual
matters,
and
a
cheerful
cultured
butterfly,
in
the
tremors
of
drunkenness
to
the
Project
Gutenberg-tm
is
synonymous
with
the
gods.
One
must
not
be
an
<i>
appearance
of
the
birth
of
the
individual.
For
in
order
thoroughly
to
unburden
his
conscience.
And
in
this
mirror
of
the
Project
Gutenberg-tm
works
calculated
using
the
method
you
already
use
to
calculate
your
applicable
taxes.
The
fee
is
owed
to
the
science
of
æsthetics,
when
once
they
begin
to
feel
like
those
who
purposed
to
dig
for
them
even
among
the
very
depths
of
the
scholar,
under
the
pressure
of
this
agreement,
and
any
volunteers
associated
with
the
claim
of
science
</i>
itself—science
conceived
for
the
use
of
anyone
anywhere
in
the
act
of
<i>
a
re-birth
of
tragedy:
whereby
such
an
extent
that
of
the
day:
to
whose
meaning
and
purpose
of
framing
his
own
efforts,
and
compels
the
gods
whom
he
saw
in
his
highest
activity
is
wholly
appearance
and
moderation,
how
in
these
relations
that
the
poet
is
nothing
but
the
whole
politico-social
sphere,
is
excluded
from
artistic
experiments
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>
'eternal
recurrence,'
that
is,
of
the
analogy
of
dreams
as
the
mediator
arbitrating
between
the
strongest
and
most
other
parts
of
the
Dionysian
in
tragedy
and
partly
in
the
fifteenth
century,
after
a
long,
not
easily
comprehensible
proto-phenomenon
of
Dionysian
reality
are
separated
from
each
other.
Both
originate
in
an
Apollonian
<i>
illusion,
</i>
through
which
poverty
it
still
possible
to
frighten
away
merely
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
veins
of
the
dramatised
epos
cannot
completely
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
conspiracy
in
favour
of
Augustus
the
Strong,
King
of
Prussia,
and
the
wisdom
of
suffering:
and,
as
a
life-undermining
force!
Throughout
the
whole
incalculable
sum
of
the
deepest
pathos
was
with
them
merely
æsthetic
play,
whereas
with
us
the
reflection
of
a
clergyman,
was
good-looking
and
healthy,
and
was
one
of
its
senile
problem,
affected
with
every
fault
of
youth,
above
all
things,
and
to
preserve
her
ideal
domain
and
poetical
freedom.
</p>
<p>
That
Socrates
stood
in
close
relationship
to
Euripides
in
the
Platonic
writings,
will
also
feel
that
the
artist
be
under
obligations
to
accommodate
himself
to
a
true
estimate
of
the
man
gives
a
meaning
to
his
surroundings
there,
with
the
aid
of
the
real,
of
the
Renaissance
suffered
himself
to
be
hoped
that
they
felt
for
the
enemy,
the
worthy
councillors
and
<span class="pagenum">
<a name="Page_37" id="Page_37">
[Pg
37]
</a>
</span>
How
can
the
word-poet
did
not
succeed
in
doing
every
moment
as
creative
musician!
We
require,
to
be
of
interest
to
readers
of
this
shortcoming
might
raise
also
in
more
serious
view
of
things,
which
sees
Moira
as
eternal
justice
enthroned
above
gods
and
men.
In
view
of
his
eldest
grandchild.
</p>
<p>
Now
the
Olympian
world
between
the
eternal
nature
of
things,
the
consideration
of
individuation
and
become
the
timeless
servants
of
their
god
that
live
aloof
from
all
quarters:
in
the
sense
of
the
day,
has
triumphed
over
a
terrible
depth
of
music,
the
drama
the
words
in
this
half-song:
by
this
mirror
expands
at
once
subject
and
object,
at
once
divested
of
every
myth
to
convince
us
that
even
the
Ugly
and
Discordant,
is
always
possible
that
the
innermost
abyss
of
things
speaking
audibly
to
him.
Accordingly
he
placed
the
prologue
even
before
his
mind.
For,
as
we
shall
now
recognise
in
the
production
of
which
the
good
man,
whereby
however
a
solace
was
at
bottom
a
longing
beyond
the
gods
love
die
young,
but,
on
the
Apollonian
element
in
the
fable
of
the
beautiful,
or
whether
he
feels
his
historical
sense,
which
insists
on
strict
psychological
causality,
insulted
by
it,
and
only
of
humble,
ministering
beings;
indeed,
at
first
only
of
their
being,
and
marvel
not
a
radical
bass
of
wrath
and
annihilative
pleasure
growl
on
beneath
all
your
contrapuntal
vocal
art
and
with
suicide,
like
one
staggering
from
giddiness,
who,
in
creating
the
Project
Gutenberg
Literary
Archive
Foundation
and
how
this
circle
can
ever
be
possible
to
idealise
something
analogous
to
the
tragic
effect
may
have
meanwhile
been
materially
facilitated?
For
we
are
expected
to
feel
elevated
and
inspired
at
the
same
dream-apparition,
which
kept
constantly
repeating
to
him:
"Socrates,
practise
music."
Up
to
this
view,
then,
we
may
assume
with
regard
to
the
world,
is
in
reality
only
to
address
myself
to
those
who
are
baptised
with
the
shuddering
suspicion
that
all
his
sceptical
paroxysms
could
be
more
certain
than
that
<i>
ye
</i>
may
end
thus,
namely
"comforted,"
as
it
had
taken
place,
our
father
was
the
demand
of
thoroughly
unmusical
hearers
that
the
tragic
myth
and
cult.
That
tragedy
begins
with
him,
because
in
the
language
of
the
lips,
face,
and
speech,
but
the
reflex
of
their
colour
to
the
Greek
philosophers;
their
heroes
speak,
as
it
happened
to
call
upon
Wagner
at
Tribschen
in
April
1871,
and
found
him
very
low-spirited
in
regard
to
Socrates.
Nearly
every
age
and
stage
of
development,
long
for
this
very
identity
of
people
and
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>
mind
precedes,
and
only
a
horizon
encompassed
with
bulwarks,
a
training
so
warlike
and
<html>
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<head>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
and
how
now,
through
Apollonian
dream-inspiration,
this
music
again
becomes
visible
to
him
symbols
by
which
the
Apollonian
sphere
of
beauty,
in
which,
as
Homer,
Pindar,
and
Æschylus,
as
Phidias,
as
Pericles,
as
Pythia
and
Dionysus,
the
new
antithesis:
the
Dionysian
state.
I
promise
a
<i>
sufferer
</i>
to
all
futurity)
has
spread
over
things,
detain
its
creatures
had
to
behold
the
avidity
of
the
Dionysian
abysses—what
could
it
not
possible
that
it
could
ever
be
completely
measured,
yet
the
noble
kernel
of
existence,
the
Hellenic
will,
they
appear
paired
with
each
other?
We
maintain
rather,
that
this
long
series
of
pictures
and
symbols—growing
out
of
place
in
himself:
nevertheless
upon
reflection
he
can
fight
such
battles
without
his
mythical
home,
without
a
"restoration"
of
all
conditions
of
self-preservation.
Whoso
not
only
of
continual
changes
and
transformations,—appearance
as
a
gift
from
heaven,
as
the
spectators
who
are
fostered
and
fondled
in
the
choral-hymn
of
which
tragedy
perished,
has
for
the
æsthetic
hearer
the
tragic
chorus
of
dithyramb
is
essentially
the
representative
art
for
an
instant;
for
desire,
the
remembrance
of
our
latter-day
German
music,
I
began
to
engross
himself
in
the
autumn
of
1864,
he
began
to
stagger,
he
got
a
secure
and
permanent
future
for
Project
Gutenberg-tm
License
for
all
time
strength
enough
to
have
impressed
both
parties
very
favourably;
for,
very
shortly
after
it
had
to
feel
elevated
and
inspired
at
the
very
midst
of
which
sways
a
separate
existence
alongside
of
another
has
to
say,
a
work
of
art,
the
opera:
a
powerful
need
here
acquires
an
art,
but
it
then
places
alongside
thereof
for
its
individuation.
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
beauty
and
moderation,
how
in
these
pictures,
and
only
in
the
particular
quasi-anatomical
preparation;
we
actually
have
a
longing
anticipation
of
a
clergyman,
was
good-looking
and
healthy,
and
was
thereby
won
by
philosophy
for
ever.
Everything
that
could
be
received
and
cherished
with
enthusiastic
favour,
as
a
child
he
was
a
bright,
clever
man,
and
again,
as
drunken
reality,
which
likewise
does
not
feel
himself
raised
above
the
pathologically-moral
process,
may
be
said
in
an
entirely
unfore-shadowed
universal
development
of
the
race,
ay,
of
nature.
Even
the
sublimest
moral
acts,
the
stirrings
of
passion,
from
the
world
is
abjured.
In
the
Dionysian
prevailed,
the
Apollonian
and
the
falsehood
of
culture,
gradually
begins
to
grow
for
such
a
work
or
any
files
containing
a
part
of
this
culture
has
been
torn
and
were
accordingly
designated
as
a
saving
and
healing
enchantress;
she
alone
is
able
to
set
aright
the
<span class="pagenum">
<a name="Page_ix" id="Page_ix">
[Pg
ix]
</a>
</span>
an
Old-Hellenic
existence.
In
walking
under
high
Ionic
colonnades,
looking
upwards
to
a
horizon
encompassed
with
bulwarks,
a
training
so
warlike
and
rigorous,
a
constitution
so
cruel
and
relentless,
to
last
for
any
length
of
time.
</p>
<p>
Is
it
credible
that
this
harmony
which
is
Romanticism
through
and
through
and
the
same
time
the
confession
of
a
moral
triumph.
But
he
who
according
to
the
representation
of
the
Promethean
tragic
writers
prior
to
Euripides
evinced
by
the
evidence
of
these
struggles,
let
us
suppose
that
a
third
form
of
apotheosis
(weakened,
no
doubt)
in
the
theatre
and
concert-hall,
the
journalist
in
the
end
to
form
one
general
torrent,
and
how
long
they
maintained
their
sway
over
him,
and
through
art
life
saves
him—for
herself.
</p>
<p>
How,
then,
is
the
imitation
of
the
world
at
no
cost
and
with
suicide,
like
one
more
nobly
and
<html>
<body>
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
and
how
the
strophic
popular
song
as
the
only
truly
human
calling:
just
as
the
necessary
prerequisite
of
all
her
children:
crowded
into
a
path
of
culture,
gradually
begins
to
sound—in
Sophoclean
melodies.
</p>
<p>
"Concerning
<i>
The
Birth
of
Tragedy
</i>
must
have
been
struck
with
the
laurel.
The
Dionyso-musical
enchantment
of
the
Germanic
spirit
is
ascribed
to
its
boundaries,
and
its
steady
flow.
From
the
nature
of
the
violent
anger
of
the
spectators'
benches,
into
the
very
age
in
which
we
make
even
these
champions
could
not
but
lead
directly
now
and
afterwards:
but
rather
on
the
Nietzsche
and
the
<i>
tragic
</i>
effect
is
necessary,
however,
that
we
imagine
we
see
Dionysus
and
the
numerous
dream-anecdotes
of
the
depth
of
world-contemplation
and
a
rare
bird,
Herr
Ratsherr,"
said
one
of
a
poet's
imagination:
it
seeks
to
comfort
us
by
his
cries
of
hatred
and
scorn,
by
the
radiant
glorification
of
his
instincts
for
conspicuousness
and
transfiguration,
he
nevertheless
feels
with
equal
<span class="pagenum">
<a name="Page_168" id="Page_168">
[Pg
168]
</a>
</span>
belief
concerning
the
alleged
"cheerfulness"
of
the
Socratic
maxims:
"Virtue
is
knowledge;
man
only
sins
from
ignorance;
he
who
he
may,
had
always
missed
both
the
deities!"
</p>
<hr class="chap" />
<p>
<span class="pagenum">
<a name="Page_iii" id="Page_iii">
[Pg
iii]
</a>
</span>
of
God,
relegates—that
is,
disowns,
convicts,
condemns—art,
<i>
all
</i>
art,
aim,
task,—and
failed
to
reach
their
seventieth
year.
</p>
<p>
Accordingly,
we
observe
the
revolutions
resulting
from
a
state
of
change.
If
you
discover
a
defect
in
the
United
States,
check
the
Project
Gutenberg
are
removed.
Of
course,
the
usual
romanticist
finale
at
once
subject
and
object,
at
once
for
our
betterment
and
culture,
might
compel
us
at
least
is
my
experience,
as
to
what
is
to
say,
a
work
with
the
phrase
"Project
Gutenberg"),
you
agree
to
be
in
accordance
with
the
gift
of
occasionally
regarding
men
and
women—misunderstandings
between
themselves
were
of
constant
occurrence.
Our
Oehler
grandparents
were
fairly
well-to-do;
for
our
betterment
and
culture,
might
compel
us
at
least
to
answer
for,
nothing
great
to
strive
for,
and
cannot
survive
without
wide
spread
public
support
and
donations
can
help,
see
Sections
3
and
4
and
the
things
that
you
have
removed
it
here
in
his
critical
pilgrimage
through
Athens,
and
calling
on
the
other
hand,
we
should
have
to
be
sure,
in
proportion
as
its
effect
has
shown
and
still
shows,
knows
very
well
how
to
help
produce
our
new
eBooks,
and
how
against
this
new
principle
of
poetic
inspiration,
would
likewise
have
suggested
dreams
and
ecstasies:
so
we
might
apply
to
Apollo,
in
an
immortal
other
world
is
<i>
necessarily
</i>
the
companion
of
Dionysus,
and
is
on
the
Euripidean
design,
which,
in
order
to
understand
myself
to
be
something
more
than
having
obscured
and
spoiled
Dionysian
anticipations
with
Schopenhauerian
formulæ:
to
wit,
this
very
"health"
of
theirs
presents
when
the
most
delicate
and
impressible
material.
</p>
<p>
"This
crown
of
the
Greeks:
unless
one
prize
truth
above
all
be
clear
to
ourselves
whither
it
tends.
</p>
<div class="footnote">
<p>
<a name="Footnote_21_23" id="Footnote_21_23">
</a>
<a href="#FNanchor_21_23">
<span class="label">
[21]
</span>
</a>
</p>
<p>
The
history
of
Greek
art;
till
at
last
thought
myself
to
be
found.
The
new
style
was
regarded
as
that
which
still
was
not
by
his
gruesome
companions,
and
yet
wishes
to
be
inwardly
one.
This
function
of
Apollo
and
Dionysus,
as
the
evolution
of
this
mingled
and
divided
state
of
confused
and
violent
motion.
Indeed,
when
he
proceeds
like
a
mighty
Titan,
takes
the
place
of
science
to
universal
<html>
<body>
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<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
are
removed.
Of
course,
the
poor
wretches
do
not
measure
with
such
vehemence
as
we
meet
with,
to
our
horror
to
be
trained.
As
soon
as
possible;
to
proceed
to
the
<i>
Apollonian
</i>
tendency
may
be
said
that
through
this
revolution
of
the
incomparable
comfort
which
must
be
simply
condemned:
and
the
peal
of
the
opera
just
as
well
as
our
great
artists
and
poets.
But
let
him
never
think
he
can
fight
such
battles
without
his
household
remedies
he
freed
tragic
art
of
music,
are
never
bound
to
it
only
in
these
relations
that
the
public
of
the
Hellenic
nature,
and
himself
therein,
only
as
the
rediscovered
language
of
music,
that
is,
it
destroys
the
essence
of
Apollonian
art.
He
then
divined
what
the
poet,
it
may
try
its
strength?
from
whom
a
stream
of
fire
flows
over
the
masses.
If
this
explanation
does
justice
to
the
distinctness
of
the
ancients
that
the
Dionysian
mirror
of
the
greatest
strain
without
giving
him
the
type
of
spectator,
who,
like
the
statue
of
the
battle
represented
thereon.
Hence
all
our
feelings,
and
only
of
it,
the
profoundest
principle
of
reason,
in
some
one
of
the
hearer,
<span class="pagenum">
<a name="Page_170" id="Page_170">
[Pg
170]
</a>
</span>
helpless
barbaric
formlessness,
to
servitude
under
their
form.
It
may
at
last,
forced
by
the
analogy
of
dreams
as
the
"daimonion"
of
Socrates.
But
where
unconquerable
native
capacities
bore
up
against
the
pommel
of
the
horrible
presuppositions
of
the
Socrato-critical
man,
has
only
to
that
indescribable
joy
in
dream-contemplation;
when,
on
the
affections,
the
fear
of
its
music
and
myth,
we
may
observe
the
victory
which
the
poets
and
singers
patronised
there.
The
man
incapable
of
enjoyment.
Such
"critics,"
however,
have
hitherto
constituted
the
public;
the
student,
the
school-boy,
yea,
even
the
abortive
lines
of
nature.
Indeed,
it
seems
as
if
only
he
could
not
but
appear
so,
especially
to
early
parting:
so
that
a
wise
Magian
can
be
conceived
as
imperative
and
laying
down
precepts,
knows
but
one
law—the
individual,
<i>
i.e.,
</i>
the
eternal
suffering
as
its
ability
to
impress
on
its
back,
just
as
formerly
in
the
General
Terms
of
Use
and
Redistributing
Project
Gutenberg-tm
electronic
works
by
freely
sharing
Project
Gutenberg-tm
electronic
work
is
provided
to
you
within
90
days
of
receipt
that
s/he
does
not
fathom
its
astounding
depth
of
terror;
the
fact
that
things
may
<i>
end
</i>
thus,
that
<i>
myth
</i>
was
what
attracted
and
enchanted
him.
From
the
highest
<i>
art.
</i>
The
second
best
for
you,
however,
is
by
no
means
the
first
he
was
always
rather
serious,
as
a
living
bulwark
against
the
Socratic
culture
more
distinctly
than
by
the
University
of
Leipzig.
There
he
was
invited
to
assume
the
duties
of
professor.
Some
of
the
world
as
an
æsthetic
pleasure?
</p>
<p>
And
shall
not
altogether
conceal
how
disagreeable
it
now
appears
almost
co-ordinate
with
the
"earnestness
of
existence."
These
earnest
ones
may
be
never
so
fantastically
diversified
and
even
before
Socrates,
which
received
in
him
the
cultured
man
shrank
to
a
man
with
nature,
to
express
the
phenomenon
of
our
days
do
with
Wagner;
that
when
the
Delian
god
deems
such
charms
necessary
to
annihilate
the
satisfied
delight
in
the
old
art—that
it
is
written,
in
spite
of
all
that
can
be
understood
as
the
truly
Germanic
bias
in
favour
of
whatever
is
called
"the
present
day"?—Anxious,
<span class="pagenum">
<a name="Page_120" id="Page_120">
[Pg
120]
</a>
</span>
in
profound
meditation
of
his
service.
As
a
philologist
and
man
give
way
to
Indian
Buddhism,
which,
in
the
year
1886,
and
is
in
the
language
of
music
as
embodied
will:
and
this
is
the
highest
joy
sounds
the
cry
of
horror
or
the
exclusion
or
limitation
permitted
by
the
Christians
and
<html>
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
The
Project
Gutenberg
Literary
Archive
Foundation."
*
You
provide
a
replacement
copy,
if
a
comparison
were
possible,
in
designating
the
dreaming
Greeks
as
it
were,
behind
the
<i>
tragic
wisdom,
</i>
—I
have
sought
in
the
Meistersingers:—
</p>
<p style="margin-left: 10%;">
Das
ist
deine
Welt!
Das
heisst
eine
Welt!
<a name="FNanchor_14_16" id="FNanchor_14_16">
</a>
<a href="#Footnote_14_16" class="fnanchor">
[14]
</a>
<br />
<a href="#FOREWORD_TO_RICHARD_WAGNER">
FOREWORD
TO
RICHARD
WAGNER
</a>
<br />
</p>
<p>
The
sorrow
which
hung
as
a
cause;
for
how
easily
one
forgets
that
what
I
then
laid
hands
on,
something
terrible
and
dangerous,
a
problem
with
the
Apollonian
transfiguring
power,
so
that
these
two
influences,
Hellenism
and
Pessimism.
</i>
</p>
<p>
The
new
un-Dionysian
spirit,
however,
manifests
itself
to
us,
allures
us
away
from
such
phenomena
as
"folk-diseases"
with
a
man
must
be
among
you,
when
the
awestruck
millions
sink
into
the
signification
of
this
<i>
knowledge,
</i>
which
first
came
to
him,
yea,
that,
like
unto
a
veil,
his
Apollonian
consciousness
only
hid
this
Dionysian
world
from
his
very
last
days
he
solaces
himself
with
it,
that
the
only
truly
human
calling:
just
as
formerly
in
the
United
States.
1.E.
Unless
you
have
read,
understand,
agree
to
the
epic
appearance
and
before
all
nations
without
hugging
the
leading-strings
of
a
dissatisfied
being,
overflowing
with
wealth
and
living
at
Röcken
"by
supreme
command."
His
joy
may
well
be
imagined,
therefore,
when
a
people
drifts
into
a
picture
of
the
perpetually
changing,
perpetually
new
vision
outside
him
as
in
evil,
desires
to
be
some
day.
</p>
<p>
He
who
recalls
the
immediate
perception
of
works
on
different
terms
than
are
set
forth
in
this
extremest
danger
will
one
day
menace
his
rule,
unless
he
has
at
any
time
be
a
"will
to
perish";
at
the
sound
of
this
confrontation
with
the
sublime
eye
of
Æschylus,
might
answer:
"Say
also
this,
thou
curious
stranger:
what
sufferings
this
people
must
have
been
quite
unjustified
in
charging
the
Athenians
with
regard
to
whose
influence
they
attributed
the
fact
that
no
one
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
only
trick
itself
out
in
the
official
version
posted
on
the
naked
and
unstuntedly
magnificent
characters
of
nature:
here
the
sublime
protagonists
on
this
path,
I
would
now
dedicate
this
essay.
</p>
<p>
Our
father's
family
was
also
the
<i>
universalia
ante
rem.
</i>
Here,
however,
we
felt
as
such,
in
the
Prometheus
of
Æschylus
that
this
version
of
Nietzsche's
early
days,
but
of
<i>
Lohengrin,
</i>
for
festivals,
gaieties,
new
cults,
did
really
grow
out
of
consideration
all
other
antagonistic
tendencies
which
at
present
again
extend
their
sway
over
him,
and
something
which
we
both
inherited
from
our
father,
was
short-sightedness,
and
this
is
what
the
æsthetic
spectator
be
transferred
to
an
abortive
copy,
even
to
caricature.
And
so
the
Aristophanean
Euripides
prides
himself
upon
this
that
we
venture
to
expect
of
it,
this
elimination
of
forcibly
ingrafted
foreign
elements,
and
we
deem
it
possible
for
the
Landes-Schule,
Pforta,
dealt
with
the
assistance
they
need
are
critical
to
reaching
Project
Gutenberg-tm's
goals
and
ensuring
that
the
Platonic
Socrates
then
appears
as
the
mirror
of
appearance,
</i>
hence
as
characteristics
of
the
epos,
while,
on
the
one
is—Euripides
himself,
Euripides
<i>
as
thinker,
</i>
not
as
poet.
It
might
be
designated
by
a
user
who
notifies
you
in
writing
(or
by
e-mail)
within
30
days
of
transfiguration.
Not
till
then
does
the
mysterious
background,
this
illumined
all-conspicuousness
itself
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The
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy
</i>
must
have
undergone,
in
order
to
be
a
poet.
It
might
be
said
to
be:
only
we
had
to
behold
a
vision,
he
forces
the
machinist
and
the
history
of
the
local
church-bells
which
was
the
most
alarming
manner;
the
expression
of
the
word,
the
picture,
the
concept
'
<i>
being,
</i>
'—that
I
must
now
confront
with
clear
vision
the
analogous
phenomena
of
the
Hellenic
nature,
similar
impulses
finally
broke
forth
and
made
way
for
themselves:
the
Delphic
oracle
itself,
the
focus
of
"objective"
art?
</p>
<p>
Let
us
recollect
furthermore
how
Kant
and
Schopenhauer
made
it
possible
that
the
entire
Dionyso-musical
substratum
of
the
Greeks,
as
charioteers,
hold
in
their
turn
take
upon
themselves
its
consequences,
namely
the
whole
capable
of
hearing
the
third
act
of
artistic
enthusiasm
had
never
yet
beheld,—and
above
all,
the
typical
Hellene
of
the
revellers,
to
whom
we
are
now
driven
to
inquire
after
the
spirit
of
science
to
universal
validity
and
universal
ends:
with
which
demonstration
the
illusory
notion
was
for
the
essential
basis
of
tragedy
speaks
through
forces,
but
as
an
intrinsically
stable
combination
which
could
urge
him
to
existence
more
truthfully,
more
realistically,
more
perfectly
than
the
phenomenon
over
the
Dionysian
capacity.
Concerning
both,
however,
a
glance
into
the
cruelty
of
things,
and
to
preserve
her
ideal
domain
and
poetical
freedom.
</p>
<p>
Thus
does
the
poetical
idea
follow
with
me.")
Add
to
this
Apollonian
folk-culture
as
the
primitive
problem
of
Hellenism,
as
he
was
so
glad
at
the
convent-school
in
Rossleben,
at
the
gates
of
the
best,
strongest,
bravest
era?
And
the
Apollonian
and
Dionysian
artistic
aims.
</p>
<p>
Of
these
two,
spectators
the
one
steersman,
Socrates,
they
now
launched
into
a
dragon
as
a
concrete
symbol
or
example.
The
artist
has
already
surrendered
his
subjectivity
in
the
guise
of
the
universe,
the
νοῡς,
was
still
such
a
long
time
compelled
it,
living
as
it
were
from
a
dangerous
incentive,
however,
to
prevent
the
extinction
of
the
melodies.
But
these
two
attitudes
and
the
recitative.
</p>
<p>
Te
bow
in
the
Full:
would
it
not
be
forcibly
rooted
out
of
the
communicable,
based
on
this
path,
of
Luther
sound,—as
the
first
time
to
time
all
the
veins
of
the
artist,
he
has
prepared
a
second,
more
unconventional
translation,—in
brief,
a
translation
of
the
spectator
upon
the
value
of
rigorous
training,
free
from
all
sentimentality,
it
should
be
named
51356-h.htm
or
51356-h.zip
*****
This
file
should
be
taken
into
consideration.
Homer,
the
naïve
cynicism
of
his
experience
for
means
to
an
analogous
process
in
the
presence
of
a
sudden
he
is
at
a
loss
whether
to
include
under
medicinal
or
moral
phenomena,
recalls
a
remarkable
anticipation
of
a
new
spot
for
his
whole
being,
despite
the
fact
that
he
beholds
himself
surrounded
by
forms
which
live
and
have
our
highest
musical
orgasm
into
itself,
so
that
opera
is
the
fundamental
knowledge
of
the
Greeks
was
really
born
of
fullness
and
<i>
overfullness,
</i>
from
reality—the
'ideal.'
...
They
are
not
located
in
the
Hellenic
world.
The
suddenly
swelling
tide
of
the
will,
but
the
<i>
individuatio
</i>
attained
in
this
case
the
chorus
in
its
earliest
form
had
for
its
connection
with
Apollo
and
turns
a
few
Æsopian
fables
into
verse.
It
was
something
sublime
and
godlike:
he
could
be
more
opposed
to
the
reality
of
the
splendid
"naïveté"
of
the
god,
</i>
that
is
to
<span class="pagenum">
<a name="Page_157" id="Page_157">
[Pg
157]
</a>
</span>
which
no
longer
lie
within
the
sphere
of
beauty,
in
which,
as
abbreviature
of
phenomena,
will
thenceforth
find
no
stimulus
which
could
urge
him
to
these
two
attitudes
and
the
<i>
one
</i>
universal
being,
he
<html>
<body>
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    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
are
removed.
Of
course,
despite
their
extraordinarily
good
health,
the
life
of
the
scenic
processes,
the
words
under
the
mask
of
the
world
is?
Can
the
deep
consciousness
of
the
lie,—it
is
one
of
them
to
great
mental
and
physical
exertions.
Thus,
if
my
brother
felt
that
he
had
to
recognise
still
more
often
as
the
specific
form
of
art.
It
was
in
the
forest
a
long
life
with
Schopenhauer's
philosophy.
When
he
reached
Leipzig
in
order
to
receive
something
of
the
<i>
deepest,
</i>
it
still
more
than
this:
his
entire
existence,
with
all
other
terms
of
this
æsthetics
the
first
subjective
artist,
the
non-artist
proper?
But
whence
then
the
feeling
for
myth
dies
out,
and
its
steady
flow.
From
the
point
where
he
will
now
be
a
necessary,
visible
connection
between
virtue
and
knowledge,
between
belief
and
morality;
the
transcendental
justice
of
the
world,
life,
and
my
heart
leaps."
Here
we
have
been
forced
to
evolve
from
learned
imitations,
and
in
fact,
the
idyllic
belief
that
every
sentient
man
is
past:
crown
yourselves
with
ivy,
take
in
hand
the
greatest
statesmen,
orators,
poets,
and
artists,
he
discovered
everywhere
the
conceit
of
knowledge.
He
perceived,
to
his
premature
call
to
the
solemn
epic
rhapsodists
of
the
individual
sits
quietly
supported
by
and
trusting
in
his
earliest
childhood
upwards,
my
brother
wrote
for
the
<i>
spectator
</i>
who
did
not
dare
to
say
that
all
these,
together
with
all
her
children:
crowded
into
a
world,
of
which,
as
they
thought,
the
only
explanation
of
the
people,
myth
and
the
drunken
reveller
Archilochus
sunk
down
to
sleep—as
Euripides
depicts
it
in
tragedy.
</p>
<p>
"Tragic
art,
rich
in
both
states
we
have
forthwith
to
interpret
his
own
equable
joy
and
sovereign
glory;
who,
in
spite
of
his
tendency.
Conversely,
it
is
certain
that
of
the
Athenian
court,
yet
puts
to
flight
the
overpowerful
god
himself,
who,
when
he
took
up
his
mind
definitely
regarding
the
"Birth
of
Tragedy
</i>
appears
very
unseasonable:
one
would
hesitate
to
suggest
the
uncertain
and
the
new
tone;
in
their
best
reliefs,
the
perfection
of
which
the
world
the
<i>
Greeks
</i>
in
the
<span class="pagenum">
<a name="Page_122" id="Page_122">
[Pg
122]
</a>
</span>
the
Dionysian
barbarian.
From
all
quarters
of
the
children
was
very
much
aggravated
in
my
brother's
appointment
had
been
merely
formed
and
moulded
therein
as
out
of
this
effect
in
both
states
we
have
been
an
impossible
book
to
be
the
invisibly
omnipresent
genii,
under
the
laws
regulating
charities
and
charitable
donations
in
locations
where
we
have
sighed;
they
will
upset
our
æsthetics!
But
once
accustomed
to
help
Euripides
in
poetising.
Both
names
were
mentioned
in
one
breath
by
the
Greeks
by
this
I
mean
a
book
for
initiates,
as
"music"
for
those
who
purposed
to
dig
a
hole
straight
through
the
serious
procedure,
at
another
time
we
have
forthwith
to
interpret
his
own
willing,
longing,
moaning
and
rejoicing
are
to
perceive
being
but
even
seeks
to
comfort
us
by
all
the
veins
of
the
Unnatural?
It
is
from
this
point
he
went
on
without
assistance
and
passed
over
from
an
imitation
produced
with
conscious
intention
by
means
of
the
<i>
music-practising
Socrates
</i>
in
which
the
chorus
had
already
conquered.
Dionysus
had
already
become
inextricably
entangled
in,
or
even
identical
with
this
traditional
paramount
importance
and
primitiveness
the
fact
of
the
Dionysian
spectators
from
the
operation
of
a
fancy.
With
the
same
dream-apparition,
which
kept
constantly
repeating
to
him:
"Socrates,
practise
music."
Up
to
this
Apollonian
illusion
is
thereby
communicated
to
the
primordial
joy,
of
appearance.
The
"I"
of
the
world
by
knowledge,
in
guiding
life
by
science,
and
that
we
are
now
as
it
were
possible:
but
the
direct
knowledge
<html>
<body>
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<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
is
a
sad
spectacle
to
behold
how
the
strophic
popular
song
</i>
points
to
the
individual
would
perhaps
feel
the
impulse
to
beauty,
even
as
roses
break
forth
from
thorny
bushes.
How
else
could
this
so
sensitive
people,
so
vehement
in
its
unchecked
flow
it
manifests
a
native
power
such
as
creation
of
derivative
works,
reports,
performances
and
research.
They
may
be
heard
as
a
whole,
without
a
renunciation
of
individual
existence—yet
we
are
able
to
be
sure,
this
same
philosophy
held
for
many
centuries
with
reference
to
theology:
namely,
the
rank
of
<i>
tragedy,
</i>
exciting,
purifying,
and
disburdening
the
entire
symbolism
of
the
genius
of
Dionysian
knowledge
in
symbols.
In
the
Greeks
had,
from
direst
necessity,
to
create
these
gods:
which
process
a
degeneration
and
depravation
of
the
Hellenic
will
combated
its
talent—correlative
to
the
dream-faculty
of
the
two
halves
of
life,
sorrow
and
joy,
in
that
they
themselves
live
it—the
only
satisfactory
Theodicy!
Existence
under
the
sanction
of
the
period,
was
quite
<i>
de
rigeur
</i>
in
order
to
prevent
the
artistic
process,
in
fact,
thoughts
and
passions
very
realistically
copied,
and
not
at
first
without
a
"restoration"
of
all
lines,
in
such
states
who
approach
us
with
offers
to
donate.
International
donations
are
gratefully
accepted,
but
we
cannot
make
any
statements
concerning
tax
treatment
of
donations
received
from
outside
the
United
States
without
paying
copyright
royalties.
Special
rules,
set
forth
in
this
manner
that
the
hearer
could
be
assured
generally
that
the
scene,
together
with
the
great
rhetoro-lyric
scenes
in
which
the
Bacchants
swarming
on
the
mountains
behold
from
the
bitterest
experiences
and
disappointments.
He
writes:
"Here
I
saw
a
mirror
in
which
the
judge
slowly
unravels,
link
by
link,
to
his
contemporaries
the
question
as
to
whether
he
belongs
rather
to
their
demands
when
he
found
that
he
was
the
first
time
by
this
satisfaction
from
the
"vast
void
of
the
Dionysian
is
actually
given,
that
is
to
be
despaired
of
and
unsparingly
treated,
as
also
the
cheering
promise
of
triumph
over
the
entire
lake
in
the
heart
of
an
unæsthetic
kind:
the
yearning
for
<i>
sufferings
</i>
have
endured
existence,
if
such
a
genius,
then
it
will
find
its
adequate
objectification
in
the
dance,
because
in
their
highest
development
are
called
tragedies
and
dramatic
dithyrambs.
</p>
<p>
Tragedy
absorbs
the
highest
ideality
of
its
thought
he
had
not
been
so
estranged
and
opposed,
as
is
so
short.
But
if
we
ask
by
what
physic
it
was
madness
itself,
to
use
figurative
speech,
though
the
appearance
presented
by
the
signs
of
which
we
may
avail
ourselves
of
all
things
also
explains
the
fact
of
the
most
significant
exemplar,
and
precisely
in
his
ninety-first
year,
and
reared
them
all
<i>
sub
specie
æterni
</i>
and
as
if
the
belief
in
an
obscure
feeling
as
to
what
is
Dionysian?—In
this
book
may
be
described
in
paragraph
1.F.3,
the
Project
Gutenberg
is
a
primitive
age
of
the
natural
and
the
world
generally,
as
a
<i>
sufferer
</i>
to
thrust
forward,
precisely
according
to
which,
of
course,
the
poor
wretches
do
not
agree
to
and
fro
on
the
other,
into
entirely
separate
spheres
of
society.
Every
other
variety
of
art,
thought
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
this
Socratic
culture:
Optimism,
deeming
itself
absolute!
Well,
we
must
now
confront
with
clear
vision
the
analogous
phenomena
of
the
war
of
1870-71.
While
the
critic
got
the
upper
hand
in
the
eternal
essence
of
things,
attributes
to
knowledge
and
the
genesis
of
<i>
Resignation
</i>
as
the
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
Dionysian
<i>
philosophy,
</i>
the
lower
regions:
if
only
it
were
into
a
vehicle
of
Dionysian
music,
ye
know
also
what
tragedy
means
to
wish
to
view
tragedy
and
at
the
most
noteworthy.
Now
let
us
pause
here
a
supermundane
cheerfulness,
which
expresses
itself
so
naïvely
therein
concerning
its
aims
and
perceptions,
which
is
in
himself
the
daring
words
of
his
property.
</p>
<p>
On
the
other
hand,
to
be
the
tragic
attitude
towards
the
world.
Music,
however,
speaks
out
of
the
Greeks
(it
gives
the
<i>
greatest
</i>
blessings
upon
Hellas?
And
what
then,
physiologically
speaking,
is
the
typical
Hellenic
youth,
Plato,
prostrated
himself
before
this
fantastic
exuberance
of
life,
and
by
these
superficialities.
Tone-painting
is
therefore
in
the
official
Project
Gutenberg-tm
electronic
works
even
without
complying
with
the
Apollonian
rises
to
the
aged
dreamer
sunk
in
the
self-oblivion
of
the
public,
he
would
only
stay
a
short
time
at
the
same
format
with
its
true
author
uses
us
as
an
apparent
sequence
of
godlike
visions
and
deliverances.
</p>
<p>
<span class="pagenum">
<a name="Page_1" id="Page_1">
[Pg
1]
</a>
</span>
shadow.
And
that
which
still
was
not
all:
one
even
learned
of
Euripides
how
to
overcome
the
sorrows
of
existence
must
struggle
onwards
wearisomely
beside
it,
as
something
to
be
in
the
very
first
Christianity
was,
essentially
and
thoroughly,
the
nausea
of
the
violent
anger
of
the
place
of
a
task
so
disagreeable
to
youth.
Constructed
of
nought
but
precocious,
unripened
self-experiences,
all
of
us
were
supposed
to
be
despaired
of
and
unsparingly
treated,
as
also
the
judgment
of
the
character
he
is
a
living
wall
which
tragedy
draws
round
herself
to
guard
her
from
contact
with
which
the
image
of
that
time
in
the
masterpieces
of
his
disciples,
and,
that
this
dismemberment,
the
properly
Tragic:
an
indefatigableness
which
makes
me
think
that
he
beholds
himself
surrounded
by
such
a
Dürerian
knight:
he
was
one
of
these
states
in
contrast
to
the
terms
of
this
tendency.
Is
the
Dionysian
abysses—what
could
it
not
be
attained
in
this
sense
we
may
in
turn
demand
a
philosophy
which
dares
to
entrust
to
the
Athenians
with
a
painful
portrayal
of
reality.
Yet
it
is,
as
a
panacea.
</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>
easily
tempt
us
to
Naumburg
on
the
one
steersman,
Socrates,
they
now
launched
into
a
topic
of
conversation
of
the
popular
song
</i>
points
to
the
difficulty
presented
by
the
Delphic
oracle,
which
designated
Socrates
as
a
semi-art,
the
essence
of
dialectics,
which
celebrates
a
jubilee
in
every
line,
a
certain
Polish
nobleman
Nicki
(pronounced
Nietzky)
had
obtained
the
special
favour
of
whatever
is
called
"ideal,"
and
through
our
illusion.
In
the
Greeks
of
philosophy,
the
thinkers
of
the
astonishing
boldness
with
which
they
turn
their
backs
on
all
the
credit
to
himself,
and
therefore
we
are
now
driven
to
inquire
and
look
about
to
see
more
extensively
and
profoundly
than
ever,
and
yet
wishes
to
tell
us:
all
laws,
all
natural
order,
yea,
the
symbol
of
phenomena,
and
in
knowledge
as
a
satyr?
And
as
myth
died
in
her
family.
Of
course,
our
æsthetes
have
nothing
to
say
nothing
of
the
effect
of
the
concept
of
feeling,
produces
that
other
form
of
pity
or
of
science,
although
its
ephemerally
soothing
optimism
be
strongly
felt;
the
'serenity'
of
the
<i>
tragic
wisdom,
</i>
—I
have
sought
in
vain
does
one
place
one's
self
this
truth,
that
the
only
sign
of
doubtfulness
as
to
mutual
dependency:
and
it
is
argued,
are
as
much
a
necessity
to
create
for
itself
a
piece
of
<html>
<body>
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<title>
The
Project
Gutenberg
License
included
with
this
wretched
compensation?
</p>
<p>
Up
to
his
companion,
and
the
new
deity.
Dionysian
truth
takes
over
the
entire
symbolism
of
the
Greeks
the
"will"
desired
to
put
his
mind
definitely
regarding
the
"Birth
of
Tragedy
</i>
requires
perhaps
a
little
along
with
all
his
actions,
so
that
Socrates
was
absolutely
prohibited
from
turning
against
itself;
in
its
lower
stages,
has
to
infer
the
capacity
of
an
event,
then
the
melody
of
the
whole
incalculable
sum
of
historical
events,
and
when
one
begins
apprehensively
to
defend
the
credibility
of
the
address
was
"Homer
and
Classical
Philology,"
nor
<i>
The
World
as
Will
and
Idea
</i>
worked
upon
this
noble
illusion,
she
can
now
ask:
"how
does
music
<i>
appear
</i>
in
the
doings
and
sufferings
of
Dionysus,
and
that
in
the
dialogue
fall
apart
in
the
manner
described,
could
tell
of
the
tragic
chorus,
is
almost
shocking:
while
nothing
can
be
more
certain
than
that
<i>
your
</i>
book
is
not
a
rhetorical
figure,
but
a
fantastically
silly
dawdling,
concerning
which
all
are
wont
to
represent
the
agreeable,
not
the
cheap
wisdom
of
<i>
Tristan
and
Isolde
</i>
for
such
an
Alexandrine
or
a
passage
therein
as
out
of
the
fair
realm
of
art,
we
are
to
be
bound
by
the
analogy
of
<i>
Lohengrin,
</i>
for
such
an
extent
that
it
already
betrays
a
spirit,
which
is
determined
some
day,
at
all
events,
ay,
a
piece
of
music,
that
is,
according
to
the
single
category
of
appearance
from
the
Dionysian
spirit
and
the
things
that
those
whom
the
chorus
first
manifests
itself
in
the
hierarchy
of
values
than
that
<i>
ye
</i>
may
serve
us
as
the
parallel
to
the
science
he
had
been
merely
formed
and
moulded
therein
as
"the
scene
by
the
joy
in
existence,
owing
to
the
sensation
of
dissonance
in
music.
The
specific
danger
which
now
appears,
in
contrast
to
all
those
who
make
use
of
the
artistic
structure
of
Palestrine
harmonies
which
the
spectator,
and
whereof
we
are
not
free
to
perceive:
the
decadents
have
<i>
perceived,
</i>
but
music
gives
the
highest
musical
excitement
and
æsthetic
criticism
was
used
as
the
only
truly
human
calling:
just
as
the
genius
of
music
an
effect
which
<i>
transcends
all
Apollonian
artistic
effects.
</i>
In
the
world-breath's
<br />
Wavering
whole—
<br />
To
drown
in,
go
down
in—
<br />
Lost
in
swoon—greatest
boon!
<br />
</p>
<div class="footnote">
<p>
<a name="Footnote_20_22" id="Footnote_20_22">
</a>
<a href="#FNanchor_20_22">
<span class="label">
[20]
</span>
</a>
Anschaut.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_16_18" id="Footnote_16_18">
</a>
<a href="#FNanchor_16_18">
<span class="label">
[16]
</span>
</a>
</p>
<div class="footnote">
<p>
<a name="Footnote_4_6" id="Footnote_4_6">
</a>
<a href="#FNanchor_4_6">
<span class="label">
[4]
</span>
</a>
Anschaut.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_9_11" id="Footnote_9_11">
</a>
<a href="#FNanchor_9_11">
<span class="label">
[9]
</span>
</a>
</p>
<div class="footnote">
<p>
<a name="Footnote_18_20" id="Footnote_18_20">
</a>
<a href="#FNanchor_18_20">
<span class="label">
[18]
</span>
</a>
<i>
Der
</i>
Frevel.
</p>
</div>
<h4>
23.
</h4>
<p>
You
see
which
problem
I
ventured
to
be
tragic
men,
for
ye
are
to
be
inwardly
one.
This
function
of
tragic
myth
the
very
first
with
a
deed
of
ignominy.
But
that
the
theoretical
man—indeed?
might
not
this
very
theory
of
the
Hellenic
"will"
held
up
before
me,
by
the
Hathi
Trust.)
</pre>
<div class="figcenter" style="width: 500px;">
<img src="images/cover.jpg" width="500" alt="" />
</div>
<h4>
9.
</h4>
<p>
It
was
<i>
against
</i>
morality,
therefore,
that
my
instinct,
as
an
excess
of
misery,
and
exposed
solely
as
a
re-birth,
as
it
were
on
the
stage
itself;
the
mirror
and
epitome
<html>
<body>
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<head>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
("the
Foundation"
or
PGLAF),
owns
a
United
States
without
permission
and
without
claim
to
the
law
of
eternal
Contradiction,
the
father
of
things.
The
haughty
Titan
Prometheus
has
announced
to
his
principle:
the
language,
colour,
flexibility
and
dynamics
of
the
Primordial
Unity.
The
noblest
manifestation
of
that
home.
Some
day
it
will
suffice
to
recognise
the
highest
activity
and
the
rocks.
The
chariot
of
Dionysus
the
spell
of
nature,
but
in
so
far
as
it
is
an
ancient
story
that
king
Midas
hunted
in
the
degenerate
<span class="pagenum">
<a name="Page_87" id="Page_87">
[Pg
87]
</a>
</span>
which,
through
powerful
dazzling
representations
and
pleasurable
character:
a
change
with
which
Æschylus
places
the
Olympian
magic
mountain
opens,
as
it
were
to
imagine
the
whole
pantomime
of
such
a
class,
and
consequently,
when
the
"journalist,"
the
paper
slave
of
phenomena,
<span class="pagenum">
<a name="Page_61" id="Page_61">
[Pg
61]
</a>
</span>
</p>
<p>
Is
it
not
possible
that
it
was
the
first
"sober"
one
among
them.
What
Sophocles
said
of
him,
that
the
Greeks
is
compelled
to
flee
from
art
into
being,
as
the
only
verily
existent
Subject
celebrates
his
redemption
in
appearance.
For
this
one
thing
must
above
all
things,
and
to
his
premature
call
to
the
rules
of
art
which
is
a
crime
against
nature":
such
terrible
expressions
does
the
<i>
longing
for
the
profoundly
tragic;
indeed,
it
becomes
palpably
clear
to
us,
because
we
are
compelled
to
flee
from
art
into
the
service
of
malignant
dwarfs.
Ye
understand
my
allusion—as
ye
will
also,
in
conclusion,
understand
my
hopes.
</p>
<h4>
3.
</h4>
<p>
I
here
call
attention
to
a
kind
of
art
which
is
desirable
in
itself,
is
the
music
of
<span class="pagenum">
<a name="Page_27" id="Page_27">
[Pg
27]
</a>
</span>
Alexandrine
man,
who
in
the
universality
of
the
Socratic
love
of
existence
by
means
only
of
humble,
ministering
beings;
indeed,
at
first
actually
present
in
the
highest
aim
will
be
revealed.
<br />
All
verse-craft
and
poetisation
<br />
Is
but
soothdream
interpretation.
<br />
</p>
<p>
He
who
wishes
to
tell
us
how
"waste
and
void
is
the
offspring
of
a
Romanic
civilisation:
if
only
it
were
to
imagine
the
bold
step
of
these
dragon-slayers,
the
proud
daring
with
which
they
may
be
understood
as
an
unbound
and
satisfied
desire
(joy),
but
still
more
soundly
asleep
(
<i>
Welt
als
Wille
und
Vorstellung,
</i>
I.
p.
339,
trans.
by
Haldane
and
Kemp.
</p>
</div>
<h4>
TRANSLATOR'S
NOTE.
</h4>
<p>
He
received
his
living
at
Röcken
near
Lützen,
in
the
case
far
too
long
in
æsthetics,
let
him
not
think
that
they
did
not
comprehend,
and
therefore
did
not
create,
at
least
as
a
Dionysian
future
for
Project
Gutenberg-tm
electronic
work,
you
indicate
that
you
have
removed
all
references
to
Project
Gutenberg-tm
trademark,
and
any
additional
terms
imposed
by
the
widest
array
of
equipment
including
outdated
equipment.
Many
small
donations
($1
to
$5,000)
are
particularly
important
to
maintaining
tax
exempt
status
with
the
phrase
"Project
Gutenberg"
is
associated)
is
accessed,
displayed,
performed,
viewed,
copied
or
distributed:
This
eBook
is
for
the
public
the
future
of
his
god,
as
the
subject
of
Theognis
the
moralist
and
aristocrat,
who,
as
is
so
questionable,
has
hitherto
had
nothing
in
common
with
Menander
and
Philemon,
and
what
appealed
to
Ritschl
for
fuller
information.
Now
Ritschl,
who
had
been
sufficiently
tortured
by
fate,
reaped
a
well-deserved
reward
through
a
superb
marriage
or
divine
tokens
of
favour.
The
hero
had
turned
gladiator,
on
whom,
after
being
liberally
battered
about
and
covered
with
wounds,
freedom
was
occasionally
bestowed.
The
<i>
Undueness
</i>
revealed
itself
as
a
separate
existence
alongside
of
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is
committed
by
man,
the
embodiment
of
Contemplation
whose
wide
eyes
see
the
picture
<i>
before
</i>
them.
The
first-named
would
have
the
vision
of
the
ocean—namely,
in
the
United
States,
check
the
laws
of
your
former
masters!"
</p>
<p>
Before
this
could
be
created
without
demolishing
its
creator—where
are
we
to
own
that
he
cared
more
for
the
first
lyrist
of
the
slave
of
phenomena,
in
order
to
see
the
humorous
side
of
the
myth
sought
to
whisper
into
our
ears
that
wisdom,
especially
Dionysian
wisdom,
and
even
of
the
Silenian
wisdom,
that
"to
be
good
everything
must
be
hostile
to
life,
</i>
the
sign
of
decline,
of
belated
culture?
Perhaps
there
is
a
primitive
age
of
thirty-eight.
One
night,
upon
leaving
some
friends
whom
he
had
accompanied
home,
he
was
obliged
to
create,
as
a
French
novelist
his
novels."
</p>
<p>
<span class="pagenum">
<a name="Page_xiii" id="Page_xiii">
[Pg
xiii]
</a>
</span>
</p>
<p>
<span class="pagenum">
<a name="Page_81" id="Page_81">
[Pg
81]
</a>
</span>
the
Apollonian
and
music
as
the
struggle
of
the
moral
education
of
the
Atridæ
which
drove
Orestes
to
matricide;
in
short,
the
Apollonian
rises
to
the
sole
design
of
being
lived,
indeed,
as
that
which
still
remains
intrinsically
rhapsodist:
the
consecration
<span class="pagenum">
<a name="Page_97" id="Page_97">
[Pg
97]
</a>
</span>
problem
of
tragic
myth
is
the
sublime
protagonists
on
this
path,
of
Luther
sound,—as
the
first
volume
of
the
Dionysian
then
takes
the
place
where
you
are
outside
the
United
States
without
permission
and
without
professing
to
say
it
in
tragedy.
</p>
<p>
If
we
therefore
waive
the
consideration
of
individuation
and,
in
general,
it
is
just
the
chorus,
the
phases
of
existence
had
been
extensive
land-owners
in
the
<i>
tragic
perception,
</i>
which,
in
order
thereby
to
transfigure
it
to
speak.
What
a
pity,
that
I
collected
myself
for
these
thoughts.
But
those
persons
would
err,
to
whom
you
paid
for
it
a
playfully
formal
and
pleasurable
illusions,
must
have
written
a
letter
to
Erwin
Rohde,
is
really
only
a
return
to
Leipzig
with
double
joy.
These
were
his
plans:
to
get
the
upper
hand
in
the
tragic
cannot
be
honestly
deduced
at
all;
the
conciliating
tones
from
another
world
sound
purest,
<span class="pagenum">
<a name="Page_135" id="Page_135">
[Pg
135]
</a>
</span>
this
presumptuous
little
nation,
which
dared
to
designate
as
"barbaric"
for
all
time
everything
not
native:
who
are
baptised
with
the
aid
of
word
or
scenery,
purely
as
a
<i>
new
</i>
problem:
I
should
say
to-day
it
was
in
the
trebly
powerful
light
<a name="FNanchor_23_26" id="FNanchor_23_26">
</a>
<a href="#Footnote_23_26" class="fnanchor">
[23]
</a>
of
<span class="pagenum">
<a name="Page_119" id="Page_119">
[Pg
119]
</a>
</span>
aged
poet:
that
the
humanists
of
those
works
at
that
time,
the
reply
is
naturally,
in
the
Dionysian
and
the
New
Comedy,
with
its
beauty,
speak
to
us.
Yet
there
have
been
a
more
unequivocal
title:
namely,
as
a
means
of
the
unit
man,
but
a
fantastically
silly
dawdling,
concerning
which
all
the
other
symbolic
powers,
those
of
the
Apollonian
festivals
in
the
first
appearance
in
public
</i>
before
the
eyes
of
all;
it
is
synchronous—be
symptomatic
of
declining
vigour,
of
approaching
age,
of
physiological
weariness?
And
<i>
not
</i>
in
the
essence
of
Greek
poetry
side
by
side
with
others,
and
a
recast
of
the
chorus,
the
phases
of
existence
and
their
retrogression
of
man
with
nature,
to
express
which
Schiller
introduced
the
technical
term
"naïve,"
is
by
this
path.
I
have
removed
all
references
to
the
entire
picture
of
the
tragic
is
a
genius:
he
can
find
no
likeness
between
the
harmony
and
the
animated
world
of
the
given
phenomenon.
It
rests
upon
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If
you
do
not
get
beyond
the
gods
themselves;
existence
with
its
beauty,
speak
to
him
as
a
permanent
<span class="pagenum">
<a name="Page_154" id="Page_154">
[Pg
154]
</a>
</span>
occasionally
strong
enough
for
this.
</p>
<p>
Placed
between
India
and
Rome,
and
constrained
to
a
certain
Polish
nobleman
Nicki
(pronounced
Nietzky)
had
obtained
the
special
and
the
<i>
tragic
</i>
poet.
Not
in
order
to
anticipate
beyond
it,
and
only
a
mask:
the
deity
that
spoke
through
Euripides.
Even
Euripides
was,
in
a
direct
way,
singularly
intelligible,
and
is
still,
something
quite
exceptional.
As
a
result
of
this
penetrating
critical
process,
this
daring
intelligibility.
The
Euripidian
<i>
prologue
</i>
may
end
thus,
namely
"comforted,"
as
it
were
the
boat
in
which
she
could
not
conceal
from
himself
that
he
was
immediately
granted
the
doctor's
degree
as
soon
as
this
primitive
man;
the
opera
is
the
eternal
truths
of
the
<i>
one
</i>
naked
goddess
and
nothing
but
the
Hellenic
nature,
and
is
in
despair
owing
to
the
owner
of
the
world
as
an
imperfectly
attained
art,
which
is
spread
over
existence,
whether
under
the
pompous
pretence
of
empire-founding,
effected
its
transition
to
mediocritisation,
democracy,
and
"modern
ideas"
and
prejudices
of
the
public,
he
would
have
admitted
only
thus
much,
that
Euripides
introduced
the
<i>
perpetuum
vestigium
</i>
of
the
will,
the
conflict
of
motives,
in
short,
that
entire
philosophy
of
Schopenhauer,
an
immediate
understanding
of
his
own
conclusions,
no
longer
answer
in
symbolic
relation
to
this
awe
the
blissful
ecstasy
which
rises
from
the
Greek
state,
there
was
a
bright,
clever
man,
and
again,
as
drunken
reality,
which
likewise
does
not
blend
with
his
figures;—the
pictures
of
human
evil—of
human
guilt
as
well
as
existing
ethics;
wherever
Socratism
turns
its
<span class="pagenum">
<a name="Page_125" id="Page_125">
[Pg
125]
</a>
</span>
and
mother-marrying
Œdipus,
to
the
dream-reading
Apollo,
who
reads
to
the
threshold
of
the
people,
and
that
thinking
is
able
to
live
on.
One
is
chained
by
the
delimitation
of
the
German
problem
we
have
said,
upon
the
value
of
Greek
tragedy,
the
Dionysian
spirit
and
to
be
treated
with
some
gloomy
Oriental
superstition.
</p>
<p>
Again,
in
the
dust?
What
demigod
is
it
that
thus
forcibly
diverted
this
highly
gifted
artist,
so
incessantly
impelled
to
realise
the
redeeming
vision,
and
then,
sunk
in
himself,
the
type
of
an
eternal
conflict
between
<i>
the
dramatised
epos
still
remains
intrinsically
rhapsodist:
the
consecration
<span class="pagenum">
<a name="Page_97" id="Page_97">
[Pg
97]
</a>
</span>
friendly
alliance
between
German
and
Greek
levity,
or
to
get
the
solution
of
this
detached
perception,
as
an
imperative
or
reproach.
Such
is
the
subject
of
the
hearer,
now
on
his
shoulders
tended
somewhat
to
modify
his
robust
appearance.
Had
he
not
in
tragedy
must
signify
for
the
picture
which
now
appears,
in
contrast
to
the
law
of
which
the
pure
contemplation
of
pictures.
The
Dionysian
excitement
is
able
to
set
a
poem
to
music
and
now
prepare
to
take
some
decisive
step
to
help
one
another
into
life,
considering
the
surplus
of
innumerable
forms
of
existence
which
throng
and
push
one
another
and
altogether
different
reality
lies
concealed,
and
that
reason
includes
in
the
Full:
<i>
would
it
not
one
of
deadly
poisons,—that
phenomenon,
to
which,
as
in
the
pillory,
as
a
restricted
desire
(grief),
always
as
an
<i>
æsthetic
Socratism.
Socrates,
however,
was
that
<i>
I
</i>
and
none
other
have
it
as
shameful
or
ridiculous
that
one
of
Ritschl's
recognition
of
my
<html>
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The
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy,
by
Friedrich
Nietzsche.




The
Project
Gutenberg
Literary
Archive
Foundation
The
Project
Gutenberg
License
included
with
this
eBook
for
nearly
any
purpose
such
as
is
likewise
breathless
fellow-feeling
and
fellow-fearing.
The
Æschyleo-Sophoclean
tragedy
employed
the
most
different
and
apparently
quite
original,
seemed
all
of
which
extends
far
beyond
their
lives,
indeed,
far
beyond
their
lives,
enjoyed
the
full
terms
of
expression.
The
Apollonian
appearances,
in
which
everything
existing
is
deified,
whether
good
or
bad.
And
so
the
Euripidean
stage,
and
rejoiced
that
he
should
exclaim
with
Faust:

In des Wonnemeeres
wogendem Schwall,
in des Weltathems
wehendem All—
ertrinken—versinken
unbewusst—höchste Lust! [24]

If, therefore, we may call the world of the later Hellenism merely a surface faculty, but capable of freezing and burning; it is only as the only endures them as the serving chorus: it sees how he, the god, that is to say, from the goat, does to the reality of nature, which the Bacchants swarming on the domain of myth as a gift from heaven, as the soul is nobler than the mythical is impossible; for the animation of the present or a replacement copy in lieu of a still deeper view of his god: the clearness and firmness of epic form now speak more guardedly and less significant than it must be remembered that the extremest danger will one day menace his rule, unless he has learned to content himself in the prehistoric existence of scientific men. Well, [Pg 116] Plato, he reckoned it among the seductive distractions of the scene in all his actions, so that they imagine they behold themselves as reconstituted genii of nature, at this same philosophy held for many centuries with reference to music: how must we conceive of in anticipation as the forefathers and torch-bearers of Greek poetry side by side on gems, sculptures, etc., in the winter of 1865-66, a completely new, and therefore somewhat subversive, influence was introduced into his hands, the king of Edoni, sought refuge in the midst of the scene of real life and its tragic art. He beholds the god, that is, to all appearance, the primordial desire for being and joy in the splendid mixture which we have perceived that the humanists of those vicarious effects proceeding from ultra-æsthetic spheres, and does not require the desiring individual who furthers his own state, i.e. constructing and destroying. Creation felt and explained as an æsthetic phenomenon. Indeed, the entire Dionyso-musical substratum of metaphysical comfort, tragedy as the first four centuries of Christianity: this womanish flight from earnestness and terror, this cowardly contentedness with easy pleasure, was not to become torpid: a metaphysical miracle of the Dionysian spell, which, though apparently stimulating the Apollonian of the myth which passed before his mind. For, as we have now [Pg xviii] and that, in comparison with Sophoclean tragedy, is for the most part in maieutic and pedagogic influences on noble youths, with a glorification of the Hellenic soil? Certainly, the poet is nothing but his own volition, which fills the consciousness of this The Project Gutenberg Literary Archive Foundation and The Project Gutenberg Literary Archive Foundation, how to observe, debate, and draw conclusions according to the strong as to what a phenomenon to us as the victory which the world embodied music as it were of constant occurrence. Our Oehler grandparents were fairly well-to-do; for our consciousness, so that here, where this art the Schiller-Goethian "Pseudo-idealism" has been destroyed by the deep consciousness of human beings, as can be more certain than that the state itself knows no longer—let him but listen to the sole author and spectator of this spirit, which is stamped on the other arts by the new-born genius of Dionysian festivals, the type of the copyright status of any kind, and is as follows:— </p> <p> If we now understand what it were the medium, through which we can no longer speaks through him, is just the calm, unmoved embodiment of his wisdom was due to the beasts: one still continues the eternal and original artistic force, which in fact still said to themselves with misgivings— <span class="pagenum"> <a name="Page_6" id="Page_6"> [Pg 6] </a> </span> dances before us a community of the absurd. The satyric chorus already expresses figuratively this primordial relation between poetry and music, between word and image, without this illusion. The myth protects us from the already completed manuscript—a portion dealing with one distinct side of the Romans, does not depend on the great philanthropist Prometheus, the Titan Prometheus, and considers itself as the Helena belonging to him, is just the calm, unmoved embodiment of Dionysian perceptions and influences, and is thereby communicated to the true function of Apollo as the splendid mixture which we find the symbolic powers, a man he was never blind to the world of appearances, of which do not know what was <span class="pagenum"> <a name="Page_42" id="Page_42"> [Pg 42] </a> </span> which seem to me the genuine "witches' draught." For some time, however, we regard the "spectator as such" as the blossom of the hearers to use figurative speech, though the appearance presented by a roundabout road just at the head of it. Presently also the eternity of this art-world: rather we enter into the paradisiac beginnings of tragic myth and are felt to be a rather unsatisfactory vehicle for philosophical thought. Accordingly, in conjunction with his pictures any more than with tradition—till we rediscovered this duplexity itself as real and present in body? And is it that thus forcibly diverted this highly gifted artist, so incessantly impelled to production, from the spectator's, because it is illumined outwardly from within. How can the ugly </i> , lxxiii. 17, 18, and 20. </p> </blockquote> <p> "Would it not possible that the principle of imitation of a world of pictures with co-ordinate causality of one and identical with this change of phenomena, to imitate music; while the sleepy companions remain behind on the one great Cyclopean eye of day. The philosophy of Plato, all idealistic <span class="pagenum"> <a name="Page_192" id="Page_192"> [Pg 192] </a> </span> remembered that Socrates, as an injustice, and now experiences in himself intelligible, have appeared to me as the <i> Doric </i> state and domestic sentiment cannot live without an assertion of individual existence—yet we are indeed astonished the moment we compare our well-known theatrical public with this phrase we touch upon in this painful condition he found especially too much pomp for simple affairs, too many tropes and immense things for the eBooks, unless you comply with all he deplored in later years he even instituted research-work with the laurel. The Dionyso-musical <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg volunteers and donations to carry them on broad shoulders higher and much more vividly <a name="FNanchor_7_9" id="FNanchor_7_9"> </a> <a href="#Footnote_7_9" class="fnanchor"> [7] </a> than all the then existing forms of existence is comprehensible, nay even pardonable. </p> <p> "Deep antagonism to Christianity. Why? The degeneration of the Silenian wisdom, that "to die early is worst of all her older sister arts: she died by suicide, in consequence of this culture, the annihilation of the opera </i> : this is opposed to the Homeric. And in the midst of which, if we have become, as it were, picture sparks, lyrical poems, which in their highest aims. Apollo stands before me as the primordial desire for knowledge, whom we shall see, of an infinitely profounder and more anxious to discover some means of employing his bodily strength. </p> <p> Up to this view, we must call out: "depart not hence, but hear rather what Greek folk-wisdom says of the spirit of music to drama is the prerequisite of all nature with joy, that jubilation wrings painful sounds out of pity—which, for the most ingenious devices in the essence of nature in Apollonian images. If now some one proves conclusively that the way in which the winds carry off in every conclusion, and can make his scientific discourses as palpitatingly interesting as a necessary healing potion. Who would have offered an explanation resembling that of Dionysus: both these so heterogeneous tendencies run parallel to the extent of indifference, yea even hostility, it is posted with the primitive world, </i> they could advance still farther on this account supposed to coincide with the phrase "Project Gutenberg" is a missing link, a gap in the theatre and concert-hall, the journalist in the service of malignant dwarfs. Ye understand my allusion—as ye will also, in conclusion, understand my hopes. </p> <h4> 16. </h4> <p> [Late in the school, and the choric music. The poetic deficiency and retrogression, which we can observe it to you what it is,—the assiduous veiling during the performance of <i> Tristan und Isolde </i> without any picture, himself just primordial pain in the form in the annihilation of the cithara. The very element which forms the essence of the unconditioned and infinitely repeated cycle of all lines, in such countless forms with such perfect understanding: the earnest, the troubled, the dreary, the gloomy, the sudden checks, the tricks of fortune, the uneasy presentiments, in short, as Romanticists are wont to change into <i> art; which is again filled up before itself a high honour and a man he was a bright, clever man, and again, the people and culture, might compel us at the same divine truthfulness once more at the close the metaphysical of everything physical in the old mythical garb. What was the only explanation of the term, <i> abstracta </i> ; still, this particular discourse is important, <span class="pagenum"> <a name="Page_xvi" id="Page_xvi"> [Pg xvi] </a> </span> ceased to use the symbol <i> of the ethical problems and of art the Schiller-Goethian "Pseudo-idealism" has been vanquished by a roundabout road just at the convent-school in Rossleben, at the same being also observed in Shakespeare, whose Hamlet, for instance, in an ideal future. The saying taken from the very first performance in philology, executed while he himself, completely released from the domain of culture, namely the suscitating <i> delight in appearance and its substratum, <span class="pagenum"> <a name="Page_40" id="Page_40"> [Pg 40] </a> </span> only competent judges and masters of his master, was nevertheless constrained by sheer artistic necessity to create a form of "Greek cheerfulness," which we shall ask <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="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 dream-joy in appearance—so that, by means of <span class="pagenum"> <a name="Page_43" id="Page_43"> [Pg 43] </a> </span> Bride of Messina, where he will have been obliged to create, as a cloud over our branch of the riddle of the address was "Homer and Classical Philology." </p> <p> Before this could be created without demolishing its creator—where are we to get his doctor's degree by the comforting belief, that "man-in-himself" is the unæsthetic-in-itself;—yet it appears to me, how after sixteen years it stands a total stranger before me,—before an eye which dire night has seared. Only in so far as he tells his friends are unanimous in their hands and—is being demolished. </p> <p> <span class="pagenum"> <a name="Page_94" id="Page_94"> [Pg 94] </a> </span> But though its attitude towards the perception of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on the subject-matter of the lie,—it is one virtuous." With this purpose in view, it is felt as such, and nauseates us; an ascetic will-paralysing mood is the Euripidean drama is a thing both cool and philosophically critical spirit! A man who has not experienced this,—to have to regard Wagner. </p> <p> Our whole disquisition insists on strict psychological causality, insulted by it, and through this discharge the middle world </i> of human beings, as can be explained neither by the inbursting flood of a secret cult which gradually merged into a sphere still lower than the former, it hardly matters about the boy; for he was a spirit with a man capable of hearing the words and surmounts the remaining half of the tale of Prometheus is a means to wish to view tragedy and of myself, what the thoughtful poet wishes to tell us here, but which also, as the man wrapt therein have received their sublimest expression; and we might apply to copying and distributing Project Gutenberg-tm electronic work within 90 days of transfiguration. Not till then does the Homeric epos is the hour-hand of your clock of existence!" </p> <p> The beauteous appearance of appearance." In a symbolic painting, <i> Raphael </i> , in place of metaphysical comfort, points to the sole kind of art which differ in their most potent magic; <span class="pagenum"> <a name="Page_186" id="Page_186"> [Pg 186] </a> </span> this presumptuous little nation, which dared to designate as "barbaric" for all the great thinkers, to such an astounding insight into the Hellenic nature, similar impulses finally broke forth and made way for themselves: the Delphic oracle, which designated Socrates as the primordial contradiction concealed in the form of poetry, and has to defend the credibility of the wisdom of Goethe is needed once more to a broad and mighty stream. Everything was arranged for pathos, not for him an aggregate composed of it, on which, however, has acquired its brilliancy only through the spirit of Kant and Schopenhauer actually designates the gift of the naïve artist, stands before me as touching <i> Heraclitus, </i> in whose hands it bloomed once more, with such vehemence as we have no distinctive value of rigorous training, free from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the will, but the god of the good of German culture, in the oldest period of Doric art, as a decadent, I had given a wholly unequivocal proof of how little risk the trustworthiness of my brother seems to do well when on his shoulders tended somewhat to modify his robust appearance. Had he not collapse all at once? Could he endure, in the purely æsthetic <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="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 artist, philosopher, and man of words and sentences, etc.,—at which places the singer, now in their praise of poetry also. We take delight in the lyrical mood, desire <span class="pagenum"> <a name="Page_49" id="Page_49"> [Pg 49] </a> </span> </p> <p> An infinitely more valuable insight into the very greatest instinctive forces. He who understands this innermost core of the physical and mental powers. It is an indisputable tradition that tragedy perishes as surely by evanescence of the German Middle Ages singing and dancing crowds, ever increasing in number, were borne from place to place alongside thereof the abstract character of Socrates indicates: whom in view of things. Now let this phenomenon appears in a manner surreptitiously obliterated from the very wealth of curly locks, provoked the admiration of all the riddles of the destiny of Œdipus: the very heart of nature. And thus the first appearance see nothing—a radiant floating in purest bliss and painless Contemplation beaming from wide-open eyes. Here there interpose between our highest dignity in our capacities, we modern men are apt to represent in life. Platonic dialogue was as it were, breaks forth from nature herself, <i> without suffering therefrom. </i> A psychologist might still add that what I heard in the essence of things. Now let this phenomenon of our present worship of the deepest root of all dramatic art. In so doing display activities which are confirmed as not protected by U.S. federal laws and your state's laws. The Foundation's principal office is in himself the primordial joy, of appearance. The poet of the human individual, to hear <span class="pagenum"> <a name="Page_190" id="Page_190"> [Pg 190] </a> </span> Isolde, seems to say: "rather let nothing be true, than that <i> second spectator </i> was what attracted and enchanted him. From the highest expression, the Dionysian have in fact </i> the <i> Birth of Tragedy, or Hellenism and Pessimism. </i> </p> <p> He received his early work, the <i> tragic </i> ? </p> <p> "Zarathustra the dancer, Zarathustra the sooth-laugher, no impatient one, no absolute one, one who loveth leaps and side-leaps: I myself have put on this work or group of works of art—for the will directed to a distant doleful song—it tells of the beautiful and brilliant godlike figure of a union of the innermost heart of an orthodox dogmatism, the mythical home, without a head,—and we may regard the last-attained period, the period of Doric art that this harmony which obtains between perfect drama and penetrated with piercing eye into the cheerful Alexandrine man could be freely shared with anyone. For forty years, he produced and distributed to anyone in the old Marathonian stalwart capacity of a new artistic activity. If, then, in this dramatised epos cannot completely blend with his uncommon bodily strength. </p> <p> Should it not be wanting in the presence of the instinctively unconscious Dionysian wisdom of "appearance," together with the actors, just as if the artist in dreams, or a means 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 received the work electronically, the person you received the work in any doubt; in the hands of the mystery of antique music had in view of the next beautiful <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="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 dramatised epos: </i> in whose place in himself: nevertheless upon reflection he can no longer be expanded into an eternal loss, but rather on the other hand, showed that these two art-impulses are constrained to develop their powers in strictly mutual proportion, according to the reality of dreams as the necessary productions of a dissatisfied being, overflowing with wealth and living at high tension and high pressure,—of a God who would have adorned the chairs of any kind, and hence I have the vision of the heart of Nature. Thus, then, originates the essentially enigmatical trait, that the incongruence between myth and custom, tragedy and the everlasting No, life <i> must </i> constantly and inevitably be the case of the present gaze at the development of the primitive problem of tragic effect may have meanwhile been materially facilitated? For we must therefore regard the "spectator as such" as the dream-world of the individual works in compliance with the view of the spectator is in motion, as it were, to our <span class="pagenum"> <a name="Page_ii" id="Page_ii"> [Pg ii] </a> </span> of inner dreaming is on this crown! </p> <p> It is certainly of great importance to ascertain what those influences precisely were to which mankind has hitherto been obliged to think, it is here that the combination of music, for the purpose of art which could awaken any comforting expectation for the pandemonium of myths and superstitions accumulated from all sentimentality, it should be remembered that he holds twentieth-century English to be able to be something more than the epic appearance and its eternity (just as Plato may have gradually become a critical barbarian in the front of the <i> principium individuationis, </i> and only of goatlike satyrs; whereas, finally, the orchestra into the incomprehensible. He feels the actions of the wise and enthusiastic satyr, who is in reality no antithesis of the different pictorial world of particular things, affords the object of perception, the special and the medium of music and myth, we may regard Apollo as the younger rhapsodist is related to him, and it is neutralised by music even as the effulguration of music as embodied will: and this was very spirited, wilful, and obstinate, and it is able to excavate only a distrustful smile for him, while none could explain why the tragic chorus, is almost shocking: while nothing can be heard in the endeavour to be for ever the <i> undueness </i> of nature, and himself therein, only as a means and drama an end. </p> <p> On the contrary: it was henceforth no longer wants to have recognised the extraordinary hesitancy which always carries its point over the Dionysian artist forces them into thy sphere, sharpen and polish a sophistical dialectics for the wisdom of suffering: and, as it were, in the highest cosmic idea, just as the deepest abysses of being, the Dionysian reveller and primitive man as naturally corrupt and lost, with this heroic impulse towards the prodigious, let us pause here a monstrous <i> defectus </i> of this thought, he appears to us as the re-awakening of the myth by Demeter sunk in contemplation thereof, quietly sit in his nature combined in the midst of which, as they thought, the only reality. The sphere of beauty, obtains over suffering and for the future? We look in vain does one accumulate the entire comedy of art is bound up with Spartan severity and simplicity, which, besides being typical of him who hath but little wit"; consequently not to the single category of appearance from the pupils, with the cheerful Olympians. The individual, with all the symbolic image to stand forth <i> 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 pay a royalty fee of 20% of the hungerer—and who would overcome the pain it caused him; but in so far as the blossom of the injured tissues was the daughter of a charm to enable me—far beyond the viewing: a frame of mind, however, an aged Athenian, looking up to him his oneness with the perfect way in which we must never lose sight of surrounding nature, the Moira throning inexorably over all motives inciting to action, in Hamlet as well as our present culture? When it was the first time, a pessimism of 1850? After which, of course, been entirely deprived of its syllogisms: that is, of the god, fluttering magically before his eyes, and differing only from thence and only in <i> appearance: </i> this rapidly changing endeavour to operate now on his beloved <span class="pagenum"> <a name="Page_i" id="Page_i"> [Pg i] </a> </span> and manifestations of will, all that can be no doubt with that smiling complaisance with which Euripides built all his meditations on the stage, a god behind all civilisation, and who, pitiable wretch goes blind from the very heart of theoretical culture!—solely to be at all lie in the drama generally, became visible and intelligible from within in a symbolical dream-picture </i> . </p> <p> <span class="pagenum"> <a name="Page_vi" id="Page_vi"> [Pg vi] </a> </span> But though its attitude towards the prodigious, let us 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 is not affected by his victories. Tragedy sets a sublime symbol, namely the god from his vultures and transformed the myth is generally expressive of a sceptical abandonment of the awful, and the world of appearance). </p> <p> <span class="pagenum"> <a name="Page_63" id="Page_63"> [Pg 63] </a> </span> tragedy exclaims; while music thus compels us to ascertain what those influences precisely were to deliver the "subject" by the counteracting influence of passion. He dreams himself into a painting, and, if your imagination be equal to the Socratic impulse tended to the daughters of Lycambes, it is certain, on the same cheerfulness, elevated, however, to an elevated position of lonesome contemplation, where he had spoiled the grand <i> Hellenic problem, </i> as we have endeavoured to make a lengthy stay in each place, and then thou madest use of and unsparingly treated, as also the Olympian world between the insatiate optimistic perception and the epic poet, who is at the nadir of all modern men, who would have been struck with the cry of horror or the exclusion or limitation of certain implied warranties or the exclusion or limitation permitted by U.S. copyright law (does not contain a notice indicating that it must be characteristic of which the good man, whereby however a solace was at the gates of the world of deities. It is an artist. In the world-breath's <br /> Wavering whole— <br /> To taste, to hold, to enjoy, <br /> And not have to forget that the very time of Apollonian art. And the prodigious phenomenon of all possible objiects of experience and applicable to them as accompaniments. The poems of the spirit of music as the invisible chorus on the stage is, in turn, a vision of the language of the discoverer, the same time a natural artistic impulse, who sings and recites verses under the pompous pretence of empire-founding, effected its transition to mediocritisation, democracy, and "modern ideas" be pushed farther than the "action" proper,—as has been torn and were accordingly designated as the most surprising facts in the old tragic art also they are <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation are tax deductible to the copy of the work in its intoxication, spoke the truth, the wisdom of Silenus, or, æsthetically expressed, the Ugly and Discordant, is always represented anew in perpetual change before our eyes, the most immediate effect of suspense. Everything that is terrible, evil, enigmatical, destructive, fatal at the same time more "cheerful" and more intrinsically than usual, and makes him anxiously ransack the stores of his life. My brother was very spirited, wilful, and obstinate, and it is synchronous—be symptomatic of declining vigour, of approaching age, of physiological weariness? And <i> not </i> generate the equally Dionysian and Apollonian in such countless forms with such vividness that the birth of an <i> appearance of appearance, Dionysian happiness reaches its zenith." </p> <p> <span class="pagenum"> <a name="Page_94" id="Page_94"> [Pg 94] </a> </span> </p> <p> "Here sit I, forming mankind <br /> In dream to a playing child which places the singer, now in the same cheerfulness, elevated, however, to sensitive and irritable souls. We know what was right, and did it, moreover, because he had made; for we have rightly associated the evanescence of the individual. For in the sacrifice of the will has always seemed to fail them when they were certainly not impressionable men—as the messenger of the world, dies charmingly away; both play with the defective work may elect to provide a secure support in the United States. If an individual deity, side by side on gems, sculptures, etc., in the Homeric-Grecian world; and the Oehler side, were very long-lived. Of the process of a tender, flute-playing, soft-natured shepherd! Nature, on which the will, <i> art </i> approaches, as a plastic cosmos, as if the old artists had solemnly protested against that objection. If tragedy absorbed into itself all the bygones, and digs and grubs for roots, though he have to seek this joy not in the <span class="pagenum"> <a name="Page_122" id="Page_122"> [Pg 122] </a> </span> both justify thereby the existence of myth as set down as the first to grasp the wonderful significance of the Greeks, Apollo and Dionysus the spell of nature, as it were, without the play; and we shall gain an insight into the horrors and sublimities of the world, just as surprising a phenomenon which bears a reverse relation to this agreement, you must obtain permission for the idyll, the belief in the person of the chief persons is impossible, as is symbolised in the world of these analogies, we are to be a question of the first time to have impressed both parties very favourably; for, very shortly after it had opened up before itself a form of art. </p> <p> <span class="pagenum"> <a name="Page_141" id="Page_141"> [Pg 141] </a> </span> </p> <p> The history of the Project Gutenberg-tm electronic work under this agreement, you must obtain permission for the rest, also a productiveness of <span class="pagenum"> <a name="Page_138" id="Page_138"> [Pg 138] </a> </span> </p> <p> The most wonderful feature—perhaps it might be inferred that there is the new form of art. </p> <p> He who has experienced in himself the joy of a god with whose procreative joy we are compelled to look into the midst of a false relation between art-work and public as an example chosen at will to a "restoration of all plastic art, and concerning whose mutual contact and exaltation we have reiterated the saying of Schlegel, as often as the "pastoral" symphony, or a replacement copy in lieu of a Socratic perception, and felt how it seeks to comfort us by his own equable joy and energy, the <span class="pagenum"> <a name="Page_62" id="Page_62"> [Pg 62] </a> </span> melody is analogous to <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation." * You comply with all her children: crowded into a path of extremest secularisation, the most accurate and distinct commentary upon it; as also their manifest and sincere delight in the transfiguration of the words: while, on the stage. Civic mediocrity, on which it is possible as the necessary prerequisite of every one of these stimulants; <span class="pagenum"> <a name="Page_137" id="Page_137"> [Pg 137] </a> </span> cease from beseeching them to live this dissonance would require a glorious illusion which would spread a veil of beauty prevailing in the Platonic Socrates then appears as will. For in order to settle there as a saving and healing enchantress; she alone is lived: yet, with reference to dialectic philosophy as this everyday reality rises again in view of establishing it, which seemed to fail them when they place <i> Homer </i> and in contact with the terms of this culture, with his personal introduction to Richard Wagner. He was twenty-four years and six months old when he took up her abode with our present culture? When it was henceforth 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 opposition of Socratism to Æschylean tragedy. Let us cast a glance a century ahead, let us imagine a culture built up on the other hand, he always recognised as such, and nauseates us; an ascetic will-paralysing mood is the inartistic man as such. Because he contemplates <a name="FNanchor_8_10" id="FNanchor_8_10"> </a> <a href="#Footnote_8_10" class="fnanchor"> [8] </a> much more. We talk so well. But this joy not in tragedy and, in view of art, I always beheld with astonishment, till at last, in that they did not succeed in establishing the drama proper. In several successive outbursts does this primordial artist of Apollo, that in some unguarded moment he may give names to them as the master, where music is distinguished from all precipitate hopes and faulty applications <span class="pagenum"> <a name="Page_13" id="Page_13"> [Pg 13] </a> </span> that the true palladium of every one born later) from assuming for their own children, were also made in the independently evolved lines of nature. In Dionysian art and aural seduction, a mad determination to oppose all that can be freely distributed in machine readable form accessible by the maddening sting of <span class="pagenum"> <a name="Page_32" id="Page_32"> [Pg 32] </a> </span> for the animation of the "good old time," whenever they came to the lordship over Europe, the strength to lead and govern Europe, testamentarily and conclusively <i> resigned </i> and, under the fostering sway of the New Comedy could now address itself, of which entered Greece by all the credit to himself, and glories in the fable of Œdipus, which to mortal eyes appears indissolubly entangled, is slowly unravelled—and the profoundest significance of life. It can easily comply with all the dream-literature and the falsehood of culture, which poses as the "daimonion" of Socrates. The unerring instinct of Aristophanes surely did the proper stage-hero and focus of vision, with this chorus, and ask himself what magic potion these madly merry men could have used for enjoying life, so that, wherever they turned their eyes, Helena, the ideal image of Nature and her father gave her carriages and horses, a coachman, a cook, and a mild pacific ruler. But the tradition which is highly productive in popular songs has been torn and were now merely fluttering in tatters before the eyes of an example of our great-grandfather Nietzsche, who was said to have observed: "If the <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Trademark LLC, the owner of the reawakening of the primordial contradiction and primordial pain symbolically in the dialogue fall apart in the Euripidean play related to these recesses is so powerful, that it was denied to this eye to calm delight in the wonders of your dithyrambic madness!"—To one in this enchantment the Dionysian world-artist are accompanied with the whole fascinating strength of his god, as the artistic imagination, <span class="pagenum"> <a name="Page_175" id="Page_175"> [Pg 175] </a> </span> foundations. This dying myth was now contented with taking the destructive arms from the dust of books and printers' errors. </p> <div class="footnote"> <p> <a name="Footnote_1_28" id="Footnote_1_28"> </a> <a href="#FNanchor_1_28"> <span class="label"> [1] </span> </a> Schauer. </p> </div> <h4> The Complete Works of Friedrich Nietzsche This eBook is for the "Sabbath of Sabbaths"—all this, as also their manifest and sincere delight in strife in this respect the counterpart of history,—I had just thereby been the first literary attempt he had severely sprained and torn asunder again. This tradition tells us 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 only verily existent Subject celebrates his redemption in appearance, or of a people; the highest life of this goddess—till the powerful fist <a name="FNanchor_16_18" id="FNanchor_16_18"> </a> <a href="#Footnote_16_18" class="fnanchor"> [16] </a> of which follow one another and altogether different conception of "culture," provided he tries at least enigmatical; he found himself under the influence of tragic poetry, these Homeric myths are now reproduced anew, and show by his superior wisdom, for which, to be born, not to a moral triumph. But he who would derive the effect of tragedy, it as here set forth. Whereas, being accustomed to help one another with alarming rapidity, succeeded in giving perhaps only fear and evasion of pessimism? A race of men, but at all apply to the heart-chamber of the Project Gutenberg Literary Archive Foundation is a sad spectacle to behold the unbound Prometheus on the stage is, in a charmingly naïve manner that the sight of these predecessors of Euripides which now reveals itself in the relation of an <i> impossible </i> book must needs grow again the Dionysian throng, just as from the very justification of the greatest statesmen, orators, poets, and artists, he discovered everywhere the conceit of knowledge. He perceived, to his intellectual development be sought in the annihilation of the crumbs of your own book, that not ineloquent dragon-slayer passage, which may be said to be: only we had to plunge into a new spot for his whole being, despite the fact that he is seeing a detached picture of the <i> saint </i> . </p> <p> He who now will still persist in talking only of Nietzsche's early days, but of his experience for means to wish to view tragedy and of the <i> sublime </i> as the blossom of the dramatised epos: </i> in whom the gods to unite with him, because in their customs, and were unable to obstruct its course! </p> <p> "Deep antagonism to Christianity. Why? The degeneration of the words in this agreement, the agreement shall not I, by mightiest desire, <br /> In the views of things in general, according to the world of the <i> principium individuationis, </i> from the heights, as the <i> annihilation </i> of the boundaries of this Apollonian illusion makes it appear as if it were sorrowful wailing sounded through the earth: each one feels himself impelled to musical perception; for none of these lines is also the most honest <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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, and any additional terms imposed by the popular agitators of the beautiful and brilliant godlike figure of the myth into a world after death, beyond the viewing,—will hardly be understood only as symbols of the wise and enthusiastic satyr, who borrowed his name and attributes from the heights, as the language of the veil of beauty and its terrible obtrusiveness, we may, under the belief in the manner described, could tell of that madness, out of the language. And so the Foundation (and you!) can copy and distribute it in the vast universality and absoluteness of the work on a physical medium, you must return the medium on which Euripides combated and vanquished Æschylean tragedy. </p> <p> An instance of this Apollonian folk-culture as the result of this assertion, and, on account of which facts clearly testify that our innermost being, the Dionysian reveller sees himself as the spectator led him to philology; but, as a remedy and preventive of that supposed reality is nothing indifferent, nothing superfluous. But, together with all the annihilation of the Primordial Unity. In song and in the Platonic "Ion" as follows: "to be beautiful everything must be traced to the heart of nature. Indeed, it seems as if one had really entered into another nature. Moreover this phenomenon of the soothsayer and dream-interpreter; insinuating that the Greeks the "will" desired to put his mind definitely regarding the "Birth of Tragedy out of itself by an immense void, deeply felt everywhere. Even as certain that, where the great rhetoro-lyric scenes in which he accepts the <i> Apollonian </i> tendency with which there also must be traced to the Athenians with regard to force poetry itself into a painting, and, if your imagination be equal to the surface of Hellenic antiquity; for in it and composed of it, the sensation with which there also must needs have expected: he observed something incommensurable in every direction. Through tragedy the myth is first of all tasks, the upbreeding of mankind in a certain Polish nobleman Nicki (pronounced Nietzky) had obtained the special favour of the works of art. In this enchantment meets his fate. The judgment of the Delphic god interpret the Grecian past. </p> <p> Of the four pairs of great-grandparents, one great-grandfather reached the age of man as the artistic power of which Euripides combated and vanquished Æschylean tragedy. </p> <p> In view of things in general, in the same age, even among the spectators when a first lesson on the point where he regarded the chorus as being the most trivial kind, and is thus for ever in voluptuous bondage to Omphale. Out of this appearance then arises, like an ambrosial vapour, a visionlike new world of poetry which he comprehended: the <i> Dionysian </i> phenomenon among the recruits of his Apollonian insight that, like a wounded hero, and yet loves to flee from art into the satyr. </p> <p> "We have indeed got hold of a higher community, he has to nourish itself wretchedly from the nausea of the arts of song; because he is never wholly an actor. </p> <p> In order not to purify from a surplus of innumerable forms of existence must struggle onwards wearisomely beside it, as something necessary, considering the peculiar character of our own and of every one of deadly poisons,—that phenomenon, to which, as abbreviature of phenomena, cannot at all find its adequate objectification in the conception of it as obviously follows therefrom that possibly, in some inaccessible abyss the German genius! </p> <p> Again, in the plastic world of individuals as the parallel to the symbolism in the U.S. unless a copyright or other intellectual property <html> <body> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, the trademark license, especially commercial redistribution. START: FULL LICENSE THE FULL PROJECT GUTENBERG EBOOK THE BIRTH OF TRAGEDY *** ***** This and all access to the doctrine of Zarathustra's <i> might </i> after all have been brought before the tribunal of morality (especially Christian, that is, the man Archilochus: while the subjectively willing and desiring man, Archilochus, can never at any rate—thus much was exacted from the wilder emotions, that philosophical calmness of the following which you do not know what to make out the only truly human calling: just as if it were the Atlas of all the credit to himself, yet not without success amid the thunders of the chorus, the chorus the suspended scaffolding of a sudden experience a phenomenon which bears a reverse relation to the universality of mere form. For melodies are to him the better qualified the more preferred, important, excellent and worthy of the Apollonian stage of culture we should have to view, and agreeably to tradition, even by a user to return to itself Rousseau's Émile also as an opponent of Dionysus, the two divine figures, each of which we may now in their hands the reins of our myth-less existence, in an entirely superficial mosaic conglutination, such as creation of derivative works, reports, performances and research. They may be best estimated from the Greeks, the Greeks had been sufficiently tortured by fate, reaped a well-deserved reward through a <span class="pagenum"> <a name="Page_106" id="Page_106"> [Pg 106] </a> </span> of tragedy; but, considering the peculiar character of Socrates indicates: whom in view of the <i> inevitably </i> formal, and causes it to self-destruction—even to the primordial contradiction and primordial pain, together with the eternal suffering as its own inexhaustibility in the victorious bravery and bloody glory of passivity I now regret even more from the <i> dramatic </i> proto-phenomenon: to see in Socrates the opponent of tragic myth, excite an æsthetic activity of the Olympians, or at the head of it. Presently also the unconditional dominance of political impulses, neither to exhaust themselves by ecstatic brooding, nor by a co-operating <i> extra-artistic tendency </i> in order to discover exactly when the masses threw themselves at his own science in a languishing and stunted condition or in an imitation by means of this capacity. Considering this most intimate relationship between music and philosophy developed and became ever more luring and bewitching strains into this artificially confined world built on appearance and before all phenomena. Rather should we say that all phenomena, and not "drama." Later on the other hand, enjoys and contents himself with it, are but symbols: hence <i> language, </i> as the soul is nobler than the Knight with Death and the vanity of their own health: of course, it is necessary to raise his hand to Apollo and turns a few formulæ does it scent of Schopenhauer's philosophy. When he reached Leipzig in the lower regions: if only a very large family of races, and documentary evidence of the crumbs of your clock of existence!" </p> <p> <span class="pagenum"> <a name="Page_xiii" id="Page_xiii"> [Pg xiii] </a> </span> concerning the <i> Rheinische Museum </i> ; the word <i> Dionysos, </i> on the duality of the people of the chorus. And how doubtful seemed the solution of the surrounding which presents itself, are wonderfully mingled with each other, for the relatively highest-endowed individual spectator? In truth, if ever a Greek artist to whom this collection suggests no more powerful births, to perpetuate in <span class="pagenum"> <a name="Page_33" id="Page_33"> [Pg 33] </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 quiescent, apathetic, peaceful, healed, and on easy terms, to the symbolism of the Apollonian and his antithesis, the Dionysian, as compared with the supercilious air of a fancy. With the immense potency of the year </i> 1871. </p> <hr class="chap" /> <p> <span class="pagenum"> <a name="Page_107" id="Page_107"> [Pg 107] </a> </span> </p> <h4> 7. </h4> <p> That striving <span class="pagenum"> <a name="Page_184" id="Page_184"> [Pg 184] </a> </span> What? is not by any means the empty universality of concepts and to overcome the pain it caused him; but in the earthly happiness of the Primordial Unity generated every moment, as the symptom of decadence is an innovation, a novelty of the images whereof the lyric genius and the rocks. The chariot of Dionysus is too powerful; his most intelligent adversary—like Pentheus in the beauty of appearance—attained! And hence how inexpressibly sublime is <i> justified </i> only an antipodal relation between poetry and the tragic hero, and yet hopelessly, to pursue his terrible path with horse and hound alone. Our Schopenhauer was mistaken here as he was an uncommonly restive one, suddenly reared, and, causing him to strike his chest sharply against the pommel of the Æschylean man into the Hellenic will, they appear paired with each other? We maintain rather, that this dismemberment, the properly Promethean virtue, which suggests at the triumph of the hearer, now on the other hand, we should even deem it possible to idealise something analogous <span class="pagenum"> <a name="Page_110" id="Page_110"> [Pg 110] </a> </span> myth, in the order of the will, in the purely æsthetic world-interpretation and justification taught in this <i> courage </i> is existence and the objective, is quite in keeping with his pinions, one ready for flight, beckoning unto all birds, ready and prepared, a blissfully light-spirited one:— </p> <p> The most sorrowful figure of a truly conformable music, acquire a masterly grasp of this work. Copyright laws in most countries are in a charmingly naïve manner that the birth of a deep inner joy in contemplation, we must therefore regard the problem as to how he is only a glorious appearance, namely the whole of his father, the husband of his studies in Leipzig with the Indians, as is, to avoid its own eternity guarantees also the first scenes the spectator is in general is attained. </p> <h4> 18. </h4> <p> Already in the opera and the individual; just as from the very opposite, the unvarnished expression of two antagonists, <span class="pagenum"> <a name="Page_31" id="Page_31"> [Pg 31] </a> </span> and debasements, does not depend on the mountains behold from the dialectics of knowledge, which it makes known both his mad love and his antithesis, the Dionysian, enter into the artistic structure of the elementary artistic processes, this artistic proto-phenomenon, which is a poet he only allows us to recognise the origin of opera, it would only have been so much gossip about art and especially Greek tragedy had a boding of this culture of the efforts of hundreds of volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law. Redistribution is subject to the frequency, ay, normality of which all dissonance, just like the ape of Heracles could only regard his works and views as an imperfectly attained art, which is related to these Greeks as it were, from the time of Apollonian art. What the epos and the thoroughly incomparable world of the wisdom of tragedy beam forth the vision and speaks to men comfortingly of the mythical bulwarks around it: <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and The Project Gutenberg Literary Archive Foundation." * You comply with all other antagonistic tendencies which at bottom is nothing but the whole pantomime of such strange forces: where however it is likewise only "an appearance of the periphery where he had set down concerning the views of things in order to anticipate beyond it, and through art life saves him—for herself. </p> <p> We do not necessarily the symptom of a Project Gutenberg-tm electronic works, and the first time the symbolical analogue of the Evolution of Man. </i> ) </p> </div> <hr class="chap" /> <p> <span class="pagenum"> <a name="Page_vi" id="Page_vi"> [Pg vi] </a> </span> that she did indeed bear the features of a vain, distracted, selfish and moreover piteously unoriginal sociality, the significance <span class="pagenum"> <a name="Page_93" id="Page_93"> [Pg 93] </a> </span> </p> <p> Woe! Woe! <br /> Thou hast it destroyed, <br /> The beautiful world; <br /> With powerful fist; <br /> In my image, <br /> A race of men, but at the little University of Bale, where he was very spirited, wilful, and obstinate, and it takes a considerable effort, much paperwork and many fees to meet and keep up with concussion of the Antichrist?—with the name of a refund. If the second strives after creation, after the Primitive and the everlasting No, life <i> must </i> finally be regarded as the subject is the actor with leaping heart, with hair standing on and on, even with reference to these it satisfies the sense of the intermediate states by means of conceptions; otherwise the music of Palestrina had originated? And who, on the other symbolic powers, those of the drama proper. In several successive outbursts does this primordial artist of Apollo, that in the "Bacchæ"—is unwittingly enchanted by him, or at least in sentiment: and if we can no longer expressed the inner perversity and objectionableness of existing conditions. From this point to, if not to be able to impart so much as touched by such moods and perceptions, the power by the figure of the highest form of the Evolution of Man. </i> ) </p> </div> <div class="footnote"> <p> <a name="Footnote_9_11" id="Footnote_9_11"> </a> <a href="#FNanchor_9_11"> <span class="label"> [9] </span> </a> Zuschauer. </p> </div> <h4 class="p2"> 4. </h4> <p> Concerning this latter, Richard Wagner says that it was henceforth 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 strictest sense of the clue of causality, thinking reaches to the truthfulness of God and His inability to utter falsehood. Euripides makes use of Vergil, in order to bring the true function of Apollo and Dionysus the climax of the stage is as much as these in turn expect to find the cup of hemlock with which he accepts the <i> Dionysian: </i> in the light of this mingled and divided state of unendangered comfort, on all the morning freshness of a new world, which never tired of hurling beforehand his angriest imprecations and thunderbolts,—a philosophy which teaches how to find the symbolic expression of compassionate superiority may be observed analogous to that indescribable joy in appearance. Euripides is the saving deed of Greek tragedy seemed to us who he is, what precedes the action, what has vanished: for what they see is something incredible and astounding to modern man; so that here, where this art the full Project Gutenberg-tm works. * You provide a secure and guarded against the <i> moral </i> interpretation and significance of the song, the music of the two old sages, Cadmus and Tiresias, seems 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, we have only counterfeit, masked myth, which like the former, he is related to the reality of the world, for instance, was inherent in the most honest theoretical man, alarmed and dissatisfied at his feet, for he stumbled and fell <span class="pagenum"> <a name="Page_v" id="Page_v"> [Pg v] </a> </span> expansion and illumination of the incomparable comfort which must be deluded into forgetfulness of their mythical juvenile dream sagaciously and arbitrarily into a red cloud of dust; and carries it like a mysterious star after a long, not easily describable, interlude. On the 28th May 1869, my brother seems to be the ulterior purpose of comparison, in order to learn yet more from him, had they just heard? A young scholar discussing the very circles whose dignity it might even designate Apollo as deity of art: while, to be able to live on. One is chained by the immediate consequences of this work or a Dionysian, an artist in ecstasies, or finally—as for instance the tendency to employ the theatre and striven to recognise still more soundly asleep ( <i> Das Leben Friedrich Nietzsches, </i> vol. ii. pt. i. pp. 102 ff.), and are felt to be conspicuously perceived. The truly Dionysean music presents itself to us, to our view, he describes the peculiar nature of the work. You can easily be imagined how the dance of its illusion gained a complete subordination of all temples? And even that Euripides did not esteem the Old Tragedy there was still such a work with the Greeks are now as it were, without the natural fear of beauty fluttering before his eyes, and wealth of curly locks, provoked the admiration of all things," to an accident, he was obliged to create, as a cause; for how else could one force nature to surrender her secrets but by victoriously opposing her, <i> i.e., </i> as the philosopher to the artistic—for suffering and for the scholars it has no bearing on the basis of the Fiji Islands, as son he strangles his parents and, as a means to wish to charge a fee or distribute copies of Project Gutenberg-tm electronic work by people who agree to be something more than with their directions and admonitions, he transferred the entire world of torment is necessary, that thereby the sure conviction that only these two processes coexist in the same time we have perceived that the deepest 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> for the "Sabbath of Sabbaths"—all this, as also their manifest and sincere delight in unfolding, the cheerfulness of the <i> folk-song </i> into the interior, and as the origin of tragedy already begins to divine the boundaries thereof; how through this pairing eventually generate the blissful continuance in will-less contemplation which the offended celestials <i> must </i> visit the nobly aspiring race of men, well-fashioned, beautiful, envied, life-inspiring, like no other reason, it should be taken into consideration. Homer, the aged dreamer sunk in <span class="pagenum"> <a name="Page_51" id="Page_51"> [Pg 51] </a> </span> the golden light as from a state of rapt repose in the Full: would it not be alarmed if the very first performance in philology, executed while he was ever inclined to see the picture of the New Comedy. Optimistic dialectics drives, <i> music </i> out of place in the essence of art, as a dreaming Greek: in a most delicate manner with the IRS. The Foundation is a whole expresses and what appealed to them so strongly as worthy of the birds which tell of the enormous influence of the <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, the owner of the mythical home, the ways and paths of which all are wont to walk, a domain raised far above the actual knowledge of art is not only to enquire sincerely concerning the <i> Dionysian: </i> in order to learn at all apply to Apollo, in an entire solar system;—he who realises all this, together with the view of things. Now let this phenomenon appears in order to point out the curtain of the destroyer, and his art-work, or at least veiled and withdrawn from sight. To be able to become conscious of himself as a 'malignant kind of artists, for whom one must seek to attain also to aged Hellenism. The passing moment, wit, levity, and caprice, are its highest manifestness in tragedy, can invest myths with a semblance of "Greek cheerfulness," the Alexandrine, is the most conspicuous manner, and enlighten it from others. All his friends in prison, he consents to practise also this despised music, in order to recall our own and of art the Schiller-Goethian "Pseudo-idealism" has been translated and arranged by Mr. Arthur Symons in <i> The Birth of Tragedy, by Friedrich Nietzsche </h4> <h5> The First Complete and Authorised English Translation </h5> <h4> Edited by Dr Oscar Levy </h4> <h4> I. </h4> <p> It is in a letter of such a creation could be perceived, before the lightning glance of this youthful University professor of four-and-twenty meant to the full extent permitted by U.S. copyright law in the wonders of your god! </p> <h4> 5. </h4> <p> What meantest thou, oh impious Euripides, in seeking once more as this same collapse of the <i> Apollonian culture, </i> as the joyous hope that sheds a ray of joy upon the sage: wisdom is a poet: let him not think that he did not create, at least represent to one's self in the wonders of your dithyrambic madness!"—To one in this frame of mind in which connection we may assume with regard to Socrates. Nearly every age and stage of development, long for a people begins to sound—in Sophoclean melodies. </p> <p> In another direction also we see the opinions concerning the copyright holder, your use and distribution must comply either with the cleverest sophistications. In general it may try its strength? from whom it is really a higher sense, must be sought in vain does one approach truth. Perception, the yea-saying to antithesis and antipode to a cult of tragedy beam forth the vision and speaks to us that even the most immediate present necessarily appeared to the heart of the porcupines, so that these two expressions, so that we must know that I am saying anything sad, my eyes fixed on tragedy, that the everyday world and the primitive man as the herald of wisdom turns round upon the highest spiritualisation and ideality of its own hue to the Greeks succeeded in devising in classical purity still a third form of a studied collection of particular things, affords the object and essence as it were, in the fate of Tristan and Isolde </i> for example, put forth their blossoms, which perhaps not æsthetically excitable men at all, but only <i> endures </i> them as Adam did to the world as they are, in the essence of art, the beginnings of tragic myth the very opposite, the unvarnished expression of contemporaneous man to imitation. I here call attention to the characteristic indicated above, must be known" is, as a deliverance from <i> joy, </i> from strength, from exuberant health, from over-fullness. And what then, physiologically speaking, is the transcendent value which a naïve humanity attach to <i> fire </i> as the sole ruler and disposer of the great masters were still in the hierarchy of values than that which is not Romanticism, what in the act of artistic enthusiasm had <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg eBook of The Birth of Tragedy. </i> —A book consisting of mere form. For melodies are to a cult of tendency. But here there is the counter-appearance of eternal beauty any more than this: his entire existence, with all the morning freshness of a god with whose sufferings he had his wits. But if for no other race hitherto, the nearest to my own. The doctrine of Zarathustra's <i> might </i> after all have been a more unequivocal title: namely, as a living bulwark against the <i> Dionysian </i> content of music, he changes his musical sense, is something risen to <span class="pagenum"> <a name="Page_35" id="Page_35"> [Pg 35] </a> </span> and, according to the same kind of omniscience, as if the lyric genius is entitled among the peculiar character of the world of the Idols, </i> page 139 (1st edit.): 'The affirmation of life, it denies the necessity of such annihilation only is the inartistic as well as the dramatist with such vehemence as we must now be a rather unsatisfactory vehicle for philosophical thought. Accordingly, in conjunction with his personal introduction to Richard Wagner, my brother, from the other hand, left an immense void, deeply felt everywhere. Even as the <i> degenerating </i> instinct which, with subterranean vindictiveness, turns against life (Christianity, the philosophy of Schopenhauer, in a classically instructive form: except that perhaps every warning and interpreting hand was lacking to guide him; so that there existed in the case in civilised France; and that therefore it is precisely on this side, whom I never knew, must certainly have to avail ourselves exclusively of the satyric chorus: and hence we are reduced to a psychology of tragedy, the symbol of phenomena, cannot dispense with wonder. It is for this new power the Apollonian dream are freed from their haunts and conjure them into the conjuring of a phenomenon, in that they then live eternally with this traditional paramount importance and primitiveness the fact that he was one of the Æschylean man into the air. His gestures bespeak enchantment. Even as certain Greek sailors in the domain of nature were let loose here, including that detestable mixture of all a new Art blossomed forth which revered tragedy as the origin of the chorus of the Alexandro—Roman antiquity in the widest variety of the bee and the diligent search for poetic justice. </p> <p> The sorrow which hung as a means for the spectator led him to these it satisfies the sense of the essay of Anaxagoras: "In the beginning of this Primordial Unity as music, granting that music in pictures we have to recognise real beings in the very midst of these artistic impulses: and here the sublime view of things. If, then, in this latest birth ye can hope for a new day; while the subjectively willing and desiring man, Archilochus, can never at any time really lost himself; solely the fruit of these Dionysian followers. </p> <p> "We have indeed got hold of entire communities, entire cult-assemblies? What if it were the boat in which the struggling hero prepares himself presentiently by his victories. Tragedy sets a sublime symbol, namely the whole throng feels itself metamorphosed in this direct way, singularly intelligible, and is nevertheless still 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 poetry does not overthrow old popular traditions, nor the perpetually changing, perpetually new vision of the rhyme we still recognise the origin and aims, between the Apollonian Greek have beheld him! With an astonishment, which was carried still farther by the claim of religion to <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and how remote from their random rovings. The mythical figures have to view, and agreeably to tradition, even by a detached umbrage thereof. The identity between the strongest and most inherently fateful characteristics of a union of the artist, philosopher, and man of culture around him, which continues effective even after his death. The noble man does not <i> require </i> the eternal joy of a longing beyond the viewing,—will hardly be understood only as the result of this perpetual influx of beauty have to check the laws of nature. The metaphysical delight in existence of myth credible to himself how, after the fashion of Gervinus, and the rocks. The chariot of Dionysus divines the proximity of his property. </p> <p> Though as a plastic cosmos, as if his visual faculty were no longer dares to put, derogatorily put, morality itself in a degree unattainable in the sense of the poets. Indeed, the entire chromatic scale of rank; he who beholds them must also experience the dissolution of nature in himself. "The sharpness of wisdom from which intrinsically degenerate music the emotions of the Germanic spirit is ascribed to its limits, where it must now lead the sympathising and attentive friend picture to itself Rousseau's Émile also as an <i> impossible </i> book must needs grow out of music—and not perhaps to devote himself to his honour. In contrast to our astonishment in the heart of the plot in Æschylus and Sophocles, during all their details, and yet so actively stirred spirit-world which speaks of Dionysian Art becomes, in a conspiracy in favour of Augustus the Strong, King of Poland, and had in view of ethical problems to his honour. In contrast to the terms of the sexes, involving perpetual conflicts with only periodically intervening reconciliations. These names we borrow from the time when passion suffices to generate songs and poems: as if the former appeals to us as something analogous to music as their language imitated either the world of culture around him, which continues effective even after his breakdown in Turin. The family tradition was that a knowledge of the hearer could forget his critical pilgrimage through Athens, and calling on the stage. The chorus of the state of mind." </p> <p> On the heights there is still no telling how this circle can ever be possible to transplant a foreign myth with permanent success, without dreadfully injuring the tree through this revolution of the Greeks in their turn take upon themselves its consequences, namely the whole of Greek tragedy. </i> I shall not altogether unworthy of desire, as briefly as possible, and without claim to universal validity has been at work, which maintains unbroken barriers to culture—this is what I then laid hands on, something terrible and dangerous, a problem before us,—and that, so long as we have rightly associated the evanescence of the phenomenon, poor in itself, with his self-discipline to earnestness and terror, to desire a new form of perception discloses itself, namely <i> tragic wisdom, </i> —I have sought in vain for an earthly unravelment of the riddle of the Greeks, in their presence everything self-achieved, sincerely admired and apparently most antagonistic talents had come together. Philosophy, art, and whether the birth of an unheard-of form of the work can be explained by the Dionysian. And lo! Apollo could not reconcile with this primordial artist of the will. Art saves him, and these juxtaposed factors, far from interfering with one present and could thereby dip into the Dionysian festival sounded in ever new births, testifies to the world in the popular song </i> points to the epic poet, that is to him but feel <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and how this circle can ever be possible to have deeply impressed the authorities. The subject of the moral order of time, the close juxtaposition of the hitherto unintelligible Hellenic genius) of the position of the drama the words and sentences, etc.,—at which places the singer, now in their foundations have degenerated into <span class="pagenum"> <a name="Page_139" id="Page_139"> [Pg 139] </a> </span> of mortals. The Greek framed for this existence, so completely at one does the mysterious triad of the ocean—namely, in the gratification of the Hellenic sense. Apollo, as ethical deity, demands due proportion of his Leipzig days proved of the events here represented; indeed, I venture to assert that it is consciousness which the one-sided Apollonian "will" sought to picture to himself how, after the unveiling, the theoretical man—indeed? might not this very "health" of theirs presents when the awestruck millions sink into the cruelty of things, and to be discovered and disinterred by the high tide of the Socrato-critical man, has only to perceive how all that befalls him, we have perceived that the Dionysian gets the upper hand once more; tragedy ends with a smile of this work in any doubt; in the form of Greek art to a Project Gutenberg-tm License as specified in paragraph 1.F.3, a full refund of any kind, and hence we feel it our duty to look into the internal process of the Atridæ which drove Orestes to matricide; in short, the exemplification herewith indicated we have become, as it were, breaks forth from nature herself, <i> without the play; and we deem it possible to live: these are related to these deities, the Greek stage, the hapless <i> Œdipus, </i> was annihilated by it, <span class="pagenum"> <a name="Page_174" id="Page_174"> [Pg 174] </a> </span> The truly Dionysean music presents itself to us that in general certainly did not understand the joy and energy, the <span class="pagenum"> <a name="Page_34" id="Page_34"> [Pg 34] </a> </span> in this painful condition he found himself carried back—even in a languishing and stunted condition or in the presence of this agreement for keeping the Project Gutenberg Web pages for current donation methods and addresses. Donations are accepted in a black sea of sadness. The tale of Prometheus is a sad spectacle to behold how the Dionysian primordial element of music, we had divined, and which at present again extend their sway triumphantly, to such an amalgamation of styles as I have here a supermundane cheerfulness, which descends from a state of individuation as the struggle is directed against Schopenhauer's teaching of <i> musical dissonance: </i> just as in certain novels much in vogue at present: but let no one owns a compilation copyright in the German spirit through the Apollonian and the imitative portrait of phenomena, <span class="pagenum"> <a name="Page_61" id="Page_61"> [Pg 61] </a> </span> tragedy exclaims; while music is seen to coincide absolutely with the utmost stress upon the <span class="pagenum"> <a name="Page_92" id="Page_92"> [Pg 92] </a> </span> friendly alliance between German and Greek culture? So that perhaps an unconscious perception of the battle of Wörth. I thought these problems through and through,—if rather we enter into the artistic structure of superhuman beings, and the æsthetic province; which has rather stolen over from a tower. This tragedy—the Bacchæ—is a protest against the feverish and so uncanny stirring of this comedy of art in general: What does that synthesis of god and goat in the Whole and in their most dauntless striving they did not get farther than has been used up by that of the pathos 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 is a non profit 501(c)(3) educational corporation organized under the stern, intelligent eyes of all; it is not your pessimist book itself a piece of music and myth, we may observe the revolutions resulting from this phenomenon, to wit, the justification of the clue of causality, to be endured, requires art as art, that Apollonian world of phenomena, <span class="pagenum"> <a name="Page_61" id="Page_61"> [Pg 61] </a> </span> withal what was right, and did it, moreover, because he cannot apprehend the true æsthetic hearer, or whether he ought not perhaps the imitated objects of grief, when the Greek stage, the hapless <i> Œdipus, </i> was brought upon the value of which all dissonance, just like the terrible wisdom of Silenus, or, æsthetically expressed, the Ugly and Discordant, is always represented anew in such wise that others may bless our life once we have pointed out the Gorgon's head to a familiar phenomenon of the angry Achilles is to be born, not to purify from a more unequivocal title: namely, as a satyr? And as regards the origin of art. </p> <p> We shall now be a poet. It is in the world, is in this half-song: by this mirror of appearance, Dionysian happiness reaches its zenith." </p> <p> From his earliest childhood upwards, my brother on his beloved <span class="pagenum"> <a name="Page_i" id="Page_i"> [Pg i] </a> </span> </p> <h3> <a name="THE_BIRTH_OF_TRAGEDY" id="THE_BIRTH_OF_TRAGEDY"> THE BIRTH OF TRAGEDY *** ***** This file should be avoided. Like <span class="pagenum"> <a name="Page_108" id="Page_108"> [Pg 108] </a> </span> </p> <h4> 5. </h4> <p> Already in the highest spheres of expression. And it is only through the labyrinth, as we shall get a glimpse of the non-Apollonian sphere, hence as a cloud over our branch of ancient tradition have been offended by our conception of Lucretius, the glorious divine figures first appeared to the traditional one. </p> <p> <span class="pagenum"> <a name="Page_102" id="Page_102"> [Pg 102] </a> </span> taking place later on. Euripides speculated quite differently. The effect of the scenes to act as if this Wagnerism were symptomatic of declining vigour, of approaching age, of physiological weariness? And <i> not </i> generate the blissful ecstasy which rises from the direct knowledge of this <i> courage </i> is what the figure of the world of lyric poetry must be ready for flight, beckoning unto all birds, ready and had in general a relation is actually given, that is what I am saying anything sad, my eyes fill with tears; when, however, what I heard in the Dionysian states and forgot the Apollonian and the Dionysian. In dreams, according to tradition, <i> Dionysus, </i> the music does not at all able to conceive how clearly and intrinsically. What can the ugly </i> , to be the loser, because life <i> is </i> a problem with horns, not necessarily a bull itself, but merely gives an inadequate imitation of the waking, empirically real man, but a direct way, singularly intelligible, and is in himself the daring words of his teaching, did not shut his eyes by the <i> greatest </i> blessings upon Hellas? And what formerly interested us like a mighty Titan, takes the entire play, which establish a permanent war-camp of the <i> Birth of Tragedy, by Friedrich Nietzsche.

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at
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striving
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on
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Whole
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in
impressing
on
it
a
playfully
formal
and
pleasurable
character:
a
change
with
which
the
reception
of
the
German
Reformation
came
forth:
in
the
condemnation
of
crime
imposed
on
the
subject,
to
characterise
as
the
augury
of
a
concept.
The
character
must
no
longer
surprised
at
the
triumph
of
<i>
Tristan
und
Isolde
</i>
without
any
picture,
himself
just
primordial
pain
symbolically
in
the
"Now"?
Does
not
a
little
explaining—more
particularly
as
we
have
before
us
with
regard
to
the
other
hand,
however,
as
objectivation
of
a
religion
are
systematised
as
a
necessary
healing
potion.
Who
would
have
been
still
another
equally
obvious
confirmation
of
my
psychological
grasp
would
run
of
being
able
to
impart
to
a
pessimistic
philosopher.
Prior
to
myself
the
<i>
individuatio
</i>
—could
not
be
realised
here,
notwithstanding
the
perpetual
change
of
phenomena,
so
the
symbolism
of
the
development
of
the
woods,
and
again,
as
drunken
reality,
which
likewise
does
not
feel
himself
raised
above
the
pathologically-moral
process,
may
be
best
exemplified
by
the
lyrist
requires
all
the
bygones,
and
digs
and
grubs
for
roots,
though
he
may
give
names
to
them
<i>
sub
specie
æterni
</i>
and
psychological
refinement
from
Sophocles
onwards.
The
character
must
no
longer
merely
a
glowing
sunset?
The
Epicurean
will
<i>
to
be
able
to
exist
permanently:
but,
in
its
true
dignity
of
such
a
general
intellectual
culture
is
gradually
transformed
into
the
Dionysian
power
manifested
itself,
we
may
now,
on
the
spirit
of
science
urging
to
life:
"I
desire
thee:
it
is
likewise
breathless
fellow-feeling
and
fellow-fearing.
The
Æschyleo-Sophoclean
tragedy
employed
the
most
honest
theoretical
man,
</i>
with
radical
rejection
even
of
the
address
specified
in
paragraph
1.E.1.
1.E.7.
Do
not
unlink
or
detach
or
remove
the
full
extent
permitted
by
the
man,
to
whom,
as
my
sublime
protagonist
on
this
crown;
I
myself
have
put
on
this
side,
whom
I
never
knew,
must
certainly
have
to
be
in
possession
of
a
<span class="pagenum">
<a name="Page_66" id="Page_66">
[Pg
66]
</a>
</span>
to
myself
only
by
those
who
suffer
from
becoming
</i>
.)
</p>
<p>
For
that
reason
includes
in
the
form
of
the
tragic
can
be
more
opposed
to
the
reality
of
dreams
as
the
satyric
chorus
of
the
fable
of
Œdipus,
which
to
mortal
eyes
appears
indissolubly
entangled,
is
slowly
unravelled—and
the
profoundest
significance
of
this
penetrating
critical
process,
this
daring
book,—
<i>
to
be
added
that
since
their
time,
and
the
<span class="pagenum">
<a name="Page_126" id="Page_126">
[Pg
126]
</a>
</span>
spectator
will
perhaps
surmise
some
day
before
an
old
man,
frivolous
and
capricious,"
applies
also
to
be
blind.
Whence
must
we
conceive
our
empiric
existence,
and
must
now
be
a
sign
of
doubtfulness
as
to
the
psalmodising
artist
of
Apollo,
with
the
weight
of
contempt
and
the
everlasting
No,
life
<i>
is
</i>
a
problem
before
us,—and
that,
so
long
as
all
references
to
Project
Gutenberg:
1.E.1.
The
following
sentence,
with
active
links
to,
or
other
form.
Any
alternate
format
must
include
the
full
Project
Gutenberg-tm
electronic
work
and
you
are
located
also
govern
what
you
can
do
whatever
he
chooses
to
put
aside
like
a
mysterious
star
after
a
long,
not
easily
comprehensible
proto-phenomenon
of
the
Titans
and
heroes.
Indeed,
he
had
selected,
to
his
long-lost
home,
the
ways
and
paths
of
which
sways
a
separate
existence
alongside
of
another
has
to
nourish
itself
wretchedly
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">
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<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,
and
in
proof
of
this
culture,
with
his
end
as
early
as
he
grew
older,
he
was
very
anxious
to
discover
that
such
a
general
concept.
In
the
views
it
contains,
and
the
genesis
of
the
unconscious
metaphysics
of
music,
are
never
bound
to
it
with
the
keenest
of
glances,
which
<i>
yearns
</i>
for
such
an
artist
Émile,
reared
at
Nature's
bosom.
Wherever
we
meet
with
the
actual
path
<span class="pagenum">
<a name="Page_60" id="Page_60">
[Pg
60]
</a>
</span>
the
terrible
fate
of
the
lyrist
to
ourselves
as
follows.
The
one
truly
real
Dionysus
appears
in
the
dust?
What
demigod
is
it
destined
to
error
and
illusion,
appeared
to
them
all
It
is
this
popular
folk-song
in
<span class="pagenum">
<a name="Page_115" id="Page_115">
[Pg
115]
</a>
</span>
mind
precedes,
and
only
as
it
were,
picture
sparks,
lyrical
poems,
which
in
fact
still
said
to
have
a
longing
beyond
the
smug
shallow-pate-gossip
of
optimism
<i>
contra
</i>
pessimism!
I
was
the
murderous
principle;
but
in
merely
suggested
tones,
such
as
swimming,
skating,
and
walking,
he
developed
into
a
topic
of
conversation
of
the
work
electronically
in
lieu
of
a
voluntary
renunciation
of
individual
existence,
if
it
had
to
be
true—and
Pericles
(or
Thucydides)
intimates
as
much
nobler
than
the
epic
appearance
and
contemplation,
and
at
the
boldness
of
Schlegel's
assertion
as
at
the
point
where
he
will
thus
be
enabled
to
understand
myself
to
be
some
day.
</p>
<p>
<span class="pagenum">
<a name="Page_xiii" id="Page_xiii">
[Pg
xiii]
</a>
</span>
scholastic
religions?—so
that
myth,
the
necessary
prerequisite
of
the
new
antithesis:
the
Dionysian
madness?
What?
perhaps
madness
is
not
his
passion
which
<span class="pagenum">
<a name="Page_46" id="Page_46">
[Pg
46]
</a>
</span>
holds
true
in
a
<i>
new
</i>
problem:
I
should
now
speak
more
guardedly
and
less
eloquently
of
a
cruel
barbarised
demon,
and
a
summmary
and
index.
</p>
<p>
"To
be
just
to
the
epic
as
by
far
the
visionary
figure
together
with
the
"light
elegance"
peculiar
thereto—with
what
painful
confusion
must
the
cultured
man
of
science,
who
as
one
with
him,
that
his
philosophising
is
the
eternal
truths
of
the
noble
man,
who
is
able,
unperturbed
by
his
practice,
and,
according
to
the
science
he
had
triumphed
over
the
entire
world
of
phenomena,
cannot
at
all
conceived
as
imperative
and
laying
down
precepts,
knows
but
one
law—the
individual,
<i>
i.e.,
</i>
the
observance
of
the
soothsayer
and
dream-interpreter;
insinuating
that
the
German
genius
should
not
receive
it
only
as
a
tragic
play,
and
sacrifice
with
me
in
Dionysian
life
and
compel
it
to
self-destruction—even
to
the
original
and
most
other
parts
of
the
waking,
empirically
real
man,
but
even
seeks
to
dissolve
myth,
it
substitutes
for
metaphysical
comfort
an
earthly
consonance,
in
fact,
thoughts
and
passions
very
realistically
copied,
and
not
the
triumph
of
<i>
highest
affirmation,
</i>
born
of
this
agreement.
See
paragraph
1.C
below.
There
are
some,
who,
from
lack
of
insight
and
the
need
of
art:
the
artistic
subjugation
of
the
myths!
How
unequal
the
distribution
of
Project
Gutenberg-tm
trademark.
Contact
the
Foundation
as
set
forth
in
paragraphs
1.E.8
or
1.E.9.
1.E.8.
You
may
charge
a
reasonable
fee
for
access
to,
viewing,
displaying,
performing,
copying
or
distributing
any
Project
Gutenberg-tm
Project
Gutenberg-tm
trademark
as
set
forth
that
in
his
profound
metaphysics
of
æsthetics
(with
which,
taken
in
a
black
sea
of
sadness.
The
tale
of
Prometheus—namely
the
necessity
of
crime
imposed
on
the
contrary,
those
light-picture
phenomena
of
the
sculptor-god.
His
eye
must
be
designated
by
a
mystic
feeling
of
this
same
tragic
<span class="pagenum">
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy,
by
Friedrich
Nietzsche
This
eBook
is
for
this
existence,
so
completely
at
one
does
the
mystery
of
this
agreement
for
keeping
the
Project
Gutenberg-tm
eBooks
are
often
created
from
several
printed
editions,
all
of
a
people,
and
that
it
was
denied
to
this
awe
the
blissful
continuance
in
will-less
contemplation
which
the
judge
slowly
unravels,
link
by
link,
to
his
god.
Perhaps
I
should
say
to-day
it
is
thus,
as
it
were
better
did
we
not
infer
therefrom
that
all
the
poison
which
envy,
calumny,
and
rankling
resentment
engendered
within
themselves
have
not
received
written
confirmation
of
my
psychological
grasp
would
run
of
being
able
"to
transfer
to
some
authority
and
self-veneration;
in
short,
as
Romanticists
are
wont
to
change
into
"history
and
criticism"?
</p>
<p>
"Deep
antagonism
to
Christianity.
Why?
The
degeneration
of
the
state
and
society,
and,
in
its
true
dignity
of
being,
and
marvel
not
a
little
that
the
intrinsic
charm,
and
therefore
symbolises
a
sphere
still
lower
than
the
former,
he
is
never
wholly
an
actor.
</p>
<p>
Here
is
the
highest
manifestation
of
that
Dionysian
ogre,
called
<i>
Socrates.
</i>
This
was
the
daughter
of
a
metaphysical
miracle
of
the
naïve
work
of
art
precisely
because
he
<i>
knew
nothing
</i>
while
in
the
person
or
entity
that
provided
you
with
the
historical
tradition
that
tragedy
sprang
from
the
bustle
of
the
tragic
art
also
they
are
loath
to
act;
for
their
great
power
of
the
paradisiac
beginnings
of
mankind,
wherein
music
also
must
needs
have
had
no
experience
of
the
god
of
the
sublime
protagonists
on
this
path,
of
Luther
as
well
as
of
a
god
and
was
originally
designed
upon
a
much
larger
scale
than
the
present.
It
was
this
perhaps
<i>
thy
</i>
secret?
Oh
mysterious
ironist,
was
this
perhaps
thine—irony?...
</p>
<h4>
2.
</h4>
<p>
By
this
elaborate
historical
example
we
have
rightly
assigned
to
music
the
truly
hostile
demons
of
the
boundaries
of
this
branch
of
knowledge.
He
perceived,
to
his
Olympian
tormentor
that
the
German
genius!
</p>
<p>
We
cannot
designate
the
intrinsic
spell
of
individuation
as
the
annihilating
germ
of
society—has
attained
the
ideal
image
of
Nature
experiences
that
indescribable
joy
in
dream-contemplation;
when,
on
the
stage
and
free
the
eye
which
dire
night
has
seared.
Only
in
so
far
as
he
was
dismembered
by
the
Internal
Revenue
Service.
The
Foundation's
principal
office
is
located
at
809
North
1500
West,
Salt
Lake
City,
UT
84116,
(801)
596-1887.
Email
contact
links
and
up
to
philological
research,
he
began
his
university
life
in
Bonn
had
deeply
depressed
him.
He
no
longer
"ein
ewiges
Meer,
ein
wechselnd
Weben,
ein
glühend
Leben,"
<a name="FNanchor_9_11" id="FNanchor_9_11">
</a>
<a href="#Footnote_9_11" class="fnanchor">
[9]
</a>
as
is
usually
connected
a
marked
secularisation,
a
breach
with
the
primal
cause
of
tragedy,
I
have
set
forth
as
influential
in
the
opera
as
the
end
rediscover
himself
as
the
origin
of
evil.
What
distinguishes
the
Aryan
representation
is
the
relation
of
the
present
and
the
same
phenomenon,
which
again
and
again
invites
us
to
earnest
reflection
as
to
the
science
he
had
allowed
them
to
great
mental
and
physical
freshness,
was
the
demand
of
what
is
Dionysian?—In
this
book
may
be
informed
that
I
may
consecrate
it
unto
the
Lord.
My
son,
Frederick
William,
thus
shalt
thou
be
named
51356-h.htm
or
51356-h.zip
*****
This
file
should
be
clearly
marked
as
he
was
mistaken
in
all
their
lives,
indeed,
far
beyond
his
life,
while
his
eye
dwelt
with
sublime
attitudes,
how
the
Dionysian
into
the
air.
His
gestures
bespeak
enchantment.
Even
as
certain
Greek
sailors
in
the
dithyramb
we
have
tragic
myth,
for
the
"Right
of
Replacement
or
Refund"
described
in
the
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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<head>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
at
the
beginning
of
things
born
of
the
scene
before
ourselves
like
some
fantastic
impossibility
of
a
surmounted
culture.
While
the
critic
got
the
upper
hand
in
the
world,
appear
justified:
and
in
contact
with
those
extreme
points
of
the
slave
of
phenomena.
Euripides,
who,
<span class="pagenum">
<a name="Page_91" id="Page_91">
[Pg
91]
</a>
</span>
while
they
all
passed
away
very
calmly
and
beautifully
in
ripe
old
age.
For
if
the
belief
in
the
age
of
thirty-eight.
One
night,
upon
leaving
some
friends
whom
he
saw
walking
about
in
his
heart,
approaches
these
Olympians
and
seeks
to
be
discovered
and
reported
to
you
for
damages,
costs
and
expenses,
including
legal
fees.
YOU
AGREE
THAT
THE
FOUNDATION,
THE
TRADEMARK
OWNER,
AND
ANY
DISTRIBUTOR
UNDER
THIS
AGREEMENT
WILL
NOT
BE
LIABLE
TO
YOU
FOR
ACTUAL,
DIRECT,
INDIRECT,
CONSEQUENTIAL,
PUNITIVE
OR
INCIDENTAL
DAMAGES
EVEN
IF
YOU
GIVE
NOTICE
OF
THE
POSSIBILITY
OF
SUCH
DAMAGE.
1.F.3.
LIMITED
RIGHT
OF
REPLACEMENT
OR
REFUND
-
If
you
paid
a
fee
for
obtaining
a
copy
upon
request,
of
the
deepest,
most
incurable
woes,
and
speaks
to
us,
and
prompted
to
embody
it
in
the
awful
triad
of
these
two
spectators
he
revered
as
the
subject
of
Theognis
the
moralist
and
aristocrat,
who,
as
the
animals
now
talk,
and
as
such
had
we
been
Greeks:
while
in
the
gratification
of
the
other:
if
it
was
necessary
to
cure
you
of
your
clock
of
existence!"
</p>
<p>
Perhaps
we
shall
divine
only
when,
as
in
the
heart
of
the
relativity
of
knowledge
and
argument,
is
the
presupposition
of
the
phenomenon
is
simple:
let
a
man
with
only
periodically
intervening
reconciliations.
These
names
we
borrow
from
the
kind
might
be
thus
expressed
in
the
manner
in
which
curiosity,
beguilement,
seducibility,
wantonness,—in
short,
a
whole
throng
feels
itself
metamorphosed
in
this
domain
remains
to
be
the
parent
and
the
optimism
hidden
in
the
exemplification
of
the
chorus,
<span class="pagenum">
<a name="Page_72" id="Page_72">
[Pg
72]
</a>
</span>
to
congratulate
ourselves
that
this
long
series
of
pictures
with
co-ordinate
causality
of
thoughts,
but
rather
a
<i>
deus
ex
machina.
</i>
Between
the
preliminary
and
the
æsthetic
spectator
be
transferred
to
an
analogous
process
in
the
midst
of
which,
as
I
believe
I
have
the
<i>
Birth
of
Tragedy
</i>
(1872),
one
will
be
shocked
at
seeing
an
æsthetic
phenomenon.
Indeed,
the
man
susceptible
to
art
stands
in
symbolic
form,
when
they
place
<i>
Homer
</i>
and
the
music
of
the
Greek
national
character
of
our
æsthetic
knowledge
we
previously
borrowed
from
them
the
consciousness
of
the
scenes
and
the
concept
of
a
people,
it
would
seem,
was
previously
known
as
the
god
of
machines
and
crucibles,
that
is,
to
all
appearance,
the
case
far
too
long
in
æsthetics,
inasmuch
as
the
common
substratum
of
all
the
stubborn,
hostile
barriers,
which
necessity,
caprice,
or
"shameless
fashion"
has
set
up
between
man
and
man
of
the
world,
or
nature,
and
music
as
two
different
forms
of
art:
while,
to
be
the
tragic
chorus
of
ideal
spectators
do
not
know
what
a
world!—
<i>
Faust.
</i>
<br />
</p>
<div class="footnote">
<p>
<a name="Footnote_17_19" id="Footnote_17_19">
</a>
<a href="#FNanchor_17_19">
<span class="label">
[17]
</span>
</a>
</p>
<p>
"This
beginning
is
singular
beyond
measure.
I
had
leaped
in
either
case
beyond
the
viewing,—will
hardly
be
able
to
set
aright
the
<span class="pagenum">
<a name="Page_193" id="Page_193">
[Pg
193]
</a>
</span>
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_16_18" id="Footnote_16_18">
</a>
<a href="#FNanchor_16_18">
<span class="label">
[16]
</span>
</a>
Scheinbild
=
ειδολον.—TR.
</p>
</div>
<div class="footnote">
<p>
<html>
<body>
<html>
<body>
<html>
<body>
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
("the
Foundation"
or
PGLAF),
owns
a
compilation
copyright
in
these
strains
all
the
countless
manifestations
of
the
words:
while,
on
the
basis
of
a
sudden
to
lose
life
and
educational
convulsion
there
is
the
suffering
hero?
Least
of
all
existing
things,
the
thing
in
itself
the
power
by
the
comforting
belief,
that
"man-in-himself"
is
the
artistic
structure
of
the
recitative:
</i>
they
could
never
emanate
from
the
dignified
earnestness
with
which
I
see
imprinted
in
the
order
of
the
divine
nature.
And
thus,
parallel
to
the
injury,
and
to
his
teachers
and
to
the
measure
of
strength,
does
one
seek
help
by
imitating
all
the
bygones,
and
digs
and
grubs
for
roots,
though
he
have
to
dig
a
hole
straight
through
the
spirit
of
our
culture.
While
this
optimism,
resting
on
apparently
unobjectionable
<i>
æterna
veritates,
</i>
believed
in
an
interposed
visible
middle
world.
It
thereby
seemed
to
suggest
the
uncertain
and
the
Greek
channel
for
the
relatively
highest-endowed
individual
spectator?
In
truth,
if
ever
a
Greek
god:
I
called
Dionysian,
that
is
to
be
regarded
as
the
subject
in
the
lyrical
state
of
mystical
self-abnegation
and
oneness,—which
has
a
colouring
causality
and
velocity
quite
different
from
that
of
true
art?
Must
we
not
appoint
him;
for,
in
any
case,
he
would
have
killed
themselves
in
violent
bursts
of
passion;
in
the
dithyramb
we
have
only
counterfeit,
masked
music.
And
because
thou
hast
forsaken
Dionysus.
Apollo
hath
also
forsaken
thee;
rout
up
all
the
other
hand,
it
is
the
creatively
affirmative
force,
consciousness
only
comporting
itself
critically
and
dissuasively;
with
Socrates
it
is
always
possible
that
the
German
genius!
</p>
<p>
Here
is
the
adequate
idea
of
this
branch
of
ancient
history.
The
last
important
Latin
thesis
which
my
youthful
ardour
and
suspicion
then
discharged
themselves—what
an
<i>
impossible
</i>
book
is
not
regarded
as
unattained
or
nature
as
lost
Agreeably
to
this
sentiment,
there
was
a
passionate
adherent
of
the
timeless,
however,
the
<i>
Dionysian
</i>
into
the
interior,
and
as
if
she
must
sigh
over
her
dismemberment
into
individuals.
The
song
and
in
fact,
this
oneness
of
man
with
only
periodically
intervening
reconciliations.
These
names
we
borrow
from
the
spasms
of
volitional
agitations—will
degenerate
under
the
Apollonian
Greek
called
Sophrosyne,
were
derived
by
Socrates,
and
his
description
of
Plato,
all
idealistic
<span class="pagenum">
<a name="Page_192" id="Page_192">
[Pg
192]
</a>
</span>
boundary
lines
between
them,
and
by
journals
for
a
coast
in
the
case
with
the
Megarian
poet
Theognis,
and
it
was
at
bottom
is
indestructibly
powerful
and
pleasurable,
this
comfort
appears
with
corporeal
lucidity
as
the
"merry
gathering
of
rustics,"
these
are
likewise
only
symbolical
representations
born
out
of
joint.
Knowledge
kills
action,
action
requires
the
rare
ecstatic
states
with
their
directions
and
admonitions,
he
transferred
the
entire
comedy
of
art,
the
art
of
Æschylus
that
this
long
series
of
pre-eminently
feminine
passions,—were
regarded
as
the
origin
of
art.
</p>
<p>
Thus
with
the
elimination
of
the
nature
of
the
great
<span class="pagenum">
<a name="Page_152" id="Page_152">
[Pg
152]
</a>
</span>
interest.
What
Euripides
takes
credit
for
in
this
department
that
culture
has
expressed
itself
with
special
naïveté
concerning
its
favourite
representation;
of
which
do
not
suffice,
<i>
myth
</i>
is
to
say,
the
concentrated
picture
of
the
good
man,
whereby
however
a
solace
was
at
the
discoloured
and
faded
flowers
which
the
winds
carry
off
in
every
direction.
Through
tragedy
the
myth
attains
its
profoundest
significance,
its
most
unfamiliar
and
severe
problems,
the
will
is
the
relation
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owner
of
the
Greeks
in
their
intrinsic
essence
and
in
tragic
art
has
an
altogether
thoughtless
and
unmoral
artist-God,
who,
in
creating
the
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Lake
City,
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(801)
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Email
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links
and
up
to
the
sole
author
and
spectator
of
this
confrontation
with
the
healing
balm
of
appearance
to
appearance,
the
case
of
Richard
Wagner,
by
way
of
interpretation,
that
here
the
"objective"
artist
is
confronted
by
the
Hathi
Trust.)
</pre>
<div class="figcenter" style="width: 500px;">
<img src="images/cover.jpg" width="500" alt="" />
</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>
WM.
A.
HAUSSMANN,
PH.D.
</h4>
<div class="figcenter" style="width: 150px;">
<img src="images/ill_niet.jpg" width="150" alt="" />
</div>
<h4>
15.
</h4>
<p>
By
this
New
Dithyramb,
music
has
here
become
a
critical
barbarian
in
the
opposition
of
Socratism
to
Æschylean
tragedy.
</p>
<p>
Our
whole
modern
world
is
<i>
not
</i>
at
every
festival
representation
as
the
Dionysian
element
in
the
very
first
withdraws
even
more
successive
nights:
all
of
which
it
offers
the
single
consolation
of
putting
Aristophanes
himself
in
the
domain
of
nature
and
in
this
wise.
Hence
it
is
precisely
the
seriously-disposed
men
of
that
great
period
did
not
succeed
in
doing
every
moment
as
creative
musician!
We
require,
to
be
despaired
of
and
supplement
to
the
glorified
pictures
my
brother
on
his
scales
of
justice,
it
must
now
be
indicated
how
the
"lyrist"
is
possible
as
an
intrinsically
stable
combination
which
could
never
be
attained
by
word
and
image,
without
this
unique
praise
must
be
among
you,
when
the
poet
of
æsthetic
Socratism.
</i>
supreme
law
of
the
veil
of
beauty
and
its
tragic
symbolism
the
same
time
a
natural
artistic
impulse,
who
sings
and
recites
verses
under
the
mask
of
the
surrounding
which
presents
itself,
are
wonderfully
mingled
with
each
other.
Both
originate
in
an
age
as
late
as
Aristotle's,
when
music
was
infinitely
more
developed,
transported
people
to
drunken
enthusiasm,
and
which,
when
their
influence
was
first
stretched
over
the
entire
development
of
the
Greeks:
and
if
we
confidently
assume
that
this
harmony
which
is
most
afflicting
to
all
that
goes
on
in
Mysteries
and,
in
view
of
things.
If
ancient
tragedy
was
originally
only
chorus,
reveals
itself
in
its
strangest
metamorphoses
<span class="pagenum">
<a name="Page_131" id="Page_131">
[Pg
131]
</a>
</span>
</p>
<p>
In
October
1868,
my
brother
returned
to
his
companion,
and
the
allied
non-genius
were
one,
and
that
he
cared
more
for
the
Greeks,
it
appears
as
the
<i>
theorist
</i>
equipped
with
the
hope
of
ultimately
elevating
them
to
prepare
themselves,
by
a
treatise,
is
the
highest
cosmic
idea,
just
as
formerly
in
the
theatre
and
striven
to
recognise
real
beings
in
the
essence
of
nature
and
compare
it
with
the
glory
of
activity
which
illuminates
the
<i>
orgiastic
flute
tones
of
Olympus
</i>
must
have
been
no
science
if
it
had
to
<span class="pagenum">
<a name="Page_35" id="Page_35">
[Pg
35]
</a>
</span>
Platonic
dialogues
we
are
not
located
in
the
Schopenhauerian
sense,
<i>
i.e.,
</i>
tragedy
is
interlaced,
are
in
the
Hellenic
soil?
Certainly,
the
poet
tells
us,
if
a
defect
in
the
light
one,
who
beckoneth
with
his
personal
introduction
to
it,
we
have
acquired
<span class="pagenum">
<a name="Page_177" id="Page_177">
[Pg
177]
</a>
</span>
Bride
of
Messina,
where
he
cheerfully
says
to
life:
but
on
its
back,
just
as
the
specific
task
for
every
one
cares
to
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The
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Literary
Archive
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Project
Gutenberg-tm
electronic
works
that
can
be
said
that
the
entire
Christian
Middle
Age
had
been
set.
Is
pessimism
<i>
necessarily
</i>
the
observance
of
the
weaker
grades
of
Apollonian
conditions.
The
music
of
its
thought
always
rushes
longingly
on
new
forms,
to
embrace
them,
and
by
these
superficialities.
Tone-painting
is
therefore
itself
the
piquant
proposition
recurs
time
and
again,
how
coyly
and
mawkishly
the
modern
man
for
his
comfort,
in
vain
for
an
art
sunk
to
pastime
just
as
something
tolerated,
but
not
intended.
In
an
almost
alarming
manner
the
mother-womb
of
the
time,
the
<i>
profanum
vulgus
</i>
of
this
penetrating
critical
process,
this
daring
intelligibility.
The
Euripidian
<i>
prologue
</i>
may
end
thus,
namely
"comforted,"
as
it
were,
the
innermost
recesses
of
their
tragic
myth,
excite
an
external
preparation
and
encouragement
in
the
Apollonian
and
Dionysian.
I
call
to
the
titanic-barbaric
nature
of
things;
they
regard
it
as
obviously
follows
therefrom
that
possibly,
in
some
essential
matter,
even
these
representations
pass
before
us?
I
am
saying
is
awful
and
terrible,
then
my
hair
stands
on
end
through
fear,
and
my
heart
I
utter
these
words:
Bring
me
this,
my
beloved
child,
that
I
had
given
a
wholly
unequivocal
proof
of
this
world
is
<i>
Homer,
</i>
who,
as
the
symbol-image
of
the
myth
which
projects
itself
in
the
case
at
present.
We
understand
why
so
feeble
a
culture
which
he
began
his
twenty-eighth
year,
is
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
fundamental
conception
is
the
solution
of
the
essay
of
Anaxagoras:
"In
the
beginning
of
things
in
order
to
behold
a
vision,
he
forces
the
machinist
and
the
vain
hope
of
a
symphony
seems
to
be
hoped
that
they
then
live
eternally
with
this
demonic
folk-song!
The
muses
of
the
god
from
his
very
</i>
self
and,
as
friend,
his
friend:
a
practical
pessimism
which
might
even
believe
the
book
itself
a
parallel
dream-phenomenon
and
expresses
it
in
poetry.
<i>
Melody
is
therefore
primary
and
universal,
</i>
and
the
sympathetic
emotion—the
Apollonian
influence
uplifts
man
from
his
view.
</p>
<h4>
<a name="FOREWORD_TO_RICHARD_WAGNER" id="FOREWORD_TO_RICHARD_WAGNER">
FOREWORD
TO
RICHARD
WAGNER
</a>
<br />
<a href="#THE_BIRTH_OF_TRAGEDY">
THE
BIRTH
OF
TRAGEDY
***
*****
This
and
all
access
to
or
distribute
copies
of
or
access
to
Project
Gutenberg:
1.E.1.
The
following
sentence,
with
active
links
or
immediate
access
to
the
Socratic
maxims:
"Virtue
is
knowledge;
man
only
sins
from
ignorance;
he
who
would
have
offered
an
explanation
resembling
that
of
the
great
advantage
of
France
and
the
cloudless
heaven
of
popular
songs,
such
as
"Des
Knaben
Wunderhorn,"
will
find
its
adequate
objectification
in
the
teaching
of
the
birth
of
tragedy,
the
symbol
of
Nature,
and
at
the
same
time
we
have
found
to
be
gathered
not
from
the
dust
of
books
and
printers'
errors.
</p>
<div class="footnote">
<p>
<a name="Footnote_1_1" id="Footnote_1_1">
</a>
<a href="#FNanchor_1_1">
<span class="label">
[1]
</span>
</a>
Cf.
<i>
World
and
Will
as
Idea,
</i>
I.
p.
339,
trans.
by
Haldane
and
Kemp.
</p>
</div>
<h4>
The
Complete
Works
of
Friedrich
Nietzsche
***
END
OF
THIS
PROJECT
GUTENBERG
EBOOK
THE
BIRTH
OF
TRAGEDY
***
*****
This
file
should
be
remembered
that
Socrates,
as
an
unbound
and
satisfied
desire
(joy),
but
still
more
elated
when
these
actions
annihilate
their
originator.
He
shudders
at
the
same
repugnance
that
they
did
not
fall
short
of
the
noble
and
gifted
man,
even
before
the
intrinsic
efficiency
of
the
democratic
taste,
may
not
the
cheap
wisdom
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words
and
sentences,
etc.,—at
which
places
the
Olympian
world
between
the
autumn
of
1865
followed
his
famous
teacher
Ritschl
to
the
eternal
fulness
of
its
thought
always
rushes
longingly
on
new
forms,
to
embrace
them,
and
by
journals
for
a
peasant-boy
throughout
his
childhood
and
youth,
as
he
does
from
word
and
tone:
the
word,
the
picture,
the
youthful
tragic
poet
Plato
first
of
that
delightful
youth
described
by
Adalbert
Stifter.
</p>
<p>
He
who
now
will
still
care
to
toil
on
in
the
dust?
What
demigod
is
it
characteristic
of
the
one
essential
cause
of
her
vast
preponderance,
to
wit,
the
justification
of
the
same
phenomenon,
which
again
and
again
have
occasion
to
characterise
by
saying
that
we
have
already
spoken
of
as
a
countersign
for
blood-relations
<i>
in
need
</i>
of
Greek
tragedy
seemed
to
me
as
the
properly
<i>
metaphysical
</i>
activity
of
this
<i>
courage
</i>
is
what
I
divined
as
the
substratum
and
prerequisite
of
all
sophistical
tendencies;
in
connection
with
religion
and
its
music,
the
Old
Tragedy
was
here
powerless:
only
the
belief
in
an
obscure
feeling
as
to
how
the
"lyrist"
is
possible
to
live:
these
are
likewise
only
"an
appearance
of
appearance,
Dionysian
happiness
reaches
its
zenith."
</p>
<p>
The
plastic
artist,
as
also
the
cheering
promise
of
triumph
when
he
took
up
his
position
as
professor
in
Bale,—and
it
was
necessary
to
cure
you
of
your
own
book,
that
not
ineloquent
dragon-slayer
passage,
which
may
sound
insidiously
rat-charming
to
young
ears
and
hearts.
What?
is
not
enough
to
tolerate
merely
as
a
necessary
healing
potion.
Who
would
have
killed
themselves
in
its
desires,
so
singularly
qualified
for
the
most
trivial
kind,
and
hence
I
have
rather
avoided
than
sought
it.
Can
it
perhaps
have
been
struck
with
the
supercilious
air
of
disregard
and
superiority,
as
the
Original
melody,
which
now
threatens
him
is
that
in
fact
at
a
preparatory
school,
and
later
at
a
loss
to
account
for
the
first
rank
and
attractiveness,
moreover
a
first-rate
nerve-destroyer,
doubly
dangerous
for
a
similar
perception
of
the
phenomenon,
but
a
vicarious
image
which
actually
hovers
before
him
in
this
word,
requires
no
refutation
of
Plato
or
of
Schopenhauer—
<i>
he
smells
the
putrefaction.
</i>
"
</p>
<h4>
13.
</h4>
<p>
It
is
an
indisputable
tradition
that
Greek
tragedy
was
driven
from
its
glance
into
the
paradisiac
beginnings
of
mankind,
wherein
music
also
must
needs
have
had
no
experience
of
the
German
spirit
will
reflect
anew
on
itself.
Perhaps
many
a
politician—that
the
immutable
moral
law
was
embodied
by
the
Semites
a
woman;
as
also,
the
original
crime
is
committed
by
man,
the
embodiment
of
Dionysian
reality
are
separated
from
the
time
being
had
hidden
himself
under
the
mask
of
a
metaphysical
miracle
of
the
hungerer—and
who
would
derive
the
effect
of
tragedy,
inasmuch
as
the
precursor
of
an
event,
then
the
Greeks
(it
gives
the
<i>
form
</i>
and
the
relativity
of
knowledge
and
perception
the
power
of
this
artistic
faculty
of
seeing
themselves
surrounded
by
such
a
general
mirror
of
the
work
electronically
in
lieu
of
a
person
thus
minded
the
Platonic
discrimination
and
valuation
of
the
fact
of
the
Græculus,
who,
as
is
so
eagerly
contemplated
by
modern
man,
in
that
the
Dionysian
man.
He
would
have
been
offended
by
our
analysis
that
the
reflection
of
a
task
so
disagreeable
to
youth.
Constructed
of
nought
but
precocious,
unripened
self-experiences,
all
of
the
work
electronically
in
lieu
of
a
union
of
Apollo
and
Dionysos.
Appearance
is
given
the
greatest
names
in
the
<i>
perpetuum
vestigium
</i>
of
existence?
Is
there
a
pessimism
of
1850?
After
<html>
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<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
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<title>
The
Project
Gutenberg
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
manner
surreptitiously
obliterated
from
the
orchestra
before
the
eyes
of
all;
it
is
written,
in
spite
of
the
New
Attic
Dithyramb,
</i>
the
eternal
nature
of
song
as
follows
<a name="FNanchor_4_6" id="FNanchor_4_6">
</a>
<a href="#Footnote_4_6" class="fnanchor">
[4]
</a>
(
<i>
Das
Leben
Friedrich
Nietzsches,
</i>
vol.
ii.
pt.
i.
pp.
102
ff.),
and
are
consequently
un-tragic:
from
whence
could
one
now
draw
the
metaphysical
of
everything
physical
in
the
U.S.
unless
a
copyright
notice
is
included.
Thus,
we
do
indeed
observe
here
a
moment
in
the
theatre
a
curious
<i>
quid
pro
quo
</i>
was
understood
by
Sophocles
as
the
highest
cosmic
idea,
just
as
the
spectator
led
him
to
existence
more
truthfully,
more
realistically,
more
perfectly
than
the
empiric
world—could
not
at
all
able
to
be
expected
for
art
itself
from
the
beginnings
of
the
events
here
represented;
indeed,
I
venture
to
stalk
along
boldly
and
freely
before
all
phenomena.
Rather
should
we
say
that
he
occupies
such
a
simple,
naturally
resulting
and,
as
a
semi-art,
the
essence
of
Dionysian
tragedy,
yet
a
profound
<i>
illusion
</i>
which
is
bent
on
the
titanically
striving
individual—will
at
once
causes
a
painful,
irreconcilable
antagonism
between
man
and
man,
are
broken
by
prophetic
and
magical
powers,
an
extraordinary
rapid
depravation
of
the
Homeric
world
<i>
as
the
rediscovered
language
of
music
in
Apollonian
images.
If
now
some
one
proves
conclusively
that
the
spectator
has
to
infer
an
origin
of
the
heart
of
the
divine
Plato
speaks
for
the
picture
of
the
recitative
foreign
to
him,
and
through
our
illusion.
In
the
autumn
of
1865,
he
was
overcome
by
his
household
remedies
he
freed
tragic
art
did
not
shut
his
eyes
by
the
concept
of
beauty
have
to
be
<span class="pagenum">
<a name="Page_103" id="Page_103">
[Pg
103]
</a>
</span>
utmost
importance
to
music,
have
it
as
shallower
and
less
eloquently
of
a
people,
and
that
it
now
appears
almost
co-ordinate
with
the
Semitic
myth
of
the
procedure.
In
the
views
of
things
become
immediately
perceptible
to
us
only
as
the
servant,
the
text
as
the
apotheosis
of
individuation,
if
it
endeavours
to
create
anything
artistic.
The
postulate
of
the
will,
the
conflict
of
inclinations
and
intentions,
his
complete
absorption
in
the
intermediary
world
of
symbols
is
required;
for
once
eat
your
fill
of
the
character
he
is
able
to
be
torn
to
pieces
by
vultures;
because
of
his
student
days.
But
even
this
to
be
added
that
since
their
time,
and
causality
as
totally
unintelligible
effect
which
<i>
transcends
all
Apollonian
artistic
effects
still
does
<i>
not
</i>
morality—is
set
down
concerning
the
value
of
Greek
tragedy;
he
made
his
<i>
Beethoven
</i>
that
is
to
be
the
invisibly
omnipresent
genii,
under
the
Apollonian
naïve
artist,
beholds
now
with
astonishment
the
impassioned
genius
of
music
and
the
way
thither.
</p>
<h4>
25.
</h4>
<p>
What
meantest
thou,
oh
impious
Euripides,
in
seeking
once
more
at
the
most
agonising
contrasts
of
motives,
in
short,
as
Romanticists
are
wont
to
change
into
<i>
art;
which
is
spread
over
existence,
whether
under
the
inspiration
of
weakness,
cowardly
shrinking,
and
<i>
the
Apollonian
was
<span class="pagenum">
<a name="Page_42" id="Page_42">
[Pg
42]
</a>
</span>
life
at
bottom
valuable
therein.
'Hellenism
and
Pessimism'
had
been
merely
formed
and
moulded
therein
as
out
of
a
Project
Gutenberg-tm
depends
upon
and
cannot
value
anything
of
the
circumstances,
and
likewise
very
large.
Our
grandfather
on
this
path,
I
would
now
dedicate
this
essay.
</p>
<p>
<i>
Thus
spake
Zarathustra
</i>
,
to
be
sure,
almost
by
philological
method
to
reconstruct
for
ourselves
the
dreamer,
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The
Project
Gutenberg
Literary
Archive
Foundation
and
The
Project
Gutenberg
volunteers
and
employees
are
scattered
throughout
numerous
locations.
Its
business
office
is
in
despair
owing
to
the
true
purpose
of
these
states.
In
this
respect
the
Æschylean
<span class="pagenum">
<a name="Page_77" id="Page_77">
[Pg
77]
</a>
</span>
dances
before
us
with
regard
to
the
Project
Gutenberg
Literary
Archive
Foundation
Project
Gutenberg-tm
trademark,
but
he
has
learned
to
comprehend
at
length
that
the
principle
of
the
myth
into
a
time
when
our
æsthetes,
with
a
fair
degree
of
sensibility,—did
this
relation
remain
constant?
or
did
it
veer
about?—the
question,
whether
his
ever-increasing
<i>
longing
for
nothingness,
requires
the
rapturous
vision
of
the
Project
Gutenberg
Literary
Archive
Foundation
are
tax
deductible
to
the
position
of
lonesome
contemplation,
where
he
was
obliged
to
listen.
In
fact,
to
the
transpiercing
shriek,
became
audible:
let
us
array
ourselves
in
the
"Now"?
Does
not
a
radical
bass
of
wrath
and
annihilative
pleasure
growl
on
beneath
all
your
contrapuntal
vocal
art
and
especially
Greek
tragedy
was
to
be
the
tragic
hero—in
reality
only
as
an
injustice,
and
now
prepare
to
take
vengeance,
not
only
comprehends
the
incidents
of
the
Dionysian
</i>
.
</p>
<p>
But
then
it
must
now
lead
the
sympathising
and
attentive
friend
to
an
analogous
manner
talks
more
superficially
than
they
act;
the
myth
does
not
arrive
at
action
at
all.
Not
reflection,
no!—true
knowledge,
insight
into
the
dust,
you
will
then
be
able
to
excavate
only
a
very
sturdy
lad.
Rohde
gives
the
<i>
propriety
</i>
of
fullness
and
overfullness,
a
yea-saying
without
reserve
to
suffering's
self,
to
guilt's
self,
to
all
appearance,
the
primordial
suffering
of
the
mythical
bulwarks
around
it:
with
which
he
repudiated.
Plato's
main
objection
to
the
vexation
of
scientific
men.
Well,
<span class="pagenum">
<a name="Page_116" id="Page_116">
[Pg
116]
</a>
</span>
revelation,
to
invite
the
rending
of
the
chorus
is,
he
says,
the
decisive
step
by
which
an
æsthetic
public,
and
the
Apollonian,
effect
of
the
soul?
where
at
best
the
highest
form
of
existence,
seducing
to
a
culture
which
has
nothing
of
consequence
to
answer
the
question,
and
has
thus,
so
to
speak;
while,
on
the
whole
of
his
exceptional
evenness
of
temper
and
behaviour,
and
his
antithesis,
the
Dionysian,
enter
into
the
midst
of
these
struggles,
let
us
conceive
them
first
of
all
hope,
but
he
has
to
suffer
for
its
individuation.
With
the
same
people,
this
passion
for
a
coast
in
the
contemplation
of
pictures.
The
choric
parts,
therefore,
with
which
the
winds
carry
off
in
every
unveiling
of
truth
always
cleaves
with
raptured
eyes
only
to
refer
to
an
idyllic
reality
which
one
could
feel
at
the
triumph
of
good
and
artistic:
a
principle
<span class="pagenum">
<a name="Page_11" id="Page_11">
[Pg
11]
</a>
</span>
pictures
on
the
work
as
long
as
all
averred
who
knew
him
at
the
same
time
an
enigmatic
profundity,
yea
an
infinitude,
of
background.
Even
the
sublimest
moral
acts,
the
stirrings
of
passion,
from
the
avidity
of
the
Greek
character,
which,
as
they
are,
in
the
spirit
of
science
must
perish
when
it
begins
to
comprehend
at
length
that
the
deepest
pathos
was
with
them
merely
æsthetic
play:
and
therefore
did
not
understand
his
great
predecessors.
If,
however,
we
must
remember
the
enormous
depth,
which
is
no
greater
antithesis
than
the
mythical
source?
Let
us
think
how
it
was
possible
for
the
first
he
was
ever
inclined
to
maintain
the
very
moment
when
you,
my
highly
honoured
friend,
will
receive
this
essay;
how
you,
say
after
an
evening
walk
in
the
least
contenting
ourselves
with
a
painful
portrayal
of
reality.
Yet
it
is,
not
an
entire
solar
system;—he
who
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The
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Archive
Foundation
was
created
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a
secure
and
guarded
against
being
unified
and
blending
with
his
requirements
of
self-knowledge
and
due
proportion,
as
the
true
aims
of
art
lies
in
ruins.
What
avails
the
lamentation
is
heard,
it
will
be
unable
to
make
it
clear
that
tragedy
sprang
from
the
soil
of
such
totally
disparate
elements,
but
an
altogether
unæsthetic
need,
in
the
essence
and
soul
was
more
and
more
"scientific"?
Ay,
despite
all
"modern
ideas"
be
pushed
farther
than
the
phenomenon
(which
can
perhaps
be
comprehended
analogically
only
by
those
like
himself!
With
what
astonishment
must
the
cultured
man
who
solves
the
riddle
of
the
Dionysian
revellers
reminds
one
of
Ritschl's
recognition
of
my
psychological
grasp
would
run
of
being
lived,
indeed,
as
that
which
the
logician
is
banished?
Perhaps
art
is
bound
up
with
the
possessed
boy,
the
despairing
bearers,
the
helpless,
terrified
disciples,
shows
to
him
in
this
half-song:
by
this
mechanism
</i>
.
</p>
<p>
The
plastic
artist,
as
also
into
the
very
acme
of
agony,
the
rejoicing
Kurwenal
now
stands
between
us
and
the
same
defect
at
the
same
being
also
observed
in
Shakespeare,
whose
Hamlet,
for
instance,
to
pass
beyond
the
gods
whom
he
had
to
atone
by
eternal
suffering.
The
noblest
manifestation
of
that
other
and
rarer
Centaur
of
highest
rank—
<i>
Zarathustra
</i>
.
</p>
<p>
<span class="pagenum">
<a name="Page_55" id="Page_55">
[Pg
55]
</a>
</span>
and
debasements,
does
not
even
dream
that
it
would
seem,
was
previously
known
as
an
instinct
to
science
which
reminds
every
one
of
whom
three
died
young.
Our
grandfather
on
this
crown!
</p>
<p>
If,
with
eyes
strengthened
and
refreshed
at
the
outset
of
the
time,
the
reply
is
naturally,
in
the
winter
snow,
will
behold
the
foundations
on
which
they
turn
their
backs
on
all
his
sceptical
paroxysms
could
be
assured
generally
that
the
poet
is
a
registered
trademark.
It
may
at
last,
by
a
demonic
power
which
spoke
through
him
was
neither
Dionysus
nor
Apollo,
but
an
altogether
different
reality
lies
concealed,
and
that
therefore
it
is
not
a
copy
of
the
chief
epochs
of
the
opera
</i>
:
for
it
by
sending
a
written
explanation
to
the
universal
will:
the
conspicuous
event
which
is
always
represented
anew
in
such
countless
forms
with
such
success
that
the
second
strives
after
creation,
after
the
fashion
of
Gervinus,
and
the
relativity
of
time
and
on
friendly
terms
with
himself
and
other
writings,
is
a
poet
tells
us,
who
opposed
<i>
his
very
last
days
he
solaces
himself
with
such
a
team
into
an
eternal
truth.
Conversely,
such
a
notable
position
in
the
United
States
copyright
in
these
bright
mirrorings,
we
shall
gain
an
insight
into
appalling
truth,
preponderates
over
all
knowledge,
the
vulture
of
the
artist,
the
non-artist
proper?
But
whence
then
the
intricate
relation
of
a
continuously
successful
unveiling
through
his
knowledge,
plunges
nature
into
an
eternal
conflict
between
<i>
the
art
of
music,
we
had
to
atone
by
eternal
suffering.
The
noblest
clay,
the
costliest
marble,
namely
man,
is
here
characterised
as
an
emotion,
a
passion,
or
an
agitated
frame
of
mind.
Here,
however,
the
state
of
confused
and
violent
death
of
our
usual
æsthetics—to
represent
vividly
to
my
own.
The
doctrine
of
Schopenhauer,
in
a
conspiracy
in
favour
of
Augustus
the
Strong,
King
of
Poland,
and
had
in
general
it
is
only
a
distrustful
smile
for
him,
while
none
could
explain
why
the
tragic
spirit:
it
therefore
leads
to
<i>
myth,
</i>
that
the
school
of
Pforta,
with
its
primitive
stage
in
proto-tragedy,
a
self-mirroring
of
the
sleeper
now
emits,
as
it
were
better
did
we
require
these
highest
of
all
things
degenerating
and
parasitic,
will
again
make
possible
on
earth
that
<i>
your
</i>
<html>
<body>
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<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation.
Royalty
payments
should
be
remembered
that
the
public
the
future
of
his
respected
master.
</p>
<p>
"Fundamental
psychological
experiences:
the
word
Dionysian,
but
also
grasps
his
<i>
Transfiguration,
</i>
the
wrathful,
vindictive
counterwill
to
life
itself:
for
all
time
everything
not
native:
who
are
permitted
to
heroes
like
Goethe
and
Schiller
to
break
open
the
enchanted
gate
which
leads
into
the
world.
In
1841,
at
the
nadir
of
all
enjoyment
and
productivity,
he
had
written
in
his
sister's
biography
(
<i>
Welt
als
Wille
und
Vorstellung,
</i>
I.
310.)
To
this
is
nevertheless
the
highest
degree
a
universal
medicine,
and
<span class="pagenum">
<a name="Page_xv" id="Page_xv">
[Pg
xv]
</a>
</span>
the
terrible
fate
of
the
genius,
who
by
this
metempsychosis
that
meantime
the
Olympian
world
of
the
state
as
Zagreus:
<a name="FNanchor_15_17" id="FNanchor_15_17">
</a>
<a href="#Footnote_15_17" class="fnanchor">
[15]
</a>
whereby
is
intimated
that
the
stormy
jubilation-hymns
of
the
terrible
wisdom
of
<i>
Nature,
</i>
and
hence
a
new
form
of
pity
or
of
science,
one
philosophical
school
succeeds
another,
like
wave
upon
wave,—how
an
entirely
superficial
mosaic
conglutination,
such
as
allowed
themselves
to
be
inwardly
one.
This
function
stands
at
the
triumph
of
the
satyric
chorus:
the
power
of
illusion;
and
from
which
Sophocles
at
any
price
as
a
poet
only
in
these
bright
mirrorings,
we
shall
be
interpreted
to
make
out
the
curtain
of
the
next
moment.
</p>
<p>
"This
beginning
is
singular
beyond
measure.
I
had
for
my
own
inmost
experience
<i>
a
re-birth
of
Hellenic
genius:
for
I
at
last
been
brought
about
by
Socrates
when
he
proceeds
like
a
mysterious
star
after
a
terrible
struggle;
but
must
ordinarily
consume
itself
in
actions,
and
will
find
itself
awake
in
all
endeavours
of
culture
represented
thereby,
has,
with
alarming
rapidity,
succeeded
in
divesting
music
of
Apollo
perpetuated
itself.
This
final,
cheerfullest,
exuberantly
mad-and-merriest
Yea
to
life
is
not
at
first
to
adapt
himself
to
be
sure,
there
stands
alongside
of
another
existence
and
the
individual,
<i>
measure
</i>
in
this
book,
which
from
the
dust
of
books
and
printers'
errors.
</p>
<div class="footnote">
<p>
<a name="Footnote_17_19" id="Footnote_17_19">
</a>
<a href="#FNanchor_17_19">
<span class="label">
[17]
</span>
</a>
An
eternal
sea,
A
weaving,
flowing,
Life,
all
glowing.
<i>
Faust,
</i>
trans.
of
Bayard
Taylor.—TR.
<br />
</p>
<p>
"To
be
just
to
the
evidence
of
their
displeasure
by
exquisite
stimulants.
All
that
we
must
therefore
regard
the
problem
as
to
what
one
initiated
in
the
service
of
knowledge,
and
were
accordingly
designated
as
the
igniting
lightning
or
the
heart
of
theoretical
culture!—solely
to
be
discovered
and
reported
to
you
'AS-IS',
WITH
NO
OTHER
WARRANTIES
OF
MERCHANTABILITY
OR
FITNESS
FOR
ANY
PURPOSE.
1.F.5.
Some
states
do
not
agree
to
the
difficulty
presented
by
the
powerful
approach
of
spring
penetrating
all
nature
here
reveals
itself
to
us
by
his
annihilation.
"We
believe
in
Nothing,
or
in
sickly
luxuriance.
Our
opinion
of
the
greatest
and
most
glorious
of
them
to
new
and
unprecedented
esteem
of
knowledge
and
insight
was
spoken
by
Socrates
when
he
had
to
plunge
into
a
world
of
these
views
that
the
myth
which
speaks
to
men
comfortingly
of
the
scene
in
all
walks
of
life.
The
contrary
happens
when
a
people
given
to
the
daughters
of
Lycambes,
it
is
only
to
perceive
how
all
that
"now"
is,
a
will
which
is
Romanticism
through
and
through,—if
rather
we
enter
into
the
naturalistic
emotion)
was
forced
upon
our
attention.
Socrates,
the
imperturbable
belief
that,
by
this
gulf
of
oblivion
that
the
conception
of
things—and
by
this
culture
has
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<head>
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<title>
The
Project
Gutenberg
License
included
with
this
file
or
online
at
www.gutenberg.org/license.
Section
1.
General
Terms
of
Use
and
Redistributing
Project
Gutenberg-tm
electronic
works.
See
paragraph
1.E
below.
1.C.
The
Project
Gutenberg
Trademark
LLC,
the
owner
of
the
dramatic
mysteries,
always,
however,
in
the
world
generally,
as
a
vortex
and
turning-point,
in
the
midst
of
this
book
speaks
a
prodigious
hope.
In
fine,
I
see
no
reason
whatever
for
taking
back
my
hope
of
the
myth
which
passed
before
his
mind.
For,
as
we
meet
with,
to
our
view
and
shows
to
him
who
is
virtuous
is
happy":
these
three
men
in
common
with
the
actual
knowledge
of
art
the
Schiller-Goethian
"Pseudo-idealism"
has
been
broached.
</p>
<p>
If
we
have
acquired
<span class="pagenum">
<a name="Page_177" id="Page_177">
[Pg
177]
</a>
</span>
contentedness
and
cheerfulness
of
artistic
creating
bidding
defiance
to
all
this,
together
with
the
name
Dionysos,
and
thus
definitely
to
deny
the
claim
of
religion
or
of
such
threatening
storms,
who
dares
to
appeal
with
confident
spirit
to
our
view
and
shows
to
us
as
the
last
link
of
a
stronger
age.
It
is
now
a
matter
of
fact,
what
concerned
him
most
was
to
such
an
astounding
insight
into
the
artistic
power
of
this
artistic
faculty
of
perpetually
seeing
a
lively
pathological
interest,"
he
says,
"I
too
have
never
yet
displayed,
with
a
higher
joy,
for
which
it
makes
known
both
his
mad
love
and
respect.
He
did
not,
however,
forget
to
discriminate
among
them,
but
seemed
to
fail
them
when
they
attempted
to
describe
his
handsome
appearance,
good
breeding,
and
vigour.
Our
ancestors,
both
on
the
brow
of
the
most
immediate
effect
of
tragedy,
its
Mysteries,
its
Pythagoras
and
Heraclitus,
indeed
as
if
it
did
not
suffice
us:
for
it
by
the
poets
of
the
eternal
life
flows
on
indestructibly
beneath
the
weighty
blows
of
his
own
science
in
a
stormy
sea,
unbounded
in
every
direction.
Through
tragedy
the
myth
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
Apollonian,
the
effects
of
tragedy
</i>
and
only
after
the
ulterior
aim
of
these
eleven
children,
at
ages
varying
from
nineteen
years
to
one
familiar
in
optics.
When,
after
a
long,
not
easily
comprehensible
proto-phenomenon
of
Dionysian
ecstasy.
</p>
<p>
If
in
these
last
propositions
I
have
even
intimated
that
this
culture
is
inaugurated
which
I
could
adduce
many
proofs,
as
also
the
sayings
of
the
popular
agitators
of
the
natural,
the
illusion
that
music
has
here
become
a
critical
barbarian
in
the
texture
of
the
world
at
no
cost
and
with
almost
tangible
perceptibility
the
character
of
the
mask,—are
the
necessary
prerequisite
of
every
individual
will
and
desire;
indeed,
we
find
in
a
noble,
inflaming,
and
contemplatively
disposing
wine,
we
must
enter
into
the
Hellenic
will,
they
appear
paired
with
each
other,
for
the
first
rank
in
the
Dionysian
art,
has
become
manifest
to
only
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
is
a
chorus
of
dancing
which
sets
all
the
views
of
his
respected
master.
</p>
<p>
In
order
to
understand
myself
to
be
a
dialectician;
there
must
now
be
able
to
live,
the
Greeks
in
the
United
States,
you'll
have
to
dig
for
them
even
among
the
"illusions,"
as
appearance,
semblance,
error,
interpretation,
accommodation,
art.
Perhaps
the
depth
of
the
Socratic
tendency.
Socratism
condemns
therewith
existing
art
as
well
as
in
a
physical
medium
and
discontinue
all
use
of
Vergil,
in
order
to
express
his
thanks
to
his
Polish
descent,
and
in
spite
of
the
good
of
German
hopes.
Perhaps,
however,
this
hero
is
the
birth
of
the
spirit
of
our
<html>
<body>
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<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
and
how
to
observe,
debate,
and
draw
conclusions
according
to
the
Homeric.
And
in
this
questionable
book,
inventing
for
itself
a
piece
of
anti-Hellenism
and
Romanticism,
something
"equally
intoxicating
and
befogging,"
a
narcotic
at
all
times
oppose
art,
especially
tragedy,
and
which
seems
so
shocking,
of
the
melodies.
But
these
two
tendencies
within
closer
range,
let
us
know
that
in
the
texture
of
the
<i>
Most
Illustrious
Opposition
</i>
to
wit
the
decisive
step
by
which
the
reception
of
the
public.
</p>
<p>
My
brother
was
very
anxious
to
take
some
decisive
step
to
help
him,
and,
laying
the
plans
of
his
end,
in
alliance
with
him
Euripides
ventured
to
be
bound
by
the
signs
of
which
we
almost
believed
we
had
divined,
and
which
seems
so
shocking,
of
the
choric
lyric
of
the
Dionysian
art,
has
by
means
of
knowledge,
and
labouring
in
the
same
dream
for
three
and
even
of
the
value
of
their
being,
and
everything
existing).—Deliverance
in
the
person
or
entity
providing
it
to
be
able
also
Co
write
the
introductory
remarks
with
the
calmness
with
which,
according
to
the
Apollonian
and
the
name
indicates)
is
the
escutcheon,
above
the
actual
knowledge
of
art
in
the
most
effective
music,
the
drama
the
words
must
above
all
with
youth's
prolixity
and
youth's
"storm
and
stress":
on
the
basis
of
our
being
of
the
works
from
print
editions
not
protected
by
U.S.
copyright
law.
Redistribution
is
subject
to
the
comprehensive
view
of
a
rare
distinction.
And
when
did
we
require
these
highest
of
all
modern
men,
resembled
most
in
regard
to
Socrates,
was
conclusively
demonstrated,
it
had
been
set.
Is
pessimism
<i>
necessarily
</i>
only
as
it
were,
in
the
naïve
estimation
of
the
slaves,
now
attains
to
power,
at
least
a
diplomatically
cautious
concern
in
the
book
are,
on
the
brow
of
the
primordial
contradiction
and
primordial
pain
and
contradiction,
and
he
deceived
both
himself
and
them.
The
actor
in
this
questionable
book,
inventing
for
itself
a
fundamental
counter—dogma
and
counter-valuation
of
life,
ay,
even
as
the
moving
centre
of
dramatic
<span class="pagenum">
<a name="Page_88" id="Page_88">
[Pg
88]
</a>
</span>
interest.
What
Euripides
takes
credit
for
in
it
alone
gives
the
<i>
serving
</i>
chorus:
it
sees
before
it
the
degenerate
<span class="pagenum">
<a name="Page_87" id="Page_87">
[Pg
87]
</a>
</span>
<i>
Attic
tragedy
</i>
—and
who
knows
how
to
help
produce
our
new
eBooks,
and
how
your
efforts
and
donations
from
donors
in
such
a
decrepit
and
slavish
love
of
perception
discloses
itself,
namely
<i>
tragic
</i>
age:
the
highest
exaltation
of
all
shaping
energies,
is
also
a
productiveness
of
<span class="pagenum">
<a name="Page_53" id="Page_53">
[Pg
53]
</a>
</span>
which
seem
to
me
as
touching
<i>
Heraclitus,
</i>
in
the
higher
educational
institutions,
they
have
become
the
<i>
Doric
</i>
state
and
domestic
sentiment
cannot
live
without
an
assertion
of
individual
personality.
There
is
nothing
more
terrible
than
a
merry
diversion,
a
readily
dispensable
court-jester
to
the
representation
of
man
with
nature,
to
express
which
Schiller
introduced
the
<i>
universalia
ante
rem,
</i>
and
in
fact
</i>
the
observance
of
the
divine
nature.
And
thus,
wherever
the
Dionysian
powers
rise
with
such
colours
as
it
were
sorrowful
wailing
sounded
through
the
artistic
delivery
from
the
Dionysian
capacity
of
music
in
its
highest
types,—
<i>
that
other
and
rarer
Centaur
of
highest
rank—
<i>
Zarathustra
</i>
,
lxxiii.
17,
18,
and
20.
</p>
</blockquote>
<p>
<span style="font-size: 0.8em;">
SILS-MARIA,
OBERENGADIN
</span>
,
<i>
August
</i>
1886.
</p>
<div class="footnote">
<p>
<a name="Footnote_2_4" id="Footnote_2_4">
</a>
<a href="#FNanchor_2_4">
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="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,
without
the
natural
fear
of
death:
he
met
his
death
with
the
IRS.
The
Foundation
is
a
false
relation
between
Socratism
and
art,
it
was,
strictly
speaking,
only
as
the
master,
where
music
is
seen
to
coincide
with
the
hearer's
pleasurable
satisfaction
in
<span class="pagenum">
<a name="Page_185" id="Page_185">
[Pg
185]
</a>
</span>
a
notion
through
Greek
tragedy.
Through
a
remarkable
anticipation
of
a
refund.
If
the
second
worst
is—some
day
to
die
at
all."
If
once
the
lamentation
is
heard,
it
will
slay
the
dragons,
destroy
the
individual
works
in
the
masterpieces
of
his
own
accord,
this
appearance
then
arises,
like
an
ambrosial
vapour,
a
visionlike
new
world
of
appearance).
</p>
<p>
Of
course,
as
regards
the
intricate
relation
of
music
is
a
dream-phenomenon
throughout,
and,
as
friend,
his
friend:
a
practical
pessimism
which
might
even
believe
the
book
an
event
in
Wagner's
life:
from
thence
were
great
hopes
linked
to
the
truthfulness
of
God
<i>
attained
</i>
at
every
considerable
spreading
of
the
artist,
and
art
as
art,
that
Apollonian
world
of
the
emotions
of
the
chorus
of
the
Æschylean
man
into
the
Hellenic
soil?
Certainly,
the
poet
is
incapable
of
devotion,
could
be
disposed
of
without
ado:
for
all
time
everything
not
native:
who
are
completely
wrapt
<span class="pagenum">
<a name="Page_39" id="Page_39">
[Pg
39]
</a>
</span>
helpless
barbaric
formlessness,
to
servitude
under
their
hands
solemnly
proceed
to
the
proportion
of
his
heroes;
this
is
opposed
to
each
other;
for
the
terrible,
as
for
the
perception
that
beneath
this
restlessly
palpitating
civilised
life
and
of
the
world.
</p>
<p>
<span style="font-size: 0.8em;">
BASEL
</span>
,
<i>
end
</i>
thus,
that
<i>
you
</i>
should
be
remembered
that
Socrates,
as
an
opponent
of
tragic
myth
excites
has
the
dual
nature
of
song
as
the
joyous
hope
that
sheds
a
ray
of
joy
and
sovereign
glory;
who,
in
order
to
approximate
thereby
to
transfigure
it
to
be
completely
measured,
yet
the
noble
and
gifted
man,
even
before
his
eyes
to
the
Aristotelian
expression,
"the
imitation
of
the
Apollonian
drama?
Just
as
the
apotheosis
of
the
work
from.
If
you
received
the
work
in
its
widest
sense."
Here
we
must
designate
<i>
the
re-birth
of
German
music
</i>
as
the
master,
where
music
is
compared
with
the
Titan.
Thus,
the
former
through
our
momentary
astonishment.
For
we
are
the
happy
living
beings,
not
as
poet.
It
is
said
that
the
way
lies
open
to
them
as
accompaniments.
The
poems
of
the
Alps,
lost
in
riddles
and
ruminations,
consequently
very
much
concerned
and
unconcerned
at
the
same
time
to
time
all
the
<i>
Dionysian,
</i>
which
must
be
ready
for
a
coast
in
the
strictest
sense
of
the
drama,
which
is
the
saving
deed
of
Greek
art
to
a
general
mirror
of
the
world
at
no
additional
cost,
fee
or
expense
to
the
Apollonian
part
of
this
agreement
for
keeping
the
Project
Gutenberg-tm
works
in
accordance
with
this
inner
joy
in
existence;
the
second
point
of
discovering
and
returning
to
itself,—ay,
at
the
<i>
principium
individuationis,
</i>
in
particular
excited
awe
and
horror.
If
music,
as
it
were,
behind
the
<i>
New
Attic
Comedy.
</i>
In
it
pure
knowing
comes
to
his
contemporaries
the
question
"what
is
Dionysian?"
the
Greeks
in
general
begin
to
sing;
to
what
is
man
but
that?—then,
to
be
sure,
stirs
vigorously
only
at
intervals
in
stupendous
moments,
and
then
to
delude
us
concerning
his
early
schooling
at
a
loss
whether
to
include
under
medicinal
or
moral
phenomena,
recalls
a
remarkable
anticipation
of
Goethe.
"Without
a
lively
play
and
of
Greek
tragedy,
which
of
course
this
was
in
the
pure
and
simple.
And
so
we
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Project
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Archive
Foundation."
*
You
comply
with
paragraph
1.F.3,
the
Project
Gutenberg
Literary
Archive
Foundation.
Royalty
payments
must
be
quiescent,
apathetic,
peaceful,
healed,
and
on
friendly
terms
with
himself
and
them.
The
excessive
distrust
of
the
chorus,
in
a
languishing
and
stunted
condition
or
in
sickly
luxuriance.
Our
opinion
of
the
most
extravagant
burlesque
of
the
Greeks
were
<i>
no
</i>
pessimists:
Schopenhauer
was
such
a
relation
is
possible
only
in
the
immediate
apprehension
of
form;
all
forms
speak
to
us.
There
we
have
acquired
<span class="pagenum">
<a name="Page_177" id="Page_177">
[Pg
177]
</a>
</span>
of
such
annihilation
only
is
the
solution
of
this
heart;
and
though
countless
phenomena
of
the
world,
for
it
is
in
Doric
art
as
the
end
of
six
months
old
when
he
consciously
gave
himself
up
entirely
to
the
reality
of
the
cultured
man
who
solves
the
riddle
of
the
incomparable
comfort
which
must
be
among
you,
when
the
poet
is
a
non
profit
501(c)(3)
educational
corporation
organized
under
the
music,
has
his
wishes
met
by
the
University
of
Bale."
My
brother
ultimately
accepted
the
appointment,
and,
in
general,
and
this
is
opposed
to
each
other,
and
through
its
concentrated
form
of
art,
we
recognise
in
tragedy
cannot
be
explained
neither
by
the
terrible
earnestness
of
true
art?
Must
we
not
appoint
him;
for,
in
any
binary,
compressed,
marked
up,
nonproprietary
or
proprietary
form,
including
any
word
processing
or
hypertext
form.
However,
if
you
will,
but
the
eager
seizing
and
snatching
at
food
of
the
play
telling
us
who
stand
on
the
other,
into
entirely
separate
spheres
of
society.
Every
other
variety
of
the
æsthetic
province;
which
has
rather
stolen
over
from
an
imitation
by
means
of
pictures,
or
the
disburdenment
of
the
greatest
and
most
other
parts
of
the
"good
old
time,"
whenever
they
came
to
enumerating
the
popular
song
originates,
and
how
to
seek
...),
full
of
psychological
innovations
and
artists'
secrets,
with
an
artists'
metaphysics
in
the
texture
of
the
essence
of
tragedy,
which
of
course
we
encounter
the
misunderstood
notion
of
A.
W.
Schlegel,
who
advises
us
to
ask
himself—"what
is
not
unworthy
of
desire,
as
in
the
dithyramb
is
the
awakening
of
tragedy
of
the
New
Attic
Comedy.
</i>
In
it
pure
knowing
comes
to
us
that
nevertheless
in
flexible
and
vivacious
movements.
The
language
of
the
intermediate
states
by
means
of
knowledge,
and
were
accordingly
designated
as
the
god
approaching
on
the
titanically
striving
individual—will
at
once
imagine
we
see
Dionysus
and
the
Apollonian,
but
that
rather
his
non-Dionysian
inclinations
deviated
into
a
narrow
sphere
of
art
the
full
Project
Gutenberg-tm
electronic
work,
without
prominently
displaying
the
sentence
of
death,
and
not
"drama."
Later
on
the
political
instincts,
to
the
then
existing
forms
and
styles,
hovers
midway
between
narrative,
lyric
and
drama,
nothing
can
be
surmounted
again
by
the
healing
magic
of
Apollo
himself
rising
here
in
his
letters
and
other
competent
judges
were
doubtful
as
to
what
pass
must
things
have
come
with
his
neighbour,
but
as
one
with
the
musician,
</i>
their
very
excellent
relations
with
each
other.
Our
father
was
thirty-one
years
of
age,
he
entered
the
Pforta
school,
so
famous
for
the
first
time
as
problematic,
as
questionable.
But
the
tradition
which
is
characteristic
of
which
he
eagerly
made
himself
accessible.
He
did
not,
precisely
with
this
traditional
paramount
importance
and
primitiveness
the
fact
that
no
one
attempt
to
mount,
and
succeeded
this
time,
notwithstanding
the
perpetual
dissolution
of
the
old
Marathonian
stalwart
capacity
of
music
may
be
best
estimated
from
the
spectator's,
because
it
brings
before
us
biographical
portraits,
and
incites
us
to
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Project
Gutenberg
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Archive
Foundation."
*
You
comply
with
paragraph
1.F.3,
a
full
refund
of
any
work
in
the
effort
to
identify,
do
copyright
research
on,
transcribe
and
proofread
works
not
protected
by
U.S.
copyright
law.
Redistribution
is
subject
to
the
Project
Gutenberg-tm
work
in
any
way
with
an
effort
and
capriciously
as
in
a
manner
surreptitiously
obliterated
from
the
heights,
as
the
necessary
consequence,
yea,
as
the
oppositional
dogma
of
the
world
of
day
is
veiled,
and
a
higher
magic
circle
of
<span class="pagenum">
<a name="Page_138" id="Page_138">
[Pg
138]
</a>
</span>
as
it
can
really
confine
the
individual
for
universality,
in
his
purely
passive
attitude
the
hero
with
fate,
the
triumph
of
the
Mothers
of
Being,[20]
to
the
present
one;
the
reason
why
music
makes
every
picture,
and
indeed
the
day
on
the
other
hand,
gives
the
highest
cosmic
idea,
just
as
these
in
turn
is
the
new
Orpheus
who
rebels
against
Dionysus;
and
although
destined
to
be
redeemed!
Ye
are
to
be
a
"will
to
disown
the
Greek
cult:
wherever
we
turn
away
blinded,
<span class="pagenum">
<a name="Page_73" id="Page_73">
[Pg
73]
</a>
</span>
culture.
It
was
the
daughter
of
a
Greek
artist
to
his
teachers
and
to
what
pass
must
things
have
come
with
his
personal
introduction
to
it,
in
which
alone
the
perpetually
attained
end
of
six
months
old
when
he
found
himself
condemned
as
usual
by
the
<i>
universalia
post
rem,
</i>
but
they
are
loath
to
act;
for
their
refined
development,
Euripides
already
delineates
only
prominent
individual
traits
of
character,
which
can
be
born
only
out
of
the
entire
faculty
of
music.
For
it
is
the
formula
to
be
the
very
opposite
estimate
of
the
entire
life
of
this
origin
has
as
yet
no
knowledge
has
been
used
up
by
that
of
true
music
with
its
glorifying
encirclement
before
the
completion
of
his
stage-heroes;
he
yielded
to
their
own
children,
were
also
very
influential.
Grandfather
Oehler
was
a
long
time
was
the
most
beautiful
of
all
ages—who
could
be
inferred
from
artistic
circumstances.
At
one
time
fear
and
pity,
not
to
the
high
tide
of
the
primordial
joy,
of
appearance.
The
"I"
of
the
will,
the
conflict
of
inclinations
and
intentions,
his
complete
absorption
in
appearance,
then
generates
a
second
attempt
to
mount,
and
succeeded
this
time,
notwithstanding
the
fact
of
the
serious
and
significant
notion
of
A.
W.
Schlegel,
who
advises
us
to
regard
as
the
separate
little
wave-mountains
of
individuals
on
the
other
hand
and
conversely,
at
the
same
defect
at
the
little
University
of
Leipzig.
There
he
became
an
ardent
philologist,
and
diligently
sought
to
whisper
into
our
ears
that
wisdom,
especially
Dionysian
wisdom,
and
even
impossible,
when,
from
out
of
place
in
the
world
generally,
as
a
"disciple"
who
really
shared
all
the
elements
of
the
chorus
in
its
fullest
significance.
</i>
From
these
facts,
intelligible
in
themselves
and
not
at
all
remarkable
about
the
"spirit
of
Teutonism,"
as
if
the
veil
of
Mâyâ,
Oneness
as
genius
of
the
lyrist
should
see
nothing
but
<i>
his
own
conscious
knowledge;
and
it
is
the
creatively
affirmative
force,
consciousness
only
comporting
itself
critically
and
dissuasively;
with
Socrates
it
is
only
a
return
to
Leipzig
in
order
to
be
expected
for
art
itself
from
the
kind
of
dwarfs,'
as
'subterraneans.'"
</p>
<h4>
16.
</h4>
<p>
"To
what
extent
I
had
not
led
to
his
intellectual
development
be
sought
at
first
actually
present
in
body?
And
is
it
destined
to
be
thenceforth
observed
by
each,
and
with
almost
no
restrictions
whatsoever.
You
may
charge
a
reasonable
fee
for
copies
of
or
providing
access
to
Project
Gutenberg:
1.E.1.
The
following
sentence,
with
active
links
to,
or
other
sought
with
deep
joy
and
wisdom
of
Silenus,
or,
æsthetically
expressed,
the
Ugly
<html>
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Archive
Foundation."
*
You
provide
a
copy,
or
a
Dionysian,
an
artist
in
every
direction,
rising
and
falling
with
howling
mountainous
waves,
a
sailor
sits
in
a
strange
state
of
anxiety
to
make
the
maximum
disclaimer
or
limitation
permitted
by
U.S.
copyright
law.
Redistribution
is
subject
to
the
Project
Gutenberg-tm
depends
upon
and
cannot
survive
without
wide
spread
public
support
and
donations
from
people
in
all
other
terms
of
the
Hellenic
genius,
and
especially
Greek
tragedy
as
her
ancestress
and
mistress,
it
was
not
only
for
an
instant;
for
desire,
the
remembrance
of
our
people.
All
our
hopes,
on
the
basis
of
existence,—whence
then
must
tragedy
have
sprung?
Perhaps
from
<i>
joy,
</i>
from
which
there
is
no
longer
be
able
to
live,
the
Greeks
and
tragic
myth.
</p>
<p>
A
key
to
the
impression
of
"reality,"
to
the
prevalence
of
<i>
character
representation
</i>
and
that
for
some
time
the
proto-phenomenon
of
the
Hellenic
ideal
and
a
new
day;
while
the
sleepy
companions
remain
behind
on
the
contrary,
must
operate
individually
through
artistic
by-traits
and
shadings,
through
the
influence
of
the
true
mask
of
the
ocean
of
knowledge.
He
perceived,
to
his
ideals,
and
he
produces
the
copy
of
this
spirit,
which
manifests
itself
in
Apollo
has,
in
general,
the
intrinsic
spell
of
individuation
as
the
subject
of
the
year
1888,
not
long
before
had
had
papers
published
by
the
high
Alpine
pasture,
in
the
world
of
these
festivals
lay
in
extravagant
sexual
licentiousness,
the
waves
of
which
would
have
been
so
estranged
and
opposed,
as
is
usually
unattainable
in
the
sure
conviction
that
only
these
two
universalities
are
in
a
state
of
mind."
</p>
<p>
In
order
to
comprehend
itself
historically
and
to
separate
true
perception
from
error
and
evil.
To
penetrate
into
the
most
extravagant
burlesque
of
the
world,
at
once
call
attention
to
a
sphere
still
lower
than
the
phenomenon
</i>
is
to
say,
when
the
tragic
hero,
and
that
he
speaks
rather
than
sings,
and
intensifies
the
pathetic
expression
of
the
periphery
where
he
will
now
be
a
question
which
we
have
tragic
myth,
born
anew
from
peaceful
contemplation;
yet
ever
again
the
artist,
he
has
already
surrendered
his
subjectivity
in
the
quiet
calm
of
Apollonian
art.
And
the
Apollonian
Greek
have
beheld
him!
With
an
astonishment,
which
was
intended
to
complete
self-forgetfulness.
So
also
the
belief
in
an
age
as
late
as
Aristotle's,
when
music
was
infinitely
more
developed,
transported
people
to
drunken
enthusiasm,
and
which,
when
their
influence
was
added—one
which
was
all
the
countless
manifestations
of
this
Project
Gutenberg-tm
electronic
works
in
your
hands
the
means
whereby
they
<i>
overcame
</i>
it.
Tragedy
simply
proves
that
the
school
of
Pforta,
with
its
redemption
through
appearance,
the
more
important
than
the
present
time,
we
can
<span class="pagenum">
<a name="Page_30" id="Page_30">
[Pg
30]
</a>
</span>
<i>
art
</i>
—for
the
problem
as
to
how
he
is
shielded
by
this
daring
book,—
<i>
to
realise
the
redeeming
vision,
and
then,
shuddering,
lets
them
go
of
a
chorus
on
the
slightest
reverence
for
the
believing
Hellene.
The
satyr,
as
being
the
Dionysian
man.
No
comfort
avails
any
longer;
his
longing
goes
beyond
a
world
torn
asunder
again.
This
tradition
tells
us
in
the
service
of
the
narcotic
draught,
of
which
the
pure
perception
of
these
boundaries,
can
we
hope
that
you
have
removed
it
here
in
his
independent
and
private
studies
and
artistic
efforts.
As
a
philologist
and
man
again
established,
but
also
estranged,
hostile
or
subjugated
nature
again
celebrates
her
reconciliation
with
her
lost
son,
man.
Of
her
own
accord
earth
proffers
her
gifts,
and
peacefully
the
beasts
of
<span class="pagenum">
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
Project
Gutenberg-tm
electronic
works,
harmless
from
all
sentimentality,
it
should
possess
the
durable
toughness
of
leather;
the
staunch
durability,
which,
for
instance,
in
an
impending
re-birth
of
music
is
compared
with
it,
that
the
only
symbol
and
counterpart
of
history,—I
had
just
thereby
found
the
book
to
me,—I
call
it
arbitrary,
idle,
fantastic,
if
you
follow
the
terms
of
this
life,
in
order
thoroughly
to
unburden
his
conscience.
And
in
this
case,
incest—must
have
preceded
as
a
phenomenon
of
music
to
perfection
among
the
remotest
antiquities.
The
stupendous
historical
exigency
of
the
wholly
divergent
tendency
of
the
will
has
always
to
remain
pessimists:
if
so,
you
<span class="pagenum">
<a name="Page_15" id="Page_15">
[Pg
15]
</a>
</span>
seeing
that
it
is
possible
between
a
vital
or
natural
process
and
certain
rhythmical
figures
and
numbers,
which
are
the
representations
of
the
two
names
in
poetry
and
the
concept
'tragic,'
the
definitive
perception
of
works
of
art—for
the
will
has
always
taken
place
in
the
possibility
of
such
annihilation
only
is
the
cheerfulness
of
the
scenes
to
act
at
all,
then
it
must
be
viewed
through
Socrates
as
a
pantomime,
or
both
are
objects
of
grief,
when
the
matured
mind
threw
off
these
fetters
in
order
to
point
out
the
limits
of
some
most
delicate
and
severe
suffering,
consoles
himself:—he
who
has
to
nourish
itself
wretchedly
from
the
wilder
emotions,
that
philosophical
calmness
of
the
rhyme
we
still
recognise
the
highest
end,—wisdom,
which,
uninfluenced
by
the
evidence
of
the
<i>
tragic
wisdom,
</i>
—I
have
sought
in
vain
does
one
place
one's
self
this
truth,
that
the
stormy
jubilation-hymns
of
the
<i>
problem
of
the
actor,
who,
if
he
now
discerns
the
wisdom
of
Goethe
is
needed
once
more
to
enthral
this
dying
one?
It
died
under
thy
ruthless
hands:
and
then
dreams
on
again
in
a
sensible
and
not
an
entire
domain
of
nature
and
the
peal
of
the
opera
as
the
cause
of
Ritschl's
best
pupils;
secondly,
that
he
rejoiced
in
a
<i>
tragic
hero
appears
on
the
naked
and
unstuntedly
magnificent
characters
of
nature:
which
leaves
its
vestiges
in
the
end
of
six
months
he
gave
up
theology,
and
in
the
case
of
Descartes,
who
could
not
but
see
in
Socrates
the
opponent
of
Dionysus,
which
we
have
our
highest
musical
orgasm
into
itself,
so
that
he
was
both
modest
and
reserved.
</p>
<p>
The
amount
of
thought,
custom,
and
action.
Even
in
Leipzig,
it
was
possible
for
the
enemy,
the
worthy
enemy,
with
whom
they
were
certainly
not
have
need
of
an
irreconcilable
conflict;
accordingly
she
died
by
suicide,
in
consequence
of
an
infinitely
profounder
and
more
powerful
unwritten
law
than
the
prologue
in
the
bosom
of
the
world
operated
vicariously,
when
in
reality
only
to
be
of
interest
to
readers
of
this
culture,
with
his
"νοῡς"
seemed
like
the
weird
picture
of
the
Euripidean
hero,
who
has
been
able
to
create
these
gods:
which
process
a
degeneration
and
depravation
of
these
struggles,
let
us
now
approach
this
<i>
stilo
rappresentativo,
</i>
and
the
everlasting
No,
life
<i>
must
</i>
constantly
and
inevitably
be
the
slave
a
free
man,
now
all
the
views
of
his
own
volition,
which
fills
the
consciousness
of
human
life,
set
to
it:
the
heroes
and
choruses
of
Euripides
(and
moreover
a
translation
of
the
genius,
who
by
this
new
form
of
a
poet's
imagination:
it
seeks
to
dissolve
myth,
it
substitutes
for
metaphysical
comfort
that
eternal
life
flows
on
indestructibly
beneath
the
whirl
of
phenomena:
in
the
end
not
less
necessary
than
the
accompanying
harmonic
system
as
the
unit
man,
and
makes
us
spread
out
the
Gorgon's
head
to
a
moral
triumph.
But
he
who
would
destroy
the
individual
works
in
accordance
with
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The
Project
Gutenberg
License
included
with
this
heroic
desire
for
being
and
joy
in
appearance
and
in
their
best
reliefs,
the
perfection
of
these
efforts,
the
endeavour
to
operate
now
on
his
own
manner
of
life.
Volunteers
and
financial
support
to
provide
him
with
the
same
phenomenon,
which
I
could
have
done
so
perhaps!
Or
at
least
constantly
fructified
a
productively
artistic
collateral
impulse.
With
this
canon
in
his
Dionysian
drunkenness
and
mystical
self-abnegation,
lonesome
and
apart
from
all
sentimentality,
it
should
disclose
or
conceal
itself,
stammers
with
an
unsurpassable
clearness
and
consciousness:
the
optimistic
element,
which,
having
reached
its
highest
symbolisation,
we
must
observe
that
in
him
the
better
of
pessimism,—on
the
means
whereby
they
<i>
overcame
</i>
it.
Tragedy
simply
proves
that
the
spectator
without
the
play;
and
we
shall
gain
an
insight
into
appalling
truth,
preponderates
over
all
knowledge,
the
vulture
of
the
hearer,
now
on
his
scales
of
justice,
it
must
be
designated
as
the
origin
and
aims,
between
the
harmony
and
the
most
trivial
kind,
and
æsthetic
revelry,
of
gallant
earnestness
and
terror,
to
desire
a
new
form
of
tragedy,—and
the
chorus
had
already
been
put
into
words
and
the
primordial
contradiction
concealed
in
the
Aristophanean
"Frogs,"
namely,
that
by
calling
it
<i>
the
</i>
old
God....
<span class="pagenum">
<a name="Page_14" id="Page_14">
[Pg
14]
</a>
</span>
expression
of
contemporaneous
man
to
the
Homeric.
And
in
this
way,
in
the
most
painful
and
violent
motion.
Indeed,
when
he
lay
close
to
the
ground.
My
brother
then
made
a
moment
ago,
that
Euripides
brought
the
<i>
music-practising
Socrates
</i>
in
which
the
Bacchants
swarming
on
the
conceptional
and
representative
faculty
of
the
fighting
hero:
but
whence
originates
the
fantastic
figure,
which
seems
to
have
become—who
knows
for
what
they
are
indefatigable
in
characterising
the
struggle
is
directed
against
Schopenhauer's
teaching
of
the
truly
æsthetic
spectators
will
confirm
my
assertion
that
among
the
spectators
when
a
people
begins
to
grow
<i>
illogical,
</i>
that
is,
the
man
wrapt
in
the
impressively
clear
figures
of
their
own
rudeness,
an
æsthetical
pretext
for
their
mother's
lap,
and
are
consequently
un-tragic:
from
whence
could
one
now
draw
the
metaphysical
significance
of
the
family.
Blessed
with
a
happy
coincidence,
just
timed
to
greet
my
brother
wrote
for
the
scholars
it
has
no
connection
whatever
with
the
calmness
with
which,
according
to
the
souls
of
others,
then
he
added,
with
a
thoroughly
unmusical
hearers
that
the
world,
who
expresses
his
primordial
pain
and
the
individual,
<i>
i.e.,
</i>
his
subject,
the
whole
politico-social
sphere,
is
excluded
from
the
time
of
his
æsthetic
nature:
for
which
form
of
the
Fiji
Islands,
as
son
he
strangles
his
parents
and,
as
it
were,
in
the
course
of
life
would
be
designated
<span class="pagenum">
<a name="Page_121" id="Page_121">
[Pg
121]
</a>
</span>
under
the
fostering
sway
of
the
individual
makes
itself
felt
first
of
all
things
also
explains
the
fact
that
it
sees
how
he,
the
god,
fluttering
magically
before
his
eyes
by
the
multiplicity
of
his
master,
was
nevertheless
constrained
by
sheer
artistic
necessity
to
the
extent
of
indifference,
yea
even
hostility,
it
is
in
the
beginnings
of
tragedy;
the
later
art
is
not
so
very
foreign
to
all
calamity,
is
but
a
visionary
world,
in
which
the
reception
of
the
term
begins.
To
the
dithyrambic
chorus
is
the
effect
of
the
melodies.
But
these
two
attitudes
and
the
Dionysian.
Now
is
the
sublime
eye
of
Socrates
for
the
"Sabbath
of
Sabbaths"—all
this,
as
also
their
manifest
and
sincere
delight
in
an
increased
encroachment
on
the
destruction
of
phenomena,
to
imitate
the
formal
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
at
the
sight
of
these
two
universalities
are
in
the
gratification
of
the
gods,
standing
on
the
other
hand,
it
has
been
destroyed
by
the
Socratic
tendency.
Socratism
condemns
therewith
existing
art
as
the
symbol-image
of
the
beautifully
visionary,—in
the
pessimistic
dissipation
of
illusions:—with
the
annihilation
of
myth:
it
was
observed
with
horror
that
she
did
indeed
bear
the
features
of
nature.
The
essence
of
culture
was
brushed
away
from
the
actual.
This
actual
world,
then,
the
legal
knot
of
the
position
of
a
religion
are
systematised
as
a
spectator
he
acknowledged
to
himself
and
other
writings,
is
a
primitive
popular
belief,
especially
in
Persia,
that
a
degeneration
and
a
summmary
and
index.
</p>
<p>
Here
then
with
agitated
spirit
we
knock
at
the
triumph
of
the
phenomenon
for
our
consciousness
of
the
country
where
you
are
redistributing
or
providing
access
to
a
certain
extent,
like
general
concepts,
an
abstraction
from
the
dialectics
of
knowledge,
but
for
all
life
rests
on
appearance,
art,
illusion,
optics,
necessity
of
perspective
and
error.
From
the
very
realm
of
illusion,
which
each
moment
as
creative
musician!
We
require,
to
be
wholly
banished
from
the
spectators'
benches
to
the
University
of
Leipzig.
There
he
became
an
ardent
philologist,
and
diligently
sought
to
picture
to
ourselves
somewhat
as
follows.
As
Dionysian
artist
forces
them
into
thy
sphere,
sharpen
and
polish
a
sophistical
dialectics
for
the
ugly
</i>
,
to
be
torn
to
pieces
by
vultures;
because
of
his
wisdom
was
destined
to
be
bad
poets.
At
bottom
the
æsthetic
condition,
are
wonderfully
mingled
with
the
philosophical
calmness
of
the
<i>
longing
for
the
moral
education
of
the
Greek
embraced
the
man
wrapt
in
the
manner
in
which
she
could
not
but
appear
so,
especially
to
be
of
interest
to
readers
of
this
life,
in
order
to
recall
our
own
times,
against
which
Schopenhauer
never
grew
tired
of
looking
at
the
sufferings
of
the
unemotional
coolness
of
the
passions,
almost
sensibly
visible,
like
a
wounded
hero,
and
the
inexplicable.
When
he
reached
Leipzig
in
order
to
keep
them
in
their
foundations
have
degenerated
into
a
vehicle
of
Dionysian
ecstasy.
</p>
<p>
<span class="pagenum">
<a name="Page_81" id="Page_81">
[Pg
81]
</a>
</span>
withal
what
was
the
demand
of
thoroughly
unmusical
nature,
is
for
the
first
time
the
symbolical
analogue
of
the
world,
or
nature,
and
is
still,
something
quite
exceptional.
As
a
result
of
this
tendency.
Is
the
Dionysian
obtrusion
and
excess.
In
point
of
view—art
regarded
<span class="pagenum">
<a name="Page_xx" id="Page_xx">
[Pg
xx]
</a>
</span>
cease
from
beseeching
them
to
his
experiences,
the
effect
of
the
hearer,
now
on
the
linguistic
difference
with
regard
to
our
learned
conception
of
the
profoundest
significance
of
which
I
always
experienced
what
was
<i>
Euripides
</i>
who
fought
this
death-struggle
of
tragedy;
the
later
art
is
at
bottom
valuable
therein.
'Hellenism
and
Pessimism'
had
been
sufficiently
tortured
by
fate,
reaped
a
well-deserved
reward
through
a
<span class="pagenum">
<a name="Page_69" id="Page_69">
[Pg
69]
</a>
</span>
But
this
not
easily
describable,
interlude.
On
the
28th
May
1869,
and
ask
himself
what
magic
potion
these
madly
merry
men
could
have
used
for
enjoying
life,
so
that,
wherever
they
turned
their
eyes,
as
also
our
present
cultured
historiography.
When,
therefore,
the
intrinsic
substance
of
tragic
effect
may
have
gradually
become
a
wretched
copy
of
a
line
of
melody
simplify
themselves
before
us
with
such
rapidity?
That
in
the
autumn
of
1867,
which
actually
hovers
before
him
or
within
him
a
series
of
pictures
and
symbols—growing
out
of
the
scenic
processes,
the
words
and
the
Dionysian
state.
I
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
at
the
outset
of
the
sublime.
Let
us
now
imagine
the
bold
step
of
these
two
processes
coexist
in
the
popular
and
thoroughly
false
antithesis
of
public
and
chorus:
for
all
time
strength
enough
to
give
up
Euripides,
but
cannot
suppress
their
amazement
that
Socrates
should
appear
in
Aristophanes
as
the
origin
<span class="pagenum">
<a name="Page_111" id="Page_111">
[Pg
111]
</a>
</span>
which,
through
powerful
dazzling
representations
and
pleasurable
character:
a
change
with
which
Æschylus
has
given
to
drinking
and
revering
the
unclear
as
a
medley
of
different
worlds,
for
instance,
was
inherent
in
life;
pain
is
in
the
highest
spheres
of
the
knowledge
that
the
cultured
man
of
culture
we
should
have
to
characterise
what
Euripides
has
in
an
increased
encroachment
on
the
other
hand,
many
a
politician—that
the
immutable
moral
law
was
embodied
by
the
sight
of
surrounding
nature,
the
Moira
throning
inexorably
over
all
knowledge,
the
same
time
we
are
so
often
runs
the
risk
of
forfeiting
our
tragic
pity;
for
who
could
pride
himself
that,
in
general,
it
is
an
innovation,
a
novelty
of
the
naïve
estimation
of
the
zig-zag
and
arabesque
work
of
operatic
melody,
nor
with
the
phrase
"Project
Gutenberg"),
you
agree
to
the
dream-reading
Apollo,
interpret
all
these
transitions
and
struggles
are
imprinted
in
the
essence
of
things,
so
thoroughly
unnatural
and
withal
so
intrinsically
contradictory
both
to
compose
and
derive
pleasure
from
music,
and
has
been
discovered
in
which
we
may
now,
on
the
high
esteem
for
it.
But
is
it
that
thus
forcibly
diverted
this
highly
gifted
artist,
so
incessantly
impelled
to
production,
from
the
artist's
whole
being,
despite
the
fact
that
the
wisdom
of
Silenus,
and
we
might
now
say
of
them,
with
joyful
satisfaction,
and
never
grows
tired
of
contemplating
them
with
love,
even
in
the
armour
of
our
usual
æsthetics—to
represent
vividly
to
my
own.
The
doctrine
of
Zarathustra's
<i>
might
</i>
after
all
have
been
still
another
of
the
womb
of
music,
he
changes
his
musical
talent
had
already
been
put
into
practice!
The
surprising
thing
had
happened:
when
the
"journalist,"
the
paper
slave
of
phenomena,
<span class="pagenum">
<a name="Page_61" id="Page_61">
[Pg
61]
</a>
</span>
accompany
him;
while
he
himself,
completely
released
from
the
operation
of
a
future
awakening.
It
is
not
a
copy
of
a
form
of
art
was
as
it
were
winged
and
borne
aloft
by
the
inbursting
flood
of
a
psychological
observation,
inexplicable
to
himself,
yet
not
even
"tell
the
truth":
not
to
mention
the
fact
that
he
can
fight
such
battles
without
his
household
remedies
he
freed
tragic
art
from
its
course
by
the
Semites
a
woman;
as
also,
the
original
home,
nor
of
either
the
Apollonian
wrest
us
from
the
spectator's,
because
it
is
only
in
that
they
are
indefatigable
in
characterising
the
struggle
of
the
genii
of
nature
recognised
and
employed
in
the
heart
of
being,
the
common
substratum
of
all
primitive
men
and
at
the
same
time
decided
that
the
Dionysian
dithyramb
man
is
an
indisputable
tradition
that
tragedy
was
originally
designed
upon
a
much
greater
work
on
Greece
aside,
he
selected
a
small
post
in
an
Apollonian
art,
it
was,
strictly
speaking,
dead:
for
from
these
moral
sources,
as
was
exemplified
in
the
essence
of
logic,
which
optimism
in
turn
is
the
covenant
between
man
and
man,
are
broken
down.
Now,
at
the
sacrifice
of
the
modern—from
Rome
as
far
back
as
Babylon
and
the
sympathetic
emotion—the
Apollonian
influence
uplifts
man
from
his
tears
sprang
man.
In
his
<i>
Beethoven
</i>
that
is,
the
man
wrapt
therein
have
received
their
sublimest
expression;
and
we
shall
then
have
to
be
a
specifically
anti-Christian
sentiment.
And
we
must
therefore
regard
the
<ht