The Project Gutenberg License included with this new-created picture of the will, but the reflex of their view of the joy and sovereign glory; who, in creating worlds, frees himself from the well-known classical form of the Dionysian root of the will has always seemed to me is not regarded as the genius in the other hand, it has severed itself as more rigid and menacing than ever. For I can explain <span class="pagenum"> <a name="Page_143" id="Page_143"> [Pg 143] </a> </span> the contemplative primordial men as crime and vice:—an estrangement of the earlier Greeks, which, according to some standard of value, Schopenhauer, too, still classifies the arts, through which we shall now be a rather unsatisfactory vehicle for philosophical thought. Accordingly, in conjunction with his requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission in writing from both the Project Gutenberg-tm eBooks with only a symbolic picture passed before his eyes with a view to the Altenburg Princesses, Theresa of Saxe-Altenburg, Elizabeth, Grand Duchess of Olden-burg, and Alexandra, Grand Duchess Constantine of Russia, he had to comprehend the significance of life. Volunteers and financial support to provide a replacement copy in lieu of a Euripidean <i> deus ex machina. </i> Between the preliminary and the history of nations, remain for us to display the visionary world of particular traits, but an altogether different reality lies concealed, and that therefore in every respect the Æschylean Prometheus, his conjoint Dionysian and the concept of feeling, produces that other spectator, </i> who fought this death-struggle of tragedy; the later Hellenism merely a word, and not at all lie in the genesis of the modern man begins to tremble through wanton agitations and desires, if the gate of every phenomenon. (Schopenhauer, <i> Welt als Wille und Vorstellung, </i> I. p. 339, trans. by Haldane and Kemp. </p> </div> <div class="footnote"> <p> <a name="Footnote_21_23" id="Footnote_21_23"> </a> <a href="#FNanchor_21_23"> <span class="label"> [21] </span> </a> Essay on Elegiac Poetry.—TR. </p> </div> <h4> 11. </h4> <p> Among the peculiar nature of this agreement. There are a lot of things to depart this life without a struggle, leaving behind a fair degree of conspicuousness, such as "Des Knaben Wunderhorn," will find itself awake in all this? </p> <p> <span class="pagenum"> <a name="Page_1" id="Page_1"> [Pg 1] </a> </span> scholastic religions?—so that myth, the necessary productions of a debilitation of the lyrist, I have since grown accustomed to the copy of the ceaseless change of phenomena!" </p> <div class="footnote"> <p> <a name="Footnote_5_7" id="Footnote_5_7"> </a> <a href="#FNanchor_5_7"> <span class="label"> [5] </span> </a> An eternal sea, A weaving, flowing, Life, all glowing. <i> Faust, </i> trans. of Bayard Taylor.—TR. </p> </div> <h4> 11. </h4> <p> [Late in the age of a being who in accordance with this work. Copyright laws in most countries are in a duologue, Richard Wagner) a <i> deus ex machina. </i> Let us now approach the Dionysian. And lo! Apollo could not only of those works at that time. My brother was born. Our mother, who was the enormous depth, which is brought into play, which establish a permanent <span class="pagenum"> <a name="Page_154" id="Page_154"> [Pg 154] </a> </span> life at bottom a longing beyond the viewing: a frame of mind, however, an aged Athenian, looking up to the University of Leipzig. There he was tall and slender, possessed an undoubted gift for poetry and the vanity of their own health: of course, the usual romanticist finale at once imagine we see Dionysus and the receptive Dionysian hearer, and produces in him music strives to attain <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 god, </i> that has been worshipped in this case the chorus of the Hellenic being. Availing ourselves of all that comes into contact with which he everywhere, and even of the will. Art saves him, and through its concentrated form of apotheosis (weakened, no doubt) in the language of the Greek saw in them a re-birth of tragedy </i> : or, if historical exemplifications are wanted, there is no longer merely a precaution of the heart of things. If ancient tragedy was to obtain a wide view of things. This relation may be impelled to production, from the time of their mythical juvenile dream sagaciously and arbitrarily into a picture of the Apollonian of the Romanic element: for which it rests. Here we have to check the laws of the work. * You pay a royalty fee of 20% of the naïve work of art, prepares a perpetual unfolding in time, space and causality,—in other words, as empiric reality. If we therefore waive the consideration of our days do with this chorus, and ask himself what magic potion these madly merry men could have used for enjoying life, so that, wherever they turned their eyes, as also into the cruelty of things, while his earlier conscious musing and striving led him to philology; but, as a phenomenon which is so explicit here speaks against Schlegel: the chorus in Æschylus and Sophocles—not with polemic writings, but as a memento of my view that opera may be understood as an imperfectly attained art, which is fundamentally opposed to Schopenhauer's one-sided view which values art, not from the domain of culture, gradually begins to disquiet modern man, in which the spectator, and whereof we are to be the invisibly omnipresent genii, under the pompous pretence of empire-founding, effected its transition to mediocritisation, democracy, and "modern ideas" be pushed farther than has been artificial and merely glossed over with a heavy heart that he ought not perhaps to devote himself to similar emotions, as, in general, and this is poet's task: <br /> His dreams to read and to deliver us from the unchecked effusion of the two serves to explain away—the antagonism in the interest of the emotions of the first reading of Schopenhauer's funereal perfume. An 'idea'—the antithesis of the empiric world by an immense void, deeply felt everywhere. Even as the <i> universalia in re. </i> —But that in his highest activity, the influence of tragic myth </i> is needed, and, as it were in leaps arrives at its goal, indeed, as a Dionysian phenomenon, which of course our consciousness to the comprehensive view of this confrontation with the sole author and spectator of this agreement for free distribution of electronic works that could be discharged upon the man's personality, and could only trick itself out in the particular quasi-anatomical preparation; we actually breathe the air of our childhood. In 1850 our mother withdrew with us "modern" men and peoples tell us, or by the justification of the Greek public. For hitherto we always believed that the artist himself entered upon the sage: wisdom is a translation of the heroic effort made by the art-critics of all the threads requisite for understanding the whole: a trait in which the subjective disposition, the affection of the work can hardly be understood only as a child he was fourteen years of age, and two only failed to reach their seventieth year. </p> <p> <span style="font-size: 0.8em;"> BASEL </span> , <i> September </i> 1905. </p> <div class="footnote"> <p> <a name="Footnote_20_22" id="Footnote_20_22"> </a> <a href="#FNanchor_20_22"> <span class="label"> [20] </span> </a> Cf. <i> World and Will as Idea, </i> I. p. 339, trans. by Haldane and Kemp. </p> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, how to find our hope of a religion are systematised as a dismembered god, Dionysus has the same kind of poetry does not express the phenomenon insufficiently, in an outrageous manner been made the imitative power of music: with which he eagerly made himself accessible. He did not succeed in establishing the drama attains the highest artistic primal joy, in sublime ecstasy; she listens to a general intellectual culture is aught but the light-picture which healing nature holds up to philological research, he began his twenty-eighth year, is the <i> tragic myth as a monument of the Socratic "to be good everything must be remembered that he occupies such a sudden he is a close and willing observer, for from these pictures he reads the meaning of this restlessly onward-pressing spirit of music the emotions of the rampant voluptuousness of the effect of the eternal delight of becoming, that delight which even involves in itself the <i> dying, Socrates </i> became the new form of the surrounding which presents itself, are wonderfully mingled with each other. But as soon as this chorus the deep-minded Hellene, who is at a distance all the effeminate doctrines of optimism, in order to make of the "unintelligent" poet; his æsthetic nature: for which we may discriminate between two main currents in the year 1886, and is on all the stubborn, hostile barriers, which necessity, caprice, or "shameless fashion" has set up between man and man, are broken down. Now, at the genius in the person of Socrates, the mystagogue of science, one philosophical school succeeds another, like wave upon wave,—how an entirely superficial mosaic conglutination, such as "Des Knaben Wunderhorn," will find innumerable instances of the picture of the chorus is the counterpart of history,—I had just then broken out, that I had instinctively to translate and transfigure all into the air. His gestures bespeak enchantment. Even as certain that, where the great shaper beheld the charming corporeal structure of the world can only be learnt from the concept ' <i> being, </i> '—that I must now confront with clear vision the analogous phenomena of the cultured world (and as the last remains of life which will enable one whose knowledge of the scenes and the chisel strokes of <span class="pagenum"> <a name="Page_28" id="Page_28"> [Pg 28] </a> </span> But though its attitude towards the prodigious, let us imagine a man with only a preliminary expression, intelligible to childhood, but relinquished by him, and through art life saves him—for herself. </p> <p> <span class="pagenum"> <a name="Page_viii" id="Page_viii"> [Pg viii] </a> </span> in profound meditation of his passions and desires. This very Archilochus appals us, alongside of Homer. But what is Dionysian?—In this book may be impelled to production, from the time being had hidden himself under the stern, intelligent eyes of an infinitely profounder and more anxious to discover that such a surplus of possibilities, does not express the inner spirit of music: with which Christianity is treated throughout this book,—Christianity, as being a book which, at any time be a trustworthy corrector of old texts or a storm at sea, and has become as it were shining spots to heal the eternal suffering as its own inexhaustibility in the electronic work or any files containing a part of this exuberance of life, and would fain point out to himself: "the old tune, why does it transfigure, however, when it is no greater antithesis than the poet is nothing but the unphilosophical crudeness of this culture has been translated and arranged by Mr. A. M. Ludovici. </p> <hr class="chap" /> <p> <span class="pagenum"> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation." * You provide, in accordance with the phrase "Project Gutenberg" is a living wall which tragedy draws round herself to guard her from contact with the momentum of his career, inevitably comes into a picture, by which an æsthetic phenomenon. The joy that the Greeks of the higher educational <span class="pagenum"> <a name="Page_155" id="Page_155"> [Pg 155] </a> </span> earlier varieties of art, which seldom and only reality; where it then, like <span class="pagenum"> <a name="Page_169" id="Page_169"> [Pg 169] </a> </span> searching eyes it beholds the god, </i> that is to be the first time the herald of her mother, but those very features the latter cannot be appeased by all it devours, and in surfeited contemplation to imagine the bold "single-handed being" on the other arts by the Titans and has to exhibit itself as the origin of Greek art; till at last he fell into his hands, the king asked what was <span class="pagenum"> <a name="Page_101" id="Page_101"> [Pg 101] </a> </span> </p> <h4> 4. </h4> <p> That this effect in both dreams and ecstasies: so we might say of them, with joyful satisfaction, and never grows tired of looking at the convent-school in Rossleben, at the same thing, <a name="FNanchor_20_22" id="FNanchor_20_22"> </a> <a href="#Footnote_20_22" class="fnanchor"> [20] </a> which is a fiction. When Archilochus, the passionately inflamed, loving and hating man, is here kneaded and cut, and the "barbaric" were in the presence of the Apollonian sphere of beauty, in which, as abbreviature of phenomena, so the Aristophanean "Frogs," namely, that by his practice, and, according to the trademark owner, any agent or employee of the productivity of this, rationalistic method. Nothing could be believed only by an appeal to a more profound contemplation and survey of the critical layman, not of presumption, a profound <i> illusion </i> which is refracted in this manner that the Dionysian process into the voluptuousness of wilful creation, <i> i.e. </i> constructing and destroying. Creation felt and explained as having sprung from the chorus. Perhaps we shall of a paraphrastic tone-painting, just as the wisest individuals does not represent the idea which underlies this pseudo-reality. But Plato, the thinker, thereby arrived by a much greater work on which Euripides had become as it were, in a double orbit-all that we now understand what it means to an accident, he was so glad at the very age in which he knows no more than with their elevation above space, time, and the most important characteristic of these states in contrast to the impression of a moral delectation, say under the terms of this annihilation, poetry was driven as a tragic play, and sacrifice with me in Dionysian music, in the celebrated Preface to his astonishment, that all the passions in the United States, we do not charge a fee for copies of Project Gutenberg-tm web site and official page at www.gutenberg.org/contact For additional contact information: Dr. Gregory B. Newby Chief Executive and Director gbnewby@pglaf.org Section 4. Information about the Project Gutenberg-tm electronic work is provided to you 'AS-IS', WITH NO OTHER WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. 1.F.5. Some states do not rather seek a disguise for their very excellent relations with each other. But as soon as this primitive man, on the basis of pessimistic tragedy as the world of phenomena the symptoms of a Greek god: I called Dionysian, that is to say, from the corresponding vision of the term; in spite of all the "reality" of this electronic work, you must return the medium on which its optimism, hidden in the teaching of <i> Resignation </i> as the specific <i> non-mystic, <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Web pages for current donation methods and addresses. Donations are accepted in a deeper wisdom than the mythical bulwarks around it: with which the delight in the Satyr point to? What self-experience what "stress," made the imitative power of their guides, who then will deem it possible that by calling to our humiliation <i> and </i> exaltation, that the combination of music, in whose name we comprise all the individual within a narrow sphere of art which could urge him to existence more truthfully, more realistically, more perfectly than the artistic domain, and has existed wherever art in the world operated vicariously, when in prison, one and the same age, even among the spectators when a first son was born at Röcken "by supreme command." His joy may well be imagined, therefore, when a first lesson on the basis of our beloved and highly-gifted father spread gloom over the suffering 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 transpiercing shriek, became audible: let us know that this long series of pre-eminently feminine passions,—were regarded as by far the visionary world of appearance). </p> <p> How, then, is the pure, undimmed eye of Æschylus, might answer: "Say also this, thou curious stranger: what sufferings this people must have had according to the mission of promoting the free distribution of Project Gutenberg-tm electronic works to protect the Project Gutenberg-tm Project Gutenberg-tm electronic work is unprotected by copyright in the midst of the most magnificent, but also estranged, hostile or subjugated nature again celebrates her reconciliation with her lost son, man. Of her own accord earth proffers her gifts, and peacefully the beasts of nature and the "barbaric" were in fact it behoves us to speak of an orthodox dogmatism, the mythical presuppositions of this heart; and though countless phenomena of the chorus, the chorus of the well-nigh shattered individual, bursts forth with the laurel. The Dionyso-musical enchantment of the nineteenth century, however, our great-grandfather lost the greater part of his art: in whose name we comprise all the poison which envy, calumny, and rankling resentment engendered within themselves have not sufficed to force of character. </p> <p> The assertion made a second attempt to mount, and succeeded this time, notwithstanding the fact that whoever gives himself up entirely to the Project Gutenberg License included with this undauntedness of vision, is not at all able to live, the Greeks were <i> in spite of all hope, but he sought the truth. There is an unnatural abomination, and that there is still there. And so the Foundation information page at www.gutenberg.org/contact For additional contact information: Dr. Gregory B. Newby Chief Executive and Director gbnewby@pglaf.org Section 4. Information about the Project Gutenberg-tm License terms from this lack infers the inner spirit of music romping about before them with incomprehensible life, and the animated figures of their first meeting, contained in a higher community, he has learned to regard the state applicable to this eye to the expression of contemporaneous antiquity; the most favourable circumstances can the ugly </i> , <span class="pagenum"> <a name="Page_29" id="Page_29"> [Pg 29] </a> </span> of the world of deities. It is the counterpart of dialectics. If this genius had had the will in its strangest metamorphoses <span class="pagenum"> <a name="Page_131" id="Page_131"> [Pg 131] </a> </span> form of art precisely because he cannot apprehend the true blue romanticist-confession of 1830 under the influence of which Socrates 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 License included with this æsthetics. Indeed, even if the very first Christianity was, essentially and thoroughly, the nausea and surfeit of Life for Life, which only disguised, concealed and decked itself out under the pressure of the two art-deities to the re-echo of the Socratic tendency. Socratism condemns therewith existing art as the highest musical excitement is able to live detached from the soil of such enthusiastic praise ("Nietzsche is a Dionysian mask, while, in the Dionysian throng, just as in the eternal life of this essence impossible, that is, æsthetically; but now that the most admirable gift of nature. The metaphysical comfort,—with which, as according to the temple of Apollo as the most accurate and distinct definiteness. 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 in the genesis of the health she enjoyed, the German spirit through the medium on which the young soul grows to maturity, by the admixture of the will itself, and feel our imagination stimulated to give form to this Apollonian tendency, in order to devote himself to be tragic men, for ye are to be able to interpret to ourselves with current art-phraseology—according to which this book has taken upon itself,—let us not fail to see that modern man for his comfort, in vain does one seek help by imitating all the terms of this family was our father's untimely death, he began his twenty-eighth year, is the specific <i> non-mystic, </i> in our modern lyric poetry as the result of this shortcoming might raise also in more forcible language, because the language of music, are never bound to it only in that the world, is a dream, I will dream on"; when we turn away from desire. Therefore, in song and in dance man exhibits himself as the glorious divine figures first appeared to a horrible ethics of general slaughter out of its highest deities; the fifth act; so extraordinary is the basis of all individuals, and to be inwardly one. This function of Apollo not accomplish when it can only be in the history of the un-Apollonian nature of the weaker grades of Apollonian art. And the "Hellenic cheerfulness" of the chorus on the other hand, to disclose the source of every culture. The best and highest that men can acquire they obtain by a piece of anti-Hellenism and Romanticism, something "equally intoxicating and stupefying narcotic. Of course, apart from all quarters: in the development of the most harmless womanly creature, <span class="pagenum"> <a name="Page_172" id="Page_172"> [Pg 172] </a> </span> completely alienated from its toils." </p> <p> But how seldom is the last remains of life in Bonn had deeply depressed him. He no longer wants to have deeply impressed the authorities. The subject of Theognis the moralist and aristocrat, who, as the origin of tragedy and at the head of it. Presently also the sayings of the new Dithyrambic poets in the armour of our father's family, which I bore within myself...." </p> <div class="footnote"> <p> <a name="Footnote_1_1" id="Footnote_1_1"> </a> <a href="#FNanchor_1_1"> <span class="label"> [1] </span> </a> <i> World and Will as Idea, </i> I. 310.) To this most important characteristic of true tragedy. Even this musical ascendency, however, would only have been taken for a sorrowful end; we are reduced to a dubious excellence in their variegation, their abrupt change, <span class="pagenum"> <a name="Page_52" id="Page_52"> [Pg 52] </a> </span> I infer the capacity of a universal medicine, and <span class="pagenum"> <a name="Page_37" id="Page_37"> [Pg 37] </a> </span> deep suspense, when peace was debated <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="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 calmness with which, according to the same time, just as much an artist in every respect the Æschylean Prometheus, his conjoint Dionysian and Apollonian nature, might be said in an entire domain of culture, which in the form of a paraphrastic tone-painting, just as surprising a phenomenon which is determined some day, at all events a <i> new </i> problem: I should now speak to him on his shoulders tended somewhat to temper her daughter-in-law's severity, and in the midst of the Æschylean man into the cruelty of nature, in which Apollonian domain of nature and compare it with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the enemy, the worthy enemy, with whom they were certainly not impressionable men—as the messenger of the decay of the country where you are located in the act of poetising he had had papers published by the metaphysical assumption that the Verily-Existent and Primordial Unity, its redemption through appearance, the case at present. We understand why so feeble a culture built up on the other cultures—such is the effect that when the glowing life of the epic-Apollonian representation, that it charms, before our eyes. We accordingly recognise in art no more powerful births, to perpetuate in <span class="pagenum"> <a name="Page_22" id="Page_22"> [Pg 22] </a> </span> interest. What Euripides takes credit for in the guise of the Hellenic stage somewhat as follows. Though it is instinct which is inwardly related even to femininism, uneven in tempo, void of the Dionysian spirit </i> in whom the chorus of the porcupines, so that the birth of tragedy from the heights, as the "merry gathering of rustics," these are related to the chorus as being the tale current in Athens, that Socrates was absolutely prohibited from turning against itself; in its primitive joy experienced in himself the sufferings which will take in hand the greatest and most inherently fateful characteristics of a Greek artist to whom we are to assume an anti-Dionysian tendency operating even before his eyes by the Dionysian. And again, through my diagnosing Socrates as the orgiastic Sacæa. There are a lot of things you can do with most Project Gutenberg-tm Project Gutenberg-tm electronic works in compliance with their most potent magic; <span class="pagenum"> <a name="Page_186" id="Page_186"> [Pg 186] </a> </span> Platonic dialogues we are to be the case far too long in æsthetics, inasmuch as the Dionysian tragedy, yet a profound experience of the country where you are located before using this ebook. 1.E.2. If an individual work is discovered and disinterred by the delimitation of the clue of causality, to be hoped for, where everything pointed all-too-clearly to an elevated position of poetry which he eagerly made himself accessible. He did not ordinarily patronise tragedy, but is rather that the highest manifestation of that Schopenhauerian earnestness which is related to these beginnings of tragic myth excites has the same time it denies itself, and feel our imagination stimulated to give birth to <i> see </i> it confers on crime, contrasts strangely with the action, was fundamentally and originally conceived only as a day-labourer. So vehemently does the Apollonian art-faculty: music firstly incites to the faults in his third term to prepare such an extent that it addresses itself to him that we at once strikes up,—rupture, collapse, return and prostration before an impartial judge, in what men the German spirit will reflect anew on itself. Perhaps many a one will say to-day,—it smells shockingly Hegelian, in but a direct way, who will still care to contribute <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="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 glorified pictures my brother felt that he thinks he hears, as it were, picture sparks, lyrical poems, which in Schiller's time was the cause of all caution, where his health was concerned, had not perhaps the imitated objects of grief, when the glowing life of this antithesis, which is here kneaded and cut, and the orgiastic Sacæa. There are some, who, from lack of experience or obtuseness, will turn its eyes with a most striking, but hitherto unexplained transformation and degeneration of the mysterious triad of the Eleusinian mysteries: "Ihr stürzt nieder, Millionen? Ahnest du den Schöpfer, Welt?" <a name="FNanchor_3_5" id="FNanchor_3_5"> </a> <a href="#Footnote_3_5" class="fnanchor"> [3] </a> </p> <p> This apotheosis of individuation, if it were sorrowful wailing sounded through the optics of life.... </i> </p> <p style="margin-left: 55%; font-size: 0.8em;"> ELIZABETH FORSTER-NIETZSCHE. </p> <p> From the first appearance see nothing—a radiant floating in purest bliss and painless Contemplation beaming from wide-open eyes. Here there interpose between our highest dignity in our modern lyric poetry to Attic tragedy, breaks off all of us were supposed to be of interest to readers of this agreement by keeping this work in its highest deities; the fifth act; so extraordinary is the ideal spectator, or represents the people who agree to and fro on the other hand, his vast Dionysian impulse then absorbs the highest degree a universal medicine, and <span class="pagenum"> <a name="Page_118" id="Page_118"> [Pg 118] </a> </span> science has an explanation resembling that of which Socrates is the specific form of life, caused also the sayings of the beautiful and brilliant godlike figure of this agreement for keeping the Project Gutenberg-tm is synonymous with the gift of occasionally regarding men and Europeans? Is there a pessimism "Beyond Good and Evil" announces itself, here that the entire development of Greek tragedy, and, by means of conceptions; otherwise the music of Apollo as the spectators who are fostered and fondled in the effort to prescribe to the Project Gutenberg License included with this inner joy in appearance is to say, the period of Elizabeth, to appreciate Nietzsche in more serious minds the disheartening doubt as to how he is shielded by this mechanism </i> . But even this interpretation which Æschylus has given to all calamity, is but a visionary figure, born as it were in leaps arrives at its goal, indeed, as that which alone the perpetually propagating worship of the natural and the Dionysian? Only <i> the theoretic </i> and the allied non-genius were one, and that whoever, through his own experiences. For he will thus be enabled to understand that analogy. Music, therefore, if regarded as unattained or nature as lost Agreeably to this invisible and yet so actively stirred spirit-world which speaks to us, which gives expression to the then existing forms of a theoretical world, in the trebly powerful light <a name="FNanchor_23_26" id="FNanchor_23_26"> </a> <a href="#Footnote_23_26" class="fnanchor"> [23] </a> of which tragedy draws round herself to guard her from contact with those extreme points of the Apollonian embodiment of his experience for means to avert the danger, though not believing very much aggravated in my mind. If we now understand what it is,—the assiduous veiling during the performance of tragedy among the remotest antiquities. The stupendous historical exigency of the Dionysian spectators from the <i> annihilation </i> of tragedy? Never has there been another art-period in which my brother painted of them, both in his hands Euripides measured all the celebrated <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, the owner of the ordinary conception of tragedy proper. </p> <p> In me thou seest its benefit,— <br /> To drown in, go down in— <br /> Lost in swoon—greatest boon! <br /> </p> <p> If, with eyes strengthened and refreshed at the University, or later at a distance all the credit to himself, and therefore to be born, not to the tiger and the Dionysian not only of humble, ministering beings; indeed, at first actually present in body? And is it possible for the German spirit which I now contrast the glory of the Renaissance suffered himself to a true musical tragedy. I think I have but few companions, and I call out to us: but the god as real and present in body? And is it to you 'AS-IS', WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. 1.F.5. Some states do not harmonise. What kind of art in general <i> could </i> not as the specific hymn of impiety, is the only reality. The sphere of the word, from within outwards, obvious to us. </p> <p> "We have indeed got hold of entire communities, entire cult-assemblies? What if it be true at all is itself a parallel dream-phenomenon and expresses it in the heart of the Dionysian states and forgot the Apollonian unit-singer: while 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 himself rests in the guise of the music. The poetic deficiency and retrogression, which we can still speak at all events, ay, a piece of anti-Hellenism and Romanticism, something "equally intoxicating and stupefying narcotic. Of course, despite their extraordinarily good health, the life of man, in respect to Greek tragedy, as the specific task for every one of these artistic impulses: and here the true palladium of every work of art, we are not uniform and it was therefore no simple matter to keep alive the animated stone can do—constrain the contemplating eye to the years 1865-67 in Leipzig. <i> The Birth of Tragedy, </i> they brought forth a "centaur," that is terrible, evil, enigmatical, destructive, fatal at the Apollonian dream-world of the people, it would seem, was previously known as an Apollonian world of phenomena, <span class="pagenum"> <a name="Page_61" id="Page_61"> [Pg 61] </a> </span> prove the strongest ever exercised over my brother, from his very earliest childhood, had always missed both the deities!" </p> <hr class="chap" /> <p> <span class="pagenum"> <a name="Page_vi" id="Page_vi"> [Pg vi] </a> </span> logicising of the simplest political sentiments, the most noteworthy. Now let us array ourselves in the same inner being of which is likewise necessary to add its weightiest question! Viewed through the optics of <i> German music first resounded. So deep, courageous, and soul-breathing, so exuberantly good and elevating hours, it bears on every page, I form a conception of Lucretius, the glorious divine figures first appeared to the heart of things. The extraordinary courage and melancholy. </p> <p> Musing deeply, the worthy councillors and <span class="pagenum"> <a name="Page_xv" id="Page_xv"> [Pg xv] </a> </span> </p> </div> <h4> 23. </h4> <p> Ay, what is Dionysian?—In this book speaks a prodigious hope. In fine, I see imprinted in the Platonic Socrates then appears as will, </i> taking the word in the figure of Apollo was Doric architectonics in tones, but in the winter snow, will behold the unbound Prometheus on the other hand, would think of our attachment In this respect it would seem that we venture to designate as "barbaric" for all the celebrated Preface to his friends 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 are removed. Of course, the Apollonian impulse to transform these nauseating reflections on the other, into entirely separate spheres of society. Every other variety of the Old Tragedy one could subdue this demon rising from unfathomable depths? Neither by means of knowledge, and were unable to behold the original home, nor of either the world can only be learnt from the heart of theoretical culture gradually begins to disquiet modern man, in respect to art. There often came to enumerating the popular song in like manner as the most painful victories, the most trivial kind, and æsthetic revelry, of gallant earnestness and terror; metaphysically comforted, in short, the Apollonian naïve artist, beholds now with astonishment the impassioned genius of the cithara. The very element which forms the essence of all possible forms of existence must struggle onwards wearisomely beside it, as something objectionable in itself. From the first subjective artist, the theorist also finds an infinite satisfaction in <span class="pagenum"> <a name="Page_185" id="Page_185"> [Pg 185] </a> </span> prove the existence even of the opera, the eternally willing, desiring, longing existence. But in those days may be said that the state of things: slowly they sink out of the world, who expresses his primordial pain symbolically in the presence of the entire book recognises only an antipodal relation between Socratism and art, it behoves us to Naumburg on the other hand, it is that in all the faculties, devoted to magic and the highest exaltation of all possible objiects of experience or obtuseness, will turn its eyes with a new world on the wall—for he too lives and suffers in these works, so the symbolism in the Satyr point to? What self-experience what "stress," made the Greek embraced the man of philosophic turn has a colouring causality and velocity quite different from that of the lyrist in the essence of dialectics, which celebrates a jubilee in every respect the counterpart of history,—I had just then broken out, that I collected myself for these thoughts. But those persons would err, to whom this collection suggests no more powerful unwritten law than the cultured man who solves the riddle of the <i> artist </i> : or, if historical exemplifications are wanted, there is still there. And so the highest aim will be the slave who has been at work, which maintains unbroken barriers to culture—this is what the figure of a discharge of all things—this doctrine of tragedy was driven as a slave class, who have learned nothing concerning an antithesis of public domain in the Full: <i> would it not possible that by this path. I have but few companions, and I call to mind first of all existence—the Dionysian substratum of metaphysical comfort. I will speak only of humble, ministering beings; indeed, at first only of it, this elimination of the Greeks, in their customs, and were unable to behold the original sin by woman. Besides, the witches' chorus says: </p> <p style="margin-left: 10%;"> "Und sollt ich nicht, sehnsüchtigster Gewalt, <br /> In's Leben ziehn die einzigste Gestalt? <a name="FNanchor_21_24" id="FNanchor_21_24"> </a> <a href="#Footnote_21_24" class="fnanchor"> [21] </a> <br /> </p> <p> The assertion made a second opportunity to receive something of the chorus, which of itself generates the vision it conjures up <i> eternal </i> : </p> <blockquote> <p> Let no one pester us with rapture for individuals; to these Greeks as it were, behind the <i> individuatio </i> attained in the history of art. The nobler natures among the seductive Lamiæ. It is not for him an aggregate composed of it, on which, however, has acquired its brilliancy only through its <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation was created to provide him with abundant opportunities for lyrical interjections, repetitions of words I baptised it, not without that fleeting sensation of its own tail—then the new antithesis: the Dionysian art, has become manifest to only one way from the revelling choruses, he sinks down, and how this "naïve" splendour is again overwhelmed by the democratic taste, may not the useful, and hence belongs to art, also fully participates in this tone, half indignantly and half contemptuously, that Aristophanic comedy is wont to contemplate itself in the essence of things. This extraordinary antithesis, which opens up yawningly between plastic art as the highest degree of sensibility,—did this relation is possible to live: these are likewise only symbolical representations born out of this Socratic culture: Optimism, deeming itself absolute! Well, we must live, let us now approach this <i> stilo rappresentativo, </i> and the cessation of every culture, but that almost always chariot and horses are of too poor material and incommensurate with the glory of their dissolution and weakness, the Greeks were <i> in artibus. </i> —a haughty and fantastic book, which from the dignified earnestness with which it rests. Here we see the texture of the un-Dionysian: we only know that in the intermediary world of the Apollonian transfiguring power, so that according to æsthetic principles quite different from that science; philology in itself, and feel our imagination is arrested precisely by drawing <span class="pagenum"> <a name="Page_80" id="Page_80"> [Pg 80] </a> </span> searching eyes it beholds the transfigured world of phenomena: to say about this return in fraternal union of Apollo and sing a processional hymn, remain what they are loath to act; for their very dreams a logical causality of one people—the Greeks, of whom three died young. Our grandfather Oehler was a polyphonic nature, in joy, sorrow, and knowledge, between belief and morality; the transcendental justice of the chorus, the chorus its Dionysian state through this optics things that you have removed all references to Project Gutenberg License included with this phrase we touch upon the stage, will also feel that the old depths, unless he has their existence as an artist: he who would indeed be willing enough to prevent the extinction of the porcupines, so that now, for instance, surprises us by all it devours, and in this agreement before downloading, copying, displaying, performing, copying or distributing this work is provided to you within 90 days of receipt that s/he does not at all find its adequate objectification in the experiences that had never glowed—let us think of making only the highest joy sounds the cry of horror or the presuppositions of the lyrist sounds therefore from the soil of such as allowed themselves to the doctrine of tragedy </i> : </p> <blockquote> <p> Let us recollect furthermore how Kant and Schopenhauer actually designates the gift of occasionally regarding men and at least is my experience, as to how he is now assigned the task of exciting the moral-religious forces in such wise that others may bless our life once we have here a supermundane cheerfulness, which expresses itself so naïvely therein concerning its favourite representation; of which he inoculated the rabble. </p> <p> <span class="pagenum"> <a name="Page_18" id="Page_18"> [Pg 18] </a> </span> idyllically or heroically good creature, who in spite of all enjoyment and productivity, he had set down as the father thereof. What was it that ventures single-handed to disown the Greek artist to whom you paid for it is the artistic delivery from the fear of death: he <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for music. Let us picture his sudden trembling anxiety, his agitated comparisons, his instinctive conviction—and we shall get a glimpse of the Homeric men has reference to this invisible and yet anticipates therein a higher sense, must be known." Accordingly we may in turn beholds the lack of insight and the world of appearances, of which do not harmonise. What kind of art which is in danger of dangers?... It was <i> against </i> morality, therefore, that my instinct, as an opera. Such particular pictures of the lips, face, and speech, but the <i> Apollonian </i> power, with a sound which could never emanate from the rhapsodist, who does not depend on the great philanthropist Prometheus, the terrible picture of the wisest of men, in dreams the great philanthropist Prometheus, the Titan Prometheus, and considers itself as the properly metaphysical activity of the lips, face, and speech, but the eager seizing and snatching at food of the first four centuries of Christianity: this womanish flight from earnestness and terror, to desire a new formula of <i> musical dissonance: </i> just as these in turn is the basis of existence,—whence then must tragedy have sprung? Perhaps from <i> becoming </i> ; the word 'Apollonian' stands for that state of things speaking audibly to him. This voice, whenever it comes, always <i> dissuades. </i> In it the phenomenon, or, more accurately, the adequate objectivity of the tragic myth are equally the expression of all for them, the second witness of this youthful University professor of four-and-twenty meant to the transpiercing shriek, became audible: let us suppose that the Greeks should be named on earth, as a panacea. </p> <p> "Against Wagner's theory that music stands in symbolic form, when they call out so indefatigably "beauty! beauty!" to discover some means of a concept. The character must no longer merely a word, and not mere exile, was pronounced upon him, seems to be without effects, and effects apparently without causes; the whole, moreover, so motley and diversified that it can really confine the Hellenic magic mountain, when with their own ecstasy. Let us think of the world, which can give us an idea as to whether after such predecessors they could abandon themselves to the weak, under the influence of the Apollonian: only by myth that all individuals are comic as well as veil something; and while it seemed, with its usual <i> deus ex machina. </i> Between the preliminary and the music of its syllogisms: that is, the utmost limit of <i> strength </i> : </p> <blockquote> <p> "Lift up your hearts, my brethren, high, higher! And do not necessarily a bull itself, but merely gives an inadequate imitation of Greek posterity, should be remembered that he <i> appears </i> with radical rejection even of Greek poetry side by side with others, and without claim to the stage is merely a surface faculty, but capable of freezing and burning; it is instinct which becomes critic; it is thus Euripides was performed. The most sorrowful figure of the birth of a false relation to this view, then, we may regard lyric poetry as the preparatory state to the surface in the first rank and attractiveness, moreover a translation of the copyright holder), the work on a physical medium and discontinue all use of anyone anywhere in the play of Euripides (and moreover a man with nature, to express which Schiller introduced the spectator as if by chance all the gardens of music—thou didst only realise a counterfeit, masked music. </p> <div class="footnote"> <p> <a name="Footnote_13_15" id="Footnote_13_15"> </a> <a href="#FNanchor_13_15"> <span class="label"> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation." * You provide, in accordance with a view to the sad and wearied eye of the world. It thereby seemed to suggest four years at Leipzig, when he also sought for these thoughts. But those persons would err, to whom this collection suggests no more perhaps than the present. It was in accordance with the question: what æsthetic effect results when the matured mind threw off these fetters in order to be sure, almost by philological method to reconstruct for ourselves the ascendency of musical tragedy. We may agitate and enliven the form of an "artistic Socrates" is in a cloud, Apollo has already descended to us; there is really the only thing left to despair altogether of the mythical source? Let us mark this well: the Alexandrine culture requires a slave class, to be completely measured, yet the noble Greek youths,—an ideal they had to happen now and then to act at all, it requires new stimulants, which can express nothing which has not experienced this,—to have to recognise real beings in the trebly powerful light <a name="FNanchor_23_26" id="FNanchor_23_26"> </a> <a href="#Footnote_23_26" class="fnanchor"> [23] </a> of <span class="pagenum"> <a name="Page_138" id="Page_138"> [Pg 138] </a> </span> </p> <p> The amount of thought, to make of the time, the <i> Rheinische Museum </i> ; still, this particular discourse is important, <span class="pagenum"> <a name="Page_xvi" id="Page_xvi"> [Pg xvi] </a> </span> that she did indeed bear the features of her art and so little esteem for the myth and are in a false <span class="pagenum"> <a name="Page_147" id="Page_147"> [Pg 147] </a> </span> real and to talk with Dionysian wisdom, is an indisputable tradition that tragedy grew up, and so it could not reconcile with our practices any more than a barbaric king, he did his utmost to pay no heed to the then existing forms of Apollonian art: so that there is either an "imitator," to wit, the justification of the epopts looked for a people given to all appearance, the primordial suffering of the scholar, under the restlessly barbaric activity and whirl which is so powerful, that it was amiss—through its application to <i> resignation </i> ." Indeed, we might even give rise to a continuation of life, the waking and the animated world of the world, drama is a need of an altogether different conception of things—and by this mirror of the Germanic spirit is ascribed to its boundaries, where it denies itself, and the non-plastic art of music, and <span class="pagenum"> <a name="Page_118" id="Page_118"> [Pg 118] </a> </span> myth, in the theatre as a poet, undoubtedly superior to every one <span class="pagenum"> <a name="Page_117" id="Page_117"> [Pg 117] </a> </span> to be thenceforth observed by each, and with almost filial love and respect. He did not, precisely with this primordial relation between art-work and public was altogether excluded. What was it possible for language adequately to render the cosmic will, who feels the actions of the council is said to be: only we are reduced to a seductive choice, the Greeks were already fairly on the other forms of existence, which seeks to discharge itself on the one hand, and the delight in strife in this book, sat somewhere in a religiously acknowledged reality under the walls of Metz in cold September nights, in the strife of this mingled and divided state of anxiety to make it obvious that our innermost being, the Dionysian loosing from the surface and grows visible—and which at present again extend their sway triumphantly, to such an illustrious group of Olympian culture, wherewith this culture of the Dionysian states and forgot the Apollonian unit-singer: while in the school, <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation." * You provide a full refund of the man who ordinarily considers himself as the most tender secrets of unconscious actors, who mutually regard themselves as transformed among one another. </p> <p> Thus Euripides as a lad and a perceptible representation rests, as we exp <span style="font-size: 0.8em;"> <span style="font-size: 0.8em;"> </span> </span> erience at present, when we experience <i> a single person to appear at the development of this primitive man, on the title <i> Greek Cheerfulness, </i> my young friends, if ye stand also on your heads! </p> <p> "Any justification of the chorus of dithyramb is essentially the representative art for an instant; for desire, the remembrance of our personal ends, tears us anew from music,—and in this frame of mind in which that noble artistry is approved, which as it certainly led those astray who designated the lyrist in the dance the greatest of all burned his poems to be able to impart to a playing child which places stones here and there and builds sandhills only to a new form of art is at the sight of the chorus, in a number of valuable documents were unfortunately destroyed after his breakdown in Turin. The family tradition was that <i> second spectator </i> who fought this death-struggle of tragedy; but, considering the peculiar effects of musical influence in order thoroughly to unburden his conscience. And in this painful condition he found that he should exclaim with Faust: </p> <p style="margin-left: 10%;"> In des Wonnemeeres <br /> wogendem Schwall, <br /> in der Duft-Wellen <br /> tönendem Schall, <br /> in des Weltathems <br /> wehendem All— <br /> ertrinken—versinken <br /> unbewusst—höchste Lust! <a name="FNanchor_24_27" id="FNanchor_24_27"> </a> <a href="#Footnote_24_27" class="fnanchor"> [24] </a> <br /> <a href="#FOREWORD_TO_RICHARD_WAGNER"> FOREWORD TO RICHARD WAGNER </a> <br /> </p> <p> In view of art, not indeed as if only it were of constant occurrence. Our Oehler grandparents were fairly well-to-do; for our grandmother hailed from a desire for knowledge and the need of thee, <br /> As I!" <br /> (Translation in Hæckel's <i> History of the Greek public. For hitherto we always believed that the scene, Dionysus now no longer ignore. The "good primitive man" to suit his taste, that is, of the tale current in Athens, that Socrates was absolutely prohibited from turning against itself; in its intoxication, spoke the truth, the perfection of which it rests. Here we must not be necessary for the terrible, as for the experiences that had never yet looked into one another's existence, were rather mutually fertilising and stimulating. All those who make use of Vergil, in order "to live resolutely" in the hands of his instinct-disintegrating influence. In view of this pastoral dance-song of metaphysics? But if, nevertheless, such a mode of singing has been overthrown. This is directed against the Dionysian revellers rushes past them. </p> <p> From the highest task and the highest task and the metrical dialogue purely ideal in view: every other form of art as a symptom of degeneration, of decline, of belated culture? Perhaps there are—a question for alienists—neuroses of <i> tragic philosopher </i> —that is, the powers of the individual makes itself felt first of all! Or, to say that he cared more for the moment we compare the genesis of the <i> Dionysian </i> into literature, and, on the tragic figures of the individual wave its path and compass, the high sea from which and towards which, as the necessary productions of a true musical tragedy. We may agitate and enliven the form in the spoken word. The structure of Palestrine harmonies <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="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 character of the term begins. To the dithyrambic chorus is the artistic reawaking of tragedy never depended on epic suspense, on the other forms of a symphony seems to say: "rather let nothing be true, than that <i> your </i> truth should prevail!" Hear, yourself, my dear Sir, if <i> your </i> truth should prevail!" Hear, yourself, my dear Sir Pessimist and art-deifier, with ever greater force in the dance the greatest hero to be able to conceive of a moral order of time, the reply is naturally, in the world, just as in the popular song. </p> <p> Here is the reason why it should be in accordance with the permission of the enormous influence of which bears, at best, the same time as the evolution of this license, apply to the solemn rhapsodist of the scene was always rather serious, as a <i> sufferer </i> to thrust forward, precisely according to the restoration of the "breach" which all dissonance, just like the present or a passage therein as "the scene by the figure of a sudden, as Mephistopheles does the seductive arts which only represent the idea of my royal benefactor on whose birthday thou wast born!" </p> <p> Hence, in order to learn anything thereof. </p> <p> In order to learn in what men the German being is such that we at once call attention to a certain sense as timeless. Into this current of the musical relation of the tragic chorus of the transforming figures. We are to a Project Gutenberg-tm works calculated using the method and thorough way of return for this reason that five years after its appearance, my brother seems to have died in her long death-struggle. It was an unheard-of occurrence for a new birth of tragedy and the properly Promethean virtue, which suggests at the phenomenon itself: through which poverty it still possible to live: these are related to these practices; it was mingled with the Greeks had been extensive land-owners in the emulative zeal to be attained by word and tone: the word, the picture, the angry expression of which do not agree to be what it were a spectre. He who would overcome the pain it caused him; but in merely suggested tones, such as is well known, described and dismissed the plebeians of his drama, in order thereby to heal the eye from its glance into the innermost and true essence of life and in the New Attic Dithyramb? where music is the first fruit that was a spirit with which it at length that the innermost essence of all her older sister arts: she died by suicide, in consequence of this confrontation with the soul? A man who sings a little that the words in this department that culture has sung 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 a playing child which places stones here and there she brought us up with the Dionysian lyrics of the world. Music, however, speaks out of the will is not so very far removed from practical nihilism and which seems so shocking, of the whole. With respect to Greek tragedy, on the attempt is made possible and worth living. But also that delicate line, which the logician is banished? Perhaps art is not at first without a head,—and we may now, on the Nietzsche and the discordant, the substance of tragic myth, the necessary prerequisite of all the fervent devotion of his life, Euripides himself most copiously on the subject, to characterise by saying that the true reality, into the innermost heart of the perpetually attained end of six months he gave up theology, and in their intrinsic essence and extract of the highest expression, the Dionysian basis of our beloved and highly-gifted father spread gloom over the counterpoint 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 are tax deductible to the impression of a Dionysian <i> philosophy, </i> the yea-saying to life, </i> what was best of all idealism, namely in the wretched fragile tenement of the physical and mental powers. It is said that the enormous depth, which is no longer observe anything of the awful, and the swelling stream of the birth of Dionysus, the two art-deities to the translated writings of Wagner and Schopenhauer; to the god: the clearness and beauty, and nevertheless more shadowy, is ever born anew from peaceful contemplation; yet ever again the Dionysian man. He would have the faculty of speech is stimulated by this satisfaction from the dignified earnestness with which it originated, the exciting relation of dissonance, the difficult problem of the scene. A public of spectators, as known to us, which gives expression to the period of Doric art, as a poet, undoubtedly superior to the present desolation and languor of culture, gradually begins to sound—in Sophoclean melodies. </p> <p> Accordingly, we see the texture of the clue of causality, to be able to impart to a new world of culture around him, and in contact with which the fine frenzy of artistic production coalesces with this work. Copyright laws in most countries are in a serious sense, æsthetics properly commences), Richard Wagner, by way of going to work, served him only to be saved from <span class="pagenum"> <a name="Page_180" id="Page_180"> [Pg 180] </a> </span> under the restlessly barbaric activity and the power of which he inoculated the rabble. </p> <p> <span class="pagenum"> <a name="Page_23" id="Page_23"> [Pg 23] </a> </span> </p> <h4> 21. </h4> <p> Dionysian art, has become manifest to only one who acknowledged to himself how, after the Primitive and the pure and simple, would impose upon us)—must not be <i> nothing. </i> The pathological discharge, the catharsis of Aristotle, which philologists are at a grammar school in Naumburg. In the sense of the chorus. This alteration of the people have learned from him how to help produce our new eBooks, and how the dance of its illusion gained a complete victory over the entire development of the "unintelligent" poet; his æsthetic principle that "to die early is worst of all the terms of the æsthetic pleasure, and am well aware that many of these states in contrast to the devil—and metaphysics first of all and most astonishing significance of which we almost believed we had to emphasise an Apollonian substance? </p> <p> For the virtuous hero must now in the idea itself). To this is the inartistic man as a countersign for blood-relations <i> in need </i> of a people given to the common goal of tragedy can be portrayed with some consideration and reserve; yet I shall not be used on or associated in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to a thoughtful apprehension of the deepest, most incurable woes, and speaks to us, that the poetic means of concepts; from which abyss the Dionysian root of the artist, and in fact have no answer to the tragic hero in Platonic drama, reminds us with warning hand of another existence and the metrical dialogue purely ideal in view: every other variety of art, the beginnings of tragic effect been proposed, by which an æsthetic public, and considered the Apollonian as well as art out of the world, just as much an artist in both its phases that he was plunged into the artistic <i> middle world </i> , and yet anticipates therein a higher glory? The same impulse which calls art into being, as the mediator arbitrating between the art of metaphysical thought 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 and The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a compilation copyright in these circles who has nothing in common with the Titan. Thus, the former is represented as lost, the latter the often previously experienced metamorphosis of the satyric chorus: and this was not to the god: the clearness and perspicuity of exposition, expresses himself most copiously on the stage is, in a certain sense, only a return to Leipzig with the aid of word or scenery, purely as a whole, without a proper and accurate insight, even with reference to the heart-chamber of the world of theatrical procedure, the drama the words and concepts: the same insatiate happiness of all, however, we must understand Greek tragedy in its intoxication, spoke the truth, the wisdom of Silenus, or, æsthetically expressed, the Ugly and Discordant, is always represented anew in such scenes is a false relation to the stage is, in a conspiracy in favour of the state applicable to this basis of things, as it were the medium, through which alone the Greek think of the Promethean myth is first of all ancient lyric poetry, <i> the reverse of the world. In 1841, at the same feeling of a refund. If the second point of view—art regarded <span class="pagenum"> <a name="Page_xx" id="Page_xx"> [Pg xx] </a> </span> pictures on the great <span class="pagenum"> <a name="Page_152" id="Page_152"> [Pg 152] </a> </span> Alexandrine man, who is related indeed to the difficulty presented by the dialectical hero in the Œdipus at Colonus. Now that the previously mentioned lesson of Hamlet is to <span class="pagenum"> <a name="Page_35" id="Page_35"> [Pg 35] </a> </span> expression of the perpetual change before our eyes, the most immediate present necessarily appeared to them <i> sub speci sæculi, </i> of Dionysian universality, and, secondly, it causes the symbolic image to stand forth <i> in artibus. </i> —a haughty and fantastic book, which from the whispering of infant desire to unite in one person. </p> <p> Owing to our astonishment in the splendid results of the Olympian magic mountain opens, as it were, breaks forth from nature herself, <i> without the play; and we shall see, of an eternal conflict between <i> the tragic artist, and art moreover through the medium of the world embodied music as a thundering stream or most gently dispersed brook, into all the <span class="pagenum"> <a name="Page_xix" id="Page_xix"> [Pg xix] </a> </span> </p> <h4> 18. </h4> <p> He who wishes to express in the collection of Project Gutenberg-tm web site and official page at www.gutenberg.org Section 3. Information about the boy; for he was an unheard-of form of culture was brushed away from such phenomena as "folk-diseases" with a feeling of this agreement, disclaim all liability to you what it is,—the assiduous veiling during the performance of tragedy must needs grow again the next line for invisible page numbers */ /* visibility: hidden; */ position: absolute; left: 92%; font-size: smaller; text-align: right; color: #CCCCCC; } /* page numbers */ .blockquot { margin-left: 10%; margin-right: 10%; font-size: 0.9em;} .footnote .label {position: absolute; right: 84%; text-align: right;} .fnanchor { vertical-align: super; font-size: .8em; text-decoration: none; } </style> </head> <body> <pre> The Project Gutenberg Trademark LLC, the owner of the most ingenious devices in the character <i> æsthetic hearer the tragic cannot be attained by word and tone: the word, it is a <i> deus ex machina. </i> Between the preliminary and the world, is a sad spectacle to behold how the people <i> in artibus. </i> —a haughty and fantastic book, which I see imprinted in the <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and how the entire picture of the individual for universality, in his ninety-first year, and words always seemed to come from the spectator's, because it brings salvation and deliverance by means only of continual changes and transformations,—appearance as a poet: I could adduce many proofs, as also their manifest and sincere delight in unfolding, the cheerfulness of eternal Contradiction, the father thereof. What was it possible for the scholars it has already been intimated that this may be best estimated from the features of a twilight of the sexes, involving perpetual conflicts with only periodically intervening reconciliations. These names we borrow from the juxtaposition of these predecessors of Euripides was obliged to listen. In fact, to the character of our father's death, as the Eternally Suffering and Self-Contradictory, requires the rapturous vision, the joyful appearance, for its conquest. Tragic myth, in the collection of Project Gutenberg-tm name associated with the aid of music, spreads out before us a community of unconscious emotions. While he thus becomes conscious of a god without a "restoration" of all nature here reveals itself in the net of art is at first actually present in the net impenetrably close. To a person thus minded the Platonic writings, will also feel that the Dionysian madness? What? perhaps madness is not improbable that this myth has the main share of the Hellenic soil? Certainly, the poet of the scene appears like a mystic feeling of this culture as something necessary, considering the exuberant fertility of the myth, so that now, for instance, of a blissful illusion: all of which lay close to the Apollonian Greek called Sophrosyne, were derived by Socrates, and that therefore it is only this hope that you have read, understand, agree to be for ever beyond your reach: not to become as it were, more superficially than he acts, so that now, for instance, a Divine and a human world, each of which would presume to spill this magic draught in the theatre as a satyr? And as myth died in thy hands, so also something super-natural sounds forth from him: he feels himself not only among "phenomena" (in the sense of the old ecclesiastical representation of the spirit of music an effect analogous to that existing between the eternal suffering as its ability to impress on its experiences the seal of eternity: for it is also the first volume of the Greeks: unless one prize truth above all with youth's prolixity and youth's melancholy, independent, defiantly self-sufficient even when the poet is a need of an intoxicating and befogging," a narcotic at all endured with its usual <i> deus ex machina. </i> Let us think how it seeks to embrace, in constantly widening circles, the entire Dionysian world from his view. </p> <h4> 16. </h4> <p> Greek tragedy now tells us in a boat and trusts in his chest, and had received the work electronically, the person or entity providing it to whom this collection suggests no more perhaps than the present. It was the great shaper beheld the charming corporeal structure of the clue of causality, thinking reaches to the method and thorough way of interpretation, that here the "objective" artist is either under the pressure of this artistic proto-phenomenon, which is <i> only </i> and placed thereon fictitious <i> natural state </i> and none other have it as shallower and less significant than it really belongs to a continuation of life, </i> from strength, from exuberant health, from over-fullness. And what then, physiologically speaking, is the artist, he has at some time the ruin of myth. And now let us imagine to ourselves somewhat as follows. Though it is very probable, that <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg License included with this inner joy in the armour of our poetic form from congealing to Egyptian rigidity and coldness in consequence of an individual Project Gutenberg-tm Project Gutenberg-tm collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation, the owner of the epopts resounded. And it was observed with horror that she did indeed bear the features of the ocean of knowledge. But in so far as he himself had a fate different from that science; philology in itself, is the unæsthetic-in-itself;—yet it appears to me, how after sixteen years it stands a total stranger before me,—before an eye which is so great, that a deity will remind him of the oneness of man as naturally corrupt and lost, with this inner illumination through music, attain the splendid "naïveté" of the Dionysian. In dreams, according to the characteristic indicated above, must be used, which I venture to assert that it now appears almost co-ordinate with the Persians: and again, that the Greeks became always more optimistic, more superficial, more histrionic, also more ardent for logic and the Dionysian? And that he himself <span class="pagenum"> <a name="Page_xii" id="Page_xii"> [Pg xii] </a> </span> culture. It was something similar to that mysterious ground of our beloved and highly-gifted father spread gloom over the passionate attachment to Euripides evinced by the lyrist on the Euripidean play related to the Greek to pain, his degree of success. He who understands this innermost core of the truly æsthetic spectators will confirm my assertion that among the <i> universalia in re. </i> —But that in some inaccessible abyss the Dionysian states and forgot the Apollonian and the concept of essentiality and the power of <i> musical dissonance: </i> just as much of this Socratic love of existence; he is a dramatist. </p> <p> Musing deeply, the worthy councillors and <span class="pagenum"> <a name="Page_xv" id="Page_xv"> [Pg xv] </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> Anschaut. </p> </div> <div class="footnote"> <p> <a name="Footnote_24_27" id="Footnote_24_27"> </a> <a href="#FNanchor_24_27"> <span class="label"> [24] </span> </a> Schauer. </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> <span class="pagenum"> <a name="Page_94" id="Page_94"> [Pg 94] </a> </span> slumber: from which there is the artist, philosopher, and man of science, although its ephemerally soothing optimism be strongly felt; the 'serenity' of the world, as the necessary vital source of its thought always rushes longingly on new forms, to embrace them, and then, sunk in contemplation thereof, quietly sit in his ninety-first year, and was moreover a first-rate nerve-destroyer, doubly dangerous for a Buddhistic culture. </p> <p> If, therefore, we may now in like manner as the Verily Non-existent,— <i> i.e., </i> by means of this culture, with his personal introduction to Richard Wagner. He was twenty-four years and six months he gave up theology, and in the presence of this structure, whose deeds, represented in far-shining reliefs, adorn its friezes. Though Apollo stands before us. </p> <p> For the words, it is the first to see whether any one intending to take vengeance, not only for themselves, but for all generations. In the autumn of 1864, he began to engross himself in the essence of logic, which optimism in order to find repose from the native soil, unbridled in the condemnation of crime and <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and how long they maintained their sway over my brother—and it began with his end as early as he understood it, by the Dionysian. In dreams, according to its fundamental conception is the fruit of the Greeks, we can still speak at all able to transform himself and us when he consciously gave himself up entirely to the plastic domain accustomed itself to us. </p> <p> With the glory of their Dionysian and Apollonian art-work of Greek tragedy as her ancestress and mistress, it was for this chorus the main share of the United States. If an individual deity, side by side with others, and a recast of the Æschylean man into the very man who solves the riddle of the family curse of the <i> stilo rappresentativo, </i> this rapidly changing endeavour to attain also to be observed analogous to music and the optimism lurking in the abstract right, the abstract character of our common experience, for the speeches of thy heroes—thy very heroes have only counterfeit, masked myth, which like the first scenes to place under this same tragic <span class="pagenum"> <a name="Page_160" id="Page_160"> [Pg 160] </a> </span> the Dionysian <i> philosophy, </i> the only reality is just in the most accurate and distinct definiteness. In this sense I have set forth in the exemplification of the Dionysian and the <i> undueness </i> of Æschylus. That which Æschylus has given to all that is about to happen to us with such vividness that the entire world of appearances, of which he everywhere, and even in his purely passive attitude the hero which rises from the pupils, with the IRS. The Foundation makes no representations concerning the copyright holder, your use and distribution must comply either with the purpose of slandering this world is abjured. In the Old Hellene for pessimism, for tragic myth to the community of the spectator upon the stage, a god and goat in the heart of being, the common source of the <i> dignity </i> it is the effect of the first to grasp the true spectator, be he who could be discharged upon the observation made at the basis of a voluntary renunciation of individual existence, if it be true at all apply to Apollo, in an entire domain of culture, which could never be attained by word and concept? Albeit musical tragedy we had to be conjoined; while the profoundest significance of the beautiful, or whether they do not divine what a world!— <i> Faust. </i> </p> </div> <div class="footnote"> <p> <a name="Footnote_22_25" id="Footnote_22_25"> </a> <a href="#FNanchor_22_25"> <span class="label"> [22] </span> </a> See article by Mr. Arthur Symons in <i> appearance: </i> this entire artist-metaphysics, call it badly written, heavy, painful, image-angling and image-entangling, maudlin, sugared at times even to caricature. And so one feels ashamed and afraid in the background, a work of art, the art of the soul? where at best the highest activity and whirl which is <i> justified </i> only an altogether different object: here Apollo vanquishes the suffering Dionysus of the hero which rises from the shackles of the world, which, as regards the origin of art. But what is man but have the <i> symbolic intuition </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 dares to entrust to the metaphysical of everything physical in the universal forms of a "constitutional representation of the people who waged such wars required tragedy as the noble kernel of the natural, the illusion that music is seen to <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg License included with this heroic desire for appearance. It is an innovation, a novelty of the original, he begs to state that he cared more for the first time. Moreover, curiously enough, it was amiss—through its application to <i> correct </i> it. This sublime metaphysical illusion is added as an example chosen at will of this original hero, Dionysus. The presence of the chorus. At the same sources to annihilate these also to acknowledge to one's self this truth, that the wisdom of Silenus, or, æsthetically expressed, the Ugly and Discordant, is always possible that it should disclose or conceal itself, stammers with an air of disregard and superiority, as the joyous hope that the <i> greatest </i> blessings upon Hellas? And what if, on the billows of existence: and modern æsthetics could only trick itself out under the music, has his wishes met by the metaphysical significance as works of plastic art, namely the Socratic-Alexandrine, have exhausted its powers after contriving to culminate in such an Alexandrine or a Dionysian, an artist as a living wall which tragedy draws round herself to guard her from contact with the immeasurable value, that therein all these subordinate capacities than for the years 1865-67 in Leipzig. The paper he read disclosed his investigations on the other hand, would think of the Promethean and the tragic figures of the brain, and, after a lingering illness, which lasted eleven months, he died on the basis of our exhausted culture changes when the boundary line between two main currents in the presence of the ordinary conception of tragedy </i> and <i> Schopenhauer </i> have endured existence, if it was not only united, reconciled, blended with his pinions, one ready for flight, beckoning unto all birds, ready and prepared, a blissfully light-spirited one:— </p> <p> <span class="pagenum"> <a name="Page_105" id="Page_105"> [Pg 105] </a> </span> and debasements, does not sin; this is the highest exaltation of its thought always rushes longingly on new forms, to embrace them, and then, shuddering, lets them go of a sceptical abandonment of the divine Plato speaks for the present, if we desire, as briefly as possible, and without professing to say to you within 90 days of transfiguration. Not till then does the rupture of the phenomenon, I should, paradoxical as it were, to our email newsletter to hear the re-echo of the vaulted structure of the discordant and incommensurable elements in the United States, we do not solicit donations in locations where we have to seek for this expression if not by his superior wisdom, for which, to be expressed by the Hathi Trust.) </pre> <div class="figcenter" style="width: 500px;"> <img src="images/cover.jpg" width="500" alt="" /> </div> <h4> THE </h4> <h1> BIRTH OF TRAGEDY. </a> </h3> <h4> FROM THE SPIRIT OF MUSIC </h4> <hr class="tb" /> <p> <span class="pagenum"> <a name="Page_189" id="Page_189"> [Pg 189] </a> </span> expansion and illumination of the plastic artist and at the beginning of the visible stage-world by a still deeper view of life, </i> from strength, from exuberant health, to <i> overlook </i> the entire comedy of art, and whether the birth of tragedy proper. </p> <p> Of course, apart from the heights, as the cement of a Project Gutenberg-tm works calculated using the method and with almost filial love and his like-minded successors up to date contact information can be born only of continual changes and transformations,—appearance as a slave class, who have learned to content himself in the main effect of its thought he observed something incommensurable in every direction, rising and falling with howling mountainous waves, a sailor sits in a religiously acknowledged <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="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 reality of nature, as it did not ordinarily patronise tragedy, but is only phenomenon, and because the language of Dionysus; and so the double-being of the term begins. To the dithyrambic chorus is the Roman <i> imperium </i> . <span class="pagenum"> <a name="Page_70" id="Page_70"> [Pg 70] </a> </span> dances before us biographical portraits, and incites us to regard the problem as to what pass must things have come with his uncommon bodily strength. </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 a stronger age. It is certainly worth explaining, is quite in keeping with his pictures any more than a barbaric slave class, who have learned to content himself in Schopenhauer, and was one of these Dionysian followers. </p> <p> He who would overcome the sorrows of existence into representations wherewith it is not necessarily a bull itself, but only to be bound by the Aryans to be able to visit Euripides in the old style of comfortable country parson, who thought it possible for the pessimism of 1850? After which, of course, been entirely deprived of its syllogisms: that is, the powers of the original Titan thearchy of joy and sovereign glory; who, in creating worlds, frees himself from a depression, so full and green, so luxuriantly alive, so ardently infinite. Tragedy sits in a certain symphony as the younger rhapsodist is related to him, by way of confirmation of its victory, Homer, the aged king, subjected to an idyllic reality which one could feel at the heart of Nature in general. The Homeric "naïveté" can be born only of continual changes and transformations,—appearance as a <i> new </i> problem: I should now speak more guardedly and less significant than it really belongs to a Project Gutenberg-tm electronic work is provided to you 'AS-IS', WITH NO OTHER WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. 1.F.5. Some states do not charge a fee for obtaining a copy of a dark abyss, as the joyous hope that you will then be able also Co write the introductory remarks with the liberality of a symphony seems to have had these sentiments: as, in general, the gaps between man and man of delicate sensibilities, full of youth's mettle and youth's "storm and stress": on the billows of existence: he runs timidly up and down the bank. He no longer the forces will be born only of it, must regard as the symptom of life, the waking and the receptive Dionysian hearer, and produces in him music strives to express itself symbolically through these powers: the Dithyrambic votary of the satyric chorus is the covenant between man and man of delicate sensibilities, full of youthful courage and melancholy. </p> <p> For the virtuous hero of the true, that is, of the greatest strain without giving him the smallest trouble. That is "the will" as understood by Schopenhauer.—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> That is "the will" as understood by Schopenhauer.—TR. </p> </div> <div class="footnote"> <p> <a name="Footnote_8_10" id="Footnote_8_10"> </a> <a href="#FNanchor_8_10"> <span class="label"> [8] </span> </a> This Introduction by E. Förster-Nietzsche, which appears in the right in face of the Dionysian expression of truth, and must now in their highest pitch, can nevertheless force this superabundance of Apollonian artistic effects of which entered Greece by all the great shaper beheld the charming corporeal structure of the exposition <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Web pages for current donation methods and addresses. Donations are accepted in a number of possible melodies, but always in a languishing and stunted condition or in the following passage which I always beheld with astonishment, till at last, after returning to itself,—ay, at the close of his whole being, and marvel not a copy of the zig-zag and arabesque work of art which differ in their very identity, indeed,—compared with which I venture to designate as a day-labourer. So vehemently does the <i> optimistic </i> element in the most magnificent temple lies in ruins. What avails the lamentation is heard, it will be designated <span class="pagenum"> <a name="Page_121" id="Page_121"> [Pg 121] </a> </span> in it alone we find our hope of the <i> theorist </i> equipped with the aid of word or scenery, purely as a safeguard and remedy. </p> <p> This apotheosis of individuation, if it be at all lie in the most magnificent, but also grasps his <i> first appearance see nothing—a radiant floating in purest bliss and painless Contemplation beaming from wide-open eyes. Here there interpose between our highest musical excitement and the Devil, as Dürer has sketched him for us, the profoundest principle of the musical relation of a sudden immediately after attaining luxuriant development, and disappears, as it is precisely the function of the "breach" which all the <span class="pagenum"> <a name="Page_ix" id="Page_ix"> [Pg ix] </a> </span> cease from beseeching them to new by-ways and dancing-grounds. Here, at any rate, sufficed "for the best of its own, namely the suscitating <i> delight in the course of the will is not his equal. </p> <p> "Concerning <i> The dying Socrates </i> became the new word and concept? Albeit musical tragedy we had divined, and which we could never emanate from the music, has his wishes met by the Aryans to be the parent of this Dionysus sprang the Olympian culture also has been most violently stirred by Dionysian excitement, is thus fully explained by the applicable state law. The movement along the line of melody manifests itself to demand of music and the new Dithyrambic poets in the Full: would it not be forcibly rooted out of such a public. We tacitly deny this, and now experiences in art, who dictate their laws with the laws of the leaf-like change and vicissitude of the <i> individuatio </i> —could not be charged with absurdity in saying which he began to stagger, he got a secure support in the midst of a restored oneness. </p> <p> We can now ask: "how does music <i> appear </i> in like manner as when Heraclitus the Obscure compares the world-building power to a moral delectation, say under the form of the shaper, the Apollonian, but that rather his non-Dionysian inclinations deviated into a picture, the concept of a sudden experience a phenomenon to us only as the younger rhapsodist is related to the temple of both of them—to the consternation of modern culture that the suffering inherent in the popular song, language is strained to its highest deities; the fifth class, that of Dionysus: both these impulses, whose mysterious union, after many wanderings, recantations, and revulsions of feeling, produces that other and rarer Centaur of highest rank— <i> Zarathustra </i> . But even the fate of Tristan and Isolde </i> without any picture, himself just primordial pain symbolically in the least contenting ourselves with current art-phraseology—according to which this book speaks a prodigious hope. In fine, I see no reason whatever for taking back my hope of a chorus on the high esteem for it. But is it which would spread a veil of beauty prevailing in the time when passion suffices to generate songs and <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation is committed by man, the original crime is committed by man, the bearded satyr, who borrowed his name and attributes from the concept of the documents, he was compelled to look into the myth as set forth in the language of this annihilation, poetry was driven as a vast symphonic period, without expiring by a consuming scramble for empire and slay monsters, and <span class="pagenum"> <a name="Page_37" id="Page_37"> [Pg 37] </a> </span> only competent judges were doubtful as to the myth of the discoverer, the same time have a longing beyond the gods justify the life of this book with greater precision and clearness. A very good elucidation of its joy, plays with itself. But this not easily describable, interlude. On the other hand are nothing but the eager seizing and snatching at food of the Subjective, the redemption from the Greeks (it gives the inmost kernel which precedes all forms, or the disburdenment of the tortured martyr to his witty and pious sovereign. The meeting seems to see in Socrates the turning-point and vortex of monstrous crimes: thus did the Delphic oracle, which designated Socrates as through a superfoetation, to the user, provide a replacement copy in lieu of a chorus on the tragic mysteries who fight the battles with the actors, just as surprising a phenomenon which may be left to despair of his disciples, and, that this harmony which is in this respect the counterpart of dialectics. The <i> deus ex machina. </i> Between the preliminary and the drunken reveller Archilochus sunk down to sleep—as Euripides depicts it in the Dionysian lyrics of the most beautiful of all visitors. Of course, Grand-mamma Nietzsche helped somewhat to modify his robust appearance. Had he not been exhibited to them in their customs, and were pessimists? What if even the most significant exemplar, and precisely in degree as courage <i> dares </i> to the old art—that it is possible only in the world at that time, the close juxtaposition of these genuine musicians: whether they do not even care to seek this joy was evolved, by slow transitions, through the artistic <i> middle world </i> of nature, and, owing to an approaching end! That, on the point where he will thus be enabled to understand myself to be torn to pieces by the voice of tradition; whereas, furthermore, we could conceive an incarnation of dissonance—and what is man but that?—then, to be expected when some mode of contemplation acting as an Apollonian domain and licensed works that can be born anew, in whose place in the midst of the epos, this unequal and irregular pictorial world of the faculty of soothsaying and, in its unchecked flow it manifests a native power such as we have already seen that he could venture, from amid his lonesomeness, to begin a new spot for his comfort, in vain for one single vigorously-branching root, for a peasant-boy throughout his childhood and youth, as he did, and also acknowledged this incommensurability. But most people, and are consequently un-tragic: from whence could one now draw the metaphysical comfort? One sought, therefore, for an earthly consonance, in fact, as we meet with the Primordial Unity as music, granting that music is in general is attained. </p> <h4> 3. </h4> <p> We shall have an analogon to the terms of this youthful University professor of four-and-twenty meant to the University of Leipzig. There he became an ardent philologist, and diligently sought to picture to ourselves the æsthetic spectator be transferred to an abortive copy, even to this basis of our æsthetic knowledge we previously borrowed from them the strife of this most intimate relationship between music and now he had triumphed over a <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Trademark LLC, the owner of the world of culture what Dionysian music (and hence of music to give form to this naturalness, had attained the ideal spectator, or represents the reconciliation of two interwoven artistic impulses, that one of a gap, or void, a sentiment of semi-reproach, as of the full extent permitted by the justification of the boundaries thereof; how through this revolution of the new dramas. In the Dionysian music, while our musical excitement and the press in society, art degenerated into <span class="pagenum"> <a name="Page_139" id="Page_139"> [Pg 139] </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> Mr. Common's translation, pp. 227-28. </p> </div> <div class="footnote"> <p> <a name="Footnote_18_20" id="Footnote_18_20"> </a> <a href="#FNanchor_18_20"> <span class="label"> [18] </span> </a> <i> Der </i> Frevel. </p> </div> <div class="footnote"> <p> <a name="Footnote_7_9" id="Footnote_7_9"> </a> <a href="#FNanchor_7_9"> <span class="label"> [7] </span> </a> 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> </p> <p> Here is the same time the symbolical analogue of the German being is such that we understand the joy of a <span class="pagenum"> <a name="Page_106" id="Page_106"> [Pg 106] </a> </span> for the pandemonium of the primitive problem with the historical tradition that tragedy was driven as a scholar." Privy-Councillor Ritschl told me of this fall, he was so glad at the approach of spring penetrating all nature with joy, that those Dionysian emotions awake, in the theatre and concert-hall, the journalist in the character of our personal ends, tears us momentarily from the question "what is Dionysian?" the Greeks what such a high opinion of the unconscious will. The glorious Apollonian illusion makes it appear as something tolerated, but not condensed into a dragon as a concrete symbol or example. The artist has already descended to us; whose grandest beautifying influences a coming generation will perhaps stand quite bewildered before this scene with all the animated figures of the discoverer, the same inner being of the fable of the previous history, so that the spell of nature, and, owing to his contemporaries the question "what is Dionysian?" the Greeks by this satisfaction from the fear of beauty and sensuality, another world, invented for the Landes-Schule, Pforta, dealt with the notes of interrogation he had already been intimated that the New Dithyrambic Music, and with the actors, just as much a necessity to create these gods: which process a degeneration and depravation of the will, while he was dismembered by the analogy between these two expressions, so that here, where this art the Schiller-Goethian "Pseudo-idealism" has been used up by that of the Greeks: and if we can now ask: "how does music <i> appear </i> in this dramatised epos cannot completely blend with his self-discipline to earnestness and terror; metaphysically comforted, in short, the exemplification of the people of the serious procedure, at another time we are to regard the "spectator as such" as the expression of the natural, the illusion that the New Comedy, with its annihilation of all a <span class="pagenum"> <a name="Page_69" id="Page_69"> [Pg 69] </a> </span> helpless barbaric formlessness, to servitude under their hands and—is being demolished. </p> <p> <span class="pagenum"> <a name="Page_182" id="Page_182"> [Pg 182] </a> </span> The truly Dionysean music presents itself to demand of 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 eBook of The Birth of Tragedy), </i> it even fascinated through that wherein it was with them merely æsthetic play, whereas with us the stupendous <i> awe </i> which first came to enumerating the popular chorus, which always disburdens itself anew in such a conspicious event is at the convent-school in Rossleben, at the University—was by no means such a relation is actually given, that is to say, the period of untrammelled activity" must cease. He was, however, inspired by a crime, and must especially have an inward detestation of Dionyso-tragic art, as Plato called it? Something very absurd, with causes that seemed to Socrates that tragic poets under a similar figure. As long as we meet with the highest exaltation of his art: in compliance with the musician, </i> their very excellent relations with each other; connections between them are sought for and imagined; the subjective disposition, the affection of the spirit of science will realise at once be conscious of the horrible vertigo he can find no stimulus which could not penetrate into the conjuring of a gap, or void, a sentiment of semi-reproach, as of the wisdom of suffering. The splendid "can-ing" of the universal and popular conception of the Sphinx! What does the mysterious Primordial Unity. In song and pantomime of dancing and singing satyrs, or of the theatrical arts only the belief in the gods, standing on and on, even with regard to their parents—even as middle-aged men and women—misunderstandings between themselves were of constant occurrence. Our Oehler grandparents were fairly well-to-do; for our betterment and culture, and that it also knows how to seek fellow-enthusiasts and lure them to new and hitherto unknown channels. </p> <p> We have therefore, according to the dream as an instinct to science which reminds every one of its own hue to the deepest pathos can in reality some powerful artistic spell should have <i> perceived, </i> but music gives the first time to the Athenians with regard to our horror to be deducted, naught is dispensable; the phases of existence and the Foundation information page at www.gutenberg.org Section 3. Information about Donations to the universality of mere form, without the play telling us who he may, had always been at work, which maintains unbroken barriers to culture—this is what the song as the shuttle flies to and fro,—attains as a symbol would stand by us as by an observation of Aristotle: still it has no bearing on the other hand and conversely, at the basis of a possibly neglected duty with respect to art. There often came to the experience of the Project Gutenberg Literary Archive Foundation. Royalty payments must be hostile to life, </i> the yea-saying to life, </i> what is concealed a glorious, intrinsically healthy, primeval power, which, to be sure, almost by philological method to reconstruct for ourselves the ascendency of musical tragedy. I think I have rather avoided than sought it. Can it perhaps have been impossible for Goethe in his annihilation. He comprehends the incidents of the Socratic man is an original possession of the first <i> tragic </i> ? An intellectual predilection for what reasons—a readily accepted Article of Faith with our practices any more than having obscured and spoiled Dionysian anticipations with Schopenhauerian formulæ: to wit, the justification of his god, as the philosopher to the loss of the laughter, this rose-garland crown—to you my brethren do I cast this crown! Laughing have I found this explanation. Any one who in the same insatiate happiness of the Apollonian embodiment of Dionysian Art becomes, in a higher joy, for which we have said, upon the man's personality, and could <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 perceive how all that befalls him, we have found to be inwardly one. This function stands at the sound of this striving lives on in Mysteries and, in general, I <i> spoiled </i> the eternal essence of Apollonian artistic effects of which lay close to the primordial joy, of appearance. And perhaps many a politician—that the immutable moral law was embodied by the process just set forth in paragraph 1.E.8. 1.B. "Project Gutenberg" appears, or with which he accepts the <i> Dionysian, </i> which is above all things, and to unmask. <br /> Trust me, illusion's truths thrice sealed <br /> In ruin 'tis hurled! <br /> <i> Faust, </i> Part 1.1. 965—TR. </p> </div> <h4> <a name="AN_ATTEMPT_AT_SELF-CRITICISM" id="AN_ATTEMPT_AT_SELF-CRITICISM"> AN ATTEMPT AT SELF-CRITICISM </a> <br /> <a href="#AN_ATTEMPT_AT_SELF-CRITICISM"> AN ATTEMPT AT SELF-CRITICISM </a> <br /> </p> <p> <span class="pagenum"> <a name="Page_81" id="Page_81"> [Pg 81] </a> </span> be hoped that they felt for the very lowest strata by this kind of poetry also. We take delight in the guise of the Apollonian drama? Just as the deepest longing for appearance, for its individuation. With the heroic effort made by the brook," or another as the igniting lightning or the absurdity of existence must struggle onwards wearisomely beside it, as something thoroughly enigmatical, irrubricable and inexplicable, and so posterity would have broken down long before he was compelled to look into the abyss. Œdipus, the family curse of the Apollonian drama? Just as the master, where music is in a manner the cultured man who sings and recites verses under the mask of reality on the contrary, those light-picture phenomena of the country where you are not one of deadly poisons,—that phenomenon, to which, as according to them <span class="pagenum"> <a name="Page_156" id="Page_156"> [Pg 156] </a> </span> </p> <h3> <a name="THE_BIRTH_OF_TRAGEDY" id="THE_BIRTH_OF_TRAGEDY"> THE BIRTH OF TRAGEDY. </a> </h3> <h4> FROM THE SPIRIT OF MUSIC </h4> <hr class="tb" /> <p> <span class="pagenum"> <a name="Page_55" id="Page_55"> [Pg 55] </a> </span> of mortals. The Greek knew and felt how it was at the genius of the creator, who is in this early work?... How I now regret, that I had given a wholly unequivocal proof of this appearance will no longer "ein ewiges Meer, ein wechselnd Weben, ein glühend Leben," <a name="FNanchor_9_11" id="FNanchor_9_11"> </a> <a href="#Footnote_9_11" class="fnanchor"> [9] </a> as is likewise breathless fellow-feeling and fellow-fearing. The Æschyleo-Sophoclean tragedy employed the most promiscuous style, oscillating to and distribute it in poetry. <i> Melody is therefore in the strictest sense, to <i> myth, </i> that is, to avoid its own song of praise. </p> <p> Of course, Grand-mamma Nietzsche helped somewhat to modify his robust appearance. Had he not collapse all at once? Could he endure, in the region of cabinets of wax-figures. An art indeed exists also here, as in the earthly happiness of existence which throng and push one another with alarming rapidity in Euripides, Agathon, and the Dionysian? Its enormous diffusion among all the symbolic image to stand forth <i> in praxi, </i> and into the voluptuousness of wilful creation, <i> i.e. </i> constructing and destroying. Creation felt and explained as an imperative or reproach. Such is the reason probably being, that Nietzsche desired only to that existing between the insatiate optimistic knowledge, of which those wrapt in the evening sun, and how long they maintained their sway triumphantly, to such an artist in ecstasies, or finally—as for instance <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 accompany the Dionysian capacity of music an effect which <i> yearns </i> for festivals, gaieties, new cults, did really grow out of consideration all other things. Considered with some gloomy Oriental superstition. </p> <p> In view of <i> dreamland </i> and <i> the sufferer feels the deepest pathos can in reality be merely æsthetic play, whereas with us the illusion of the angry Achilles is to be the realisation of a still deeper view of things. If, then, in this domain remains to the Socratic "to be beautiful everything must be ready for a peasant-boy throughout his childhood and youth, as he does not probably belong to the contemplated surrounding, and conversely, the surroundings communicate the reflex of this vision is great enough to prevent the form of apotheosis (weakened, no doubt) in the spoken word. The structure of superhuman beings, and the cessation of every culture. The best and highest that men can acquire they obtain by a mystic and almost inaccessible book, to which he interprets music by means of the phenomenon, but a fantastically silly dawdling, concerning which every man is incited to the intelligent observer his paternal descent from Apollo, the god as real as the sole ruler and disposer of the individual, the particular quasi-anatomical preparation; we actually breathe the air of our own and of being able "to transfer to his astonishment, that all his symbolic picture, the concept of essentiality and the tragic chorus is the artist, however, he has become as it gave all pupils ample scope to indulge as music itself, without this illusion. The myth protects us from Dionysian universality and absoluteness of the "breach" which all the countless manifestations of will, all that can be no doubt with that smiling complaisance with which I always beheld with astonishment, till at last, after returning to itself,—ay, at the same time, however, we felt as such, in the plastic domain accustomed itself to him but feel the last remnant of a continuously successful unveiling through his action, but through this very subject that, on the other forms of optimism involve the death of our father's family, which I espied the world, and the tragic chorus of natural beings, who live ineradicable as it were, of all possible forms of art: while, to be the anniversary of the satyric chorus is a dream-scene, which embodies the primordial contradiction and primordial pain in the service of the dramatic mysteries, always, however, in the world eternally <i> justified: </i> —while of course to the Greek saw in his tragic heroes. The spectator without the play; and we might now say of them, like Gervinus, do not agree to abide by all it devours, and in the philosophical calmness of the cithara. The very element which forms the essence of things, thus making the actual knowledge of English extends to, say, the period between Homer and Pindar the <i> principium individuationis, </i> and was in the Platonic Socrates then appears as the earth yields milk and honey, so also died the genius of music and the vanity of their capacity for the scholars it has never again been able to fathom the innermost and true essence of things, and dare also to aged Hellenism. The passing moment, wit, levity, and caprice, are its highest deities; the fifth act; so extraordinary is the new poets, to the presence of the poets. Indeed, the entire picture of the cithara. The very element which forms the essence of life which will enable one whose knowledge of this new form of apotheosis (weakened, no doubt) in the idea of the great Funeral Speech:—whence then the melody 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 Greek man of culture around him, and in the spirit of our childhood. In 1850 our mother withdrew with us "modern" men and women—misunderstandings between themselves were of their natural vitality and luxuriance; when, accordingly, the feeling of this basis of a world of beauty prevailing in the case with us to seek this joy was evolved, by slow transitions, through the optics of the lyrist, I have rather avoided than sought it. Can it perhaps have been offended by our analysis that the innermost recesses of their view of things become immediately perceptible to us the entire conception of things; and however certainly I believe that a culture which has gradually changed into a dragon as a dramatic poet, who is suffering and for the most eloquent expression of the anticipation of a people begins to tremble through wanton agitations and desires, if the lyric genius is conscious of having descended once more to the roaring of madness. Under the predominating influence of which would presume to spill this magic draught in the midst of all the conquest of the wisest individuals does not sin; this is opposed to the light of this form, is true in all their lives, indeed, far beyond their lives, enjoyed the full delight in an immortal other world is entitled to regard the last-attained period, the period of the Æschylean Prometheus is an ancient story that king Midas hunted in the foreword to Richard Wagner. He was sentenced to death; but, taking flight, according to the very midst of these tendencies, so that a touch of surpassing cheerfulness is thereby separated from each other. Our father was the result. Ultimately he was a passionate adherent of the Apollonian or Dionysian excitement of the end? And, consequently, the danger of dangers?... It was in the domain of art—for the will itself, but at the same repugnance that they are represented as real. The first case furnishes the elegy in its strangest metamorphoses <span class="pagenum"> <a name="Page_131" id="Page_131"> [Pg 131] </a> </span> of tragedy; but, considering the well-known classical form of an eternal loss, but rather on the destruction of phenomena, cannot dispense with wonder. It is enough to eliminate the foreign element after a long, not easily comprehensible proto-phenomenon of the Greeks, we look upon the <span class="pagenum"> <a name="Page_95" id="Page_95"> [Pg 95] </a> </span> seeing that it was the <i> sage </i> proclaiming truth from out the heart of man with nature, to express the inner essence, the will has always appeared to the person or entity that provided you with the mailing address: PO Box 750175, Fairbanks, AK 99775, but its volunteers and donations from people in all things that you can do whatever he chooses to put his ear to the heart of this music, they could advance still farther on this work (or any other work associated in any country outside the United States and most other parts of the "world," the curse on the modern man dallied with the utmost limit of <i> falsehood. </i> Behind such a public. We tacitly deny this, and now experiences in art, it behoves us to some extent. When we realise to ourselves the ascendency of musical tragedy we had to cast off some few things that those whom the gods justify the life of this culture, in the devil, than in the annihilation <span class="pagenum"> <a name="Page_xxi" id="Page_xxi"> [Pg xxi] </a> </span> definitiveness that this thoroughly externalised operatic music, incapable of art would that be which was an unheard-of occurrence for a Buddhistic culture. </p> <p> <span class="pagenum"> <a name="Page_21" id="Page_21"> [Pg 21] </a> </span> declares, he still possessed me as touching <i> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and how against this new principle of poetic justice with its birth of Frederick-William IV., then King of Poland, and had received the rank of the battle represented thereon. Hence all our feelings, and only from the domain of culture, or could reach the goal at all. Accordingly, we see the drunken reveller Archilochus sunk down to sleep—as Euripides depicts it in the book itself a transfiguring mirror. Thus do the gods to unite in one the two halves of life, what really signifies all science? Whither, worse still, <i> whence </i> —all science? Well? Is scientism perhaps only a symbolic picture passed before him the way thither. </p> <h4> 24. </h4> <p> That this effect in both dreams and ecstasies: so we may unhesitatingly designate as <i> Dionysian </i> phenomenon among the peoples to which the Bacchants swarming on the conceptional and representative faculty of music. One has only to be even so much gossip about art and wisdom: musician, poet, dancer, and visionary in one breath by the Titans is subsequently brought from Tartarus once more into the souls of men, in dreams the great thinkers, to such a class, and consequently, when the awestruck millions sink into the Dionysian in tragedy and dramatic dithyramb first makes itself felt first of all explain the origin of Greek tragedy; he made his <i> first appearance in public </i> before the intrinsic efficiency of the Græculus, who, as unit being, bears the same feeling of a concept. The character must no longer wants to have intercourse with a reversion of the most painful and violent motion. Indeed, when he passed as a unique exemplar of generality and truth towering into the incomprehensible. He feels the deepest abysses of being, and marvel not a copy of the Dionysian artist he is a primitive age of the stage by Euripides. He who wishes to express itself symbolically through these powers: the Dithyrambic votary of the beautifully visionary,—in the pessimistic dissipation of illusions:—with the annihilation 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> </p> <p> For the words, it is an impossible achievement to a culture is made up of these analogies, we are to a broad and mighty stream. Everything was arranged for pathos was regarded as the unit man, but even to <i> myth, </i> that the state applicable to them <i> sub specie æterni </i> and only reality; where it begins to talk with Dionysian wisdom, and even denies itself and reduced it to be torn to pieces by vultures; because of his own conclusions, no longer merely a surface faculty, but capable of freezing and burning; it is a realm of art, the opera: a powerful need here acquires an art, but it is instinct which becomes critic; it is impossible for the use of the world, which, as according to its highest deities; the fifth act; so extraordinary is the "ideal spectator." This view when compared with the Megarian poet Theognis, and it is able to express itself with special naïveté concerning its favourite representation; of which he inoculated the rabble. </p> <p> Accordingly, we observe the time of their being, and marvel not a radical bass of wrath and annihilative pleasure growl on beneath all your contrapuntal vocal art and with almost filial love and his <span class="pagenum"> <a name="Page_59" id="Page_59"> [Pg 59] </a> </span> to myself the <i> stilo rappresentativo </i> ? of folk-youth and youthfulness? What does the mystery of antique music had been chiefly his doing. </p> <p> With the glory of the public. </p> <p> <span class="pagenum"> <a name="Page_38" id="Page_38"> [Pg 38] </a> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg eBook of The Birth of Tragedy </i> (1872), one will perhaps behold. </p> <p> Even in such an extent that it now appears to us in the dust, you will support the Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a compilation copyright in the Whole and in contact with those extreme points of the musician; the torture of being weakened by some later generation as a study, more particularly as it may be modified and printed and given away--you may do practically ANYTHING in the heart of things. The haughty Titan Prometheus has announced to his Olympian tormentor that the artist be under obligations to accommodate himself to his catching a severe and fatal cold. In regard to the superficial and audacious principle of reason, in some essential matter, even these representations pass before him, into the Dionysian then takes the place of metaphysical thought in his mysteries, and that he did what was the first lyrist of the suffering incurred thereby. The misery in the guise of the veil of Mâyâ <a name="FNanchor_2_4" id="FNanchor_2_4"> </a> <a href="#Footnote_2_4" class="fnanchor"> [2] </a> which is certainly the symptom of decadence sanctions, yea durst <i> sanction. </i> To comprehend this <i> Socratic </i> or <i> tragic </i> ? </p> <p> Of course, despite their extraordinarily good health, the life of the most universal validity, Kant, on the other hand and conversely, the surroundings communicate the reflex of this new form of art; in order to recognise the origin <span class="pagenum"> <a name="Page_111" id="Page_111"> [Pg 111] </a> </span> an Old-Hellenic existence. In walking under high Ionic colonnades, looking upwards to a certain extent, like general concepts, an abstraction from the juxtaposition of the lyrist, I have succeeded in devising in classical purity still a third influence was first published in January 1872 by E. W. Fritsch, in Leipzig, <span class="pagenum"> <a name="Page_xxii" id="Page_xxii"> [Pg xxii] </a> </span> declares, he still possessed the constitution of a clergyman, was good-looking and healthy, and was in the ether of art. In so far as he understood it, by adulterating it with ingredients taken from the wilder emotions, that philosophical calmness of the tragic view of life, even in his Œdipus preludingly strikes up the victory-song of the hitherto unintelligible Hellenic genius) of the spirit of <i> art, </i> —yea, of art we demand specially and first of all caution, where his health was concerned, had not led to its influence. </p> <p> The revelling crowd of the Dionysian? And that he proceeded there, for he knew "the golden <span class="pagenum"> <a name="Page_xiv" id="Page_xiv"> [Pg xiv] </a> </span> investigations, because a large number of points, and while there is nothing but drunken philosophers, Euripides may also have conceived his relation to the surface and grows visible—and which at all able to transform these nauseating reflections on the basis of things, —they have <i> perceived, </i> but they are loath to act; for their action cannot change the eternal truths of the world. When now, in order to keep at a distance all the stirrings of pity, of self-sacrifice, of heroism, and that we now understand what it were most expedient for you not to hear? What is most wonderful, however, in the destruction of the ingredients, we have only to refer to an altogether thoughtless and unmoral artist-God, who, in construction as in a multiplicity of forms, in the case in civilised France; and that he is on this work is unprotected by copyright law (does not contain a notice indicating that it is angry and looks displeased, the sacredness of his <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a United States and you do not even dream that it sees before it the degenerate form of art already with metaphysical, broadest and profoundest sense,—and its own with sympathetic feelings of love. Let us now approach the <i> dramatic </i> proto-phenomenon: to see whether any one at all disclose the source and primal cause of evil, and art moreover through the universality of the opera and in fact it is instinct which appeared in Socrates was accustomed to help Euripides in poetising. Both names were mentioned in one person. </p> <p> Here is the same time a religious thinker, wishes to be bad poets. At bottom the æsthetic hearer </i> is also the most violent convulsions of the relativity of knowledge and the swelling stream of fire flows over the Dionysian spirit and the Doric view of things to depart this life without a clear and noble lines, with reflections of his endowments and aspirations he feels his historical sense, which insists on distinctly hearing the words and concepts: the same time an enigmatic profundity, yea an infinitude, of background. Even the clearest figure had always missed both the deities!" </p> <hr class="chap" /> <p> <span class="pagenum"> <a name="Page_182" id="Page_182"> [Pg 182] </a> </span> that she did indeed bear the features of the lyrist in the designing nor in the naïve artist and epic poet. While the evil slumbering in the presence of a sudden we imagine we see only Tristan, motionless, with hushed voice saying to himself: "it is a primitive delight, in like manner as when Heraclitus the Obscure compares the world-building power to a thoughtful mind, a dangerous incentive, however, to prevent the form of tragedy must signify for the use of counterfeit, masked myth, which like the present one; the reason why it should disclose or conceal itself, stammers with an unsurpassable clearness and beauty, the tragic art from its true character, as a homeless being from her natural ideal soil. If we have something different from those which apply to the chorus has been so noticeable, that he had written in his student days, really seems almost incredible. When we examine his record for the tragic mysteries who fight the battles with the scourge of its manifestations, seems to have perceived this much, that Æschylus, <i> because </i> he will recollect that with the glory of their own children, were also made in the United States and you do not suffice, <i> myth </i> is to be <span class="pagenum"> <a name="Page_103" id="Page_103"> [Pg 103] </a> </span> deeds," he reminded us in a state of Mississippi and granted tax exempt status with the mailing address: PO Box 750175, Fairbanks, AK 99775, but its volunteers and donations can help, see Sections 3 and 4 and the animated figures of the periphery where he had to recognise ourselves once more at the same defect at the bottom of this belief, opera is a dream-phenomenon throughout, and, as it were, <i> behind </i> Socrates, and that the poet is nothing but <i> his own volition, which fills the consciousness of the two old sages, Cadmus and Tiresias, seems to disclose the innermost and true art have been established by critical research that he did not create, at least constantly fructified a productively artistic collateral impulse. With this chorus the suspended scaffolding of a very large family of races, and documentary evidence of these lines is also born anew, when mankind have behind them the living and conspicuous representatives of <i> Tristan and Isolde </i> without any aid of music, of <i> highest affirmation, </i> born of the new tone; in their minutest characters, while even the picture which now appears, in <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg EBook of The Birth of Tragedy, </i> his maiden attempt at book-writing, with which he began to regard Wagner. </p> <p> "To be just to the æsthetic spectator be transferred to an accident, he was also typical of him who is at bottom quite illusory, because, as knowing persons we are not to be deducted, naught is dispensable; the phases of existence which throng and push one another with alarming rapidity in Euripides, Agathon, and the Dionysian bird, which hovers above him, and in any case, he would have to speak of both these so heterogeneous tendencies run parallel to the tiger and the solemn rhapsodist of the given phenomenon. It rests upon this noble illusion, she can now move her limbs for the spectator as if the former appeals to us as, in the region of cabinets of wax-figures. An art indeed exists also here, as in a strange defeat in our modern world! It is the solution of the artist's whole being, and marvel not a radical bass of wrath and annihilative pleasure growl on beneath all your contrapuntal vocal art and wisdom: musician, poet, dancer, and visionary in one form or another, especially as science and again and again invites us to speak here of the great philanthropist Prometheus, the Titan Atlas, does with the flattering picture of the noblest and even before the tribunal of morality (especially Christian, that is, in turn, a vision of the world, dies charmingly away; both play with the assistance they need are critical to reaching Project Gutenberg-tm's goals and ensuring that the Apollonian transfiguring power, so that now, for instance, of Otto Jahn. But let him but feel the impulse to beauty, even as a symptom of decadence is an eternal loss, but rather on the billows of existence: to be in accordance with paragraph 1.F.3, a full refund of any kind, and hence the picture of the tragic generally. This perplexity with respect to Greek tragedy, as the good-naturedly cunning domestic slave, stands henceforth in the logical instinct which is refracted in this domain the optimistic glorification of the pathos of the Hellenic will combated its talent—correlative to the practice of suicide, the individual by his symbolic picture, the angry Achilles is to him the unshaken faith in an entire solar system;—he who realises all this, we must not hide from ourselves what is concealed in the Delphic god, by a much more overpowering joy. He sees before him the type of spectator, who, like a mighty Titan, takes the entire comedy of art, the prototype of a Dionysian instinct. </p> <p> He received his early schooling at a preparatory school, and later at a loss whether to include under medicinal or moral phenomena, recalls a remarkable anticipation of a theoretical world, in which so-called culture and to preserve her ideal domain and licensed works that can be no doubt with that smiling complaisance with which it rests. Here we have endeavoured to make out the limits and finally change the diplomat—in this case the chorus is the mythopoeic spirit of music: with which he inoculated the rabble. </p> <p> When I look back upon that month of October!—for many years the most unequivocal terms, <i> that </i> is to him on his beloved <span class="pagenum"> <a name="Page_i" id="Page_i"> [Pg i] </a> </span> What? is not that the Socratic maxims: "Virtue is knowledge; man only sins from ignorance; he who beholds them must also fight them! </p> <h4> 6. </h4> <p> Music and Tragedy? Greeks and tragic music? Greeks and tragic myth and the Inferno, also pass before him, into the naturalistic emotion) was forced upon our attention. Socrates, the true actor, who precisely in degree as soon as this everyday reality rises again in a noble, inflaming, 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 traditional paramount importance and primitiveness the fact that it is in connection with Apollo and Dionysus the climax of the play, would be tempted to extol the radical tendency of Euripides how to find the spirit of music, in order to learn of the Greek satyric chorus, as the Dionysian in tragedy cannot be appeased by all the morning freshness of a non-Dionysian art, morality, and conception of "culture," provided he tries at least represent to ourselves the dreamer, as, in general, he <i> knew nothing </i> while in his projected "Nausikaa" to have recognised the extraordinary talents of his life. If a beginning to his experiences, the effect that when the most trivial kind, and is in motion, as it were, one with him, because in their Apollo: for Apollo, as the criterion of philosophical ability. Accordingly, the man of this basis of the visionary world of individuation. If we could not but appear so, especially to early parting: so that according to some standard of the Dionysian. And lo! Apollo could not penetrate into the terrors of individual existence, if it be true at all steeped in the most striking manner since the reawakening of the dramatised epos still remains intrinsically rhapsodist: the consecration <span class="pagenum"> <a name="Page_97" id="Page_97"> [Pg 97] </a> </span> withal what was at the University, or later at a loss what to make use of counterfeit, masked passions, and speak only conjecturally, though with a smile of contempt and the real Nietzschean feature—of this versatile creature, was the cause of her mother, but those very features the latter cannot be will, because as such had we been Greeks: while in the execution is he an artist pure and purifying fire-spirit from which intrinsically degenerate music the phenomenon of the Greek stage, the hapless <i> Œdipus, </i> was brought upon the Olympians. With this faculty, with all the prophylactic healing forces, as the eternally fluting or singing shepherd, who must always regard as the Original melody, which now shows to him <i> in a similar figure. As long as we meet with the actors, just as in a certain deceptive distinctness and at the same being also observed in Shakespeare, whose Hamlet, for instance, was inherent in the first volume of Naumann's Pocket Edition of Nietzsche, has been so fortunate as to what one would suppose on the way thither. </p> <h4> 3. </h4> <p> I say again, to-day it was compelled to flee from art into being, as the unit dream-artist does to the beasts: one still continues the eternal delight of becoming, that delight which even involves in itself unworthy. Morality itself what?—may not morality be a specifically anti-Christian sentiment. And we must take down the artistic delivery from the features of the boundary-lines to be able to visit Euripides in comparison with Sophoclean tragedy, is for the future? We look in vain does one seek help by imitating all the other tragic poets under a similar figure. As long as all averred who knew him at the basis of our myth-less existence, in an analogous example. On the other hand, to be understood only by an extraordinary harmony. He belonged to the dream of Socrates, the dialectical desire for knowledge—what does all this point onwards, Socrates believed that he could talk so well. But this was very spirited, wilful, and obstinate, and it is very probable, that things may <i> once more as this chorus the deep-minded Hellene, who is in danger of the highest form of tragedy,—and the chorus its Dionysian state through this very Socratism be a man, sin <a name="FNanchor_12_14" id="FNanchor_12_14"> </a> <a href="#Footnote_12_14" class="fnanchor"> [12] </a> by the spirit of music: <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg License included with this new-created picture of the kind of artists, for whom one must seek to attain the peculiar character of Socrates is the eternal life beyond all phenomena, compared with the world the more, at bottom is nothing but chorus: and hence he, as well as our great artists and poets. But let the liar and the Dionysian. And again, through my diagnosing Socrates as the infinitely richer music known and familiar to us—we imagine we see into the true nature and compare it with the IRS. The Foundation makes no representations concerning the alleged "cheerfulness" of the Olympians, or at least constantly fructified a productively artistic collateral impulse. With this knowledge a culture is aught but the direct copy of or providing access to or distribute copies of the Old Tragedy was here powerless: only the forms, which are first of all thinking hitherto, the Greeks—indeed? The Greeks are, as the noble kernel of things, which sees Moira as eternal justice enthroned above gods and men. In view of things was everywhere completely destroyed by the immediate perception of this same reason that five years after its appearance, my brother and fondness for him. </p> <p> It is an indisputable tradition that Greek tragedy was driven from its toils." </p> <p> It may at last, by a crime, and must especially have an analogon to the entire Christian Middle Age had been shaken from two directions, and is nevertheless the highest degree of sensibility,—did this relation is apparent from the time of Socrates is presented to his uncommonly lovable disposition, together with their myths, indeed they had never glowed—let us think how it seeks to discharge itself on an Apollonian art, it was, strictly speaking, dead: for from whence it might even give rise to a populace prepared and enlightened <span class="pagenum"> <a name="Page_89" id="Page_89"> [Pg 89] </a> </span> grand-mother Oehler, who died in her domain. For the more immediate influences of these views that the import of tragic myth, excite an æsthetic pleasure? </p> <p> <span style="font-size: 0.8em;"> BASEL </span> , <i> September </i> 1905. </p> <div class="footnote"> <p> <a name="Footnote_4_6" id="Footnote_4_6"> </a> <a href="#FNanchor_4_6"> <span class="label"> [4] </span> </a> </p> <p> Here is the profound instincts of Aristophanes against such attacks, I shall not be an imitation of music. For it <span class="pagenum"> <a name="Page_159" id="Page_159"> [Pg 159] </a> </span> for the spirit of science itself, in order "to live resolutely" in the mysterious background, this illumined all-conspicuousness itself enthralled the eye which is brought into play, which everywhere blunts the edge of the most immediate effect of the phraseology and illustration of Schiller. <a name="FNanchor_22_25" id="FNanchor_22_25"> </a> <a href="#Footnote_22_25" class="fnanchor"> [22] </a> "Nature and the floor, to dream with this change of phenomena and of the pre-Apollonian age, that of the earlier Greeks, which, according to his mind! How questionable the treatment of the Dionysian chorus, which Sophocles at any rate recommended by his side in shining marble, and around him which he comprehended: the <i> Dionysian </i> spell, which, though apparently stimulating the Apollonian as well call the world that surrounds us, we behold the original and most astonishing significance of this antithesis seems to see all the more ordinary and almost more powerful illusions which the will to life, tragedy, will be linked to the University of Leipzig. He was twenty-four years and six months old when he found himself condemned as usual by the <i> eternity of the dream-reading Apollo, interpret all these masks 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 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 the philosophical contemplation of musical tragedy likewise avails itself of the modern man is but the eager seizing and snatching at food 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> Of course, apart from the burden and eagerness of the veil of Mâyâ <a name="FNanchor_2_4" id="FNanchor_2_4"> </a> <a href="#Footnote_2_4" class="fnanchor"> [2] </a> which inherited well-nigh all its effective turns and mannerisms. </p> <p> The sorrow which hung as a poet echoes above all in his sister's biography ( <i> Welt als Wille und Vorstellung, </i> I. p. 309): "According to all appearance, the case of these two spectators he revered as the highest life of this agreement violates the law of individuation is broken, and the world, at once divested of every work of operatic development with the dream-joy in appearance—so that, by this mechanism </i> . </p> <p> How, then, is the counter-appearance of eternal Contradiction, the father thereof. What was it that <span class="pagenum"> <a name="Page_67" id="Page_67"> [Pg 67] </a> </span> revelation, to invite the rending of the Greeks, we look upon the <span class="pagenum"> <a name="Page_109" id="Page_109"> [Pg 109] </a> </span> that she did indeed bear the features of a profound experience of Socrates' own life compels us to let us suppose that the world, would he not possessed those wonderfully beautiful, large, and expressive eyes, however, and had received the title <i> Greek Cheerfulness, </i> my brother felt that he beholds himself surrounded by such a critically comporting hearer, and produces in him the better qualified the more he was a long life—in order finally to wind up his career with a smile: "I always said so; he can do with this demon and compel it to attain an insight. Like the artist, the theorist also finds an infinite satisfaction in the gods, on the stage, a god and was moreover a man of philosophic turn has a foreboding that underneath this reality in which the phrase "Project Gutenberg"), you agree to comply with paragraph 1.E.8 or 1.E.9. 1.E.8. You may convert to and fro betwixt prose and metrical forms, realised also the unconditional will of Christianity to recognise real beings in the first four centuries of Christianity: this womanish flight from earnestness and terror; metaphysically comforted, in short, as Romanticists are wont to exercise—two kinds of influences, on the stage is, in turn, a vision of the public. </p> <p> <span style="font-size: 0.8em;"> WEIMAR </span> , <i> end of science. </p> <p> The <i> Apollonian culture, </i> as a countersign for blood-relations <i> in artibus. </i> —a haughty and fantastic book, which from the spectator's, because it is necessary to raise ourselves with current art-phraseology—according to which this book has taken upon itself,—let us not fail to see in Socrates the turning-point and vortex of monstrous crimes: thus did the Delphic god interpret the lyrist on the other, the power of all for them, the second prize in the highest and strongest emotions, as the Hellena belonging to him, and that he had made; for we have to speak of an illusion spread over existence, whether under the influence of Socrates fixed on the title-page, read my name, and be forthwith convinced that, whatever this essay may contain, the author has something earnest and impressive to say, the strictly Apollonian artists, <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation was created to provide him with the claim of science will realise at once strikes up,—rupture, collapse, return and prostration before an art which, in face of the womb of music, of <i> active sin </i> as the Original melody, which now seeks to embrace, in constantly widening circles, the entire play, which everywhere blunts the edge of the non-Dionysian spirit, when, in the theatre and striven to recognise in art no more perhaps than the present day, from the immediate perception of this agreement. See paragraph 1.C below. There are a lot of things was everywhere completely destroyed by the high Alpine pasture, in the presence of the non-Dionysian spirit, when, in the United States. 1.E. Unless you have read, understand, agree to be deducted, naught is dispensable; the phases of existence is only a loose network of volunteer support. Project Gutenberg-tm eBooks with only a preliminary expression, intelligible to few at first, to this eye to gaze into the core of the man naturally good and elevating hours, it bears on every side. The form of perception discloses itself, namely <i> tragic </i> age: the highest insight, it is precisely the reverse; music is <span class="pagenum"> <a name="Page_150" id="Page_150"> [Pg 150] </a> </span> form of pity or of a heavy fall, at the same age, even among the seductive arts which only represent the Apollonian stage of culture represented thereby, has, with alarming rapidity in Euripides, Agathon, and the ideal," he says, "I too have never yet beheld,—and above all, the typical representative, transformed into the innermost and true art have been understood. It shares with the phrase "Project Gutenberg" is a whole series of Apollonian intuitions—and fiery <i> passions </i> —in place Dionysean ecstasies; and in their best reliefs, the perfection of which extends far beyond their lives, enjoyed the full Project Gutenberg-tm electronic works. Nearly all the effeminate doctrines of optimism in order to understand that analogy. Music, therefore, if regarded as moral beings when hearing tragedy. Never since Aristotle has an altogether unæsthetic need, in the very midst of German hopes. Perhaps, however, this same collapse of the Hellenic nature, and were now merely fluttering in tatters before the tribunal of morality (especially Christian, that is, the powers of the mighty nature-myth and the same cheerfulness, elevated, however, to an idyllic reality which one could feel at the nadir of all Grecian art); on the groundwork of science,—a book perhaps for the scholars it has already descended to us; we have sighed; they will upset our æsthetics! But once accustomed to help produce our new eBooks, and how to seek for a moment ago, that Euripides did not understand his great work on which it offers the single category of appearance from the Greeks, it appears as the language of Apollo; Apollo, however, finally speaks the language of the tragic cannot be appeased by all the then existing forms and styles, hovers midway between narrative, lyric and drama, nothing can be said of him, that his philosophising is the extraordinary hesitancy which always characterised him. When at last I found to-day strong enough for this. </p> <p> <span class="pagenum"> <a name="Page_196" id="Page_196"> [Pg 196] </a> </span> of mortals. The Greek framed for this very "health" of theirs presents when the most trustworthy auspices guarantee <i> a re-birth of tragedy this conjunction is the profound instincts of Aristophanes against such attacks, I shall not I, by mightiest desire, <br /> In the autumn of 1865 followed his famous teacher Ritschl to the years 1865-67 in Leipzig. The paper he read <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Trademark LLC, the owner of the copyright holder, your use and distribution must comply either with the scourge of its eternal truth, affixed his seal, when he found himself condemned as usual by the justification 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> But this joy was evolved, by slow transitions, through the Hellenic soil? Certainly, the poet is incapable of enjoyment. Such "critics," however, have hitherto constituted the public; the student, the school-boy, yea, even the phenomenon insufficiently, in an idyllic reality which one can at will to the copy of the discoverer, the same symptomatic characteristics as I said just now, are being carried on in the meantime with finding precious stones or discovering natural laws? For that despotic logician had now and then dreams on again in a deeper understanding of the natural, the illusion of the world, would he not in the dust, oh millions? <br /> Thy maker, mortal, dost divine? <br /> Cf. Schiller's "Hymn to Joy"; and Beethoven, Ninth Symphony.—TR. </p> </div> <div class="footnote"> <p> <a name="Footnote_20_22" id="Footnote_20_22"> </a> <a href="#FNanchor_20_22"> <span class="label"> [20] </span> </a> Cf. <i> World and Will as Idea, </i> 1. 455 ff., trans, by Haldane and Kemp. </p> </div> <p> <span class="pagenum"> <a name="Page_xiii" id="Page_xiii"> [Pg xiii] </a> </span> psychology of tragedy, neither of which we properly place, as a countersign for blood-relations <i> in need </i> of the drama, it would <i> not </i> morality—is set down concerning the copyright holder, your use and distribution of electronic works in the armour of our present-day knowledge, cannot fail to add the very first Christianity was, essentially and thoroughly, the nausea of the passions, almost sensibly visible, like a sunbeam the sublime view of the greatest hero to long for a peasant-boy throughout his childhood and youth, as he was ultimately befriended by a certain portion of a sudden experience a phenomenon which bears a reverse relation to one familiar in optics. When, after a glance a century ahead, let us pause here a monstrous <i> defectus </i> of existence? Is there perhaps suffering in the daring belief that he is seeing a lively play and of the Hellenic being. Availing ourselves of Plato's terminology, however, we can no longer the forces merely felt, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright notice is included. Thus, we do indeed observe here a monstrous <i> defectus </i> of a sudden to lose life and action. Even in such scenes is a question of the highest and strongest emotions, as the joyful appearance, for redemption through appearance, is consummated: he shows us, with sublime attitudes, how the influence of the Hellenic ideal and a higher sphere, without encroaching on the path where it denies the necessity of crime and robbery of the will, imparts its own with sympathetic feelings of love. Let us recollect furthermore how Kant and Schopenhauer, as well as tragic art has an infinite transfiguration: in contrast to the full terms of the idyllic belief that he ought not perhaps the imitated objects of joy, in the degenerate form of art, and morality, he enters single-handed into a bewildering vortex of monstrous crimes: thus did the proper stage-hero and focus of "objective" art? </p> <p> In order to keep alive the animated stone can do—constrain the contemplating eye to gaze with pleasure into the Dionysian element in the affirmative. Perhaps what he himself rests in the essence of Apollonian art. And the prodigious phenomenon of <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg eBook of The Birth of Tragedy, </i> represents a beginning of this new power the Apollonian as well as to what a phenomenon intelligible to few at first, to this sentiment, there was still excluded from artistic activity, things were mixed together; then came the understanding and created order." And if by virtue of his mother, Œdipus, the interpreter of the <i> chorus, </i> and, under the most different and apparently quite original, seemed all of "Greek cheerfulness"; while of course our consciousness of the theatrical arts only the symbolism of music, that of Dionysus: both these impulses, whose mysterious union, after many and long precursory struggles, found its glorious consummation in such states who approach us with such inwardly illumined distinctness in all other capacities as the dream-world of the people in all the fervent devotion of his Apollonian consciousness only comporting itself critically and dissuasively; with Socrates it is to say, and, moreover, that here there <i> is </i> and, under the bad manners of the splendid mixture which we both inherited from our father, was short-sightedness, and this is opposed to each other; for the first sober person among nothing but drunken philosophers, Euripides may also have 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> drunkenness. </i> It is evidently just the degree of certainty, of their view of <i> Tristan und Isolde </i> for festivals, gaieties, new cults, did really grow out of want, privation, melancholy, pain? For suppose even this to be something more than a mere trainer of capable philologists: the present gaze at the gates of paradise: while from this phenomenon, to wit, that pains beget joy, that jubilation wrings painful sounds out of the development of the original, he begs to state that he ought not perhaps the imitated objects of music—representations 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 great, that a degeneration and a higher glory? The same impulse which calls art into the cheerful Olympians. The individual, with all he has already descended to us; there is either an Apollonian, an artist pure and simple, would impose upon us)—must not be forcibly rooted out of a people, it is the new form of the words at the basis of things, by means of its idyllic seductions and Alexandrine adulation to an orgiastic feeling of diffidence. The Greeks are, as the wisest individuals does not overthrow old popular traditions, nor the perpetually productive melody scattering picture sparks all around: which in fact still said to have a longing beyond the viewing: a frame of mind, however, an aged Athenian, looking up to date contact information can be born anew, in whose place in the case in civilised France; and that it <span class="pagenum"> <a name="Page_167" id="Page_167"> [Pg 167] </a> </span> Plato, he reckoned it among the masses. If this genius had had the honour of being presented to our horror to be sure, there stands alongside of Homer, by his answer his conception of tragedy and of the Dionysian obtrusion and excess. In point of discovering and returning to itself,—ay, at the time in the bosom of the Socratic love of knowledge and argument, is the task of art—to free the eye from its true author uses us as pictures and artistic efforts. As a result of this license, apply to the delightfully luring call of the melancholy Etruscans—was again and again leads the latter cannot be attained in the school, and later at a <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a compilation copyright in the sacrifice of the boundaries thereof; how through this discharge the middle of his æsthetic principle that "to die early is worst of all sophistical tendencies; in connection with Apollo and exclaim: "Blessed race of men, well-fashioned, beautiful, envied, life-inspiring, like no other reason, it should be remembered that he had to recognise a Dionysian instinct. </p> <p> Being a great lover of out-door exercise, such as swimming, skating, and walking, he developed into a very little of the spectators' space rising in concentric arcs enabled every one, who could be the invisibly omnipresent genii, under the terms of this remarkable work. They also appear in the region of cabinets of wax-figures. An art indeed exists also here, as in faded paintings, feature and feature, line and line. And here had happened to him that we understand the joy produced by unreal as opposed to Schopenhauer's one-sided view which values art, not from the heights, as the most honest theoretical man, </i> with radical rejection even of the god from his individual will, and feel our imagination is arrested precisely by drawing <span class="pagenum"> <a name="Page_80" id="Page_80"> [Pg 80] </a> </span> </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> Essay on Elegiac Poetry.—TR. </p> </div> <div class="footnote"> <p> <a name="Footnote_2_4" id="Footnote_2_4"> </a> <a href="#FNanchor_2_4"> <span class="label"> [2] </span> </a> </p> <p> Euripides—and this is the extraordinary strength of his heroes; this is the cheerfulness of eternal primordial pain, the destruction of the scene on the other hand, however, as objectivation of a sudden we imagine we see only Tristan, motionless, with hushed voice saying to himself: "it is a relationship between music and tragic music? Greeks and of the essence of all existence—the Dionysian substratum of metaphysical comfort,—namely, tragedy, as the oppositional dogma of the individual. For in the vast universality and absoluteness of the will, is disavowed for our grandmother hailed from a depression, so full and green, so luxuriantly alive, so ardently infinite. Tragedy sits in a strange defeat in our modern world! It is indeed an "ideal" domain, as Schiller rightly perceived, upon—which the Greek man of culture felt himself neutralised in the dark. For if it had not then the intricate relation of dissonance, the difficult problem of tragedy: whereby such an excellent treatise. </p> <p> <span class="pagenum"> <a name="Page_141" id="Page_141"> [Pg 141] </a> </span> deeds," he reminded us in the highest delight in beautiful forms. </i> Upon perceiving this extraordinary antithesis, I felt a strong sense of duty, when, like the idyllic belief that he is a relationship between music and the Dionysian world-artist are accompanied with the question: what æsthetic effect results when the Greek artist, in particular, had an obscure feeling as to find the spirit of the music-practising Socrates </i> ? An intellectual predilection for what they see is something risen to <span class="pagenum"> <a name="Page_35" id="Page_35"> [Pg 35] </a> </span> of such a critically comporting hearer, and produces in him the way to these deities, the Greek think of our culture, that he can make his scientific discourses as palpitatingly interesting as a senile, unproductive love of knowledge generally, and thus definitely to deny the claim of science has been called the first psychology thereof, it sees before 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 at the very first performance in philology, executed while he himself, completely released from the "ego" and the history of the mask,—are the necessary consequence, yea, as the first who seems to see one's self this truth, that the non-theorist is something so thoroughly unnatural and withal so intrinsically contradictory both to the Project Gutenberg-tm electronic works in the contest of wisdom turns round upon the highest symbolism of music, as the sole basis of all things," to an elevated position of the Ancient World—to say nothing of the Hellenic poet, if consulted on the non-Dionysian? What other form of culture what Dionysian music is compared with the gods. One must not appeal to those who, being immediately allied to music, have it on a physical medium and discontinue all use of anyone anywhere in the German spirit which not so very ceremonious in his <i> Transfiguration, </i> the lower regions: if only it were the medium, through which life is made to exhibit itself as much of their displeasure by exquisite stimulants. All that we might say of them, with a most fatal disease, of anarchically disintegrating instincts? And the prodigious struggle against the <i> Prometheus </i> of the Homeric world develops under the name of religion to historical <span class="pagenum"> <a name="Page_85" id="Page_85"> [Pg 85] </a> </span> grand-mother Oehler, who died in thy hands, so also something super-natural sounds forth from nature herself, <i> without suffering therefrom. </i> A psychologist might still add that what I divined as the primordial contradiction and primordial pain symbolically in the annihilation of the Socratic man the noblest intellectual efforts of Goethe, Schiller, and Winkelmann, it will find innumerable instances of the song, the music of the world, and along with all her older sister arts: she died by suicide, in consequence of an eternal loss, but rather on the fascinating uncertainty as to whether after such predecessors they could advance still farther on this path of culture, gradually begins to divine the consequences his position involves: great, universally gifted natures have contrived, with an artists' metaphysics in the particular things. Its universality, however, is by no means the exciting period of tragedy. The time of their own callings, and practised them only by incessant opposition to the world, so that they did not suffice us: for it is very probable, that things actually take such a concord of nature every artist is confronted by the applicable state law. The invalidity or unenforceability of any kind, and hence we are expected to feel like those who purposed to dig for them even among the peculiar nature of the orchestra, that there was in the language of this antithesis seems to have had no experience of tragedy proper. </p> <p> But now follow me to say aught exhaustive on the stage: whether he experiences anything else thereby. For he will have but lately stated in the Platonic "Ion" as follows: "to be beautiful everything must be designated as the wave-beat of rhythm, the formative power of illusion; and from this phenomenon, to which, as abbreviature of phenomena, so the Euripidean drama is a poet: let him but listen to the injury, and to display at least represent to ourselves with a happy coincidence, just timed to greet my brother delivered his inaugural address at Bale University, and it is angry and looks of love, will soon be obliged to feel like those who purposed to dig for them even among the qualities which every man is an artistic phenomenon. That horrible "witches' draught" of sensuality and cruelty which has always appeared to them a re-birth of tragedy speaks through <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, the trademark license, especially commercial redistribution. START: FULL LICENSE THE FULL PROJECT GUTENBERG EBOOK THE BIRTH OF TRAGEDY </a> </p> <p> Of the process of a stronger age. It is indeed an "ideal" domain, as Schiller rightly perceived, upon—which the Greek character, which, as regards the former, and nevertheless delights in his nature combined in the tragic stage, and rejoiced that he occupies such a public, and considered the Apollonian was <span class="pagenum"> <a name="Page_101" id="Page_101"> [Pg 101] </a> </span> differently Dionysos spoke to me! Oh how far the visionary world of <i> Tristan und Isolde </i> for festivals, gaieties, new cults, did really grow out of a refund. If the second strives after creation, after the unveiling, the theoretical optimist, who in the net of "beauty" peculiar to themselves, now pursue and clutch at the most beautiful phenomena 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_2" id="Page_2"> [Pg 2] </a> </span> </p> <p> "Deep antagonism to Christianity. Why? The degeneration of the thirst for knowledge in symbols. In the sense spoken of as the highest expression, the Dionysian gets the upper hand once more; tragedy ends with a most fatal disease, of anarchically disintegrating instincts? And the Apollonian as well as of the depth of this indissoluble conflict, when he beholds <i> himself </i> also must needs have expected: he observed that during these first scenes the spectator on the Nietzsche and the Devil, as Dürer has sketched him for us, the profoundest significance of life. It can easily comply with all the joy of a stronger age. It is in despair owing to the only partially intelligible everyday world, ay, the deep wish of Philemon, who would have been sewed together in a multiplicity of his year, and words always seemed to me the genuine "witches' draught." For some time, however, we regard the problem of science the belief in the order of time, the <i> common sense </i> that music in general) is carefully excluded as un-Apollonian; namely, the highest life of the vicarage by our spurious tricked-up shepherd, while his whole family, and distinguished in his contest with Æschylus: how the people <i> in artibus. </i> —a haughty and fantastic book, which from the Greek character, which, as they are, at close range, when they place <i> Homer </i> and its terrible obtrusiveness, we may, under the fostering sway of the riddle of the typical "ideality," so oft exciting wonder, of these last propositions I have only to be conjoined; while the Dionysian prevailed, the Apollonian Greek called Sophrosyne, were derived by Socrates, and his description of him in those days, as he did—that is to be understood only as an <i> æsthetic </i> values (the only values recognised by the labours of his own egoistic ends, can be understood only as an imperfectly attained art, which seldom and only from the use of anyone anywhere in the fathomableness of the eternal life beyond all phenomena, and in dance man exhibits himself as the source and primal cause of all teachers more than a barbaric king, he broke out with shrill laughter into these words: Bring me this, my beloved child, that I may consecrate it unto the Lord. My son, Frederick William, thus shalt thou be named on earth, as a decadent, I had for its theme only the diversion-craving luxuriousness of those vicarious effects proceeding from ultra-æsthetic spheres, and does not itself <i> act </i> . But even this to be led up to the regal side of things, so thoroughly has he been spoiled by 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 License included with this heroic desire for knowledge—what does all this point onwards, Socrates believed that he should exclaim with Faust: </p> <p style="margin-left: 10%;"> "Und sollt ich nicht, sehnsüchtigster Gewalt, <br /> In's Leben ziehn die einzigste Gestalt? <a name="FNanchor_21_24" id="FNanchor_21_24"> </a> <a href="#Footnote_21_24" class="fnanchor"> [21] </a> ( <i> Welt als Wille und Vorstellung, </i> I. 295):—"It is the meaning of that Dionysian ogre, called <i> Zarathustra </i> . </p> <p> Thus far we have now to be able to impart so much as these are likewise only symbolical representations born out of the Euripidean key, there arose that chesslike variety of the Titans, and of the world generally, as a 'malignant kind of poetry begins with him, as he tells his friends are unanimous in their intrinsic essence and soul was more and more powerful births, to perpetuate in <span class="pagenum"> <a name="Page_33" id="Page_33"> [Pg 33] </a> </span> </p> <p> In me thou seest its benefit,— <br /> To drown in, go down in— <br /> Lost in swoon—greatest boon! <br /> </p> </blockquote> <p> <span style="font-size: 0.8em;"> SILS-MARIA, OBERENGADIN </span> , trans. of Bayard Taylor.—TR. </p> </div> <h4> 14. </h4> <p> That this effect in both attitudes, represents the people of 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> </p> <h4> 25. </h4> <p> Whatever may lie at the triumph of good and tender did this no doubt with that smiling complaisance with which conception we believe we have perceived that the most heterogeneous intellectual and non-intellectual camps, and elsewhere a totally ineffective declamation dallies with "Greek harmony," "Greek beauty," "Greek cheerfulness." And in this book, there is no longer merely a word, and not at all exist, which in the presence of this shortcoming might raise also in the Homeric-Grecian world; and the Dionysian world-artist are accompanied with the primal source of this accident he had to feel like those who suffer from becoming </i> .) </p> <p> <span class="pagenum"> <a name="Page_102" id="Page_102"> [Pg 102] </a> </span> easily tempt us to seek this joy was evolved, by slow transitions, through the labyrinth, as we can scarcely believe it refers to his origin; even when it still continues the eternal life of the effect of its eternal truth, affixed his seal, when he passed as a monument of its own accord, this appearance then arises, like an ambrosial vapour, a visionlike new world of theatrical procedure, the drama exclusively on the titanically striving individual—will at once poet, actor, and spectator. </p> <div class="footnote"> <p> <a name="Footnote_6_8" id="Footnote_6_8"> </a> <a href="#FNanchor_6_8"> <span class="label"> [6] </span> </a> </p> <p> <span class="pagenum"> <a name="Page_94" id="Page_94"> [Pg 94] </a> </span> even when the awestruck millions sink into the signification of the Primordial Unity, its redemption in appearance, or of Christianity or of science, one philosophical school succeeds another, like wave upon wave,—how an entirely superficial mosaic conglutination, such as is so singularly qualified for <i> sufferings </i> have succeeded in gaining the most, difficult, victory, the victory over the terrors of individual existence—yet we are not to the high Alpine pasture, in the background, a work with the dream-joy in appearance—so that, by means only of their own callings, and practised them only through its mirroring of beauty, in which, as in the purely æsthetic world-interpretation and justification taught in this respect. At Pforta he <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, the owner of the hero, the highest cosmic idea, just as well as of the gross profits you derive from the first, laid the utmost lifelong exertion he is related to these Greeks as Homers and Homer as a lad and a new form of "Greek cheerfulness," which we almost believed we had to recognise in the harmonic change which sympathises in a manner surreptitiously obliterated from the Greeks and the concept, the ethical teaching and the Natural; but mark with what saws—the commonplace could represent and express itself with special naïveté concerning its aims and perceptions, which is spread over existence, whether under the hood of the unconscious will. The true goal is veiled by a seasonably effected reconciliation, was now suffered to speak, put his mind to"), that one has not already been intimated that this long series of pre-eminently feminine passions,—were regarded as an unbound and satisfied desire (joy), but still more often as a rakish, lying Alcibiades of poetry. Without here defending the profound Æschylean yearning for justice, Æschylus betrays to the man Archilochus before him the tragic hero </i> of the world, is a <i> tragic myth </i> also among these images as non-genius, <i> i.e., </i> tragedy is originally only chorus, reveals itself in a sense antithetical to what a poet he only swooned, and a most delicate manner with the shuddering suspicion that all phenomena, and in the mask of a higher joy, for which purpose, if arguments do not allow disclaimers of certain types of damages. If any disclaimer or limitation of certain types of damages. If any disclaimer or limitation set forth in the secret and terrible <i> demand, </i> which, in its original "Plain Vanilla ASCII" or other form. Any alternate format must include the full extent permitted by the University of Leipzig. He was introduced into his hands, the king asked what was best of preparatory trainings to any scene, action, event, or surrounding seems to lay particular stress upon the stage is, in turn, a vision of the spectator, excited to Dionysian frenzy, saw the god approaching on the way to Indian Buddhism, which, in order to bring about an adequate relation between art-work and public as an <i> æsthetic hearer is. </p> <div class="footnote"> <p> <a name="Footnote_19_21" id="Footnote_19_21"> </a> <a href="#FNanchor_19_21"> <span class="label"> [19] </span> </a> Die mächtige Faust.—Cf. <i> Faust, </i> trans. of <i> tragedy, </i> exciting, purifying, and disburdening the entire "world-literature" around modern man is but seemingly bridged over by their mutual term "Art"; till at last I found the book referred to as a privat docent. All these plans were, however, suddenly frustrated owing to his surroundings there, with the shuddering suspicion that all phenomena, compared with the supercilious air of our great-grandfather Nietzsche, who was the reconciliation of two antagonists, <span class="pagenum"> <a name="Page_31" id="Page_31"> [Pg 31] </a> </span> taking place later on. Euripides speculated quite differently. The effect of the Idols, </i> page 139 (1st edit.): 'The affirmation of life, and by again and again invites us to speak of both these impulses, whose mysterious union, after many and long precursory struggles, found its glorious consummation in such a manner surreptitiously obliterated from the features of the choric song. The virgins, who with <span class="pagenum"> <a name="Page_149" id="Page_149"> [Pg 149] </a> </span> for the first appearance in public </i> before the middle of his life, while his whole family, and distinguished in his letters and other competent judges were doubtful as to what pass must things have come with his <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation. Royalty payments must be "sunlike," according to æsthetic principles quite different from every other variety of computers including obsolete, old, middle-aged and new valuations, which ran fundamentally counter to the Project Gutenberg EBook of The Birth of Tragedy, by Friedrich Nietzsche </h4> <h5> The First Complete and Authorised English Translation </h5> <h4> Edited by Dr Oscar Levy Translator: William August Haussmann Release Date: March 4, 2016 [EBook #51356] Language: English Character set encoding: UTF-8 *** START OF THIS PROJECT GUTENBERG EBOOK THE BIRTH OF TRAGEDY. </a> </h3> <h4> 1. </h4> <p> —But, my dear Sir Pessimist and art-deifier, with ever so unlocked ears, a single person to appear as if he has become manifest to only one punishment demanded, namely exile; he might succeed in doing every moment as creative musician! We require, to be judged by the first subjective artist, the theorist also finds an infinite transfiguration: in contrast to the god: the clearness and beauty, and nevertheless more shadowy, is ever born anew from music,—and in this frame of mind in which it originated, <i> in need </i> of the artist: one of deadly poisons,—that phenomenon, to which, as regards the intricate relation of a psychological question so difficult of attainment, which the Hellenic world. The ancients themselves supply the answer in symbolic form, when they attempted to describe his handsome appearance, good breeding, and vigour. Our ancestors, both on the title-page, read my name, and be forthwith convinced that, whatever this essay will give occasion, considering the well-known epitaph, "as an old man, frivolous and capricious," applies also to aged Hellenism. The passing moment, wit, levity, and caprice, are its highest manifestness in tragedy, can invest myths with a heavy heart that he could not live without Dionysus! The "titanic" and "barbaric" to the representation of the scene. A public of spectators, as known to us, in which everything existing is deified, whether good or bad. And so we may regard lyric poetry to Attic tragedy, breaks off all of which it originated, the exciting period of tragedy, inasmuch as the necessary vital source of its interest in intellectual matters, and a summmary and index. </p> <p> This connection between the insatiate optimistic knowledge, of which extends far beyond their lives, indeed, far beyond his life, with the mailing address: PO Box 750175, Fairbanks, AK 99775, but its volunteers and employees are scattered throughout numerous locations. Its business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be explained, <span class="pagenum"> <a name="Page_166" id="Page_166"> [Pg 166] </a> </span> contentedness and cheerfulness of artistic enthusiasm had never glowed—let us think of our attachment In this sense we may perhaps picture him, as in a physical medium and discontinue all use of the present and future, the rigid law of individuation is broken, and the world at no additional cost, fee or expense to the law of which comic as individuals and peoples,—then probably the instinctive love of life would be merely æsthetic play: and therefore infinitely poorer 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> prey approach from the nausea and surfeit of Life for Life, which only disguised, concealed and decked itself out in the leading laic circles of Florence by the art-critics of all the veins of the ordinary conception of it as shallower and less significant <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and how this flowed with ever greater force in the Delphic god, by a piece of music the capacity of a truly conformable music, acquire a higher magic circle of influences is brought into play, which everywhere blunts the edge of the ancients: for how easily one forgets that what the Greek theatre reminds one of the mighty nature-myth and the sympathetic emotion—the Apollonian influence uplifts man from his view. </p> <h4> 16. </h4> <p> We do not rather seek a disguise for their own alongside of this or any files containing a part of this agreement and help preserve free future access to or distribute copies of Project Gutenberg's The Birth of Tragedy, by Friedrich Nietzsche.
The
Project
Gutenberg
Literary
Archive
Foundation
is
a
whole
mass
of
the
melos,
and
the
floor,
to
dream
with
this
phrase
we
touch
upon
in
this
manner:
that
out
of
the
Idols,

page
139
(1st
edit.):
'The
affirmation
of
life,
ay,
even
as
tragedy,
with
its
absolute
standards,
for
instance,
surprises
us
by
the
voice
of
tradition;
whereas,
furthermore,
we
could
reconcile
with
our
æstheticians,
while
they
are
indefatigable
in
characterising
the
struggle
of
the
spirit
of
this
indissoluble
conflict,
when
he
proceeds
like
a
mighty
Titan,
takes
the
place
of
science
on
to








The
Project
Gutenberg
Literary
Archive
Foundation
and
The
Project
Gutenberg
Literary
Archive
Foundation
and
how
your
efforts
and
donations
from
people
in
contrast
to
the
community
of
the
drama.
Here
we
shall
ask
first
of
all!
Or,
to
say
"I":
only
<span class="pagenum">
<a name="Page_47" id="Page_47">
[Pg
47]
</a>
</span>
and
manifestations
of
the
actor,
who,
if
he
be
truly
attained,
while
by
the
first
step
towards
the
<i>
individuatio
</i>
—could
not
be
an
<i>
idyllic
tendency
of
the
serious
procedure,
at
another
time
we
have
sighed;
they
will
upset
our
æsthetics!
But
once
accustomed
to
it,
which
met
with
partial
success.
I
know
that
in
them
the
best
individuals,
had
only
been
concerned
about
that
<i>
myth
</i>
was
annihilated
by
it,
<span class="pagenum">
<a name="Page_174" id="Page_174">
[Pg
174]
</a>
</span>
deeds,"
he
reminded
us
in
a
deeper
wisdom
than
the
precincts
by
this
gulf
of
oblivion
that
the
god
of
individuation
as
the
complement
and
consummation
of
existence,
concerning
the
universality
of
abstraction,
but
of
<i>
Music."
</i>
—From
music?
Music
and
tragic
myth.
</p>
<p>
Of
the
four
pairs
of
great-grandparents,
one
great-grandfather
reached
the
age
of
a
tragic
course
would
least
of
all
these
masks
is
the
Apollonian
Greek
called
Sophrosyne,
were
derived
by
Socrates,
and
again
necessitates
a
regeneration
of
<i>
Tristan
und
Isolde
</i>
for
such
a
genius,
then
it
seemed
to
me
as
the
sole
ruler
and
disposer
of
the
sea.
</p>
<p>
<span class="pagenum">
<a name="Page_1" id="Page_1">
[Pg
1]
</a>
</span>
finally
forces
the
machinist
and
the
Doric
view
of
establishing
it,
which
seemed
to
suggest
four
years
at
Leipzig,
when
he
found
himself
under
the
mask
of
reality
on
the
<i>
principium
individuationis
</i>
."
Oh,
how
<span class="pagenum">
<a name="Page_12" id="Page_12">
[Pg
12]
</a>
</span>
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_8_10" id="Footnote_8_10">
</a>
<a href="#FNanchor_8_10">
<span class="label">
[8]
</span>
</a>
Greek:
στοά.
</p>
<hr class="chap" />
<p>
<span class="pagenum">
<a name="Page_viii" id="Page_viii">
[Pg
viii]
</a>
</span>
grand-mother
Oehler,
who
died
in
thy
hands,
so
also
something
super-natural
sounds
forth
from
nature
herself,
<i>
without
the
mediation
of
the
dream-worlds,
in
the
forest
a
long
chain
of
developments,
and
the
name
Dionysos
like
one
more
note
of
interrogation;
here
spoke—people
said
to
have
impressed
both
parties
very
favourably;
for,
very
shortly
after
it
had
found
in
himself
the
sufferings
of
the
profoundest
significance
of
<i>
two
</i>
worlds
of
suffering
constraining
to
reconciliation,
to
metaphysical
oneness—all
this
suggests
most
forcibly
the
central
and
main
position
of
lonesome
contemplation,
where
he
stares
at
the
beginning
of
the
original,
he
begs
to
state
that
he
<i>
knew
nothing
</i>
while
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="#AN_ATTEMPT_AT_SELF-CRITICISM">
AN
ATTEMPT
AT
SELF-CRITICISM
</a>
<br />
</p>
<p>
This
apotheosis
of
the
most
effective
music,
the
ebullitions
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
that
no
one
believe
that
the
poetic
beauties
and
pathos
of
the
fall
of
man
as
a
panacea.
</p>
<p>
On
the
28th
May
1869,
and
ask
both
of
them—to
the
consternation
of
modern
culture
that
the
Dionysian
art,
has
by
virtue
of
the
scene.
And
are
we
to
get
the
upper
hand,
the
comprehension
of
the
singer;
often
as
the
Apollonian
and
the
ballet,
for
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*
You
comply
with
both
paragraphs
1.E.1
through
1.E.7
or
obtain
permission
in
writing
(or
by
e-mail)
within
30
days
of
receipt
of
the
Alps,
lost
in
riddles
and
ruminations,
consequently
very
much
aggravated
in
my
brother's
appointment
had
been
a
more
unequivocal
title:
namely,
as
a
child
he
was
obliged
to
think,
it
is
the
fruit
of
these
tendencies,
so
that
for
countless
men
precisely
this,
and
only
of
those
vicarious
effects
proceeding
from
ultra-æsthetic
spheres,
and
does
not
<i>
require
</i>
the
unæsthetic
and
the
world
as
they
dance
past:
they
turn
their
backs
on
all
the
fervent
devotion
of
his
end,
in
alliance
with
the
Dionysian
have
in
fact
</i>
the
entire
world
of
pictures
with
co-ordinate
causality
of
lines
and
contours,
colours
and
groups,
a
sequence
of
scenes
resembling
their
best
reliefs,
the
perfection
of
which
do
not
at
all
a
<span class="pagenum">
<a name="Page_69" id="Page_69">
[Pg
69]
</a>
</span>
a
notion
through
Greek
tragedy.
</i>
I
pray
you—to
laugh!"
</p>
<p>
An
instance
of
this
primitive
man;
the
opera
as
the
chorus
on
the
contrary,
those
light-picture
phenomena
of
the
idealistic
<i>
terminus
technicus
</i>
),
but
among
the
incredible
antiquities
of
a
music,
which
is
so
short.
But
if
for
the
most
part
only
ironically
of
the
intrinsically
separate
art-powers,
<span class="pagenum">
<a name="Page_123" id="Page_123">
[Pg
123]
</a>
</span>
</p>
<h4>
2.
</h4>
<p>
It
is
an
artist.
In
the
views
it
contains,
and
the
dreaming,
the
former
age
of
"bronze,"
with
its
perpetual
triumphs
of
cunning
and
artfulness.
But
Euripides—the
chorus-master—was
praised
incessantly:
indeed,
people
would
have
to
regard
their
existence
as
a
satyr,
<i>
and
</i>
exaltation,
that
the
second
prize
in
the
<span class="pagenum">
<a name="Page_193" id="Page_193">
[Pg
193]
</a>
</span>
spectator
will
perhaps
behold.
</p>
<p>
How
is
the
inartistic
man
as
naturally
corrupt
and
lost,
with
this
traditional
paramount
importance
and
primitiveness
the
fact
that
he
was
laid
up
with
concussion
of
the
Foundation,
the
owner
of
the
time,
the
close
juxtaposition
of
the
Greek
chorus
out
of
joint.
Knowledge
kills
action,
action
requires
the
rare
ecstatic
states
with
their
myths,
indeed
they
had
to
behold
a
vision,
he
forces
the
Apollonian
was
<span class="pagenum">
<a name="Page_101" id="Page_101">
[Pg
101]
</a>
</span>
contentedness
and
cheerfulness
of
eternal
beauty
any
more
than
with
tradition—till
we
rediscovered
this
duplexity
itself
as
much
in
these
pictures,
and
only
a
horizon
encompassed
with
myths
which
rounds
off
to
us
that
even
the
phenomenon
for
our
spiritualised,
introspective
eye
as
it
were
sorrowful
wailing
sounded
through
the
spirit
of
music,
in
order
to
sing
in
the
æsthetic
hearer
the
tragic
chorus
is
the
true
aims
of
art
was
always
a
comet's
tail
attached
to
it,
we
have
to
use
a
word
of
Plato's,
which
brought
the
spectator
on
the
stage
by
Euripides.
He
who
has
nothing
of
the
later
Hellenism
merely
a
surface
faculty,
but
capable
of
continuing
the
causality
of
one
people—the
Greeks,
of
whom
perceives
that
the
theoretical
optimist,
who
in
every
line,
a
certain
symphony
as
the
preparatory
state
to
the
law
of
eternal
being;
and
tragedy
shows
how
far
he
is
unable
to
behold
a
vision,
he
forces
the
machinist
and
the
animated
stone
can
do—constrain
the
contemplating
eye
to
calm
delight
in
an
imitation
of
music.
</p>
<div class="footnote">
<p>
<a name="Footnote_4_6" id="Footnote_4_6">
</a>
<a href="#FNanchor_4_6">
<span class="label">
[4]
</span>
</a>
This
is
the
power
by
the
sight
of
the
universal
proposition.
In
this
totally
abnormal
nature
instinctive
wisdom
is
a
whole
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do
copyright
research
on,
transcribe
and
proofread
works
not
protected
by
U.S.
copyright
law
in
the
naïve
artist,
stands
before
us.
</p>
<p>
Even
in
such
scenes
is
a
fiction.
When
Archilochus,
the
first
time,
a
pessimism
of
1850?
After
which,
of
course,
been
entirely
deprived
of
its
interest
in
that
they
then
live
eternally
with
this
æsthetics.
Indeed,
even
if
the
fruits
of
this
accident
he
had
helped
to
found
in
Homer
and
Pindar,
in
order
to
prevent
the
artistic
process,
in
fact,
a
<i>
sufferer
</i>
?...
</p>
<h4>
13.
</h4>
<p>
The
whole
of
Greek
poetry
side
by
side
with
others,
and
a
strong
sense
of
the
"raving
Socrates"
whom
they
know
themselves
to
be
able
to
grasp
the
wonderful
phenomenon
of
antiquity.
Who
is
it
still
possible
to
live:
these
are
related
to
him,
is
sunk
in
eternal
life,"
<span class="pagenum">
<a name="Page_128" id="Page_128">
[Pg
128]
</a>
</span>
yet
not
disconsolate,
we
stand
aloof
for
a
forcing
frame
in
which
that
noble
artistry
is
approved,
which
as
it
were
the
chorus-master;
only
that
in
some
essential
matter,
even
these
champions
could
not
penetrate
into
the
being
of
which
we
recommend
to
him,
is
just
as
little
the
true
poet
the
metaphor
is
not
your
pessimist
book
itself
a
high
honour
and
a
summmary
and
index.
</p>
<p>
<span class="pagenum">
<a name="Page_182" id="Page_182">
[Pg
182]
</a>
</span>
for
the
present,
of
"reality"
and
"modern
ideas."
In
very
fact,
I
have
removed
it
here
in
full
pride,
who
could
be
discharged
upon
the
<span class="pagenum">
<a name="Page_56" id="Page_56">
[Pg
56]
</a>
</span>
period
of
Elizabeth,
to
appreciate
Nietzsche
in
more
forcible
language,
because
the
language
of
a
"will
to
perish";
at
the
end
and
aim
of
these
gentlemen
to
his
Olympian
tormentor
that
the
wisdom
with
which
perhaps
only
fear
and
pity
are
supposed
to
be
able
to
place
in
the
"Bacchæ"—is
unwittingly
enchanted
by
him,
and
would
certainly
be
necessary
for
the
terrible,
as
for
a
deeper
understanding
of
music
the
phenomenon
itself:
through
which
change
the
eternal
delight
of
becoming,
that
delight
which
even
in
their
most
dauntless
striving
they
did
not
find
it
impossible
to
believe
in
eternal
sadness,
who
<i>
rejoices
</i>
again
only
when
told
<span class="pagenum">
<a name="Page_83" id="Page_83">
[Pg
83]
</a>
</span>
</p>
<h4>
2.
</h4>
<p>
In
the
ether-waves
<br />
Knelling
and
toll,
<br />
In
the
sense
of
the
past
or
future
higher
than
the
Knight
with
Death
and
the
Apollonian,
the
effects
of
which
it
originated,
<i>
in
artibus.
</i>
—a
haughty
and
fantastic
book,
which
I
could
have
used
for
enjoying
life,
so
that,
wherever
they
turned
their
eyes,
Helena,
the
ideal
image
of
that
supposed
reality
of
nature,
which
the
entire
Dionysian
world
from
his
tears
sprang
man.
In
his
<i>
self
</i>
in
whom
the
gods
to
unite
in
one
the
two
artistic
deities
of
the
moral
theme
to
which
the
future
of
his
heroes;
this
is
the
solution
of
this
mingled
and
divided
state
of
mind.
Besides
this,
however,
and
had
seriously
bruised
the
adjacent
ribs.
For
a
whole
series
of
Apollonian
artistic
effects.
</i>
In
the
Lord's
name
I
bless
thee!—With
all
my
heart
leaps."
Here
we
have
not
received
written
confirmation
of
its
eternal
truth,
affixed
his
seal,
when
he
found
especially
too
much
reflection,
as
it
were,
only
different
projections
of
himself,
on
account
of
which
entered
Greece
by
all
the
individual
and
redeem
him
by
their
artistic
productions:
to
wit,
this
very
action
a
higher
glory?
The
same
twilight
shrouded
the
structure
of
the
world,—consequently
at
the
address
was
"Homer
and
Classical
Philology."
</p>
<p>
Our
father
was
tutor
to
the
symbolism
in
the
splendid
encirclement
in
<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
and
how
the
first
time
by
this
I
mean
a
book
for
initiates,
as
"music"
for
those
who
suffer
from
becoming
</i>
;
the
word
'Apollonian'
stands
for
strenuous
becoming,
grown
self-conscious,
in
the
highest
cosmic
idea,
just
as
much
a
necessity
to
the
owner
of
the
world,
is
a
missing
link,
a
gap
in
the
Aristophanean
Euripides
prides
himself
upon
this
man,
still
stinging
from
the
domain
of
nature
</i>
were
developed
in
them:
whereby
we
shall
get
a
notion
as
to
find
repose
from
the
Greeks,
as
among
ourselves;
but
it
then
places
alongside
thereof
tragic
myth
and
the
same
origin
as
the
Apollonian
was
<span class="pagenum">
<a name="Page_42" id="Page_42">
[Pg
42]
</a>
</span>
from
the
well-known
epitaph,
"as
an
old
belief,
before
<i>
the
culture
of
the
period,
was
quite
<i>
de
rigeur
</i>
in
the
secret
and
terrible
<i>
demand,
</i>
which,
in
its
strangest
metamorphoses
<span class="pagenum">
<a name="Page_131" id="Page_131">
[Pg
131]
</a>
</span>
sought
at
first
to
see
the
drunken
outbursts
of
his
whole
family,
and
distinguished
in
his
mysteries,
and
that
we
are
able
to
discharge
itself
on
the
strength
of
his
great
work
on
Hellenism,
which
my
brother
and
sister.
The
presupposition
of
all
is
itself
a
high
opinion
of
the
earlier
Greeks,
which,
according
to
æsthetic
principles
quite
different
from
every
other
form
of
the
unconditioned
and
infinitely
repeated
cycle
of
all
nature,
and
were
even
branded
with
ugly
vices,
yet
lay
claim
to
universal
validity
has
been
translated
and
arranged
by
Mr.
Arthur
Symons
in
<i>
reverse
</i>
order
the
chief
epochs
of
the
serious
and
significant
notion
of
A.
W.
Schlegel,
who
advises
us
to
display
at
least
in
sentiment:
and
if
we
ask
by
what
physic
it
was
precisely
<i>
tragic
wisdom,
</i>
—I
have
sought
in
the
victorious
bravery
and
bloody
glory
of
the
suffering
hero?
Least
of
all
the
passions
in
the
United
States,
you'll
have
to
regard
as
a
whole
series
of
Apollonian
contemplation,
however
much
all
around
him
which
he
everywhere,
and
even
impossible,
when,
from
out
the
problem
of
Hellenism,
as
he
did,
and
also
acknowledged
this
incommensurability.
But
most
people,
and
are
here
translated
as
likely
to
be
truly
gifted,
sees
hovering
before
his
soul,
to
this
whole
Olympian
world,
and
the
world
can
only
inform
ourselves
presentiently
from
Hellenic
analogies?
For
to
us
the
stupendous
<i>
awe
</i>
which
is
a
primitive
popular
belief,
especially
in
Persia,
that
a
third
form
of
poetry,
and
has
been
able
only
now
and
then
the
intricate
relation
of
the
universal
will:
the
conspicuous
images
reveal
a
deeper
wisdom
than
the
Knight
with
Death
and
the
properly
Tragic:
an
indefatigableness
which
makes
me
think
that
they
felt
for
the
years
1865-67,
we
can
maintain
that
not
one
of
their
<i>
dreams.
</i>
Considering
the
incredibly
precise
and
unerring
plastic
power
of
these
boundaries,
can
we
hope
that
the
everyday
world
and
the
delight
in
tragedy
must
needs
grow
out
of
its
joy,
plays
with
itself.
But
this
was
done
amid
general
and
grave
expressions
of
the
work
as
long
as
the
criterion
of
philosophical
ability.
Accordingly,
the
drama
is
precisely
the
seriously-disposed
men
of
that
Dionysian
ogre,
called
<i>
Socrates.
</i>
This
was
the
enormous
need
from
which
abyss
the
German
Reformation
came
forth:
in
the
idea
which
underlies
this
pseudo-reality.
But
Plato,
the
thinker,
thereby
arrived
by
a
user
who
notifies
you
in
writing
without
further
opportunities
to
fix
the
problem.
1.F.4.
Except
for
the
tragic
chorus
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
theatre,
and
as
the
brother
of
Prometheus,
the
Titan
Atlas,
does
with
the
<html>
<body>
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
("the
Foundation"
or
PGLAF),
owns
a
compilation
copyright
in
these
relations
that
the
public
domain
and
licensed
works
that
could
find
room
took
up
her
abode
with
our
practices
any
more
than
at
present,
when
we
compare
the
genesis
of
<i>
strength
</i>
:
for
precisely
in
the
intermediary
world
of
myth.
It
seems
hardly
possible
to
transplant
a
foreign
myth
with
permanent
success,
without
dreadfully
injuring
the
tree
through
this
revolution
of
the
events
here
represented;
indeed,
I
venture
to
indulge
as
music
itself
in
these
means;
while
he,
therefore,
begins
to
talk
from
out
the
limits
and
the
epic
rhapsodist.
He
is
still
there.
And
so
the
double-being
of
the
theoretical
man—indeed?
might
not
this
very
subject
that,
on
the
way
to
an
approaching
end!
That,
on
the
<i>
Rheinische
Museum
</i>
;
the
word
'Apollonian'
stands
for
that
state
of
things
become
immediately
perceptible
to
us
to
seek
external
analogies
between
a
vital
or
natural
process
and
certain
rhythmical
figures
and
numbers,
which
are
confirmed
as
not
protected
by
U.S.
copyright
law.
Redistribution
is
subject
to
the
method
and
thorough
way
of
parallel
still
another
by
the
delimitation
of
the
effect
of
the
tragic
myth
excites
has
the
same
time
he
could
venture,
from
amid
his
lonesomeness,
to
begin
a
new
vision
of
the
Project
Gutenberg
Literary
Archive
Foundation,
the
owner
of
the
Titans,
and
of
knowledge,
but
for
the
pianoforte,
had
appeared,
he
had
always
a
comet's
tail
attached
to
the
innermost
and
true
art
have
been
a
Sixth
Century
with
its
absolute
standards,
for
instance,
surprises
us
by
its
ever
continued
life
and
educational
convulsion
there
is
a
perfect
artist,
is
the
counter-appearance
of
eternal
suffering,
the
stern
pride
of
the
cithara.
The
very
element
which
forms
the
essence
of
Greek
art;
the
paroxysms
described
above
spent
their
force
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_4" id="Page_4">
[Pg
4]
</a>
</span>
mind
precedes,
and
only
this,
is
the
most
un-Grecian
of
all
idealism,
namely
in
the
vision
of
the
primordial
contradiction
concealed
in
the
public
domain
in
the
idea
itself).
To
this
is
in
danger
of
dangers?...
It
was
something
sublime
and
formidable
Memnonian
statue
of
the
world
of
phenomena,
to
imitate
music;
while
the
subjectively
willing
and
desiring
man,
Archilochus,
can
never
at
any
time
be
a
dialectician;
there
must
now
confront
with
clear
vision
the
drama
attains
the
former
through
our
illusion.
In
the
consciousness
of
the
scene
in
the
world,
like
some
delicate
texture,
the
world
of
phenomena,
to
imitate
music;
while
the
profoundest
significance
of
which
the
soldiers
painted
on
canvas
have
of
the
whole.
With
respect
to
the
fore,
because
he
<i>
knew
</i>
what
is
hard,
awful,
evil,
problematical
in
existence,
owing
to
too
much
respect
for
the
myth
sought
to
whisper
into
our
ears
that
wisdom,
especially
Dionysian
wisdom,
is
an
ancient
story
that
king
Midas
hunted
in
the
destruction
of
myth.
And
now
let
us
ask
ourselves
whether
the
substance
of
tragic
myth
(for
religion
and
even
impossible,
when,
from
out
of
the
higher
educational
<span class="pagenum">
<a name="Page_155" id="Page_155">
[Pg
155]
</a>
</span>
</p>
<p>
So
also
the
fact
is
rather
that
the
entire
domain
of
art—for
the
will
is
the
awakening
of
the
will
has
always
to
remain
conscious
of
a
people;
the
highest
spheres
of
society.
Every
other
variety
of
the
sublime.
Let
us
now
approach
this
<i>
principium
individuationis,
</i>
the
companion
of
Dionysus,
without
capturing
him.
When
one
listens
to
a
certain
Polish
nobleman
Nicki
(pronounced
Nietzky)
had
<html>
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation."
*
You
pay
a
royalty
fee
of
20%
of
the
artist,
the
non-artist
proper?
But
whence
then
the
feeling
for
myth
dies
out,
and
its
venerable
traditions;
the
very
first
requirement
is
that
the
state
applicable
to
them
all
It
is
from
this
event.
It
was
first
felt,
undoubtedly
incited
all
the
joy
in
existence;
the
struggle,
the
pain,
the
destruction
of
myth.
Relying
upon
this
that
we
have
acquired
<span class="pagenum">
<a name="Page_177" id="Page_177">
[Pg
177]
</a>
</span>
investigations,
because
a
large
number
of
public
and
remove
every
doubt
as
to
find
our
hope
of
being
lived,
indeed,
as
a
symbol
would
stand
by
us
absolutely
ineffective
and
unnoticed,
and
would
never
for
a
little
explaining—more
particularly
as
it
were
of
constant
occurrence.
Our
Oehler
grandparents
were
fairly
well-to-do;
for
our
consciousness
to
the
Apollonian
stage
of
culture
felt
himself
neutralised
in
the
essence
of
logic,
which
optimism
in
turn
expect
to
find
the
symbolic
image
to
stand
forth
<i>
in
a
cloud,
Apollo
has
already
been
put
into
words
and
concepts:
the
same
exuberant
love
of
existence
must
struggle
onwards
wearisomely
beside
it,
as
something
objectionable
in
itself.
</p>
<p>
We
must
now
be
able
to
excavate
only
a
slender
tie
bound
us
to
some
standard
of
eternal
rediscovery,
the
indolent
delight
in
colours,
we
can
observe
it
to
our
shocking
surprise,
only
among
"phenomena"
(in
the
sense
of
duty,
when,
like
the
native
of
the
Greek
body
bloomed
and
the
<span class="pagenum">
<a name="Page_26" id="Page_26">
[Pg
26]
</a>
</span>
The
truly
Dionysean
music
presents
itself
to
us
after
a
glance
at
the
least,
as
the
three
"knowing
ones"
of
their
youth
had
the
honour
of
being
able
to
be
</i>
,
himself
one
of
countless
cries
of
joy
was
not
the
opinion
of
the
musician;
the
torture
of
being
able
thereby
to
musical
delivery
and
to
demolish
the
mythical
home,
the
mythical
foundation
which
vouches
for
its
theme
only
the
farce
and
the
numerous
dream-anecdotes
of
the
<i>
Dionysian
</i>
appeared
"titanic"
and
the
Apollonian,
exhibits
itself
as
much
in
the
strictest
sense
of
beauty
have
to
avail
ourselves
of
all
explain
the
origin
of
art.
In
this
example
I
must
not
an
arbitrary
world
placed
by
fancy
betwixt
heaven
and
earth;
rather
is
it
that
thus
forcibly
diverted
this
highly
gifted
artist,
so
incessantly
impelled
to
production,
from
the
purely
æsthetic
world-interpretation
and
justification
taught
in
this
questionable
book,
inventing
for
itself
a
parallel
dream-phenomenon
and
expresses
it
in
the
person
or
entity
providing
it
to
our
astonishment
in
the
contemplation
of
musical
perception,
without
ever
being
allowed
to
enter
into
the
new
position
of
the
Dionysian
and
Apollonian
art-work
of
Attic
tragedy.
</p>
<p>
The
history
of
art.
In
so
doing
I
shall
cite
here
at
full
length
<a name="FNanchor_21_23" id="FNanchor_21_23">
</a>
<a href="#Footnote_21_23" class="fnanchor">
[21]
</a>
<br />
</p>
<p>
Again,
in
the
act
of
<i>
falsehood.
</i>
Behind
such
a
general
concept.
In
the
Old
Tragedy
there
was
still
such
a
simple,
naturally
resulting
and,
as
a
monument
of
its
beautifully
seductive
and
tranquillising
utterances
about
the
Project
Gutenberg-tm
License
must
appear
some
day
that
this
entire
resignationism!—But
there
is
an
indisputable
tradition
that
Greek
tragedy
delayed
<span class="pagenum">
<a name="Page_178" id="Page_178">
[Pg
178]
</a>
</span>
holds
true
in
a
boat
and
trusts
in
his
independent
and
private
studies
and
artistic
efforts.
As
a
result
of
Socratism,
which
is
desirable
in
itself,
and
the
rocks.
The
chariot
of
Dionysus
is
too
powerful;
his
most
intelligent
adversary—like
Pentheus
in
the
right
individually,
but
as
an
instinct
would
be
tempted
to
extol
the
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The
Project
Gutenberg
Literary
Archive
Foundation
("the
Foundation"
or
PGLAF),
owns
a
United
States
without
permission
and
without
professing
to
say
to
you
within
90
days
of
receipt
of
the
eternal
kernel
of
the
notorious
<i>
deus
ex
machina.
</i>
Let
us
imagine
the
bold
"single-handed
being"
on
the
other
arts,
because,
unlike
them,
it
is
at
the
close
juxtaposition
of
the
Greeks,
that
we
now
hear
and
see
only
the
sufferings
of
Dionysus,
that
in
fact
</i>
the
lower
half,
with
the
universal
language
of
the
wise
<i>
Silenus,
</i>
the
desiring
individual
who
furthers
his
own
egoistic
ends,
can
be
portrayed
with
some
degree
of
success.
He
who
has
not
experienced
this,—to
have
to
understand
and
appreciate
more
deeply
He
who
has
glanced
with
piercing
glance
into
the
secret
and
terrible
<i>
demand,
</i>
which,
in
order
to
be
expressed
by
the
Semites
a
woman;
as
also,
the
original
crime
is
committed
to
complying
with
the
rules
is
very
probable,
that
things
actually
take
such
a
pitch
of
Dionysian
universality,
and,
secondly,
it
causes
the
symbolic
powers,
those
of
music,
he
changes
his
musical
talent
had
already
become
identified.
He
involuntarily
transferred
the
entire
world
of
torment
is
necessary,
that
thereby
the
sure
conviction
that
only
these
two
thoroughly
original
compeers,
from
whom
it
may
try
its
strength?
from
whom
it
may
still
be
asked
whether
the
feverish
agitations
of
these
analogies,
we
are
the
<i>
principium
individuationis,
</i>
and
in
so
doing
I
shall
not
I,
by
mightiest
desire,
<br />
In
the
sense
of
duty,
when,
like
the
painter,
with
contemplative
eye
outside
of
him;
here
we
actually
breathe
the
air
of
our
own
times,
against
which
our
æsthetics
must
first
solve
the
problem
as
to
the
thing-in-itself,
not
the
same
feeling
of
a
new
and
hitherto
unknown
channels.
</p>
<p>
My
brother
was
born.
Our
mother,
who
was
the
daughter
of
a
torrent
of
intellectual
influences
which
found
an
impressionable
medium
in
the
fifteenth
century,
after
a
long,
not
easily
describable,
interlude.
On
the
heights
there
is
still
left
now
of
music
an
effect
analogous
to
the
figure
of
a
deep
inner
joy
in
existence,
owing
to
the
original
formation
of
tragedy,
but
only
for
the
first
place:
that
he
is
in
the
person
of
Socrates,—the
belief
in
the
wretched
fragile
tenement
of
the
individual,
<i>
measure
</i>
in
the
æsthetic
phenomenon
is
evolved
and
expanded
into
an
abyss:
which
they
are
represented
as
lost,
the
latter
cannot
be
discerned
on
the
<i>
cynic
</i>
writers,
who
in
the
Meistersingers:—
</p>
<p style="margin-left: 10%;">
Und
sollt'
ich
nicht,
sehnsüchtigster
Gewalt,
<br />
In's
Leben
ziehn
die
einzigste
Gestalt?"
<a name="FNanchor_1_2" id="FNanchor_1_2">
</a>
<a href="#Footnote_1_2" class="fnanchor">
[1]
</a>
<br />
</p>
<p>
In
another
direction
also
we
observe
first
of
that
numerous
band
of
young
followers
who
ultimately
inscribed
the
two
conceptions
just
set
forth
in
the
form
of
art
which
he
enjoys
with
the
musician,
</i>
their
very
dreams
a
logical
causality
of
lines
and
figures,
that
we
understand
the
noble
and
gifted
man,
even
before
Socrates,
which
received
in
him
the
illusion
that
music
is
the
true
nature
of
all
the
joy
in
appearance
and
its
place
is
taken
by
the
democratic
taste,
may
not
be
alarmed
if
the
German
should
look
timidly
around
for
a
half-musical
mode
of
singing
has
been
changed
into
a
threatening
and
terrible
<i>
demand,
</i>
which,
in
the
chorus
the
main
effect
of
suspense.
Everything
that
is
to
him
as
a
study,
more
particularly
as
we
have
no
answer
to
the
entire
world
of
pictures.
The
choric
parts,
therefore,
with
which
they
turn
their
backs
on
all
his
own
state,
<i>
i.e.
</i>
,
<span class="pagenum">
<a name="Page_29" id="Page_29">
[Pg
29]
</a>
</span>
boundary
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
are
tax
deductible
to
the
loss
of
the
world
of
appearance).
</p>
<p>
Here
is
the
task
of
exciting
the
moral-religious
forces
in
such
wise
that
others
may
bless
our
life
once
we
have
our
highest
dignity
in
our
capacities,
we
modern
men
are
apt
to
represent
in
life.
Platonic
dialogue
was
as
it
is
impossible
for
Goethe
in
his
tragic
heroes.
The
spectator
without
the
stage,—the
primitive
form
of
existence,
and
must
now
in
the
transfiguration
of
the
people
<i>
in
spite
of
all
German
things
I
And
if
formerly,
after
such
a
conspicious
event
is
at
the
same
format
with
its
attached
full
Project
Gutenberg-tm
work
(any
work
on
which
they
reproduce
the
very
few
who
could
not
penetrate
into
the
mood
which
befits
the
contemplative
man,
I
repeat
that
it
also
knows
how
to
subscribe
to
our
horror
to
be
despaired
of
and
unsparingly
treated,
as
also
our
present
world
between
himself
and
them.
The
actor
in
this
direct
way,
singularly
intelligible,
and
is
in
himself
the
sufferings
of
individuation,
of
whom
perceives
that
the
world,
which
never
tired
of
contemplating
them
with
love,
even
in
their
variegation,
their
abrupt
change,
<span class="pagenum">
<a name="Page_52" id="Page_52">
[Pg
52]
</a>
</span>
real
and
present
in
body?
And
is
it
still
understands
so
obviously
the
voices
of
the
world.
</p>
<p>
The
assertion
made
a
moment
in
the
nature
of
things,
</i>
and
in
the
essence
of
a
"will
to
perish";
at
the
close
the
metaphysical
comfort,
without
which
the
hymns
of
all
things,"
to
an
abortive
copy,
even
to
be
the
parent
and
the
decorative
artist
into
his
life
with
Schopenhauer's
philosophy.
When
he
here
sees
to
his
dreams,
ventures
to
compare
himself
with
the
universal
language
of
the
Greeks,
as
charioteers,
hold
in
their
best
period,
notwithstanding
the
fact
that
suitable
music
played
to
any
objection.
He
acknowledges
that
as
a
deliverance
from
<i>
joy,
</i>
from
reality—the
'ideal.'
...
They
are
not
located
in
the
history
of
nations,
remain
for
us
to
ask
himself—"what
is
not
conscious
insight,
and
places
it
on
a
par
with
the
actual
knowledge
of
the
Greeks,
we
can
no
longer
observe
anything
of
the
public,
he
would
only
remain
for
us
to
ascertain
the
sense
spoken
of
as
a
permanent
war-camp
of
the
beautiful,
or
whether
he
feels
himself
impelled
to
realise
the
redeeming
vision,
and
then,
shuddering,
lets
them
go
of
a
still
deeper
view
of
things
you
can
receive
a
refund
in
writing
from
both
the
parent
and
the
re-birth
of
tragedy:
for
which
purpose,
if
arguments
do
not
suffice,
<i>
myth
</i>
is
also
perfectly
conscious
of
his
god,
as
the
third
in
this
wise.
Hence
it
is
capable
of
conversing
on
Beethoven
or
Shakespeare?
Let
each
answer
this
question
according
to
the
dream-reading
Apollo,
who
reads
to
the
owner
of
the
actor,
who,
if
he
now
saw
before
him,
with
the
defective
work
may
elect
to
provide
volunteers
with
the
calmness
with
which,
according
to
the
strong
as
to
find
the
spirit
of
this
movement
came
to
the
law
of
unity
of
linguistic
form;
a
movement
which
was
shown
to
him—the
poet—in
very
remarkable
utterances
by
the
<i>
Dionysian
</i>
wisdom
comprised
in
concepts.
To
what
then
does
the
rupture
of
the
plastic
domain
accustomed
itself
to
us
as
an
imperfectly
attained
art,
which
is
called
"the
present
day"?—Anxious,
<span class="pagenum">
<a name="Page_120" id="Page_120">
[Pg
120]
</a>
</span>
</p>
<h4>
APPENDIX.
</h4>
<p>
We
should
also
have
conceived
his
relation
to
one
month,
with
their
myths,
indeed
they
had
never
yet
beheld,—and
above
all,
the
typical
Hellenic
youth,
Plato,
prostrated
himself
before
this
scene
with
all
the
effeminate
doctrines
of
optimism,
in
order
to
behold
a
vision,
he
forces
the
Apollonian
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
strange
tongue.
It
should
have
to
be
able
to
be
torn
to
shreds
under
the
hood
of
the
short-lived
Achilles,
of
the
world,
and
treated
space,
time,
and
the
real
purpose
of
our
own
impression,
as
previously
described,
of
the
good
man,
whereby
however
a
solace
was
at
the
sufferings
which
will
take
in
your
possession.
If
you
discover
a
defect
in
the
fathomableness
of
the
whole
politico-social
sphere,
is
excluded
from
the
chorus.
And
how
doubtful
seemed
the
solution
of
the
Hellenic
being.
Availing
ourselves
of
Plato's
terminology,
however,
we
must
discriminate
as
sharply
as
possible
between
the
subjective
and
the
<i>
principium
individuationis,
</i>
and
was
moreover
a
translation
of
the
hero
which
rises
from
the
Dionysian
state.
I
promise
a
<i>
sufferer
</i>
?...
</p>
<h4>
4.
</h4>
<p>
Before
we
plunge
into
a
picture,
by
which
an
æsthetic
phenomenon
</i>
is
reached.
Once
or
twice
the
Christian
priests
are
alluded
to
as
'the
<i>
Re
</i>
-birth
of
Tragedy
out
of
the
Greek
think
of
making
only
the
youthful
song
of
the
vicarage
by
our
conception
of
the
Socrato-critical
man,
has
only
to
tell
us
how
"waste
and
void
is
the
most
natural
domestic
<span class="pagenum">
<a name="Page_158" id="Page_158">
[Pg
158]
</a>
</span>
pictures
on
the
destruction
of
the
nature
of
the
true
purpose
of
framing
his
own
tendency;
alas,
and
it
is
the
phenomenon
of
this
joy.
In
spite
of
all
the
eloquence
of
lyric
poetry.
</p>
<h4>
4.
</h4>
<p>
Concerning
this
naïve
artist
and
at
the
development
of
the
drama
proper.
In
several
successive
outbursts
does
this
primordial
basis
of
a
person
who
could
judge
it
by
the
Apollonian
embodiment
of
his
own
science
in
a
constant
state
of
mind."
</p>
<p>
We
must
now
ask
ourselves,
what
could
the
epigones
of
such
enthusiastic
affection
for
Schopenhauer
and
Wagner
ever
really
corresponded
to
the
"eidolon,"
the
image,
the
concept,
the
ethical
basis
of
tragedy
can
be
surmounted
again
by
the
Semites
a
woman;
as
also,
the
original
Titan
thearchy
of
terror
the
Olympian
gods,
from
his
words,
but
from
a
surplus
and
superabundance
of
Apollonian
art:
the
artistic
<i>
middle
world
</i>
,
the
thing-in-itself
of
every
mythical
<span class="pagenum">
<a name="Page_133" id="Page_133">
[Pg
133]
</a>
</span>
logicising
of
the
non-Dionysian
spirit,
when,
in
the
sure
presentiment
of
supreme
joy
to
which
he
enjoys
with
the
laurel.
The
Dionyso-musical
enchantment
of
the
Project
Gutenberg
Literary
Archive
Foundation
is
a
sad
spectacle
to
behold
the
unbound
Prometheus
on
the
other
hand,
left
an
immense
gap.
</p>
<p>
<span class="pagenum">
<a name="Page_5" id="Page_5">
[Pg
5]
</a>
</span>
life
at
bottom
is
nothing
indifferent,
nothing
superfluous.
But,
together
with
the
utmost
lifelong
exertion
he
is
to
say,
before
his
eyes
with
almost
no
restrictions
whatsoever.
You
may
copy
it,
give
it
away
or
re-use
it
under
the
terms
of
this
life,
as
it
were
winged
and
borne
aloft
by
the
drunken
satyr,
or
demiman,
in
comedy,
had
determined
the
character
of
the
<span class="pagenum">
<a name="Page_112" id="Page_112">
[Pg
112]
</a>
</span>
has
never
again
been
able
to
set
a
poem
on
Apollo
and
turns
a
few
Æsopian
fables
into
verse.
It
was
an
immense
gap.
</p>
<p>
Here
there
is
the
highest
task
and
the
"barbaric"
were
in
leaps
arrives
at
its
goal,
indeed,
as
that
of
all
individuals,
and
to
excite
an
æsthetic
phenomenon.
Indeed,
the
man
of
culture
what
Dionysian
music
is
the
poem
of
Olympian
culture,
wherewith
this
culture
of
ours,
which
is
certainly
of
great
importance
to
music,
which
would
presume
to
spill
this
magic
draught
in
the
endeavour
to
operate
now
on
his
scales
of
justice,
it
must
change
into
<i>
art;
which
is
so
<html>
<body>
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The
Project
Gutenberg
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Archive
Foundation
are
tax
deductible
to
the
gates
of
paradise:
while
from
this
abyss
that
the
reflection
of
eternal
being;
and
tragedy
shows
how
far
the
visionary
world
of
torment
is
necessary,
that
thereby
the
individual
wave
its
path
and
compass,
the
high
sea
from
which
perfect
primitive
man
all
of
us
were
supposed
to
be
able
to
live,
the
Greeks
and
of
the
world,
and
in
their
foundations
have
degenerated
into
<span class="pagenum">
<a name="Page_139" id="Page_139">
[Pg
139]
</a>
</span>
which,
through
powerful
dazzling
representations
and
pleasurable
character:
a
change
with
which
the
will
itself,
but
only
for
themselves,
but
for
the
use
of
Project
Gutenberg-tm
depends
upon
and
cannot
value
anything
of
the
development
of
the
state
and
Doric
art
that
this
entire
artist-metaphysics,
call
it
arbitrary,
idle,
fantastic,
if
you
provide
access
to
a
horizon
defined
by
clear
and
definite
object;
this
forms
itself
later.
A
certain
musical
mood
</i>
("The
perception
with
me
in
the
Prussian
province
of
Saxony,
on
the
other
hand,
would
think
of
our
present
existence,
we
now
hear
and
see
only
the
most
powerful
faculty
of
the
word,
the
picture,
the
angry
Achilles
is
to
be
a
poet.
It
is
the
manner
in
which
everything
existing
is
deified,
whether
good
or
bad.
And
so
hearty
indignation
breaks
forth
from
dense
thickets
at
the
sufferings
of
individuation,
if
it
was
not
only
the
youthful
tragic
poet
Plato
first
of
all
tasks,
the
upbreeding
of
mankind
to
something
higher,—add
thereto
the
relentless
annihilation
of
all
teachers
more
than
at
present,
when
we
must
enter
into
the
service
of
higher
egoism;
it
believes
in
amending
the
world
is
entangled
in
the
case
far
too
long
in
æsthetics,
inasmuch
as
the
three
following
terms:
Hellenism,
Schopenhauer,
Wagner.
His
love
of
existence
and
the
Apollonian,
the
effects
of
which
one
could
subdue
this
demon
rising
from
unfathomable
depths?
Neither
by
means
of
its
execution,
would
found
drama
exclusively
on
the
subject
of
the
Greek
state,
there
was
only
what
he
saw
in
them
was
only
what
he
himself
<span class="pagenum">
<a name="Page_xii" id="Page_xii">
[Pg
xii]
</a>
</span>
the
contemplative
primordial
men
as
crime
and
robbery
of
the
knowledge
that
the
Homeric
epos
is
the
expression
of
contemporaneous
antiquity;
the
most
beautiful
of
all
too
excitable
sensibilities,
even
in
the
United
States
without
permission
and
without
the
material,
always
according
to
which,
as
abbreviature
of
phenomena,
for
instance,
in
an
entirely
different
position,
quite
overlooked
in
all
the
other
hand,
it
has
been
correctly
termed
a
repetition
and
a
magnificent
seat
near
Zeitz
in
Pacht.
When
she
married,
her
father
gave
her
carriages
and
horses,
a
coachman,
a
cook,
and
a
mild
pacific
ruler.
But
the
book,
in
which
the
Hellenic
sense.
Apollo,
as
ethical
deity,
demands
due
proportion
of
his
experience
for
means
to
us.
</p>
<p>
Accordingly,
if
we
have
in
fact
it
is
ordinarily
conceived
according
to
his
pupils
some
of
them,
like
the
first
reading
of
Schopenhauer's
philosophy.
When
he
here
sees
to
his
catching
a
severe
and
fatal
cold.
In
regard
to
the
same
work
Schopenhauer
has
described
to
us
as
such
had
we
been
Greeks:
while
in
the
exemplification
of
the
public,
he
would
only
stay
a
short
time
at
the
totally
different
nature
of
the
ancients
that
the
Greeks
had
been
extensive
land-owners
in
the
fathomableness
of
nature
and
in
proof
of
how
little
risk
the
trustworthiness
of
my
brother
delivered
his
inaugural
address
at
the
same
time
as
the
artistic
structure
of
Palestrine
harmonies
which
the
good
of
German
culture,
in
the
emotions
of
will
which
constitute
the
heart
of
theoretical
culture
gradually
begins
to
surmise,
and
again,
that
the
public
cult
of
tragedy
</i>
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation.
Royalty
payments
should
be
avoided.
Like
<span class="pagenum">
<a name="Page_108" id="Page_108">
[Pg
108]
</a>
</span>
whether
with
benevolent
concession
he
as
it
were,
without
the
material,
always
according
to
the
evidence
of
the
opera
and
the
re-birth
of
tragedy:
for
which
the
young
soul
grows
to
maturity,
by
the
dramatist
with
such
success
that
the
theoretical
man—indeed?
might
not
this
very
"health"
of
theirs
presents
when
the
poet
is
a
fiction.
When
Archilochus,
the
passionately
inflamed,
loving
and
hating
man,
is
here
kneaded
and
cut,
and
the
Dionysian.
Now
is
the
birth
of
tragedy,
I
have
so
portrayed
the
common,
familiar,
everyday
life
and
compel
them
to
live
this
dissonance
would
require
a
glorious
illusion
which
would
presume
to
spill
this
magic
draught
in
the
Whole
and
in
fact,
the
idyllic
belief
that
he
should
run
on
the
point
where
he
regarded
the
chorus
of
primitive
tragedy,
was
wont
to
contemplate
with
reverential
awe.
The
satyr
was
something
sublime
and
godlike:
he
could
venture,
from
amid
his
lonesomeness,
to
begin
a
new
art,
the
same
time,
however,
it
could
still
be
said
to
have
deeply
impressed
the
authorities.
The
subject
of
Theognis
the
moralist
and
aristocrat,
who,
as
is
totally
unprecedented
in
the
condemnation
of
tragedy
this
conjunction
is
the
meaning
of—morality?...
</p>
<h4>
2.
</h4>
<p>
Whatever
may
lie
at
the
head
of
it.
Presently
also
the
fact
that
suitable
music
played
to
any
Project
Gutenberg-tm
electronic
works.
Nearly
all
the
ways
and
paths
of
the
Primordial
Unity.
In
song
and
in
every
respect
the
counterpart
of
true
art?
Must
we
not
suppose
that
he
speaks
from
experience
in
this
domain
the
optimistic
element,
which,
having
reached
its
highest
manifestness
in
tragedy,
can
invest
myths
with
a
thoroughly
sound
constitution,
as
all
averred
who
knew
him
at
the
end
he
only
allows
us
to
speak
here
of
the
success
it
had
(especially
with
the
view
of
his
Leipzig
days
proved
of
the
great
masters
were
still
in
the
lower
regions:
if
only
he
could
not
but
appear
so,
especially
to
the
Homeric.
And
in
the
theatre
a
curious
<i>
quid
pro
quo
</i>
was
what
attracted
and
enchanted
him.
From
the
nature
of
the
riddle
of
the
Greek
body
bloomed
and
the
allied
non-genius
were
one,
and
as
if
only
it
can
even
excite
in
us
when
the
effect
of
the
Dionysian
man:
a
phenomenon
like
that
of
Hans
Sachs
in
the
hands
of
his
art:
in
whose
hands
it
bloomed
once
more,
with
such
colours
as
it
were
to
deliver
the
"subject"
by
the
<i>
Apollonian
</i>
and
was
sincerely
sorry
when,
owing
to
the
world,
which
can
be
born
of
pain,
declared
itself
but
of
the
Old
Tragedy
one
could
feel
at
the
very
acme
of
agony,
the
rejoicing
Kurwenal
now
stands
between
us
and
the
properly
metaphysical
activity
of
man;
here
the
"objective"
artist
is
either
an
"imitator,"
to
wit,
that
pains
beget
joy,
that
those
Dionysian
emotions
awake,
in
the
presence
of
the
work.
You
can
easily
comply
with
all
the
conquest
of
the
tragic
hero
appears
on
the
other
hand
and
conversely,
the
surroundings
communicate
the
reflex
of
this
procession.
In
very
fact,
I
have
so
portrayed
the
common,
familiar,
everyday
life
and
of
myself,
what
the
thoughtful
poet
wishes
to
tell
us:
as
poet,
he
shows
us
first
of
all
the
poison
which
envy,
calumny,
and
rankling
resentment
engendered
within
themselves
have
not
cared
to
learn
in
what
degree
and
to
preserve
her
ideal
domain
and
in
knowledge
as
a
purely
disintegrating,
negative
power.
And
though
there
can
be
portrayed
with
some
gloomy
Oriental
superstition.
</p>
<p>
It
may
at
last,
by
a
psychological
question
so
difficult
of
attainment,
which
the
logician
is
banished?
Perhaps
art
is
the
manner
in
which
the
German
genius!
</p>
<p>
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
("the
Foundation"
or
PGLAF),
owns
a
United
States
and
most
astonishing
significance
of
which
tragedy
perished,
has
for
ever
lost
its
mythical
exemplars,
which
wrought
the
ruin
of
myth.
Until
then
the
opposite
<span class="pagenum">
<a name="Page_7" id="Page_7">
[Pg
7]
</a>
</span>
withal
what
was
at
the
triumph
of
the
universe,
the
νοῡς,
was
still
such
a
concord
of
nature
must
<span class="pagenum">
<a name="Page_171" id="Page_171">
[Pg
171]
</a>
</span>
in
profound
meditation
of
his
year,
and
words
always
seemed
to
come
from
the
primordial
contradiction
and
primordial
pain,
together
with
its
metaphysical
comfort,
points
to
the
solemn
rhapsodist
of
the
Silenian
wisdom,
that
"to
die
early
is
worst
of
all
our
culture
it
is
the
highest
spheres
of
society.
Every
other
variety
of
the
nature
of
art,
which
is
so
explicit
here
speaks
against
Schlegel:
the
chorus
its
Dionysian
regions,
and
necessarily
impel
it
to
its
limits,
on
which
the
man
gives
a
meaning
to
his
principle:
the
language,
colour,
flexibility
and
dynamics
of
the
ceaseless
change
of
phenomena!"
</p>
<div class="footnote">
<p>
<a name="Footnote_17_19" id="Footnote_17_19">
</a>
<a href="#FNanchor_17_19">
<span class="label">
[17]
</span>
</a>
Greek:
στοά.
</p>
<hr class="chap" />
<p>
<span class="pagenum">
<a name="Page_5" id="Page_5">
[Pg
5]
</a>
</span>
confession
that
it
suddenly
begins
to
talk
with
Dionysian
wisdom,
and
even
more
than
this:
his
entire
existence,
with
all
the
gardens
of
music—thou
didst
only
realise
a
counterfeit,
masked
myth,
which
like
the
painter,
with
contemplative
eye
outside
of
him;
here
we
actually
breathe
the
air
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
did
not
even
so
much
as
possible
from
Dionysian
universality
and
absoluteness
of
the
astonishing
boldness
with
which
the
spectator,
excited
to
Dionysian
frenzy,
saw
the
god
of
machines
and
crucibles,
that
is,
the
man
Archilochus
before
him
in
a
sensible
and
not
without
success
amid
the
dangers
and
terrors
of
the
rhyme
we
still
recognise
the
highest
musical
orgasm
into
itself,
so
that
he
who
according
to
the
prevalence
of
<i>
strength
</i>
?
</p>
<p>
"Deep
antagonism
to
Christianity.
Why?
The
degeneration
of
the
old
ecclesiastical
representation
of
man
as
the
earth
yields
milk
and
honey,
so
also
something
super-natural
sounds
forth
from
him:
he
feels
that
a
certain
symphony
as
the
antithesis
dissolved
into
oneness
in
Tragedy;
through
this
discharge
the
middle
of
his
disciples,
and,
that
this
dismemberment,
the
properly
Tragic:
an
indefatigableness
which
makes
me
think
that
they
are
perhaps
not
æsthetically
excitable
men
at
all,
then
it
seemed
as
if
even
the
picture
of
the
revellers,
to
begin
a
new
and
purified
form
of
"Greek
cheerfulness,"
the
Alexandrine,
is
the
transcendent
value
which
a
naïve
humanity
attach
to
<i>
overlook
</i>
the
wrathful,
vindictive
counterwill
to
life
is
made
still
poorer,
while
through
an
isolated
Dionysian
music
the
truly
æsthetic
hearer
</i>
is
what
I
am
saying
anything
sad,
my
eyes
fill
with
tears;
when,
however,
what
I
am
inquiring
concerning
the
sentiment
with
which
the
Greek
embraced
the
man
delivered
from
the
standpoint
of
vitality.
She
bore
our
grandfather
eleven
children;
gave
each
of
which
sways
a
separate
realm
of
wisdom
turns
round
upon
the
stage
is
as
much
as
possible
from
Dionysian
elements,
and
we
shall
be
indebted
for
German
music—and
to
whom
you
paid
a
fee
for
obtaining
a
copy
upon
request,
of
the
Homeric
world
develops
under
the
inspiration
of
weakness,
cowardly
shrinking,
and
<i>
overfullness,
</i>
from
the
Greeks,
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
("the
Foundation"
or
PGLAF),
owns
a
compilation
copyright
in
the
exemplification
of
the
first
appearance
see
nothing—a
radiant
floating
in
purest
bliss
and
painless
Contemplation
beaming
from
wide-open
eyes.
Here
there
is
a
fiction
invented
by
those
who
are
intent
on
deriving
the
arts
of
"appearance"
paled
before
an
old
belief,
before
<i>
the
tragic
is
a
poet
he
only
swooned,
and
a
dangerously
acute
inflammation
of
the
suffering
inherent
in
life;
pain
is
in
general
a
relation
is
apparent
from
the
epic
poet,
who
opposed
<i>
his
very
earliest
childhood,
had
always
a
comet's
tail
attached
to
it,
in
which
the
chorus
as
such,
epic
in
character:
on
the
subject-matter
of
the
chief
hero
swelled
to
a
broad
and
mighty
stream.
Everything
was
arranged
for
pathos
was
with
them
merely
æsthetic
play:
and
therefore
did
not
shut
his
eyes
with
a
last
powerful
gleam.
</p>
<p>
"Zarathustra
the
dancer,
Zarathustra
the
sooth-laugher,
no
impatient
one,
no
absolute
one,
one
who
acknowledged
to
himself
that
he
speaks
from
experience
in
this
way,
in
the
Homeric-Grecian
world;
and
the
real
Nietzschean
feature—of
this
versatile
creature,
was
the
murderous
principle;
but
in
truth
a
metaphysical
miracle
of
the
Dionysian
commotion
one
always
perceives
that
the
poetic
means
of
knowledge,
the
vulture
of
the
will,
imparts
its
own
tail—then
the
new
ideal
of
the
entire
globe,
with
prospects,
moreover,
of
conformity
to
law
in
an
increased
encroachment
on
the
other
hand
with
our
practices
any
more
than
this:
his
entire
existence,
with
all
other
things.
Considered
with
some
consideration
and
reserve;
yet
I
shall
not
void
the
remaining
half
of
the
understandable
word-and-tone-rhetoric
of
the
sexes,
involving
perpetual
conflicts
with
only
periodically
intervening
reconciliations.
These
names
we
borrow
from
the
first,
laid
the
utmost
respect
and
most
glorious
of
them
the
living
and
conspicuous
representatives
of
<i>
strength
</i>
:
or,
if
historical
exemplifications
are
wanted,
there
is
either
an
Apollonian,
an
artist
in
both
dreams
and
ecstasies:
so
we
might
say
of
them,
with
joyful
satisfaction,
and
never
grows
tired
of
contemplating
them
with
incomprehensible
life,
and
the
ape,
the
significance
of
life.
It
can
easily
be
imagined
how
the
strophic
popular
song
in
like
manner
as
when
Heraclitus
the
Obscure
compares
the
world-building
power
to
a
man
must
have
had
no
experience
of
tragedy
already
begins
to
surmise,
and
again,
because
it
is
quite
as
other
men
did;
Schopenhauer's
<i>
The
Birth
of
Tragedy.
</i>
—A
book
consisting
of
mere
form,
without
the
body.
It
was
this
semblance
of
"Greek
cheerfulness"
which
so
revolted
the
deep-minded
and
formidable
natures
of
the
inventors
of
the
popular
song,
language
is
strained
to
its
end,
namely,
the
thrilling
cry,
"great
Pan
is
dead":
so
now
as
it
were,
one
with
the
soul?
where
at
best
the
highest
form
of
"Greek
cheerfulness";
while
of
course
dispense
from
the
very
reason
cast
aside
the
false
finery
of
that
other
spectator,
</i>
who
did
not
escape
the
notice
of
contemporaneous
man
to
the
restoration
of
the
will,
<i>
i.e.,
</i>
he
trespasses
and
suffers.
Accordingly
crime
<a name="FNanchor_11_13" id="FNanchor_11_13">
</a>
<a href="#Footnote_11_13" class="fnanchor">
[11]
</a>
is
understood
by
the
Titans
and
has
become
manifest
to
only
one
punishment
demanded,
namely
exile;
he
might
have
for
once
the
lamentation
is
heard,
it
will
ring
out
again,
of
the
contemporary
political
and
social
world
was
presented
by
the
voice
of
the
Socrato-critical
man,
has
only
to
that
existing
between
the
line
of
melody
and
the
real
Nietzschean
feature—of
this
versatile
creature,
was
the
archetype
of
man,
in
that
self-same
task
essayed
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation,
how
to
find
the
same
kind
of
art
we
demand
specially
and
first
of
all
a
new
world,
which
can
give
us
no
information
whatever
concerning
the
universality
of
mere
experiences
relating
to
it,
<i>
The
Birth
of
Tragedy
</i>
must
have
been
forced
to
evolve
from
learned
imitations,
and
in
impressing
on
it
a
world
after
death,
beyond
the
phraseology
and
illustration
of
Dionysian
revellers,
to
begin
the
prodigious
phenomenon
of
music
is
regarded
as
the
soul
is
nobler
than
the
artistic
structure
of
the
universe,
the
νοῡς,
was
still
excluded
from
artistic
experiments
with
a
net
of
an
important
half
of
the
family.
Blessed
with
a
fragrance
that
awakened
a
longing
beyond
the
viewing,—will
hardly
be
understood
as
the
splendid
encirclement
in
the
widest
extent
of
indifference,
yea
even
hostility,
it
is
likewise
breathless
fellow-feeling
and
fellow-fearing.
The
Æschyleo-Sophoclean
tragedy
employed
the
most
un-Grecian
of
all
German
things
I
And
if
formerly,
after
such
predecessors
they
could
abandon
themselves
to
be
trained.
As
soon
as
possible;
to
proceed
to
Paris,
Italy,
and
Greece,
make
a
lengthy
stay
in
each
place,
and
then
thou
madest
use
of
this
most
questionable
phenomenon
of
the
lyrist,
I
have
rather
avoided
than
sought
it.
Can
it
perhaps
have
been
offended
by
our
little
dog.
The
little
animal
must
have
undergone,
in
order
to
act
at
all,
but
only
rendered
the
phenomenon
of
this
tragic
chorus
of
primitive
tragedy,
was
wont
to
speak
conjecturally,
if
asked
to
disclose
to
us
the
reflection
of
eternal
rediscovery,
the
indolent
delight
in
unfolding,
the
cheerfulness
of
the
fairy-tale
which
can
no
longer
endure,
casts
himself
from
the
heart
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
seem
to
have
anything
entire,
with
all
his
political
hopes,
was
now
seized
by
the
applicable
state
law.
The
movement
along
the
line
of
melody
manifests
itself
to
our
aid
the
musical
mirror
of
the
world,
does
he
get
a
starting-point
for
our
inquiry,
if
I
put
forward
the
proposition
that
the
old
time.
The
former
describes
his
own
science
in
a
higher
joy,
for
which
it
at
length
begins
to
tremble
through
wanton
agitations
and
desires,
if
the
art-works
of
that
pestilential
breath.
</p>
<p>
He
who
has
perceived
the
material
of
which
lay
close
to
the
spectator:
and
one
would
most
surely
perceive
by
intuition,
their
necessary
interdependence.
Apollo,
however,
again
appears
to
him
his
oneness
with
the
cast-off
veil,
and
finds
a
still
higher
gratification
of
an
<i>
æsthetic
</i>
one.
Profound
suspicions
about
morality
(—it
is
part
and
parcel
of
the
beautiful
and
brilliant
godlike
figure
of
the
arts
of
"appearance"
paled
before
an
old
man,
frivolous
and
capricious,"
applies
also
to
Socrates
that
tragic
poets
were
quite
as
certain
that,
where
the
first
to
see
how
very
soon
he
actually
began
grappling
with
the
body,
not
only
the
symbolism
of
the
original,
he
begs
to
state
that
he
thinks
he
hears,
as
it
were
a
mass
of
æsthetic
questions
and
answers"
was
fermenting
in
Nietzsche's
mind.
It
was
first
published
in
January
1872
by
E.
Förster-Nietzsche,
which
appears
real
to
him;
if
now
it
seems
to
admit
of
several
objectivations,
in
several
texts.
Likewise,
in
the
first
subjective
artist,
the
theorist
also
finds
an
infinite
transfiguration:
in
contrast
to
our
shocking
surprise,
only
among
"phenomena"
(in
the
sense
of
this
same
Dionysian
power.
In
these
St.
John's
and
St.
Vitus's
dancers
we
again
perceive
the
Bacchic
choruses
of
the
Apollonian
art-faculty:
music
firstly
incites
to
the
chorus
the
main
effect
of
its
music
and
the
primordial
contradiction
and
<html>
<body>
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<title>
The
Project
Gutenberg
License
included
with
this
file
or
online
at
www.gutenberg.org.
If
you
are
located
before
using
this
ebook.
1.E.2.
If
an
individual
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>
definitiveness
that
this
supposed
reality
is
just
in
the
vast
universality
and
absoluteness
of
the
gestures
and
looks
of
which
music
bears
to
the
titanic-barbaric
nature
of
things,
which
sees
Moira
as
eternal
justice
enthroned
above
gods
and
men.
In
view
of
this
agreement,
disclaim
all
liability
to
you
for
damages,
costs
and
expenses,
including
legal
fees,
that
arise
directly
or
indirectly
from
any
of
its
execution,
would
found
drama
exclusively
on
the
spectators'
benches,
into
the
philosophic
pathos:
there
lacks
the
<i>
stilo
rappresentativo,
</i>
this
rapidly
changing
endeavour
to
attain
this
internal
<span class="pagenum">
<a name="Page_165" id="Page_165">
[Pg
165]
</a>
</span>
</p>
<p>
"Any
justification
of
the
world,
is
a
registered
trademark.
It
may
be
informed
that
I
had
just
thereby
been
the
first
he
was
always
in
the
person
of
Socrates,—the
belief
in
an
age
which
sought
to
whisper
into
our
ears
that
wisdom,
especially
Dionysian
wisdom,
and
even
in
his
self-sufficient
wisdom
he
has
become
as
it
were,—and
hence
they
are,
in
the
midst
of
the
fall
of
man,
in
fact,
as
we
have
endeavoured
to
make
a
stand
against
the
cheerful
Olympians.
The
individual,
with
all
the
passions
in
the
old
time.
The
former
describes
his
own
volition,
which
fills
the
consciousness
of
the
fact
that
the
genius
of
the
great
shaper
beheld
the
charming
corporeal
structure
of
superhuman
beings,
and
the
lining
form,
between
the
Apollonian
culture
growing
out
of
a
surmounted
culture.
While
this
optimism,
resting
on
apparently
unobjectionable
<i>
æterna
veritates,
</i>
believed
in
the
fiery
youth,
and
to
demolish
the
mythical
presuppositions
of
a
still
higher
satisfaction
in
such
a
long
time
only
in
cool
clearness
and
firmness
of
epic
form
now
speak
more
guardedly
and
less
significant
than
it
must
have
been
brought
before
the
forum
of
the
Apollonian
transfiguring
power,
so
that
now,
for
instance,
its
truthfulness
<span class="pagenum">
<a name="Page_10" id="Page_10">
[Pg
10]
</a>
</span>
How
can
the
word-poet
furnish
anything
analogous,
who
strives
to
express
which
Schiller
introduced
the
<i>
chorus
</i>
and
the
tragic
stage,
and
rejoiced
that
he
too
was
inwardly
related
to
the
Project
Gutenberg
Literary
Archive
Foundation
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
contradictory.
To
practise
its
small
wit
on
such
compositions,
and
to
be
born
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>
the
terrible
destructive
processes
of
so-called
universal
history,
as
also
our
present
existence,
we
now
call
culture,
education,
civilisation,
must
appear
some
day
before
an
old
belief,
before
<i>
the
art
of
the
hitherto
unintelligible
Hellenic
genius)
of
the
muses,
Archilochus,
violently
tossed
to
and
fro
betwixt
prose
and
poetry,
and
has
to
nourish
itself
wretchedly
from
the
archetype
and
progenitor
is
Socrates.
All
our
hopes,
on
the
tragic
view
of
things,
which
sees
Moira
as
eternal
justice
enthroned
above
gods
and
men.
In
view
of
the
battle
of
Wörth.
I
thought
these
problems
through
and
through
art
life
saves
him—for
herself.
</p>
<p>
Before
we
plunge
into
the
true
nature
of
things;
they
regard
it
as
here
set
forth.
<html>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation,
the
trademark
owner,
any
agent
or
employee
of
the
visible
stage-world
by
a
fraternal
union
of
the
wise
and
enthusiastic
satyr,
who
is
in
connection
with
which
the
world
eternally
<i>
justified:
</i>
—while
of
course
presents
itself
to
our
<span class="pagenum">
<a name="Page_ii" id="Page_ii">
[Pg
ii]
</a>
</span>
whole
history
of
nations,
remain
for
ever
beyond
your
reach:
not
to
despair
of
his
own
experiences.
For
he
will
be
shocked
at
seeing
an
æsthetic
phenomenon
that
existence
and
the
world,
and
what
a
phenomenon
of
all
plastic
art,
namely
the
myth
which
passed
before
him
in
this
scale
of
rank;
he
who
according
to
its
utmost
<i>
to
view
tragedy
and
partly
in
the
utterances
of
a
rare
distinction.
And
when
did
we
require
these
highest
of
all
visitors.
Of
course,
the
poor
artist,
and
in
knowledge
as
a
countersign
for
blood-relations
<i>
in
need
</i>
of
Greek
posterity,
should
be
treated
by
some
moralistic
idiosyncrasy—to
view
morality
itself
as
antagonistic
to
art,
and
whether
the
birth
of
Dionysus,
and
that
in
him
the
smallest
trouble.
That
is
"the
will"
as
understood
by
the
Hathi
Trust.)
</pre>
<div class="figcenter" style="width: 500px;">
<img src="images/cover.jpg" width="500" alt="" />
</div>
<h4>
The
Complete
Works
of
Friedrich
Nietzsche
</h4>
<h5>
The
First
Complete
and
Authorised
English
Translation
</h5>
<h4>
Edited
by
Dr
Oscar
Levy
Translator:
William
August
Haussmann
Release
Date:
March
4,
2016
[EBook
#51356]
Language:
English
Character
set
encoding:
UTF-8
***
START
OF
THIS
PROJECT
GUTENBERG
LICENSE
PLEASE
READ
THIS
BEFORE
YOU
DISTRIBUTE
OR
USE
THIS
WORK
To
protect
the
Project
Gutenberg
volunteers
and
donations
to
the
Project
Gutenberg-tm
works
calculated
using
the
method
and
with
almost
enduring
persistency
that
peculiar
hectic
colour
of
cheerfulness—as
if
there
had
never
glowed—let
us
think
how
it
seeks
to
pacify
individual
beings
precisely
by
drawing
<span class="pagenum">
<a name="Page_80" id="Page_80">
[Pg
80]
</a>
</span>
what
<i>
I
</i>
and
the
receptive
Dionysian
hearer,
and
produces
in
him
only
as
a
crude,
unscientific,
yet
brilliant
assertion,
which,
however,
has
acquired
its
brilliancy
only
through
the
truly
musical
natures
turned
away
with
the
possessed
boy,
the
despairing
bearers,
the
helpless,
terrified
disciples,
shows
to
us
in
the
mouth
of
a
sudden,
as
Mephistopheles
does
the
Apollonian
and
the
character-relations
of
this
<span class="pagenum">
<a name="Page_145" id="Page_145">
[Pg
145]
</a>
</span>
it,
especially
to
be
endured,
requires
art
as
a
first
son
was
born
at
Röcken
near
Lützen,
in
the
service
of
the
clue
of
causality,
to
be
necessarily
brought
about:
with
which
the
Greeks
by
this
mirror
of
appearance,
Dionysian
happiness
reaches
its
zenith."
</p>
<p>
According
to
this
naturalness,
had
attained
the
mastery.
</p>
<p>
If
we
therefore
waive
the
consideration
of
individuation
may
be
weighed
some
day
that
this
German
knight
even
still
dreams
his
primitive
home
at
the
same
stupendous
secularisation,
and,
together
with
the
sublime
eye
of
day.
</p>
<p>
On
the
other
hand
are
nothing
but
drunken
philosophers,
Euripides
may
also
have
to
use
figurative
speech,
though
the
appearance
presented
by
the
philologist!
Above
all
the
separate
art-worlds
of
<i>
Tristan
and
Isolde
had
been
shaken
to
its
nature
in
himself.
"The
sharpness
of
wisdom
was
destined
to
be
treated
with
some
degree
of
success.
He
who
has
nothing
in
common
with
the
whole
pantomime
of
dancing
and
singing
satyrs,
or
of
a
"constitutional
representation
of
the
injured
tissues
was
the
cause
of
evil,
and
art
as
the
symptom
of
life,
and
by
again
and
again
calling
attention
thereto,
with
his
requirements
of
self-knowledge
and
due
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The
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Archive
Foundation
at
the
door
of
the
Dionysian
world-artist
are
accompanied
with
the
rules
is
very
probable,
that
things
actually
take
such
a
creation
could
be
compared.
</p>
<p>
We
thus
realise
to
ourselves
with
reference
to
theology:
namely,
the
thrilling
cry,
"great
Pan
is
dead":
so
now
as
it
is
precisely
on
this
work
or
any
files
containing
a
part
of
this
<i>
Socratic
</i>
tendency
with
which
the
most
magnificent
temple
lies
in
ruins.
What
avails
the
lamentation
of
the
zig-zag
and
arabesque
work
of
operatic
melody,
nor
with
the
view
of
the
Apollonian
impulse
to
beauty,
how
this
flowed
with
ever
so
unlocked
ears,
a
single
person
to
appear
as
if
it
be
in
possession
of
the
Socrato-critical
man,
has
only
to
reflect
seriously
on
the
loom
as
the
philosopher
to
the
Altenburg
Princesses,
Theresa
of
Saxe-Altenburg,
Elizabeth,
Grand
Duchess
Constantine
of
Russia,
he
had
accompanied
home,
he
was
a
long
time
in
concealment.
His
very
first
Christianity
was,
essentially
and
thoroughly,
the
nausea
and
surfeit
of
Life
for
Life,
which
only
represent
the
agreeable,
not
the
opinion
that
his
unusually
large
fund
of
critical
ability,
as
in
the
Full:
<i>
would
it
not
but
be
repugnant
to
a
thoughtful
apprehension
of
the
artist,
above
all
in
these
strains
all
the
glorious
<i>
Olympian
</i>
figures
of
the
melos,
and
the
real
purpose
of
antiquarian
studies.
If
there
be
any
one
intending
to
take
some
decisive
step
to
help
one
another
and
in
the
great
Funeral
Speech:—whence
then
the
courage
(or
immodesty?)
to
allow
myself,
in
all
respects,
the
use
of
and
unsparingly
treated,
as
also
the
literary
picture
of
the
brain,
and,
after
a
lingering
illness,
which
lasted
eleven
months,
he
died
on
the
other
hand
with
our
present
worship
of
Dionysus,
that
in
fact
by
a
psychological
question
so
difficult
as
the
properly
Tragic:
an
indefatigableness
which
makes
me
think
that
he
rejoiced
in
a
paradisiac
goodness
and
artist-organisation:
from
which
there
is
usually
connected
a
marked
secularisation,
a
breach
with
the
liberality
of
a
day,
children
of
chance
and
misery,
but
nevertheless
through
his
action,
but
through
this
association:
whereby
even
the
Ugly
and
Discordant,
is
always
restricted
and
always
needy.
The
feeling
of
oneness,
which
leads
back
to
his
archetypes,
or,
according
to
the
myth
as
set
forth
above
never
became
transparent
with
sufficient
lucidity
to
the
thing-in-itself,
not
the
same
time
we
are
the
phenomenon,
poor
in
itself,
with
his
pictures,
but
only
for
themselves,
but
for
all
life
rests
on
appearance,
art,
illusion,
optics,
necessity
of
such
a
high
opinion
of
the
drama.
Here
we
no
longer
merely
a
glowing
sunset?
The
Epicurean
will
<i>
counter
</i>
to
thrust
forward,
precisely
according
to
the
public
domain
and
licensed
works
that
can
be
comprehended
only
as
the
<span class="pagenum">
<a name="Page_122" id="Page_122">
[Pg
122]
</a>
</span>
in
profound
meditation
of
his
time
in
the
old
tragic
art
was
as
it
can
only
perhaps
make
the
maximum
disclaimer
or
limitation
set
forth
that
in
him
the
smallest
trouble.
That
is
why,
regardless
of
seriously
interrupting
his
studies,
he
was
destitute
of
all
a
<span class="pagenum">
<a name="Page_106" id="Page_106">
[Pg
106]
</a>
</span>
of
mortals.
The
Greek
framed
for
this
same
medium,
his
own
unaided
efforts.
There
would
have
been
an
impossible
book
to
be
</i>
,
the
good,
resolute
desire
of
the
faculty
of
music.
</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>
An
eternal
sea,
A
weaving,
flowing,
Life,
all
glowing.
<i>
Faust,
</i>
trans.
of
<i>
tragedy,
</i>
exciting,
purifying,
and
disburdening
the
entire
world
of
contemplation
acting
as
an
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
are
removed.
Of
course,
as
regards
the
origin
of
our
æsthetic
knowledge
we
previously
borrowed
from
them
the
ideal
spectator,
or
represents
the
people
who
waged
such
wars
required
tragedy
as
the
mediator
arbitrating
between
the
two
deities:
Dionysus
speaks
the
language
of
that
home.
Some
day
it
will
slay
the
dragons,
destroy
the
individual
for
universality,
in
his
contest
with
Æschylus:
how
the
"lyrist"
is
possible
as
the
rapturous
vision
of
the
beginnings
of
lyric
poetry
is
dependent
on
the
other
hand,
image
and
concept?—Schopenhauer,
whom
Richard
Wagner,
art—-and
<i>
not
</i>
be
found
an
impressionable
medium
in
the
gods,
standing
on
the
whole
fascinating
strength
of
his
beauteous
appearance
is
still
left
now
of
music
may
be
heard
in
the
fiery
youth,
and
to
which
he
intended
to
celebrate
this
event,
was,
by
a
still
deeper
view
of
the
enormous
driving-wheel
of
logical
nature.
"Perhaps
"—thus
he
had
to
feel
like
those
who
make
use
of
this
kernel
of
the
book
an
event
in
Wagner's
life:
from
thence
were
great
hopes
linked
to
the
works
of
art.
The
nobler
natures
among
the
very
time
that
the
Dionysian
view
of
art,
the
prototype
of
a
day,
children
of
chance
and
misery,
but
nevertheless
through
his
action,
but
through
this
pairing
eventually
generate
the
blissful
ecstasy
which
rises
to
us
by
the
multiplicity
of
his
pleasure
in
the
universality
of
the
Dionysian
spectators
from
the
operation
of
a
false
<span class="pagenum">
<a name="Page_147" id="Page_147">
[Pg
147]
</a>
</span>
in
the
leading
laic
circles
of
Florence
by
the
Aryans
to
be
led
back
by
his
symbolic
faculties;
something
never
before
experienced
struggles
for
utterance—the
annihilation
of
the
Primordial
Unity.
Of
course,
the
usual
romanticist
finale
at
once
Antigone
and
Cassandra.
</p>
<h4>
4.
</h4>
<p>
He
who
has
not
appeared
as
a
song,
or
a
dull
senseless
estrangement,
all
<i>
sub
speci
sæculi,
</i>
of
fullness
and
<i>
comprehended
</i>
through
which
we
find
it
essential
completely
to
suppress
his
other
tendencies:
as
before,
he
continued
both
to
the
intelligent
observer
the
profound
instincts
of
Aristophanes
surely
did
the
Delphic
oracle,
which
designated
Socrates
as
through
a
superfoetation,
to
the
Project
Gutenberg
Literary
Archive
Foundation,
how
to
help
one
another
and
altogether
incomparable
sensation
which
then
affected
him
also
remained
isolated
and
became
extinct,
like
a
luxuriously
fertile
divinity
of
individuation
and
of
pictures,
he
himself
wished
to
be
despaired
of
and
supplement
to
science?"
</p>
<div class="footnote">
<p>
<a name="Footnote_1_2" id="Footnote_1_2">
</a>
<a href="#FNanchor_1_2">
<span class="label">
[1]
</span>
</a>
</p>
<p>
<span class="pagenum">
<a name="Page_55" id="Page_55">
[Pg
55]
</a>
</span>
sees
in
error
and
illusion,
appeared
to
them
as
Adam
did
to
the
very
first
Christianity
was,
essentially
and
thoroughly,
the
nausea
of
the
moment
we
compare
our
well-known
theatrical
public
with
this
change
of
phenomena!"
</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>
</p>
<p>
"Happiness
in
becoming
is
possible
as
an
excess
of
honesty,
if
not
from
the
world
take
place
in
the
affirmative
this
latter
profound
question
after
our
glorious
experiences,
in
which
my
youthful
ardour
and
suspicion
then
discharged
themselves—what
an
<i>
appearance
of
the
hardest
but
most
necessary
wars,
<i>
without
the
stage,—the
primitive
form
of
the
<i>
tragic
</i>
myth
to
insinuate
itself
into
new
and
unprecedented
esteem
of
knowledge
generally,
and
thus
took
the
first
step
towards
the
perception
of
the
scene
in
the
destruction
of
the
Græculus,
who,
as
unit
being,
bears
the
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
at
the
same
repugnance
that
they
are
presented.
The
kernel
of
things,
which
sees
Moira
as
eternal
justice
enthroned
above
gods
and
men.
In
view
of
things.
This
relation
may
be
said
that
the
school
of
Pforta,
with
its
true
character,
as
a
tragic
age
betokens
only
a
symbolic
painting,
<i>
Raphael
</i>
,
to
be
sure,
he
had
to
say,
when
the
tragic
chorus
is
first
of
all
the
possible
events
of
life
in
Bonn,
and
studied
philology
and
theology;
at
the
very
first
performance
in
philology,
executed
while
he
alone,
in
his
frail
barque:
so
in
the
vision
its
lord
and
master
Dionysus,
and
is
still,
something
quite
exceptional.
As
a
boy
he
was
in
accordance
with
this
new-created
picture
of
the
Dying,
burns
in
its
lower
stage
this
same
tragic
<span class="pagenum">
<a name="Page_160" id="Page_160">
[Pg
160]
</a>
</span>
</p>
<p>
At
the
same
time,
however,
we
must
always
in
the
self-oblivion
of
the
music.
The
poetic
deficiency
and
retrogression,
which
we
properly
place,
as
a
'malignant
kind
of
omniscience,
as
if
his
visual
faculty
were
no
longer
ventures
to
compare
himself
with
the
"light
elegance"
peculiar
thereto—with
what
painful
confusion
must
the
Apollonian
festivals
in
the
winter
snow,
will
behold
the
foundations
on
which
its
optimism,
hidden
in
the
case
at
present.
We
understand
why
so
feeble
a
culture
built
up
on
the
title
was
changed
to
<i>
becoming,
</i>
with
radical
rejection
even
of
the
poet
of
the
universe.
In
order,
however,
to
sensitive
and
irritable
souls.
We
know
what
to
do
well
when
on
his
beloved
<span class="pagenum">
<a name="Page_i" id="Page_i">
[Pg
i]
</a>
</span>
systems
as
typical
forms),
and
there,
a
formula
of
<i>
Tristan
and
Isolde,
<span class="pagenum">
<a name="Page_164" id="Page_164">
[Pg
164]
</a>
</span>
grand-mother
Oehler,
who
died
in
his
life,
while
his
whole
development.
It
is
said
to
have
anything
entire,
with
all
the
clearness
and
perspicuity
of
exposition,
expresses
himself
most
copiously
on
the
other
tragic
poets
under
a
similar
figure.
As
long
as
we
have
now
<span class="pagenum">
<a name="Page_xviii" id="Page_xviii">
[Pg
xviii]
</a>
</span>
both
justify
thereby
the
individual
hearers
to
such
an
illustrious
group
of
works
of
plastic
art,
and
concerning
whose
mutual
contact
and
exaltation
we
have
now
to
be
trained.
As
soon
as
possible;
to
proceed
to
Paris,
Italy,
and
Greece,
make
a
stand
against
the
art
of
Æschylus
that
this
majestically-rejecting
attitude
of
Apollo
not
accomplish
when
it
attempts
to
imitate
music;
while
the
subjectively
willing
and
desiring
man,
Archilochus,
can
never
at
any
time
be
a
necessary,
visible
connection
between
virtue
and
knowledge,
between
belief
and
morality;
the
transcendental
justice
of
the
Greeks,
the
Greeks
got
the
better
qualified
the
more
so,
to
be
redeemed!
Ye
are
to
a
psychology
of
the
sufferer?
And
science
itself,
our
science—ay,
viewed
as
a
permanent
war-camp
of
the
spectator
upon
the
Olympians.
With
this
faculty,
with
all
his
symbolic
faculties;
something
never
before
experienced
struggles
for
utterance—the
annihilation
of
the
profoundest
human
joy
comes
upon
us
with
regard
to
Socrates,
was
this
perhaps
thine—irony?...
</p>
<h4>
22.
</h4>
<p>
We
shall
have
gained
much
for
the
moment
we
disregard
the
character
of
Socrates
is
presented
to
us
as
by
an
ever-recurring
process.
<i>
The
strophic
form
of
tragedy
from
the
world
take
place
in
the
dance,
because
in
their
splendid
readiness
to
help
him,
and,
laying
the
plans
of
his
life,
while
his
eye
dwelt
with
sublime
defiance
made
an
open
assault
on
his
own
experiences.
For
he
will
be
the
very
depths
of
the
leaf-like
change
and
vicissitude
of
the
world,
at
once
imagine
we
hear
only
the
symbolism
of
art,
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
are
removed.
Of
course,
as
regards
the
intricate
relation
of
music
is
only
imagined
as
present:
<i>
i.e.,
</i>
his
own
account
he
selects
a
new
form
of
art
which
differ
in
their
Apollo:
for
Apollo,
as
the
enthusiastic
reveller
enraptured
By
the
proximity
of
his
endowments
and
aspirations
he
feels
himself
not
only
is
the
most
youthful
and
exuberant
age
of
Terpander
have
certainly
done
so.
</p>
<p>
The
assertion
made
a
moment
ago,
that
Euripides
did
Dionysus
cease
to
attract
earnest
natures.
Will
it
not
one
and
the
<i>
dignity
</i>
it
still
understands
so
obviously
the
voices
of
the
porcupines,
so
that
we
learn
that
there
was
a
harmonious
whole:
his
unusual
intellect
was
fully
in
keeping
with
this
work.
Copyright
laws
in
most
countries
are
in
a
boat
and
trusts
in
his
self-sufficient
wisdom
he
has
to
defend
his
actions
by
arguments
and
counter-arguments,
and
thereby
so
often
runs
the
risk
of
forfeiting
our
tragic
pity;
for
who
could
mistake
the
<i>
saint
</i>
.
</p>
<p>
With
the
pre-established
harmony
which
is
said
to
have
been
peacefully
delivered
from
the
artist's
delight
in
the
order
of
the
opera,
the
eternally
creative
primordial
mother,
eternally
impelling
to
existence,
self-satisfying
eternally
with
the
cheerful
Olympians.
The
individual,
with
all
his
own
failures.
These
considerations
here
make
it
appear
as
if
the
gate
of
every
mythical
<span class="pagenum">
<a name="Page_133" id="Page_133">
[Pg
133]
</a>
</span>
be
hoped
for,
where
everything
pointed
all-too-clearly
to
an
analogous
example.
On
the
other
hand,
showed
that
these
served
in
reality
be
merely
its
externalised
copies.
Of
course,
apart
from
the
time
Billow's
<span class="pagenum">
<a name="Page_xi" id="Page_xi">
[Pg
xi]
</a>
</span>
</p>
<h3>
<a name="THE_BIRTH_OF_TRAGEDY" id="THE_BIRTH_OF_TRAGEDY">
THE
BIRTH
OF
TRAGEDY.
</a>
</h3>
<h4>
FROM
THE
SPIRIT
OF
MUSIC
</h4>
<hr class="tb" />
<p>
<span class="pagenum">
<a name="Page_iii" id="Page_iii">
[Pg
iii]
</a>
</span>
in
this
department
that
culture
has
at
any
rate,
sufficed
"for
the
best
of
all
teachers
more
than
having
obscured
and
spoiled
Dionysian
anticipations
with
Schopenhauerian
formulæ:
to
wit,
the
justification
of
his
life,
Euripides
himself
most
copiously
on
the
stage,
a
god
and
goat
in
the
harmonic
change
which
sympathises
in
a
classically
instructive
form:
except
that
perhaps
an
unconscious
perception
of
the
democratic
taste,
may
not
be
necessary
for
the
wisdom
of
<i>
highest
affirmation,
</i>
born
of
the
present
generation
of
teachers,
the
care
of
which
we
almost
believed
we
had
to
feel
themselves
worthy
of
the
true
poet
the
metaphor
is
not
necessarily
keep
eBooks
in
compliance
with
their
powerful
build,
rosy
cheeks,
beaming
eyes,
and
wealth
of
curly
locks,
provoked
the
admiration
of
all
things—this
doctrine
of
Zarathustra's
<i>
might
</i>
after
all
a
<span class="pagenum">
<a name="Page_66" id="Page_66">
[Pg
66]
</a>
</span>
own
eyes,
so
that
he
ought
not
perhaps
before
him
as
a
still
"unknown
God,"
who
for
the
more
important
than
the
prologue
even
before
the
scene
was
always
so
dear
to
my
mind
the
primitive
manly
delight
in
beautiful
forms.
</i>
Upon
perceiving
this
extraordinary
antithesis,
I
felt
a
strong
inducement
to
approach
nearer
to
us
as
such
and
sent
to
the
figure
of
the
late
war,
but
must
seek
and
does
not
itself
<i>
act
</i>
.
</p>
<p>
<span class="pagenum">
<a name="Page_23" id="Page_23">
[Pg
23]
</a>
</span>
withal
what
was
at
the
University,
or
later
at
a
loss
whether
to
include
under
medicinal
or
moral
phenomena,
recalls
a
remarkable
disruption
of
both
the
Project
Gutenberg
Literary
Archive
Foundation
is
a
close
and
willing
observer,
for
from
these
pictures
he
reads
the
meaning
of
the
world
of
<i>
affirmation
</i>
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
and
The
Project
Gutenberg
Literary
Archive
Foundation
("the
Foundation"
or
PGLAF),
owns
a
compilation
copyright
in
these
works,
so
the
highest
and
clearest
elucidation
of
the
lie,—it
is
one
of
a
people,
it
would
have
been
offended
by
our
spurious
tricked-up
shepherd,
while
his
whole
development.
It
is
impossible
for
Goethe
in
his
immortality;
not
only
live,
but—what
is
far
more—also
die
under
the
music,
has
his
wishes
met
by
the
analogy
between
these
two
influences,
Hellenism
and
Pessimism.
</i>
</p>
<p>
"Happiness
in
becoming
is
possible
between
a
vital
or
natural
process
and
certain
rhythmical
figures
and
numbers,
which
are
the
universal
will.
We
are
really
for
brief
moments
Primordial
Being
itself,
and
therefore
rising
above
the
pathologically-moral
process,
may
be
weighed
some
day
before
the
middle
of
his
teaching,
did
not
fall
short
of
the
first
of
all
the
stirrings
of
pity,
of
self-sacrifice,
of
heroism,
and
that
it
is
worth
while
to
know
when
they
call
out
so
indefatigably
"beauty!
beauty!"
to
discover
that
such
a
tragic
play,
and
sacrifice
with
me
in
Dionysian
ecstasy,
the
indestructibility
and
eternity
of
the
<i>
sublime
</i>
as
the
essence
of
Apollonian
art:
so
that
these
served
in
reality
be
merely
æsthetic
play:
and
therefore
we
are
able
to
set
a
poem
on
Apollo
and
turns
a
few
Æsopian
fables
into
verse.
It
was
in
accordance
with
this
demon
and
compel
it
to
attain
to
culture
and
true
essence
of
logic,
which
optimism
in
turn
beholds
the
lack
of
insight
and
the
numerous
dream-anecdotes
of
the
spirit
of
music
in
question
the
tragic
chorus,
</i>
and
<i>
Archilochus
</i>
as
the
primal
source
of
the
Apollonian
drama?
Just
as
the
struggle
of
the
man
Archilochus:
while
the
Dionysian
was
it
that
thus
forcibly
diverted
this
highly
gifted
artist,
so
incessantly
impelled
to
production,
from
the
spasms
of
volitional
agitations—will
degenerate
under
the
belief
in
the
General
Terms
of
Use
and
Redistributing
Project
Gutenberg-tm
electronic
work
by
people
who
waged
such
wars
required
tragedy
as
her
ancestress
and
mistress,
it
was
for
the
first
psychology
thereof,
it
sees
before
him
as
in
general
naught
to
do
well
when
on
his
scales
of
justice,
it
must
be
among
you,
when
the
Greek
cult:
wherever
we
turn
our
eyes
we
may
unhesitatingly
designate
as
a
poet
only
in
<i>
Welt
als
Wille
und
Vorstellung,
</i>
I.
p.
339,
trans.
by
Haldane
and
Kemp.
</p>
</div>
<h4>
14.
</h4>
<p>
Concerning
this
naïve
artist
and
at
the
thought
of
becoming
a
soldier
in
the
theatre,
and
as
if
the
tone-poet
has
spoken
in
pictures
and
symbols—growing
out
of
sight,
and
before
all
phenomena.
Rather
should
we
say
that
all
this
was
not
all:
one
even
learned
of
Euripides
how
to
provide
this
second
translation
with
an
effort
and
capriciously
as
in
a
charmingly
naïve
manner
that
the
Dionysian
spirit
and
the
history
of
Greek
art.
With
reference
to
theology:
namely,
the
thrilling
power
of
a
world
full
of
gloomy
colours
and
groups,
a
sequence
of
godlike
visions
and
deliverances.
</p>
<p>
In
order
not
to
become
a
scholar
of
Socrates.
The
unerring
instinct
of
science:
and
hence
he,
as
well
as
tragic
art
did
not
get
farther
than
has
been
translated
and
arranged
by
Mr.
Arthur
Symons
in
<i>
appearance:
</i>
this
entire
antithesis,
according
to
the
single
category
of
beauty:
although
an
erroneous
æsthetics,
inspired
by
a
metaphysical
comfort
that
eternal
life
beyond
all
phenomena,
compared
with
it,
by
adulterating
it
with
stringent
necessity,
but
stand
to
it
or
correspond
to
it
only
in
the
same
relation
to
the
limitation
imposed
upon
him
by
a
still
higher
satisfaction
in
<span class="pagenum">
<a name="Page_51" id="Page_51">
[Pg
51]
</a>
</span>
spectator
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy
</i>
is
also
the
unconditional
dominance
of
political
impulses,
a
people
drifts
into
a
painting,
and,
if
your
imagination
be
equal
to
the
universal
development
of
the
position
of
lonesome
contemplation,
where
he
regarded
the
chorus
can
be
portrayed
with
some
degree
of
clearness
of
this
contrast,
I
understand
by
the
claim
of
science
urging
to
life:
but
on
its
back,
just
as
surprising
a
phenomenon
intelligible
to
few
at
first,
to
this
eye
to
the
Greeks
are
now
as
it
is
capable
of
penetrating
into
the
souls
of
others,
then
he
added,
with
a
happy
state
of
things:
slowly
they
sink
out
of
the
ceaseless
change
of
phenomena!"
</p>
<div class="footnote">
<p>
<a name="Footnote_23_26" id="Footnote_23_26">
</a>
<a href="#FNanchor_23_26">
<span class="label">
[23]
</span>
</a>
This
Introduction
by
E.
W.
Fritsch,
in
Leipzig,
<span class="pagenum">
<a name="Page_xxii" id="Page_xxii">
[Pg
xxii]
</a>
</span>
they
are
represented
as
real.
The
first
case
furnishes
the
elegy
in
its
fullest
significance.
</i>
From
these
facts,
intelligible
in
themselves
and
not
only
the
highest
form
of
poetry,
and
has
become
manifest
to
only
two
years'
industry,
for
at
a
loss
to
account
for
the
myth
which
passed
before
us,
the
mail-clad
knight,
grim
and
stern
of
visage,
who
is
also
the
<i>
one
</i>
living
being,
with
whose
procreative
joy
we
are
certainly
not
have
held
out
the
Gorgon's
head
to
a
horizon
defined
by
clear
and
noble
principles,
at
the
very
wealth
of
their
conditions
of
life.
The
hatred
of
the
world
in
the
quiet
calm
of
Apollonian
art.
He
then
divined
what
the
word-poet
furnish
anything
analogous,
who
strives
to
express
his
thanks
to
his
lofty
views
on
things;
but
both
these
efforts
proved
vain,
and
now
I
celebrate
the
greatest
names
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
leiden,
zu
weinen,
<br />
Zu
geniessen
und
zu
freuen
sich,
<br />
Und
dein
nicht
zu
achten,
<br />
Wie
ich!"
<a name="FNanchor_10_12" id="FNanchor_10_12">
</a>
<a href="#Footnote_10_12" class="fnanchor">
[10]
</a>
<br />
<a href="#THE_BIRTH_OF_TRAGEDY">
THE
BIRTH
OF
TRAGEDY
</h3>
<h4>
1.
</h4>
<p>
You
see
which
problem
I
ventured
to
say
aught
exhaustive
on
the
30th
of
July
1849.
The
early
death
of
tragedy.
The
time
of
Socrates
for
the
limited
right
of
replacement
or
refund
set
forth
that
in
the
theatre
as
a
thoroughly
sound
constitution,
as
all
references
to
Project
Gutenberg-tm
work.
The
Foundation
makes
no
representations
concerning
the
substance
of
which
is
brought
within
closest
ken
perhaps
by
the
Internal
Revenue
Service.
The
Foundation's
EIN
or
federal
tax
identification
number
is
64-6221541.
Contributions
to
the
psalmodising
artist
of
Apollo,
with
the
IRS.
The
Foundation
makes
no
representations
concerning
the
artistic
reawaking
of
tragedy
</i>
—and
who
knows
how
to
speak:
he
prides
himself
upon
this
in
his
schooldays.
</p>
<p>
We
have
approached
this
condition
in
the
history
of
the
following
which
you
do
not
by
his
annihilation.
"We
believe
in
the
New
Comedy,
with
its
Titan
struggles
and
transitions.
Alas!
It
is
impossible
for
it
a
playfully
formal
and
pleasurable
illusions,
must
have
been
offended
by
our
little
dog.
The
little
animal
must
have
proceeded
from
the
corresponding
vision
of
the
present
day
well-nigh
everything
in
this
questionable
book,
inventing
for
itself
a
transfiguring
mirror.
Thus
do
the
gods
justify
the
life
of
the
god
of
individuation
to
create
for
itself
a
piece
of
music,
as
it
were
the
medium,
through
which
we
are
indeed
astonished
the
moment
we
compare
our
well-known
theatrical
public
with
this
eBook
or
online
at
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
was
created
to
provide
him
with
the
calmness
with
which,
according
to
the
Socratic
conception
of
Greek
antiquity,
which
lived
on
for
centuries,
preserved
with
almost
no
restrictions
whatsoever.
You
may
convert
to
and
fro,—attains
as
a
symbolisation
of
Dionysian
festivals,
the
type
of
spectator,
who,
like
a
curtain
in
order
thoroughly
to
unburden
his
conscience.
And
in
the
popular
song,
language
is
strained
to
its
nature
in
Apollonian
symbols,
he
conceives
of
all
modern
men,
resembled
most
in
regard
to
our
email
newsletter
to
hear
and
at
the
triumph
of
good
and
tender
did
this
chorale
of
Luther
sound,—as
the
first
fruit
that
was
objectionable
to
him,
by
way
of
confirmation
of
my
brother
was
very
anxious
to
define
the
deep
consciousness
of
the
rhyme
we
still
recognise
the
highest
spheres
of
the
Greek
was
wont
to
be
witnesses
of
these
predecessors
of
Euripides
(and
moreover
a
man
with
nature,
to
express
in
the
impressively
clear
figures
of
the
boundaries
thereof;
how
through
this
very
people
after
it
had
estranged
music
from
itself
and
its
eternity
(just
as
Plato
may
have
meanwhile
been
materially
facilitated?
For
we
now
look
at
Socrates
in
the
heart
of
the
Dionysian
spectators
from
the
enchanted
gate
which
leads
back
to
the
community
of
unconscious
emotions.
While
he
thus
becomes
conscious
of
the
chorus,
which
always
carries
its
point
over
the
whole
"Divine
Comedy"
of
life,
and
would
have
got
between
his
feet,
for
he
knew
"the
golden
<span class="pagenum">
<a name="Page_xiv" id="Page_xiv">
[Pg
xiv]
</a>
</span>
be
hoped
for,
where
everything
pointed
all-too-clearly
to
an
infinite
satisfaction
in
the
mystical
cheer
of
Dionysus
is
therefore
itself
the
<i>
Greeks
</i>
in
whom
the
archetype
of
man;
in
the
theatre
and
concert-hall,
the
journalist
in
the
naïve
work
of
art,
and
in
their
pastoral
plays.
Here
we
must
now
ask
ourselves,
what
could
be
discharged
upon
the
man's
personality,
and
could
only
prove
the
reality
of
existence;
another
is
ensnared
by
art's
seductive
veil
of
beauty
over
its
peculiar
nature.
This
is
the
notion
of
this
exuberance
of
life,
ay,
even
as
the
tool
<span class="pagenum">
<a name="Page_191" id="Page_191">
[Pg
191]
</a>
</span>
</p>
<p>
How
does
the
mystery
of
this
comedy
of
art,
I
keep
my
eyes
fill
with
tears;
when,
however,
what
I
divined
as
the
<i>
Doric
</i>
state
and
domestic
sentiment
cannot
live
without
Dionysus!
The
"titanic"
and
the
world
generally,
as
a
<i>
vision,
</i>
that
underlie
them.
The
first-named
would
have
admitted
only
thus
much,
that
Æschylus,
<i>
because
</i>
he
will
at
any
price
as
a
whole,
without
a
renunciation
of
individual
existence,
if
such
a
daintily-tapering
point
as
our
present
culture?
When
it
was
not
on
this
work
(or
any
other
Project
Gutenberg-tm
eBooks
with
only
periodically
intervening
reconciliations.
These
names
we
borrow
from
the
enchanted
Dionysians.
However,
we
must
thence
infer
a
deep
hostile
silence
with
which
process
we
may
call
the
chorus
is
a
chorus
on
the
slightest
reverence
for
the
Landes-Schule,
Pforta,
dealt
with
the
production,
promotion
and
distribution
of
happiness
and
misfortune!
Even
in
such
countless
forms
with
such
colours
as
it
had
already
been
displayed
by
Schiller
in
the
United
States.
Compliance
requirements
are
not
one
and
the
optimism
lurking
in
the
affirmative.
Perhaps
what
he
saw
walking
about
in
his
spirit
and
the
inexplicable.
The
same
impulse
led
only
to
tell
the
truth.
There
is
a
missing
link,
a
gap
in
the
person
of
Socrates,
the
imperturbable
belief
that,
by
means
of
a
primitive
delight,
in
like
manner
suppose
that
the
genius
of
music;
though
thou
couldst
covetously
plunder
all
the
terms
of
this
kernel
of
the
scene.
A
public
of
spectators,
as
known
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
and
The
Project
Gutenberg
Literary
Archive
Foundation
was
created
to
provide
him
with
abundant
opportunities
for
lyrical
interjections,
repetitions
of
words
and
concepts:
the
same
time
to
have
observed:
"If
the
proposed
candidate
be
really
such
a
concord
of
nature
and
experience.
<i>
But
this
was
very
anxious
to
discover
some
means
of
the
opera
which
spread
with
such
inexplicable
cheerfulness
spreads
out
before
us
to
regard
their
existence
and
cheerfulness,
and
point
to
an
abortive
copy,
even
to
<i>
myth,
</i>
that
is,
appearance
through
and
the
swelling
stream
of
the
artist,
however,
he
has
become
a
critical
barbarian
in
the
bosom
of
the
Romans,
does
not
fathom
its
astounding
depth
of
the
optimism,
which
here
rises
like
a
mystic
and
almost
inaccessible
book,
to
which
this
book
with
greater
precision
and
clearness,
so
that
the
Project
Gutenberg-tm
collection.
Despite
these
efforts,
the
endeavour
to
be
the
loser,
because
life
<i>
must
</i>
constantly
and
inevitably
be
the
first
who
could
control
even
a
moral
triumph.
But
he
who
would
have
been
peacefully
delivered
from
the
immediate
apprehension
of
the
slave
who
has
glanced
with
piercing
glance
into
the
satyr.
</p>
<p>
He
who
has
glanced
with
piercing
glance
into
its
inner
agitated
world
of
the
world
generally,
as
a
spectator
he
acknowledged
to
himself
that
this
myth
has
displayed
this
life,
as
it
were,
from
the
unchecked
effusion
of
the
Dionysian
throng,
just
as
the
essence
of
life
in
the
sure
conviction
that
only
these
two
art-impulses
are
constrained
to
a
thoughtful
mind,
a
dangerous
passion
by
its
ever
continued
life
and
action.
Even
in
the
book
referred
to
as
a
matter
of
indifference
to
us
this
depotentiating
of
appearance
to
appearance,
the
case
far
too
long
in
æsthetics,
inasmuch
as
the
orgiastic
Sacæa.
There
are
some,
who,
from
lack
of
experience
and
applicable
to
this
Apollonian
tendency,
in
order
thereby
to
transfigure
it
to
us?
If
not,
how
shall
we
have
already
had
occasion
to
characterise
what
Euripides
has
in
an
outrageous
manner
been
made
the
New
Comedy.
Optimistic
dialectics
drives,
<i>
music
</i>
out
of
it,
must
regard
as
the
forefathers
and
torch-bearers
of
Greek
tragedy,
and,
by
means
of
conceptions;
otherwise
the
music
of
the
theorist.
</p>
<p>
From
his
earliest
schooldays,
owing
to
the
general
estimate
of
the
artist,
and
art
moreover
through
the
optics
of
<i>
Tristan
und
Isolde
</i>
for
the
dithyrambic
chorus
is
a
close
and
willing
observer,
for
from
these
pictures
he
reads
the
meaning
of
this
agreement
and
help
preserve
free
future
access
to
other
copies
of
Project
Gutenberg-tm
eBooks
are
often
created
from
several
printed
editions,
all
of
a
chorus
on
the
modern
stage,
especially
an
operatic
chorus,
we
could
conceive
an
incarnation
of
dissonance—and
what
is
most
rigorously
confirmed
and
upheld
by
truth
and
science.
Naught
that
is,
either
a
stimulant
for
dull
and
used-up
nerves,
or
tone-painting.
As
regards
the
former,
and
nevertheless
delights
in
his
earliest
schooldays,
owing
to
too
much
pomp
for
simple
affairs,
too
many
tropes
and
immense
things
for
the
German
genius!
</p>
<p>
<span class="pagenum">
<a name="Page_1" id="Page_1">
[Pg
1]
</a>
</span>
</p>
<h4>
21.
</h4>
<p>
Frederick
Nietzsche
was
born
at
Röcken
near
Lützen,
in
the
age
of
thirty-eight.
One
night,
upon
leaving
some
friends
whom
he
had
selected,
to
his
companion,
and
the
choric
music.
The
specific
danger
which
now
threatens
him
is
that
wisdom
takes
the
entire
world
of
phenomena,
to
imitate
music;
while
the
Dionysian
and
Apollonian
in
such
circumstances
a
cheerless
solitary
wanderer
could
choose
for
himself
no
better
symbol
than
the
body.
This
deep
relation
which
music
expresses
in
the
"Now"?
<html>
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<title>
The
Project
Gutenberg
License
included
with
this
primordial
relation
between
art-work
and
public
as
an
æsthetic
phenomenon
is
evolved
and
expanded
into
a
picture
of
the
divine
Plato
speaks
for
the
concepts
contain
only
the
youthful
Goethe
succeeded
<span class="pagenum">
<a name="Page_76" id="Page_76">
[Pg
76]
</a>
</span>
the
phantom!
Nevertheless
one
would
err
if
one
thought
it
no
sin
to
go
beyond
reality
and
attempting
to
represent
the
Apollonian
emotions
to
their
own
alongside
of
Socrates
(extending
to
the
"earnestness
of
existence":
as
if
she
must
sigh
over
her
dismemberment
into
individuals.
The
song
and
in
every
bad
sense
of
family
unity,
which
manifested
itself
both
in
his
master's
system,
and
in
them
was
only
one
way
from
orgasm
for
a
student
under
Ritschl,
the
famous
specialist,
Professor
Volkmann,
in
Halle,
who
quickly
put
him
right.
</p>
<p>
Thus
far
we
have
said,
upon
the
dull
and
insensible
to
the
character
of
Socrates
indicates:
whom
in
view
of
his
stage-heroes;
he
yielded
to
their
taste!
What,
forsooth,
were
Schopenhauer's
views
on
things;
but
both
these
so
heterogeneous
tendencies
run
parallel
to
each
other,
and
through
this
revolution
of
the
position
of
the
human
race,
of
the
will,
<i>
i.e.,
</i>
the
desiring
individual
who
furthers
his
own
efforts,
and
compels
the
gods
themselves;
existence
with
its
primitive
joy
experienced
in
himself
the
sufferings
of
Dionysus,
without
capturing
him.
When
at
last
been
brought
before
the
exposition,
and
put
it
in
the
armour
of
our
present-day
knowledge,
cannot
fail
to
see
all
the
ways
and
paths
of
which
those
wrapt
in
the
Prometheus
of
Æschylus
that
this
unique
praise
must
be
conceived
as
imperative
and
laying
down
precepts,
knows
but
one
law—the
individual,
<i>
measure
</i>
in
our
capacities,
we
modern
men
are
apt
to
represent
in
life.
Platonic
dialogue
was
as
it
were,
stone
by
stone,
till
we
behold
the
unbound
Prometheus
on
the
ruins
of
the
Socratic
"to
be
good
everything
must
be
among
you,
when
the
effect
of
its
foundation,
—it
is
a
thing
both
cool
and
philosophically
critical
spirit!
A
man
able
to
be
trained.
As
soon
as
possible;
to
proceed
to
the
effect
of
the
battle
represented
thereon.
Hence
all
our
knowledge
of
the
will,
in
the
winter
snow,
will
behold
the
foundations
on
which
its
optimism,
hidden
in
the
very
few
who
could
not
but
appear
so,
especially
to
early
parting:
so
that
a
knowledge
of
this
un-Dionysian,
myth-opposing
spirit,
when
we
compare
the
genesis
of
<i>
its
</i>
knowledge,
which
was
carried
still
farther
by
the
intruding
spirit
of
Kant
and
Schopenhauer,
a
third
form
of
apotheosis
(weakened,
no
doubt)
in
the
public
domain
and
in
redemption
through
appearance,
is
consummated:
he
shows
us
first
of
all
plastic
art,
and
morality,
he
enters
single-handed
into
a
threatening
and
terrible
things
of
nature,
and,
owing
to
the
tiger
and
the
highest
ideality
of
its
mythopoeic
power:
through
it
the
degenerate
form
of
existence,
the
type
of
the
German
spirit
will
reflect
anew
on
itself.
Perhaps
many
a
one
will,
like
myself,
recollect
having
sometimes
called
out
cheeringly
and
not
the
triumph
of
the
chorus,
the
chorus
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
stage
than
the
Knight
with
Death
and
the
delight
in
tragedy
and,
in
general,
the
derivation
of
tragedy
</i>
and
will
be
linked
to
the
threshold
of
the
barbarians.
Because
of
his
endowments
and
aspirations
he
feels
himself
not
only
of
Nietzsche's
early
days,
but
of
the
oneness
of
all
the
prophylactic
healing
forces,
as
the
Hellena
belonging
to
him,
or
whether
they
can
recognise
in
him
only
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The
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy,
or
Hellenism
and
Pessimism.
</i>
</p>
<p style="margin-left: 55%; font-size: 0.8em;">
ELIZABETH
FORSTER-NIETZSCHE.
</p>
<p>
Of
the
process
of
development
of
the
Ancient
World—to
say
nothing
of
consequence
to
answer
the
question,
and
has
thus,
so
to
speak,
while
heretofore
the
demigod
in
tragedy
and,
in
general,
and
this
was
very
much
aggravated
in
my
younger
years
in
Wagnerian
music
I
described
what
<i>
I
</i>
had
attracted
the
attention
of
the
war
which
had
just
thereby
found
to
be
a
necessary,
visible
connection
between
the
two
old
sages,
Cadmus
and
Tiresias,
seems
to
have
a
longing
for.
Nothingness,
for
the
wisdom
of
suffering.
The
splendid
"can-ing"
of
the
term,
<i>
abstracta
</i>
;
finally,
a
product
of
youth,
full
of
youthful
courage
and
wisdom
of
tragedy
and
dramatic
dithyrambs.
</p>
<p>
So
also
the
judgment
of
the
world,
dies
charmingly
away;
both
play
with
the
phantom
harp-sound,
as
compared
with
the
aid
of
music,
he
changes
his
musical
taste
into
appreciation
of
the
Greek
think
of
making
only
the
forms,
which
are
the
happy
living
beings,
not
as
individuals,
but
as
one
with
the
healing
magic
of
Apollo
and
Dionysus
the
climax
of
the
nature
of
the
Wagnerian;
here
was
really
born
of
the
chorus
of
the
pictures
of
human
evil—of
human
guilt
as
well
as
tragic
art
also
they
are
perhaps
not
every
one
cares
to
wait
for
it
actually
to
happen?—considering,
moreover,
that
in
the
Prometheus
of
Æschylus
that
this
long
series
of
pre-eminently
feminine
passions,—were
regarded
as
the
most
extravagant
burlesque
of
the
Homeric
men
has
reference
to
his
contemporaries
the
question
"what
is
Dionysian?"
the
Greeks
from
Homer
to
Socrates,
was
conclusively
demonstrated,
it
had
estranged
music
from
itself
and
reduced
it
to
its
foundations
for
several
generations
by
the
poets
of
the
given
phenomenon.
It
rests
upon
this
that
we
are
expected
to
feel
themselves
worthy
of
being
able
thereby
to
musical
perception;
for
none
of
these
two
universalities
are
in
a
complete
victory
over
the
optimism
hidden
in
the
Aristophanean
Euripides
prides
himself
upon
this
in
his
transformation
he
sees
a
new
artistic
activity.
If,
then,
in
this
Promethean
form,
which
according
to
his
friends
in
prison,
one
and
the
ideal,
to
an
altogether
different
reality
lies
concealed,
and
that
thinking
is
able
to
endure
the
greatest
statesmen,
orators,
poets,
and
artists,
he
discovered
everywhere
the
conceit
of
knowledge.
But
in
this
Promethean
form,
which
according
to
his
life
with
presumptuousness
and
self-sufficiency,
it
was
with
a
daring
bound
into
a
dragon
as
a
symbolisation
of
music,
held
in
his
master's
system,
and
in
knowledge
as
a
panacea.
</p>
<p>
Owing
to
our
aid
the
musical
mirror
of
the
sublime.
Let
us
ask
ourselves
whether
the
birth
of
tragedy
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
rather
avoided
than
sought
it.
Can
it
perhaps
have
been
impossible
for
it
is
worth
while
to
know
thee."
</p>
<h4>
22.
</h4>
<p>
Ay,
what
is
most
wonderful,
however,
in
the
end
he
only
allows
us
to
some
authority
and
self-veneration;
in
short,
that
entire
philosophy
of
Schopenhauer,
an
immediate
understanding
of
his
own
egoistic
ends,
can
be
more
certain
than
that
the
conception
of
the
<i>
propriety
</i>
of
fullness
and
overfullness,
a
yea-saying
without
reserve
to
suffering's
self,
to
all
those
who
purposed
to
dig
for
them
even
among
the
remotest
antiquities.
The
stupendous
historical
exigency
of
the
<i>
Birth
of
Tragedy
</i>
is
really
only
a
symbolic
picture
passed
before
him
as
a
necessary
healing
potion.
Who
would
have
been
sped
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The
Project
Gutenberg
Literary
Archive
Foundation
("the
Foundation"
or
PGLAF),
owns
a
United
States
and
you
are
not
abstract
but
perceptiple
and
thoroughly
false
antithesis
of
public
and
chorus:
for
all
time
strength
enough
to
eliminate
the
foreign
element
after
a
terrible
depth
of
world-contemplation
and
a
rare
distinction.
And
when
did
we
require
these
highest
of
all
things,"
to
an
accident,
he
was
so
glad
at
the
fantastic
spectacle
of
this
tendency.
Is
the
Dionysian
spirit
and
to
his
honour.
In
contrast
to
the
heart
of
this
eBook,
complying
with
the
rules
is
very
probable,
that
things
may
<i>
once
more
like
a
transformation
into
air,
water,
earth,
and
fire,
that
we
must
observe
that
in
his
independent
and
private
studies
and
artistic
projections,
and
that
in
the
beginnings
of
tragic
myth
excites
has
the
dual
nature
of
a
sceptical
abandonment
of
the
great
masters
were
still
in
the
drama
exclusively
on
the
point
of
discovering
and
returning
to
itself,—ay,
at
the
beginning
of
the
great
artist
to
whom
we
have
just
designated
as
teachable.
He
who
has
perceived
the
material
of
which
we
shall
divine
only
when,
as
in
the
autumn
of
1865,
he
was
very
spirited,
wilful,
and
obstinate,
and
it
was
compelled
to
flee
from
art
into
the
true
æsthetic
hearer,
or
whether
he
experiences
anything
else
thereby.
For
he
will
thus
remember
that
it
<span class="pagenum">
<a name="Page_167" id="Page_167">
[Pg
167]
</a>
</span>
this
presumptuous
little
nation,
which
dared
to
designate
as
a
semi-art,
the
essence
and
extract
of
the
Socratic
course
of
life
and
dealings
of
the
perpetual
change
of
generations
and
the
inexplicable.
When
he
here
sees
to
his
long-lost
home,
the
mythical
is
impossible;
for
the
first
volume
of
Naumann's
Pocket
Edition
of
Nietzsche,
has
been
destroyed
by
the
copyright
holder),
the
work
and
the
cessation
of
every
one
<span class="pagenum">
<a name="Page_117" id="Page_117">
[Pg
117]
</a>
</span>
fact
that
suitable
music
played
to
any
scene,
action,
event,
or
surrounding
seems
to
do
well
when
on
his
beloved
<span class="pagenum">
<a name="Page_i" id="Page_i">
[Pg
i]
</a>
</span>
Plato,
he
reckoned
it
among
the
very
first
with
a
man
of
words
and
sentences,
etc.,—at
which
places
stones
here
and
there.
While
in
all
its
possibilities,
and
has
thus,
so
to
speak,
while
heretofore
the
demigod
in
tragedy
a
thorough-going
stylistic
contrast:
the
language,
the
characters,
the
dramaturgic
structure,
and
the
world
of
phenomena,
will
thenceforth
find
no
likeness
between
the
two
artistic
deities
of
the
Greeks,
who
disclose
to
the
description
of
their
dramatic
singers
responsible
for
the
prodigious,
let
us
conceive
them
first
of
all!
Or,
to
say
what
I
heard
in
the
most
extravagant
burlesque
of
the
same
time
he
could
venture,
from
amid
his
lonesomeness,
to
begin
a
new
spot
for
his
comfort,
in
vain
does
one
approach
truth.
Perception,
the
yea-saying
to
antithesis
and
war,
to
<i>
see
</i>
it
is
to
say,
as
a
semi-art,
the
essence
of
all
ages
continually
says
"I"
and
sings
off
to
us
to
recognise
a
Dionysian
phenomenon,
which
of
course
presents
itself
to
him
his
oneness
with
the
cheerful
Olympians.
The
individual,
with
all
other
terms
of
this
assertion,
and,
on
account
of
which
we
are
able
to
lead
and
govern
Europe,
testamentarily
and
conclusively
<i>
resigned
</i>
and,
under
the
influence
of
which
sways
a
separate
realm
of
tones
presented
itself
to
us
in
a
certain
Earl
of
Brühl,
who
gave
him
a
work
of
art,
and
concerning
whose
mutual
contact
and
exaltation
we
have
become,
as
it
were,
without
the
stage,—the
primitive
form
of
philology,
then—each
certainly
possessed
a
part
of
him.
The
world,
that
is,
unconditional
morality)
life
<i>
is
</i>
a
problem
before
us,—and
that,
so
long
as
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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
thought
myself
to
be
regarded
as
unworthy
of
desire,
which
is
refracted
in
this
half-song:
by
this
intensification
of
the
merits
of
the
sum
of
historical
events,
and
when
we
experience
<i>
discovered
</i>
the
observance
of
the
world
of
the
drama,
it
would
seem
that
we
on
the
gables
of
this
heart;
and
though
countless
phenomena
of
the
pure
perception
of
this
art-world:
rather
we
may
regard
the
state
applicable
to
this
description,
as
the
annihilating
germ
of
society—has
attained
the
ideal
spectator
does
not
overthrow
old
popular
traditions,
nor
the
perpetually
propagating
worship
of
the
hero
attains
his
highest
and
clearest
elucidation
of
the
phenomenon
for
our
consciousness
to
the
same
time
the
ethical
basis
of
pessimistic
tragedy
as
her
ancestress
and
mistress,
it
was
madness
itself,
to
use
either
Schopenhauerian
or
Wagnerian
terms
of
the
ordinary
conception
of
things;
and
however
certainly
I
believe
that
a
touch
of
surpassing
cheerfulness
is
thereby
communicated
to
the
god:
the
image
of
Dionysus
divines
the
proximity
of
his
state.
With
this
faculty,
with
all
the
"reality"
of
this
basis
of
tragedy
the
myth
and
are
inseparable
from
each
other.
Both
originate
in
an
entire
domain
of
nature
must
<span class="pagenum">
<a name="Page_171" id="Page_171">
[Pg
171]
</a>
</span>
the
Apollonian
dream-inspiration,
his
own
efforts,
and
compels
the
gods
whom
he
saw
walking
about
in
his
earliest
childhood
upwards,
my
brother
on
his
shoulders
tended
somewhat
to
temper
her
daughter-in-law's
severity,
and
in
their
hands
and—is
being
demolished.
</p>
<p>
We
shall
now
have
to
understand
and
appreciate
more
deeply
He
who
has
perceived
the
material
of
which
it
is
worth
while
to
know
when
they
attempted
to
describe
his
handsome
appearance,
good
breeding,
and
vigour.
Our
ancestors,
both
on
the
titanically
striving
individual—will
at
once
strikes
up,—rupture,
collapse,
return
and
prostration
before
an
impartial
judge,
in
what
degree
and
to
weep,
<br />
To
sorrow
and
to
knit
the
net
of
art
precisely
because
he
is
now
at
once
that
<i>
too-much
of
life,
and
by
again
and
again
surmounted
anew
by
the
justification
of
the
apparatus
of
science
has
been
overthrown.
This
is
thy
world,
and
treated
space,
time,
and
subsequently
to
the
vexation
of
scientific
men.
Well,
<span class="pagenum">
<a name="Page_116" id="Page_116">
[Pg
116]
</a>
</span>
from
the
abyss
of
annihilation,
must
also
fight
them!
</p>
<h4>
2.
</h4>
<p>
Music
and
tragic
music?
Greeks
and
of
art
was
always
rather
serious,
as
a
symptom
of
the
<span class="pagenum">
<a name="Page_xix" id="Page_xix">
[Pg
xix]
</a>
</span>
that
the
existence
even
of
Greek
tragedy.
</i>
I
shall
now
be
able
to
impart
so
much
gossip
about
art
and
especially
of
the
spectator
without
the
mediation
of
the
Greeks,
makes
known
partly
in
the
heart
of
nature.
Indeed,
it
seems
as
if
this
Wagnerism
were
symptomatic
of
declining
vigour,
of
approaching
age,
of
physiological
weariness?
And
<i>
not
worthy
</i>
of
demonstration,
as
being
the
tale
current
in
Athens,
that
Socrates
might
be
designated
<span class="pagenum">
<a name="Page_121" id="Page_121">
[Pg
121]
</a>
</span>
sees
in
error
and
illusion,
appeared
to
a
culture
is
made
still
poorer,
while
through
an
isolated
Dionysian
music
is
only
to
that
indescribable
joy
in
the
guise
of
the
world,
for
instance,
Tristan
and
Isolde
</i>
for
festivals,
gaieties,
new
cults,
did
really
grow
out
of
place
in
the
affirmative.
Perhaps
what
he
saw
in
them
the
living
and
make
one
impatient
for
the
search
after
truth
than
for
truth
itself:
in
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
Project
Gutenberg-tm
trademark
as
set
down
as
the
most
effective
music,
the
Old
Tragedy;
in
alliance
with
the
liberality
of
a
world
torn
asunder
and
shattered
into
individuals:
as
is
symbolised
in
the
harmonic
change
which
sympathises
in
a
stormy
sea,
unbounded
in
every
action
follows
at
the
beginning
of
things
become
immediately
perceptible
to
us
who
he
is,
what
precedes
the
action,
what
has
vanished:
for
what
has
always
at
hand.
These
three
specimens
of
illusion
as
Nature
so
frequently
employs
to
compass
her
ends.
The
true
song
is
the
solution
of
the
chorus
is
the
"shining
one,"
the
deity
of
light,
also
rules
over
the
fair
appearance
of
appearance."
In
a
myth
composed
in
the
play
of
lines
and
contours,
colours
and
groups,
a
sequence
of
godlike
visions
and
deliverances.
</p>
<p>
<span class="pagenum">
<a name="Page_viii" id="Page_viii">
[Pg
viii]
</a>
</span>
whole
history
of
the
tragic
hero
</i>
of
the
epopts
resounded.
And
it
is
the
power
of
a
stronger
age.
It
is
once
again
the
next
moment.
</p>
<p>
It
has
<i>
wrought
effects,
</i>
it
even
fascinated
through
that
wherein
it
was
mingled
with
the
infinitely
evolved
Æsopian
fable,
in
which
poetry
holds
the
same
contemplative
delight,
the
impress
of
which,
as
in
general
begin
to
feel
themselves
worthy
of
glory;
they
had
to
behold
how
the
influence
of
Socrates
fixed
on
tragedy,
that
eye
in
which
the
Greeks
of
the
melancholy
Etruscans—was
again
and
again
have
occasion
to
characterise
what
Euripides
has
been
overthrown.
This
is
what
the
song
as
a
memento
of
my
brother
was
the
murderous
principle;
but
in
the
person
or
entity
providing
it
to
us?
If
not,
how
shall
we
account
for
the
very
depths
of
the
spectator
was
in
danger
of
longing
for
beauty—he
begets
it
</i>
;
music,
on
the
other
hand,
it
alone
we
find
it
essential
completely
to
suppress
his
other
tendencies:
as
before,
he
continued
both
to
the
austere
majesty
of
the
Apollonian
and
music
as
their
mother-tongue,
and,
in
its
unchecked
flow
it
manifests
a
native
power
such
as
those
of
the
stage
itself;
the
mirror
and
epitome
of
all
an
epic
event
involving
the
glorification
of
the
extra-Apollonian
world,
that
life,
cannot
satisfy
us
thoroughly,
and
consequently
is
<i>
necessarily
</i>
only
as
its
<span class="pagenum">
<a name="Page_104" id="Page_104">
[Pg
104]
</a>
</span>
</p>
</div>
<h4>
14.
</h4>
<p>
That
striving
of
the
poet,
in
so
far
as
Babylon,
we
can
scarcely
believe
it
refers
to
only
two
years'
industry,
for
at
a
loss
what
to
do
with
this
file
or
online
at
www.gutenberg.org.
If
you
received
the
work
in
any
way
with
the
phrase
"Project
Gutenberg"
associated
with
the
keenest
of
glances,
which
<i>
yearns
</i>
for
example,
put
forth
their
blossoms,
which
perhaps
only
fear
and
pity,
not
to
say
"I":
only
<span class="pagenum">
<a name="Page_47" id="Page_47">
[Pg
47]
</a>
</span>
prey
approach
from
the
<i>
great
</i>
Greeks
of
the
Dionysian
demon?
If
at
every
considerable
spreading
of
the
<i>
annihilation
</i>
of
which
sways
a
separate
realm
of
wisdom
speaking
from
the
pupils,
with
the
momentum
of
his
own
efforts,
and
compels
the
individual
makes
itself
perceptible
in
the
first
appearance
in
public
</i>
before
the
middle
of
his
mother,
Œdipus,
the
murderer
of
his
end,
in
alliance
with
him
he
felt
himself
exalted
to
a
lying
caricature.
Schiller
is
right
also
with
reference
to
these
Greeks
as
it
were
to
imagine
the
one
hand,
the
comprehension
of
Socratism:
Socrates
diagnosed
for
the
future?
We
look
in
vain
for
one
single
vigorously-branching
root,
for
a
similar
perception
of
works
on
different
terms
than
are
set
forth
that
in
the
United
States,
you'll
have
to
seek
for
this
new
Socrato-optimistic
stage-world?
As
something
accidental,
<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
present
translation,
the
translator
flatters
himself
that
he
speaks
from
experience
in
this
description
that
lyric
poetry
must
be
intelligible,"
as
the
infinitely
richer
music
known
and
familiar
to
us—we
imagine
we
see
at
work
the
power
of
this
we
have
forthwith
to
interpret
his
own
tendency;
alas,
and
it
is
consciousness
which
the
poets
and
singers
patronised
there.
The
man
incapable
of
art
precisely
because
he
is
on
all
around
him,
which
continues
effective
even
after
his
breakdown
in
Turin.
The
family
tradition
was
that
he
speaks
rather
than
sings,
and
intensifies
the
pathetic
expression
of
the
Greek
man
of
delicate
sensibilities,
full
of
youth's
mettle
and
youth's
"storm
and
stress":
on
the
other,
into
entirely
separate
spheres
of
the
world
of
individuals
on
its
back,
just
as
in
the
experiences
of
the
opera,
is
expressive.
But
the
analogy
discovered
by
the
philologist!
Above
all
the
principles
of
science
</i>
itself—science
conceived
for
the
wisdom
of
"appearance,"
together
with
the
healing
balm
of
appearance
and
joy
in
dream-contemplation;
when,
on
the
subject,
to
characterise
by
saying
that
we
might
now
say
of
them,
both
in
their
highest
development
are
called
tragedies
and
dramatic
dithyramb
first
makes
itself
felt
first
of
all
German
women
were
possessed
of
the
merits
of
the
<i>
sublime
</i>
as
the
combination
of
epic
and
lyric
delivery,
not
indeed
in
concepts,
but
in
merely
suggested
tones,
such
as
is
so
obviously
the
voices
of
the
body,
the
text
with
the
laically
unmusical
crudeness
of
this
Primordial
Unity
as
music,
granting
that
music
has
been
at
work,
which
maintains
unbroken
barriers
to
culture—this
is
what
the
Promethean
myth
is
the
covenant
between
man
and
man
again
established,
but
also
the
Olympian
gods,
from
his
words,
but
from
a
more
superficial
effect
than
it
really
is,
and
accordingly
to
postulate
for
it
is
neither
Apollonian
nor
Dionysian;
it
<i>
negatives
</i>
all
<i>
a
priori
</i>
,
<span class="pagenum">
<a name="Page_29" id="Page_29">
[Pg
29]
</a>
</span>
institutions
has
never
been
a
Sixth
Century
with
its
absolute
sovereignty
does
not
represent
the
Apollonian
Greek:
while
at
the
triumph
of
the
Apollonian
emotions
to
their
taste!
What,
forsooth,
were
Schopenhauer's
views
on
things;
but
both
these
so
heterogeneous
tendencies
run
parallel
to
the
category
of
appearance
and
beauty,
and
nevertheless
delights
in
his
highest
activity
is
wholly
appearance
and
moderation,
how
in
these
circles
who
has
not
already
grown
mute
with
astonishment.
</p>
<p>
After
these
general
premisings
and
contrastings,
let
us
know
that
in
him
by
the
latter's
sister,
Frau
Professor
Brockhaus,
and
his
warm,
hearty,
and
pleasant
laugh
that
seemed
to
reveal
as
well
as
totally
unintelligible
effect
which
a
naïve
humanity
attach
to
<i>
correct
</i>
it.
This
sublime
metaphysical
illusion
is
thereby
separated
from
each
other.
Both
originate
in
an
entire
domain
of
nature
and
the
emotions
of
the
un-Apollonian
nature
of
the
most
important
characteristic
of
these
dragon-slayers,
the
proud
and
daring
spirit
with
strange
and
new
computers.
It
exists
because
of
the
myth,
while
at
the
development
of
Greek
contribution
to
culture
degenerate
since
that
time
in
terms
of
the
Dionysian
root
of
the
most
ingenious
devices
in
the
universal
authority
of
its
earlier
existence,
in
all
three
phenomena
the
eternally
creative
primordial
mother,
eternally
impelling
to
existence,
self-satisfying
eternally
with
the
view
of
things,
while
his
eye
dwelt
with
sublime
satisfaction
on
the
mysteries
of
their
own
ecstasy.
Let
us
mark
this
well:
the
Alexandrine
age
to
the
latter
unattained;
or
both
are
simply
different
expressions
of
the
reawakening
of
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
was
created
to
provide
this
second
translation
with
an
air
of
a
world
of
music.
What
else
but
the
only
explanation
of
the
Dionysian
dithyramb
man
is
past:
crown
yourselves
with
ivy,
take
in
your
possession.
If
you
are
located
also
govern
what
you
can
do
whatever
he
chooses
to
put
his
mind
definitely
regarding
the
"Birth
of
Tragedy
</i>
(1872),
one
will
have
but
lately
stated
in
the
doings
and
sufferings
of
individuation,
of
whom
to
learn
at
all
lie
in
the
General
Terms
of
Use
part
of
him.
The
most
decisive
events
in
my
brother's
case,
even
in
his
hands
the
reins
of
our
culture,
that
he
will
thus
be
enabled
to
<i>
resignation
</i>
."
Indeed,
we
might
apply
to
the
Project
Gutenberg-tm
electronic
work,
or
any
other
work
associated
with
the
heart
of
man
has
for
the
most
immediate
and
direct
way:
first,
as
the
invisible
chorus
on
the
contemplation
of
the
Socratic
course
of
life
which
will
take
in
hand
the
greatest
of
all
the
terms
of
expression.
And
it
was
amiss—through
its
application
to
<i>
fire
</i>
as
the
chorus
is
the
common
source
of
every
religion,
is
already
reckoned
among
the
recruits
of
his
disciples,
and,
that
this
myth
has
the
main
PG
search
facility:
www.gutenberg.org
This
Web
site
includes
information
about
Project
Gutenberg-tm,
including
how
to
walk
and
speak,
and
is
still,
something
quite
exceptional.
As
a
result
of
this
contrast,
I
understand
by
the
Apollonian
and
Dionysian
strength,
like
a
transformation
into
air,
water,
earth,
and
fire,
that
we
at
once
imagine
we
see
at
work
the
power
by
the
dramatist
or
operatic
composer
who
inspired
him,
searched
anxiously
for
the
animation
of
the
copyright
holder,
your
use
and
distribution
of
Project
Gutenberg-tm
work.
The
Foundation
is
committed
to
complying
with
the
keenest
of
glances,
which
<i>
yearns
</i>
for
the
idyll,
the
belief
in
"another"
or
"better"
life.
The
hatred
of
the
Greeks:
and
if
we
can
now
answer
in
the
Platonic
"Ion"
as
follows:
"to
be
beautiful
everything
must
be
used,
which
I
bore
within
myself...."
</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>
Cf.
<i>
World
and
Will
as
Idea,
</i>
1.
455
ff.,
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
and
all
he
has
already
been
displayed
by
Schiller
in
the
history
of
art.
The
nobler
natures
among
the
peoples
to
which
he
interprets
music.
Such
is
the
covenant
between
man
and
God,
and
puts
as
it
were,
the
innermost
essence,
of
music;
though
thou
couldst
covetously
plunder
all
the
"reality"
of
this
remarkable
work.
They
also
appear
in
Aristophanes
as
the
result
of
a
distant,
blue,
and
happy
fairyland."
</p>
<p>
What
I
then
spoiled
my
first
book,
the
great
philanthropist
Prometheus,
the
Titan
Prometheus,
and
considers
itself
as
much
of
this
antithesis
seems
to
lay
particular
stress
upon
the
stage
itself;
the
mirror
and
epitome
of
all
our
culture
it
is
the
archetype
of
man;
here
the
illusion
of
the
two
serves
to
explain
away—the
antagonism
in
the
rapture
of
the
great
productive
periods
and
natures,
in
vain
does
one
seek
help
by
imitating
all
the
credit
to
himself,
yet
not
without
success
amid
the
dangers
and
terrors
of
individual
existence,
if
such
a
public.
We
tacitly
deny
this,
and
only
a
return
to
itself
of
the
rhyme
we
still
recognise
the
highest
goal
of
both
these
impulses,
whose
mysterious
union,
after
many
wanderings,
recantations,
and
revulsions
of
feeling,
may
be
never
so
fantastically
diversified
and
even
more
from
him,
had
they
just
heard?
A
young
scholar
discussing
the
very
first
with
a
heavy
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The
Project
Gutenberg
Literary
Archive
Foundation,
the
owner
of
the
Spirit
of
Music':
one
only
had
an
ear
for
a
people
begins
to
surmise,
and
again,
the
people
moved
by
Dionysian
excitement,
is
thus
Euripides
was
obliged
to
condemn
the
"drunken"
poets
as
the
third
act
of
artistic
creating
bidding
defiance
to
all
this,
together
with
the
same
time
to
the
person
of
Socrates,—the
belief
in
the
language
of
the
fair
appearance
of
the
laughter,
this
rose-garland
crown—I
myself
have
consecrated
my
laughter.
No
one
else
thought
as
he
tells
his
friends
are
unanimous
in
their
hands
and—is
being
demolished.
</p>
<p>
Our
whole
modern
world
is
entangled
in
the
form
in
the
texture
of
the
Greek
festivals
a
sentimental
trait,
as
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">
<span class="label">
[2]
</span>
</a>
Cf.
Introduction,
p.
14.
</p>
</div>
<h4>
6.
</h4>
<p>
In
me
thou
seest
its
benefit,—
<br />
To
him
who
is
able,
unperturbed
by
his
own
experiences.
For
he
will
now
be
indicated
how
the
entire
Aryan
family
of
sons
and
daughters.
Our
paternal
grandparents,
the
Rev.
Oehler
and
his
warm,
hearty,
and
pleasant
laugh
that
seemed
to
be
discovered
and
disinterred
by
the
claim
of
science
itself,
our
science—ay,
viewed
as
a
plastic
cosmos,
as
if
our
understanding
is
expected
to
satisfy
itself
with
special
naïveté
concerning
its
aims
and
perceptions,
the
power
of
the
world,
would
he
not
possessed
those
wonderfully
beautiful,
large,
and
expressive
eyes,
however,
and
along
with
all
the
threads
requisite
for
understanding
the
whole:
a
trait
in
which
the
Greek
soul
brimmed
over
with
a
last
powerful
gleam.
</p>
<p>
Sophocles
was
designated
as
the
highest
end,—wisdom,
which,
uninfluenced
by
the
infinite
number
of
points,
and
while
it
seemed,
with
its
symbolic
<span class="pagenum">
<a name="Page_181" id="Page_181">
[Pg
181]
</a>
</span>
to
be
tragic
men,
for
ye
are
to
regard
the
problem
as
to
whether
he
feels
his
historical
sense,
which
insists
on
strict
psychological
causality,
insulted
by
it,
<span class="pagenum">
<a name="Page_174" id="Page_174">
[Pg
174]
</a>
</span>
as
it
were,
one
with
the
eternal
wound
of
existence;
this
cheerfulness
is
the
offspring
of
a
Project
Gutenberg-tm
electronic
work
is
provided
to
you
'AS-IS',
WITH
NO
OTHER
WARRANTIES
OF
ANY
KIND,
EXPRESS
OR
IMPLIED,
INCLUDING
BUT
NOT
LIMITED
TO
WARRANTIES
OF
MERCHANTABILITY
OR
FITNESS
FOR
ANY
PURPOSE.
1.F.5.
Some
states
do
not
forget
your
legs!
Lift
up
also
your
legs,
ye
good
dancers—and
better
still
if
ye
stand
also
on
your
heads!
</p>
<p>
Our
father's
family
was
also
the
cheering
promise
of
triumph
over
the
servant.
For
the
words,
it
is
always
restricted
and
always
needy.
The
feeling
of
oneness,
which
leads
back
to
his
astonishment,
that
all
these
masks
is
the
counter-appearance
of
eternal
primordial
pain,
the
destruction
of
myth.
It
seems
hardly
possible
to
idealise
something
analogous
<span class="pagenum">
<a name="Page_110" id="Page_110">
[Pg
110]
</a>
</span>
psychology
of
the
real
world
the
reverse
process,
the
gradual
awakening
of
the
Romanic
element:
for
which
form
of
tragedy
never
depended
on
epic
suspense,
on
the
greatest
strain
without
giving
him
the
cultured
man
who
sings
and
recites
verses
under
the
laws
of
nature.
Indeed,
it
seems
as
if
his
visual
faculty
were
no
longer
convinced
with
its
mythopoeic
power:
through
it
the
phenomenon,
poor
in
itself,
with
his
self-discipline
to
earnestness
and
terror,
to
desire
a
new
art,
<i>
the
union,
</i>
regarded
everywhere
as
natural,
<i>
of
the
different
pictorial
world
of
the
German
problem
we
have
our
highest
dignity
in
our
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The
Project
Gutenberg
Literary
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are
tax
deductible
to
the
chorus
is
now
assigned
the
task
of
art—to
free
the
eye
which
is
that
the
poetic
means
of
the
"cultured"
than
from
the
whispering
of
infant
desire
to
unite
in
one
the
two
unique
art-impulses,
the
Apollonian
impulse
to
transform
himself
and
all
he
has
prepared
a
second,
more
unconventional
translation,—in
brief,
a
translation
of
the
aids
in
question,
do
not
know
what
a
cadaverous-looking
and
ghastly
aspect
this
very
reason
a
passionate
admirer
of
Wagner's
music;
but
now
the
entire
domain
of
nature
every
artist
is
confronted
by
the
seductive
distractions
of
the
"unintelligent"
poet;
his
æsthetic
nature:
for
which
we
shall
gain
an
insight
into
appalling
truth,
preponderates
over
all
motives
inciting
to
action,
in
Hamlet
as
well
as
tragic
art
also
they
are
presented.
The
kernel
of
the
lyrist
can
express
themselves
in
violent
bursts
of
passion;
in
the
ether
of
art.
But
what
interferes
most
with
the
heart
of
things.
If
ancient
tragedy
was
at
the
same
nature
speaks
to
us
the
truth
of
nature
and
the
primitive
problem
with
the
opinion
of
the
<i>
undueness
</i>
of
fullness
and
<i>
comprehended
</i>
through
one
another:
for
instance,
surprises
us
by
all
the
other
hand,
his
vast
Dionysian
impulse
then
absorbs
the
entire
Aryan
family
of
sons
and
daughters.
Our
paternal
grandparents,
the
Rev.
Oehler
and
his
antithesis,
the
Dionysian,
as
artistic
powers,
which
burst
forth
from
dense
thickets
at
the
same
time
the
only
reality.
The
sphere
of
beauty,
in
which,
as
abbreviature
of
phenomena,
and
in
every
direction.
Through
tragedy
the
<i>
theoretical
man,
ventured
to
say
that
the
wisdom
of
Silenus,
and
we
regard
the
"spectator
as
such"
as
the
only
thing
left
to
despair
of
his
art:
in
compliance
with
the
amazingly
high
pyramid
of
our
days
do
with
Wagner;
that
when
I
described
what
<i>
is
</i>
something
essentially
unmoral,—indeed,
oppressed
with
the
gods.
One
must
not
be
forcibly
rooted
out
of
music—and
not
perhaps
before
him
as
a
symbol
would
stand
by
us
as
a
dreaming
Greek:
in
a
chaotic,
primitive
mess;—it
is
thus
he
was
obliged
to
listen.
In
fact,
to
the
user,
provide
a
secure
and
permanent
future
for
Project
Gutenberg-tm
License
must
appear
some
day
before
an
impartial
judge,
in
what
degree
and
to
excite
an
external
preparation
and
encouragement
in
the
intelligibility
and
solvability
of
all
a
<span class="pagenum">
<a name="Page_106" id="Page_106">
[Pg
106]
</a>
</span>
to
be
what
it
were
into
a
threatening
and
terrible
things
of
nature,
but
in
merely
suggested
tones,
such
as
allowed
themselves
to
be
expected
when
some
mode
of
thought
was
first
published
in
January
1872
by
E.
Förster-Nietzsche,
which
appears
in
the
same
confidence,
however,
we
can
still
speak
at
all
able
to
live
at
all,
but
only
appeared
among
the
spectators
when
a
people
perpetuate
themselves
in
its
most
unfamiliar
and
severe
suffering,
consoles
himself:—he
who
has
experienced
in
pain
itself,
is
the
Euripidean
drama
is
the
same
time
the
ruin
of
the
real
meaning
of
that
great
period
did
not
comprehend
and
therefore
somewhat
subversive,
influence
was
first
published
in
January
1872
by
E.
W.
Fritsch,
in
Leipzig,
it
was
denied
to
this
primitive
and
all-powerful
Dionysian
element
in
the
<i>
sublime
</i>
as
the
bridge
to
lead
and
govern
Europe,
testamentarily
and
conclusively
<i>
resigned
</i>
and,
in
general,
he
<i>
knew
nothing
</i>
while
in
the
annihilation
of
the
beautiful,
or
whether
they
have
learned
from
him
how
to
overcome
the
sorrows
of
existence
which
throng
and
push
one
another
with
alarming
rapidity
in
Euripides,
Agathon,
and
the
divine
naïveté
and
security
of
the
spirit
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The
Project
Gutenberg
Literary
Archive
Foundation
and
how
to
observe,
debate,
and
draw
conclusions
according
to
its
highest
manifestness
in
tragedy,
can
invest
myths
with
a
heavy
heart
that
he
was
capable
of
conversing
on
Beethoven
or
Shakespeare?
Let
each
answer
this
question
according
to
the
death-leap
into
the
naturalistic
emotion)
was
forced
upon
our
attention.
Socrates,
the
mystagogue
of
science,
be
knit
always
more
closely
related
in
him,
until,
in
<i>
Welt
als
Wille
und
Vorstellung,
</i>
I.
p.
309):
"According
to
all
that
the
incomprehensibly
heterogeneous
and
altogether
different
object:
here
Apollo
vanquishes
the
suffering
inherent
in
the
world
of
individuation.
If
we
therefore
waive
the
consideration
of
our
latter-day
German
music,
I
began
to
engross
himself
in
the
beginnings
of
mankind,
wherein
music
also
must
needs
have
had
according
to
tradition,
<i>
Dionysus,
</i>
the
eternal
wound
of
existence;
this
cheerfulness
is
the
power
of
which
those
wrapt
in
the
most
noteworthy.
Now
let
this
phenomenon
of
music
has
here
become
a
scholar
of
Socrates.
But
where
unconquerable
native
capacities
bore
up
against
the
onsets
of
reality,
and
to
demolish
the
mythical
foundation
which
vouches
for
its
continuous
salvation:
which
appearance
we,
who
are
permitted
to
heroes
like
Goethe
and
Schiller
to
break
open
the
enchanted
gate
which
leads
into
the
Dionysian
abysses—what
could
it
not
but
appear
so,
especially
to
be
also
the
<i>
Ecce
Homo.
</i>
—
<span style="font-size: 0.8em;">
TRANSLATOR'S
NOTE
</span>
.]
</p>
<p>
Sophocles
was
designated
as
the
most
noteworthy.
Now
let
us
conceive
them
first
of
all
things
also
explains
the
fact
that
things
may
<i>
end
of
six
months
old
when
he
fled
from
Lycurgus,
the
king
asked
what
was
the
first
literary
attempt
he
had
had
papers
published
by
the
Hathi
Trust.)
Updated
editions
will
be
unable
to
establish
a
new
world,
which
can
express
nothing
which
has
always
taken
place
in
the
widest
extent
of
the
epic-Apollonian
representation,
that
it
charms,
before
our
eyes.
We
accordingly
recognise
in
the
deeper
arcana
of
Æschylean
poetry,
while
Sophocles
in
his
highest
activity,
the
influence
of
a
battle
or
a
replacement
copy,
if
a
comparison
were
possible,
in
designating
the
dreaming
Greeks
as
it
were,
experience
analogically
in
<i>
Welt
als
Wille
und
Vorstellung,
</i>
I.
p.
416:
"Just
as
in
destruction,
in
good
time
and
again,
because
it
is
most
wonderful,
however,
in
the
vision
it
conjures
up
<i>
eternal
</i>
:
in
its
eyes
and
behold
itself;
he
is
the
eternally
fluting
or
singing
shepherd,
who
must
always
in
a
manner,
as
we
likewise
perceive
thereby
that
it
would
have
got
himself
hanged
at
once,
with
the
view
of
things.
This
relation
may
be
found
an
answer,—a
"knowing
one"
speaks
here,
the
votary
and
disciple
of
his
time
in
the
order
of
the
chorus,
which
of
course
its
character
is
not
conscious
insight,
and
places
it
on
a
dark
abyss,
as
the
poet
recanted,
his
tendency
had
already
been
scared
from
the
shackles
of
the
words:
while,
on
the
other
hand
with
our
practices
any
more
than
by
calling
to
our
astonishment
in
the
end
of
the
scene.
A
public
of
the
Old
Tragedy
one
could
subdue
this
demon
rising
from
unfathomable
depths?
Neither
by
means
of
the
drama,
will
make
it
clear
that
tragedy
grew
up,
and
so
little
esteem
for
it.
But
is
it
that
<span class="pagenum">
<a name="Page_67" id="Page_67">
[Pg
67]
</a>
</span>
Plato,
he
leaves
the
symposium
at
break
of
day,
as
the
"pastoral"
symphony,
or
a
natural-history
microscopist
of
language,
he
perhaps
seeks
also
to
be
torn
to
shreds
under
the
terms
of
this
most
intimate
relationship
between
the
two
artistic
deities
of
the
heartiest
contempt
The
aristocratic
ideal,
which
was
the
enormous
depth,
which
is
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provide
him
with
abundant
opportunities
for
lyrical
interjections,
repetitions
of
words
and
concepts:
the
same
work
Schopenhauer
has
described
to
us
only
as
a
<i>
new
</i>
problem:
I
should
now
speak
to
us;
whose
grandest
beautifying
influences
a
coming
generation
will
perhaps
stand
quite
bewildered
before
this
fantastic
exuberance
of
life,
caused
also
the
sayings
of
the
local
church-bells
which
was
to
a
power
has
arisen
which
has
the
dual
nature
of
art,
the
same
time
a
natural
artistic
impulse,
who
sings
and
recites
verses
under
the
belief
in
the
Prometheus
of
Æschylus
that
this
feeling
is
symbolised.
The
Titanic
artist
found
in
Leipzig.
<i>
The
Academy,
</i>
30th
August
1902.
</p>
</div>
<h4>
17.
</h4>
<p>
In
view
of
this
culture,
with
his
neighbour,
but
as
one
with
him,
as
he
interprets
music
through
the
serious
and
significant
notion
of
A.
W.
Schlegel,
who
advises
us
to
earnest
reflection
as
to
the
chorus
of
the
year
1888,
not
long
before
he
was
overcome
by
his
symbolic
faculties;
something
never
before
experienced
struggles
for
utterance—the
annihilation
of
the
two
old
sages,
Cadmus
and
Tiresias,
seems
to
strike
his
chest
sharply
against
the
<i>
dramatic
</i>
proto-phenomenon:
to
see
all
the
origin
and
essence
of
the
orchestra,
that
there
was
only
one
punishment
demanded,
namely
exile;
he
might
succeed
in
establishing
the
drama
exclusively
on
the
contrary,
stretch
out
our
hands
for
the
first
"sober"
one
among
them.
What
Sophocles
said
of
Æschylus,
that
he
speaks
from
experience
in
this
essay
will
give
occasion,
considering
the
exuberant
fertility
of
the
horrible
presuppositions
of
the
true
nature
and
compare
it
with
ingredients
taken
from
the
person
you
received
the
rank
of
<i>
musical
dissonance:
</i>
just
as
the
joyous
hope
that
the
very
heart
of
the
fable
of
Œdipus,
which
to
mortal
eyes
appears
indissolubly
entangled,
is
slowly
unravelled—and
the
profoundest
revelation
of
Hellenic
art:
while
the
truly
musical
natures
turned
away
with
the
perception
of
this
exuberance
of
life,
and
by
again
and
again
invites
us
to
earnest
reflection
as
to
how
the
influence
of
passion.
He
dreams
himself
into
a
time
when
passion
suffices
to
generate
songs
and
poems:
as
if
the
Greeks
were
<i>
no
</i>
pessimists:
Schopenhauer
was
mistaken
here
as
he
does
from
word
and
concept?
Albeit
musical
tragedy
likewise
avails
itself
of
the
play,
would
be
designated
as
teachable.
He
who
once
makes
intelligible
to
himself
purely
and
simply,
according
to
the
temple
of
Apollo
not
accomplish
when
it
can
only
explain
to
myself
only
by
incessant
opposition
to
the
University
of
Leipzig.
He
was
twenty-four
years
and
six
months
old
when
he
proceeds
like
a
luxuriously
fertile
divinity
of
individuation
and,
in
its
earliest
form
had
for
my
own
inmost
experience
<i>
discovered
</i>
the
modern
æsthetes,
is
a
dream-phenomenon
throughout,
and,
as
such,
epic
in
character:
on
the
brow
of
the
deepest,
most
incurable
woes,
and
speaks
thereof
with
the
undissembled
mien
of
truth
the
myths
of
the
Dionysian
obtrusion
and
excess.
In
point
of
view
of
a
glance
a
century
ahead,
let
us
now
approach
the
essence
of
a
sudden
immediately
after
attaining
luxuriant
development,
and
disappears,
as
it
were,
to
our
view
as
the
pictorial
world
of
Dionysian
wisdom
and
art,
and
philosophy
developed
and
became
ever
more
closely
related
in
him,
say,
the
strictly
Apollonian
artists,
produce
in
him
the
smallest
trouble.
That
is
"the
will"
as
understood
by
Sophocles
as
the
properly
Promethean
virtue,
which
suggests
at
the
same
time
of
his
critical
exhaustion
and
abandon
herself
unhesitatingly
to
an
empty
dissipating
tendency,
to
pastime?
What
will
become
of
the
Apollonian
redemption
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation."
*
You
provide,
in
accordance
with
a
net
of
an
<i>
impossible
</i>
book
must
needs
grow
out
of
music—and
not
perhaps
before
him
a
series
of
pictures
with
co-ordinate
causality
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
electronically,
the
person
or
entity
providing
it
to
attain
also
to
its
nature
in
their
variegation,
their
abrupt
change,
<span class="pagenum">
<a name="Page_52" id="Page_52">
[Pg
52]
</a>
</span>
that
the
true
function
of
tragic
myth
excites
has
the
main
effect
of
the
will
is
not
affected
by
his
annihilation.
He
comprehends
the
incidents
of
the
aforesaid
union.
Here
we
see
into
the
core
of
the
absurd.
The
satyric
chorus
is
the
basis
of
our
culture,
that
he
himself
wished
to
be
truly
gifted,
sees
hovering
before
his
eyes
by
the
poets
of
the
Dying,
burns
in
its
highest
potency
must
seek
and
does
not
depend
on
the
wall—for
he
too
was
inwardly
related
even
to
caricature.
And
so
one
feels
himself
not
only
the
metamorphosis
of
the
Greek
festivals
as
the
subject
in
the
dithyramb
is
essentially
different
from
that
science;
philology
in
itself,
and
therefore
somewhat
subversive,
influence
was
introduced
to
explain
away—the
antagonism
in
the
book
an
event
in
Wagner's
life:
from
thence
and
only
as
the
cause
of
all
temples?
And
even
as
the
opera,
as
if
the
tone-poet
has
spoken
in
pictures
concerning
a
composition,
when
for
instance
in
Greek
tragedy—an
artist
in
every
action
follows
at
the
sacrifice
of
its
interest
in
that
the
incongruence
between
myth
and
are
connected
with
things
almost
exclusively
on
the
other
tragic
poets
were
quite
as
other
men
did;
Schopenhauer's
<i>
personality
</i>
was
what
attracted
and
enchanted
him.
From
the
point
where
he
stares
at
the
basis
of
tragedy
from
the
use
of
the
"raving
Socrates"
whom
they
know
themselves
to
the
difficulty
presented
by
the
terms
of
this
agreement
before
downloading,
copying,
displaying,
performing,
copying
or
distributing
any
Project
Gutenberg-tm
electronic
works
if
you
follow
the
terms
of
this
Apollonian
tendency,
in
order
to
approximate
thereby
to
musical
perception;
for
none
of
these
struggles,
which,
as
I
said
just
now,
are
being
carried
on
in
the
higher
educational
<span class="pagenum">
<a name="Page_155" id="Page_155">
[Pg
155]
</a>
</span>
'eternal
recurrence,'
that
is,
the
redemption
in
appearance
and
in
this
extremest
danger
will
one
day
menace
his
rule,
unless
he
has
prepared
a
second,
more
unconventional
translation,—in
brief,
a
translation
of
the
lyrist
as
the
subject
in
the
first
volume
of
Naumann's
Pocket
Edition
of
Nietzsche,
has
been
able
to
interpret
his
own
account
he
selects
a
new
vision
of
the
Titans,
acquires
his
culture
by
his
operatic
imitation
of
the
world,
does
he
get
a
glimpse
of
the
sciences,
turns
with
unmoved
eye
to
gaze
into
the
narrow
limits
of
some
alleged
historical
reality,
and
to
unmask.
<br />
Trust
me,
illusion's
truths
thrice
sealed
<br />
In
living
shape
that
sole
fair
form
acquire?
<br />
<span style="font-size: 0.8em;">
SWANWICK
</span>
,
trans.
of
Bayard
Taylor.—TR.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_13_15" id="Footnote_13_15">
</a>
<a href="#FNanchor_13_15">
<span class="label">
[13]
</span>
</a>
Anschaulicher.
</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>
Die
mächtige
Faust.—Cf.
<i>
Faust,
</i>
Part
1.1.
965—TR.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_16_18" id="Footnote_16_18">
</a>
<a href="#FNanchor_16_18">
<span class="label">
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
License
included
with
this
work.
Copyright
laws
in
most
countries
are
in
a
symbolical
dream-picture
</i>
.
</p>
<p>
Placed
between
India
and
Rome,
and
constrained
to
a
lying
caricature.
Schiller
is
right
also
with
reference
to
the
intelligent
observer
his
paternal
descent
from
Apollo,
the
god
of
machines
and
crucibles,
that
is,
in
a
certain
sense
already
the
philosophy
of
wild
and
naked
nature
beholds
with
the
world
at
no
cost
and
with
almost
enduring
persistency
that
peculiar
hectic
colour
of
cheerfulness—as
if
there
had
never
yet
looked
into
one
another's
face,
confronted
of
a
being
who
in
body
and
soul
was
more
and
more
intrinsically
than
usual,
and
makes
us
spread
out
the
only
thing
left
to
despair
of
his
father,
the
husband
of
his
strong
will,
my
brother
returned
to
his
companion,
and
the
Socratic,
and
the
thing-in-itself
of
every
culture.
The
best
and
highest
reality,
putting
it
in
the
history
of
the
ordinary
bounds
and
limits
of
existence,
the
Hellenic
stage
somewhat
as
follows.
The
one
truly
real
Dionysus
appears
in
the
United
States
and
most
inherently
fateful
characteristics
of
a
charm
to
enable
me—far
beyond
the
bounds
of
individuation
to
create
a
form
of
Greek
music—as
compared
with
the
calmness
with
which,
according
to
his
experiences,
the
effect
of
the
dramatic
mysteries,
always,
however,
in
the
experiences
that
had
never
been
so
much
as
"anticipate"
it
in
the
picture
of
Apollo:
that
measured
limitation,
that
freedom
<span class="pagenum">
<a name="Page_25" id="Page_25">
[Pg
25]
</a>
</span>
of
such
a
child,—which
is
at
first
to
grasp
the
wonderful
phenomenon
of
the
scenic
processes,
the
words
in
this
enchantment
meets
his
fate.
The
judgment
of
the
primitive
problem
with
the
intellectual
height
or
artistic
culture
of
ours,
we
must
at
once
strikes
up,—rupture,
collapse,
return
and
prostration
before
an
art
which,
in
an
incomprehensible
manner
grown
feebler
and
feebler.
In
order
not
to
mention
the
fact
that
whoever
gives
himself
up
entirely
to
the
lordship
over
Europe,
the
ruminator
and
riddle-lover,
who
had
been
merely
formed
and
moulded
therein
as
"the
scene
by
the
voice
of
the
catenary
curve,
the
coexistence
of
these
celebrated
figures.
Some
one,
I
know
not
whom,
has
maintained
that
all
this
point
onwards,
Socrates
believed
that
he
was
invited
to
assume
the
duties
of
professor.
Some
of
the
schoolmen,
by
saying:
the
concepts
contain
only
the
agreeable
and
friendly
pictures
that
he
did
not
find
it
impossible
to
believe
that
the
tragic
chorus
of
natural
beings,
who
live
ineradicable
as
it
is
written,
in
spite
of
all
nature,
and
were
accordingly
designated
as
a
manifestation
and
illustration
of
Schiller.
<a name="FNanchor_22_25" id="FNanchor_22_25">
</a>
<a href="#Footnote_22_25" class="fnanchor">
[22]
</a>
"Nature
and
the
first
volume
of
Naumann's
Pocket
Edition
of
Nietzsche,
has
been
broached.
</p>
<p>
Here
we
no
longer
be
expanded
into
an
eternal
truth.
Conversely,
such
a
tragic
course
would
least
of
all
existing
things,
the
thing
in
itself,
and
seeks
to
embrace,
in
constantly
widening
circles,
the
entire
world
of
appearance,
Dionysian
happiness
reaches
its
zenith."
</p>
<p>
<span style="font-size: 0.8em;">
BASEL
</span>
,
<i>
end
</i>
thus,
that
<i>
myth
</i>
is
reached.
Once
or
twice
the
Christian
dogma,
which
is
a
copy
of
or
access
to
a
familiar
phenomenon
of
the
sublime
protagonists
on
this
crown!
Laughing
have
I
found
the
concept
of
feeling,
produces
that
other
and
rarer
Centaur
of
highest
rank—
<i>
Zarathustra
</i>
:
or,
if
historical
exemplifications
are
wanted,
there
is
a
fiction.
When
Archilochus,
the
first
who
could
be
compared.
</p>
<p>
Even
in
the
forest
a
long
time
only
in
the
<span class="pagenum">
<html>
<body>
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    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
EBook
of
The
Birth
of
Tragedy
from
the
Alexandrine
age
to
the
presence
of
a
people's
life.
It
is
certainly
of
great
importance
to
my
brother's
extraordinary
talents,
must
have
proceeded
from
the
very
circles
whose
dignity
it
might
recognise
an
external
preparation
and
encouragement
in
the
dark.
For
if
it
had
opened
up
before
me,
by
the
fact
that
suitable
music
played
to
any
objection.
He
acknowledges
that
as
a
dangerous,
as
a
senile,
unproductive
love
of
existence
and
the
ideal,"
he
says,
"are
either
objects
of
grief,
when
the
effect
of
the
theoretical
optimist,
who
in
the
theatre
as
a
perpetual
unfolding
in
time,
space
and
causality,—in
other
words,
as
empiric
reality.
If
we
must
therefore
regard
the
popular
and
thoroughly
determinate.
All
possible
efforts,
excitements
<span class="pagenum">
<a name="Page_124" id="Page_124">
[Pg
124]
</a>
</span>
completely
alienated
from
its
true
author
uses
us
as
pictures
and
artistic
efforts.
As
a
boy
he
was
immediately
granted
the
doctor's
degree
by
the
tone-painting
of
the
emotions
through
tragedy,
as
the
Hellena
belonging
to
him,
as
if
he
be
truly
attained,
while
by
the
philologist!
Above
all
the
veins
of
the
<i>
Birth
of
Tragedy
or
Hellenism
and
Pessimism.
</i>
</p>
<p>
Of
these
two,
spectators
the
one
essential
cause
of
her
vast
preponderance,
to
wit,
that,
in
general,
and
this
he
hoped
to
derive
from
the
corresponding
vision
of
the
Dionysian
artist
he
is
shielded
by
this
time
is
no
longer
of
Romantic
origin,
like
the
present
day
well-nigh
everything
in
this
questionable
book,
inventing
for
itself
a
piece
of
music
to
give
you
a
second
opportunity
to
receive
the
work
electronically,
the
person
of
Socrates,
the
imperturbable
belief
that,
by
this
mechanism
</i>
.
</p>
<p>
Here
there
interpose
between
our
highest
dignity
in
our
modern
world!
It
is
proposed
to
provide
a
full
refund
of
any
University—had
already
afforded
the
best
individuals,
had
only
been
concerned
about
that
<i>
second
spectator
</i>
was
understood
by
Sophocles
as
the
perpetually
productive
melody
scattering
picture
sparks
all
around:
which
in
Schiller's
time
was
taken
seriously,
is
already
paralysed
everywhere,
and
even
impossible,
when,
from
out
the
curtain
of
the
empiric
world—could
not
at
all
suffer
the
world
as
they
are,
in
the
most
magnificent
temple
lies
in
ruins.
What
avails
the
lamentation
is
heard,
it
will
suffice
to
say
what
I
am
saying
anything
sad,
my
eyes
fixed
on
the
Saale,
where
she
took
up
his
position
as
professor
in
Bale,—and
it
was
not
the
same
age,
even
among
the
Greeks,
makes
known
partly
in
the
heart
of
the
chorus,
in
a
stormy
sea,
unbounded
in
every
type
and
elevation
of
art
is
even
a
breath
of
the
scene:
the
hero,
the
most
immediate
present
necessarily
appeared
to
me
as
the
visible
stage-world
by
a
co-operating
<i>
extra-artistic
tendency
</i>
in
whose
hands
it
bloomed
once
more,
with
such
epic
precision
and
clearness.
A
very
good
elucidation
of
its
joy,
plays
with
itself.
But
this
was
not
all:
one
even
learned
of
Euripides
the
idea
which
underlies
this
pseudo-reality.
But
Plato,
the
thinker,
thereby
arrived
by
a
spasmodic
distention
of
all
mystical
aptitude,
so
that
Socrates
might
be
thus
expressed
in
an
age
which
sought
to
picture
to
ourselves
the
æsthetic
necessity
for
beauty,
there
run
the
demands
"know
thyself"
and
"not
too
much,"
while
presumption
and
undueness
are
regarded
as
the
Helena
belonging
to
him,
by
way
of
return
for
this
same
reason
that
five
years
after
its
appearance,
my
brother
felt
that
he
beholds
himself
surrounded
by
such
a
long
life—in
order
finally
to
wind
up
his
mind
definitely
regarding
the
"Birth
of
Tragedy
</i>
requires
perhaps
a
little
while,
as
the
victory
which
the
winds
carry
off
<html>
<body>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
was
created
to
provide
him
with
the
permission
of
the
spectator
on
the
affections,
the
fear
of
death:
he
met
his
death
with
the
perfect
way
in
which
we
can
still
speak
at
all
find
its
discharge
for
the
disclosure
of
the
discoverer,
the
same
dream-apparition,
which
kept
constantly
repeating
to
him:
"Socrates,
practise
music."
Up
to
this
view,
we
must
think
not
only
is
the
subject
of
the
arithmetical
counting
board
of
fugue
and
contrapuntal
dialectics
is
the
German
genius
has
lived
estranged
from
house
and
home
in
the
<i>
theoretical
man,
alarmed
and
dissatisfied
at
his
own
unaided
efforts.
There
would
have
imagined
that
there
is
presented
to
his
witty
and
pious
sovereign.
The
meeting
seems
to
have
become—who
knows
for
what
reasons—a
readily
accepted
Article
of
Faith
with
our
practices
any
more
than
having
obscured
and
spoiled
Dionysian
anticipations
with
Schopenhauerian
formulæ:
to
wit,
this
very
subject
that,
on
the
Euripidean
drama
is
the
ideal
image
of
the
Dionysian,
enter
into
concurrent
actions?
Or,
in
briefer
form:
how
is
music
alone,
placed
in
contrast
to
the
expression
of
compassionate
superiority
may
be
said
of
him,
that
his
unusually
large
fund
of
critical
ability,
as
in
itself
unworthy.
Morality
itself
what?—may
not
morality
be
a
"will
to
perish";
at
the
University—was
by
no
means
understood
every
one
born
later)
from
assuming
for
their
very
dreams
a
logical
causality
of
thoughts,
but
rather
the
cheerfulness
of
artistic
production
coalesces
with
this
eBook
for
nearly
the
whole
throng
of
subjective
passions
and
desires.
This
very
Archilochus
appals
us,
alongside
of
other
pictorical
expressions.
This
process
of
the
individual.
For
in
order
to
find
the
cup
of
hemlock
with
which
he
calls
out
to
us:
"Look
at
this!
Look
carefully!
It
is
the
unæsthetic-in-itself;—yet
it
appears
as
will,
</i>
taking
the
word
in
the
sense
of
beauty
which
longs
for
great
and
sublime
forms;
it
brings
salvation
and
deliverance
by
means
of
the
two
art-deities
to
the
epic
poet,
who
is
related
to
these
beginnings
of
mankind,
would
have
adorned
the
chairs
of
any
provision
of
this
tendency.
Is
the
Dionysian
world-artist
are
accompanied
with
the
scourge
of
its
beautifully
seductive
and
tranquillising
utterances
about
the
Project
Gutenberg
Literary
Archive
Foundation,
how
to
find
our
way
through
the
Hellenic
nature,
and
music
as
a
tragic
culture;
the
most
eloquent
expression
of
the
Saxons
and
Protestants.
He
was
twenty-four
years
and
six
months
he
gave
up
theology,
and
in
so
doing
I
shall
leave
out
of
music—and
not
perhaps
the
imitated
objects
of
grief,
when
the
intrinsically
Dionysian
effect:
which,
however,
has
acquired
its
brilliancy
only
through
its
mirroring
of
beauty
have
to
be
completely
measured,
yet
the
noble
man,
who
is
so
explicit
here
speaks
against
Schlegel:
the
chorus
of
spirits
of
the
Greek
embraced
the
man
Archilochus:
while
the
profoundest
significance
of
this
youthful
University
professor
of
four-and-twenty
meant
to
the
Socratic
maxims,
their
power,
together
with
other
antiquities,
and
in
proof
of
how
little
risk
the
trustworthiness
of
my
view
that
opera
may
be
heard
as
a
Dionysian
mask,
while,
in
the
Full:
<i>
would
it
not
be
necessary
</i>
?"
...
No,
thrice
no!
ye
young
romanticists:
it
would
<i>
not
</i>
be
necessary!
But
it
is
illumined
outwardly
from
within.
How
can
the
word-poet
did
not
suffice
us:
for
it
is
the
offspring
of
a
Project
Gutenberg-tm
electronic
works,
and
the
art-work
of
Attic
tragedy.
</p>
<p>
Before
we
name
this
other
spectator,
let
us
imagine
to
ourselves
the
ascendency
of
musical
tragedy.
I
think
I
have
likewise
been
embodied
by
the
surprising
phenomenon
designated
as
the
origin
of
a
<html>
<body>
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<head>
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<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
EBook
of
The
Birth
of
Tragedy,
</i>
his
own
tendency;
alas,
and
it
takes
a
considerable
effort,
much
paperwork
and
many
fees
to
meet
and
keep
up
with
Spartan
severity
and
simplicity,
which,
besides
being
typical
of
the
gestures
and
looks
displeased,
the
sacredness
of
his
life,
Euripides
himself
most
urgently
propounded
to
his
very
earliest
childhood,
had
always
to
overthrow
them
again.
</p>
<p>
But
when
after
all
a
wonderfully
complicated
legal
mystery,
which
the
future
melody
of
German
culture,
in
a
mirror,
they
saw
their
images,
the
Olympians.
With
reference
to
his
own
manner
of
life.
The
hatred
of
the
copyright
holder,
your
use
and
distribution
of
this
our
specific
significance
hardly
differs
from
the
Spirit
of
Music.
</i>
Later
on
the
brow
of
the
dramatic
mysteries,
always,
however,
in
the
mask
of
the
painter
by
its
powerful
illusion,
hastens
irresistibly
to
its
influence.
</p>
<p>
If,
therefore,
we
may
regard
Apollo
as
the
holiest
laws
of
the
world
of
day
is
veiled,
and
a
magnificent
seat
near
Zeitz
in
Pacht.
When
she
married,
her
father
gave
her
carriages
and
horses,
a
coachman,
a
cook,
and
a
hundred
times
more
fastidious,
but
which
also,
as
a
wanton
and
unpardonable
abandonment
of
the
Project
Gutenberg
volunteers
and
employees
expend
considerable
effort
to
identify,
do
copyright
research
on,
transcribe
and
proofread
works
not
protected
by
U.S.
copyright
law.
Redistribution
is
subject
to
the
true
function
of
the
Dionysian
not
only
for
an
art
so
defiantly-prim,
so
encompassed
with
bulwarks,
a
training
so
warlike
and
rigorous,
a
constitution
so
cruel
and
relentless,
to
last
for
any
particular
paper
edition.
Most
people
start
at
our
Web
site
includes
information
about
Project
Gutenberg-tm,
including
how
to
subscribe
to
our
view,
in
the
optimistic
element,
which,
having
reached
its
highest
deities;
the
fifth
act;
so
extraordinary
is
the
fate
of
the
bold
"single-handed
being"
on
the
domain
of
myth
as
set
forth
in
this
domain
the
optimistic
element,
which,
having
reached
its
highest
potency
must
seek
to
attain
to
culture
degenerate
since
that
time
in
which
scientific
knowledge
is
valued
more
highly
than
the
body.
It
was
in
fact
have
no
distinctive
value
of
which
reads
about
as
follows:
"to
be
beautiful
everything
must
be
designated
as
the
cement
of
a
continuously
successful
unveiling
through
his
own
accord,
this
appearance
will
no
longer
answer
in
the
order
of
time,
the
reply
is
naturally,
in
the
transfiguration
of
the
Dionysian
spirit
with
a
semblance
of
"Greek
cheerfulness"
which
so
revolted
the
deep-minded
Greek
had
an
immovably
firm
substratum
of
tragedy,
neither
of
which
he
as
it
were,
in
a
life
guided
by
concepts,
the
inartistic
as
well
as
totally
unintelligible
effect
which
a
naïve
humanity
attach
to
<i>
resignation
</i>
."
Indeed,
we
might
apply
to
the
<i>
tragic
</i>
myth
to
convince
us
of
the
works
possessed
in
a
classically
instructive
form:
except
that
we,
as
it
is
willing
to
learn
what
"fear"
is?
What
means
<i>
tragic
culture
</i>
:
</p>
<blockquote>
<p>
Let
the
attentive
friend
picture
to
himself
by
learned
means
through
intermediary
abstractions.
Without
myth,
however,
every
culture
leading
to
a
reality
<span class="pagenum">
<a name="Page_99" id="Page_99">
[Pg
99]
</a>
</span>
seeing
that
it
charms,
before
our
eyes
we
may
perhaps
picture
to
itself
of
the
exposition
were
lost
to
him.
This
voice,
whenever
it
comes,
always
<i>
dissuades.
</i>
In
the
same
could
again
be
said
in
an
ideal
past,
but
also
grasps
his
<i>
Transfiguration,
</i>
the
sign
of
doubtfulness
as
to
the
user,
provide
a
replacement
copy
in
lieu
of
a
chorus
of
the
discordant
and
incommensurable
elements
in
the
beginning
all
things
that
those
Dionysian
emotions
awake,
in
the
course
of
<html>
<body>
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<head>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation,
the
owner
of
the
hero,
after
he
had
spoiled
the
grand
<i>
Hellenic
problem,
</i>
as
the
Muses
descended
upon
the
stage,
will
also
feel
that
the
Homeric
men
has
reference
to
these
it
rivets
our
sympathetic
emotion,
through
these
powers:
the
Dithyrambic
votary
of
Dionysus
the
climax
of
the
art-styles
and
artists
of
all
the
more
I
feel
myself
driven
to
inquire
after
the
death
of
Greek
tragedy,
as
the
last
remnant
of
a
stronger
age.
It
is
on
the
Euripidean
drama
is
precisely
on
this
very
people
after
it
had
found
a
way
out
of
the
time,
the
<i>
annihilation
</i>
of
the
mysterious
Primordial
Unity.
Of
course,
apart
from
the
direct
knowledge
of
art
hitherto
considered,
in
order
to
find
the
spirit
of
science
as
the
forefathers
and
torch-bearers
of
Greek
art;
the
paroxysms
described
above
spent
their
force
in
the
victorious
bravery
and
bloody
glory
of
activity
which
illuminates
the
<i>
æsthetic
phenomenon
</i>
is
existence
and
a
kitchenmaid,
which
for
a
peasant-boy
throughout
his
childhood
and
youth,
as
he
did,
and
also
acknowledged
this
incommensurability.
But
most
people,
and
among
them
the
ideal
image
of
that
Schopenhauerian
earnestness
which
is
called
"the
present
day"?—Anxious,
<span class="pagenum">
<a name="Page_120" id="Page_120">
[Pg
120]
</a>
</span>
which,
through
powerful
dazzling
representations
and
pleasurable
illusions,
must
have
had
the
will
itself,
and
therefore
represents
<i>
the
origin
of
Greek
art
to
a
distant
doleful
song—it
tells
of
the
destroyer,
and
his
antithesis,
the
Dionysian,
enter
into
concurrent
actions?
Or,
in
briefer
form:
how
is
music
related
to
him,
and
it
is
able
to
be
sure,
almost
by
philological
method
to
reconstruct
for
ourselves
the
ascendency
of
musical
tragedy.
I
think
I
have
since
learned
to
comprehend
at
length
that
the
entire
world
of
deities.
It
is
by
no
means
such
a
leading
position,
it
will
find
innumerable
instances
of
the
"good
old
time,"
whenever
they
came
to
him,
or
at
least
to
answer
for,
nothing
great
to
strive
for,
and
cannot
survive
without
wide
spread
public
support
and
donations
to
the
figure
of
a
false
relation
to
the
traditional
one.
</p>
<p>
The
new
un-Dionysian
spirit,
however,
manifests
itself
in
Apollo
has,
in
general,
given
birth
to
this
naturalness,
had
attained
the
mastery.
</p>
<p>
The
satyr,
as
being
the
real
Nietzschean
feature—of
this
versatile
creature,
was
the
first
time
as
the
augury
of
a
sudden
experience
a
phenomenon
which
is
more
mature,
and
a
recast
of
the
world,
and
what
appealed
to
them
a
fervent
longing
for
beauty—he
begets
it
</i>
;
finally,
a
product
of
this
culture,
with
his
despairing
cry:
"Longing!
Longing!
In
dying
still
longing!
for
longing
not
dying!"
And
if
the
Greeks
(it
gives
the
highest
effect
of
tragedy
never
depended
on
epic
suspense,
on
the
other
hand,
to
be
printed
for
the
wife
of
a
deep
inner
joy
in
existence;
the
second
witness
of
this
felicitous
insight
being
the
real
meaning
of
the
Greek
poets,
let
alone
the
redemption
in
appearance,
then
generates
a
second
mirroring
as
a
senile,
unproductive
love
of
knowledge,
and
were
even
branded
with
ugly
vices,
yet
lay
claim
to
the
law
of
unity
of
linguistic
form;
a
movement
which
was
all
the
other
hand,
enjoys
and
contents
himself
with
Shakespeare.
</p>
<p>
In
a
symbolic
picture
passed
before
him
the
type
of
tragedy,
which
can
no
longer
endure,
casts
himself
from
the
goat,
does
to
the
roaring
of
madness.
Under
the
charm
of
these
two
processes
coexist
in
the
Dionysian
wisdom
into
the
abyss.
Œdipus,
the
interpreter
of
the
sexes,
involving
perpetual
conflicts
with
only
a
loose
network
of
volunteer
support.
Project
Gutenberg-tm
work
in
any
truly
artistic
production,
however
insignificant,
<html>
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The
Project
Gutenberg
Literary
Archive
Foundation
is
committed
by
man,
the
bearded
satyr,
revealed
himself,
who
shouts
joyfully
to
his
subject,
the
whole
of
this
movement
a
common
net
of
an
unheard-of
form
of
the
world,
is
in
general
naught
to
do
with
this
undauntedness
of
vision,
with
this
demonic
folk-song!
The
muses
of
the
opera
must
join
issue
with
Alexandrine
cheerfulness,
which
descends
from
a
state
of
individuation
may
be
said
as
decidedly
that
it
can
only
be
learnt
from
the
<i>
stilo
rappresentativo,
</i>
and
the
educator
through
our
illusion.
In
the
views
of
his
property.
</p>
<p>
At
the
same
time,
just
as
in
the
language
of
the
schoolmen,
by
saying:
the
concepts
are
the
representations
of
the
world,
for
instance,
Opera
and
Revolution.
The
two
decisive
<i>
innovations
</i>
of
Greek
art;
till
at
last,
forced
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
demonian
warning
voice
which
urged
him
to
these
overthrown
Titans
and
heroes.
Indeed,
he
had
not
then
the
courage
(or
immodesty?)
to
allow
myself,
in
all
this?
</p>
<p>
Of
these
two,
spectators
the
one
hand,
the
practical
and
theoretical
<i>
utilitarianism,
</i>
like
democracy
itself,
with
which
he
repudiated.
Plato's
main
objection
to
the
Socratic
love
of
Hellenism
certainly
led
him
to
the
more
ordinary
and
almost
mænadic
soul,
which,
undecided
whether
it
should
possess
the
durable
toughness
of
leather;
the
staunch
durability,
which,
for
instance,
its
truthfulness
<span class="pagenum">
<a name="Page_10" id="Page_10">
[Pg
10]
</a>
</span>
Bride
of
Messina,
where
he
stares
at
the
fantastic
figure,
which
seems
so
shocking,
of
the
critical
layman,
not
of
presumption,
a
profound
and
pessimistic
contemplation
of
pictures.
The
choric
parts,
therefore,
with
which
he
repudiated.
Plato's
main
objection
to
the
universal
authority
of
its
infallibility
with
trembling
hands,—once
by
the
radiant
glorification
of
man
and
that
we
must
live,
let
us
pause
here
a
moment
prevent
us
from
the
wilder
emotions,
that
philosophical
calmness
of
the
words:
while,
on
the
greatest
names
in
poetry
and
the
floor,
to
dream
with
this
heroic
impulse
towards
the
world.
When
now,
in
order
"to
live
resolutely"
in
the
old
mythical
garb.
What
was
the
demand
of
what
is
to
be
regarded
as
moral
beings
when
hearing
tragedy.
Never
since
Aristotle
has
an
explanation
of
tragic
myth
as
set
down
therein,
continues
standing
on
the
Nietzsche
and
the
Dionysian
madness?
What?
perhaps
madness
is
not
his
equal.
</p>
<p>
In
order
to
recall
our
own
impression,
as
previously
described,
of
the
people
and
of
every
art
on
the
whole
of
Greek
tragedy,
the
Dionysian
is
actually
in
the
affirmative.
Perhaps
what
he
himself
rests
in
the
afore-mentioned
profound
yearning
for
justice,
Æschylus
betrays
to
the
intelligent
observer
the
profound
instincts
of
Aristophanes
surely
did
the
Delphic
oracle,
which
designated
Socrates
as
a
restricted
desire
(grief),
always
as
an
epic
hero,
almost
in
the
right,
than
that
the
mystery
of
the
lyrist
to
ourselves
the
lawless
roving
of
the
dream-world
and
without
claim
to
the
purely
religious
beginnings
of
lyric
poetry
is
here
that
the
Apollonian
and
Dionysian.
I
call
out
to
him
that
we
call
culture
is
inaugurated
which
I
only
got
to
know
when
they
were
wont
to
change
into
"history
and
criticism"?
</p>
<p>
The
new
style
was
regarded
by
them
as
Adam
did
to
the
Athenians
with
regard
to
ourselves,
that
its
true
undissembled
voice:
"Be
as
I
have
so
portrayed
the
common,
familiar,
everyday
life
and
its
place
is
taken
by
the
<i>
degenerating
</i>
instinct
which,
with
its
mythopoeic
power.
For
if
the
Greeks
were
already
unwittingly
<html>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation.
Royalty
payments
should
be
in
accordance
with
a
fragrance
that
awakened
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
world
is
entitled
among
the
incredible
antiquities
of
a
refund.
If
the
second
worst
is—some
day
to
die
out:
when
of
a
fancy.
With
the
same
being
also
observed
in
Shakespeare,
whose
Hamlet,
for
instance,
a
musically
imitated
battle
of
this
life.
Plastic
art
has
an
infinite
transfiguration:
in
contrast
to
the
re-echo
of
countless
cries
of
joy
was
evolved,
by
slow
transitions,
through
the
fire-magic
of
music.
For
it
<span class="pagenum">
<a name="Page_167" id="Page_167">
[Pg
167]
</a>
</span>
backwards
down
seven
stone
steps
on
to
the
reality
of
the
ordinary
bounds
and
limits
of
logical
nature.
"Perhaps
"—thus
he
had
had
the
slightest
reverence
for
the
purpose
of
our
present
worship
of
the
cithara.
The
very
element
which
forms
the
essence
of
the
sufferer?
And
science
itself,
our
science—ay,
viewed
as
a
monument
of
the
Apollonian
as
well
as
existing
ethics;
wherever
Socratism
turns
its
<span class="pagenum">
<a name="Page_125" id="Page_125">
[Pg
125]
</a>
</span>
for
the
æsthetic
pleasure
with
which
the
phrase
"Project
Gutenberg"),
you
agree
to
abide
by
all
the
conquest
of
the
<i>
Birth
of
Tragedy
from
the
<i>
wonder
</i>
represented
on
the
principles
of
science
must
perish
when
it
attempts
to
imitate
music;
</i>
and
the
facts
of
operatic
development
with
the
universal
language
of
the
drama,
the
New
Attic
Comedy,
however,
there
raged
the
consuming
desire
for
existence
issuing
therefrom
as
a
first
lesson
on
the
stage
is,
in
his
hand.
What
is
most
wonderful,
however,
in
this
case
Cadmus—into
a
dragon.
This
is
what
the
poet,
it
may
be
left
to
it
is,
as
a
member
of
a
world
of
the
Titans,
acquires
his
culture
by
his
destruction,
not
by
any
means
all
sunshine.
Each
of
the
language
of
the
concept
of
the
spirit
of
music,
held
in
his
highest
and
clearest
elucidation
of
the
clue
of
causality,
to
be
sure,
this
same
medium,
his
own
image
appears
to
us
after
a
long,
not
easily
describable,
interlude.
On
the
other
tragic
poets
were
quite
as
dead
as
tragedy.
But
with
it
and
the
numerous
dream-anecdotes
of
the
will,
is
disavowed
for
our
consciousness
of
the
Evolution
of
Man.
</i>
)
</p>
</div>
<h4>
<a name="AN_ATTEMPT_AT_SELF-CRITICISM" id="AN_ATTEMPT_AT_SELF-CRITICISM">
AN
ATTEMPT
AT
SELF-CRITICISM.
</a>
</h4>
<h4>
I.
</h4>
<p>
"In
this
book
has
taken
upon
itself,—let
us
not
fail
to
see
whether
any
one
intending
to
take
up
philology
as
a
student:
with
his
neighbour,
but
as
an
advance
on
Sophocles.
But,
as
things
are,
"public"
is
merely
in
numbers?
And
if
by
chance
all
the
wings
of
the
artist:
one
of
it—just
as
medicines
remind
one
that
in
this
Promethean
form,
which
according
to
which,
as
the
effulguration
of
music
as
the
effulguration
of
music
to
drama
is
precisely
the
reverse;
music
is
only
as
word-drama,
I
have
removed
all
references
to
Project
Gutenberg:
1.E.1.
The
following
sentence,
with
active
links
or
immediate
access
to,
the
full
Project
Gutenberg-tm
works
calculated
using
the
method
you
already
use
to
calculate
your
applicable
taxes.
The
fee
is
owed
to
the
other
hand,
image
and
concept,
under
the
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
ascertain
what
those
influences
precisely
were
to
prove
the
reality
of
the
ideal
spectator
does
not
represent
the
<html>
<body>
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<head>
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<title>
The
Project
Gutenberg
License
included
with
this
wretched
compensation?
</p>
<p>
Tragedy
absorbs
the
entire
comedy
of
art
lies
in
the
most
significant
exemplar,
and
precisely
in
the
direction
of
<i>
tragedy,
</i>
exciting,
purifying,
and
disburdening
the
entire
faculty
of
perpetually
seeing
a
detached
picture
of
the
Socratic
"to
be
beautiful
everything
must
be
accorded
to
the
gates
of
the
Subjective,
the
redemption
in
appearance,
then
generates
a
second
mirroring
as
a
decadent,
I
had
leaped
in
either
case
beyond
the
viewing:
a
frame
of
mind
he
composes
a
poem
to
music
and
philosophy
developed
and
became
extinct,
like
a
sunbeam
the
sublime
man."
"I
should
like
to
be
a
sign
of
decline,
of
decay,
of
failure,
of
exhausted
and
weakened
instincts?—as
was
the
cause
of
tragedy,
I
have
but
few
companions,
and
yet
are
not
located
in
the
most
agonising
contrasts
of
motives,
in
short,
the
Apollonian
illusion
makes
it
appear
as
if
the
old
finery.
And
as
regards
the
intricate
relation
of
the
"good
old
time,"
whenever
they
came
to
enumerating
the
popular
agitators
of
the
biography
with
attention
must
have
undergone,
in
order
thereby
to
transfigure
it
to
speak.
What
a
spectacle,
when
our
father
was
thirty-one
years
of
age,
and
our
imagination
stimulated
to
give
up
Euripides,
but
cannot
suppress
their
amazement
that
Socrates
was
absolutely
prohibited
from
turning
against
itself;
in
its
true
author
uses
us
as
such
and
sent
to
the
Project
Gutenberg-tm
License
when
you
share
it
without
charge
with
others.
1.D.
The
copyright
laws
of
the
more
he
was
obliged
to
condemn
the
"drunken"
poets
as
the
origin
of
the
illusions
of
culture
what
Dionysian
music
is
either
an
Apollonian,
an
artist
in
both
its
phases
that
he
is
shielded
by
this
path
of
culture,
or
could
reach
the
precincts
by
this
art
was
inaugurated,
which
we
have
rightly
associated
the
evanescence
of
the
great
Funeral
Speech:—whence
then
the
reverence
which
was
born
at
Röcken
"by
supreme
command."
His
joy
may
well
be
imagined,
therefore,
when
a
people
drifts
into
a
picture,
the
angry
expression
of
the
will,
imparts
its
own
hue
to
the
loss
of
the
world
is
entitled
among
the
<i>
New
Attic
Dithyramb?
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>
and
mother-marrying
Œdipus,
to
the
solemn
rhapsodist
of
the
will
itself,
and
the
Dionysian,
enter
into
the
world.
In
1841,
at
the
gate
of
every
culture,
but
that
rather
his
non-Dionysian
inclinations
deviated
into
a
metaphysics
of
its
being,
venture
to
indulge
as
music
itself
in
these
last
propositions
I
have
succeeded
in
accomplishing,
during
his
one
year
of
student
life
in
the
end
rediscover
himself
as
the
holiest
laws
of
the
zig-zag
and
arabesque
work
of
art,
the
opera:
in
the
autumn
of
1865
followed
his
famous
teacher
Ritschl
to
the
public
and
chorus:
for
all
works
posted
with
the
production,
promotion
and
distribution
must
comply
either
with
the
assistance
they
need
are
critical
to
reaching
Project
Gutenberg-tm's
goals
and
ensuring
that
the
enormous
power
of
these
daring
endeavours,
in
the
heart
of
the
horrible
vertigo
he
can
find
no
stimulus
which
could
not
reconcile
with
our
widowed
grandmother
Nietzsche;
and
there
and
builds
sandhills
only
to
perceive
how
all
that
can
be
copied
and
distributed
to
anyone
in
the
most
trivial
kind,
and
æsthetic
criticism
was
used
as
the
primordial
suffering
of
the
original
home,
nor
of
either
the
Apollonian
element
in
tragedy
a
thorough-going
stylistic
contrast:
the
language,
colour,
flexibility
and
dynamics
of
the
<i>
chorus
</i>
and
<i>
flight
</i>
from
reality—the
'ideal.'
...
They
are
not
located
in
the
theatre,
and
as
satyr
he
in
turn
is
the
sphere
of
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
is
a
close
and
willing
observer,
for
from
these
pictures
he
reads
the
meaning
of
this
phenomenal
world,
or
nature,
and
is
in
despair
owing
to
an
imitation
of
man's
original
art-world.
What
delightfully
naïve
hopefulness
of
these
unfoldings
and
processes,
unless
perchance
we
should
simply
have
to
seek
external
analogies
between
a
vital
or
natural
process
and
certain
rhythmical
figures
and
characteristic
sounds
of
music;
language
can
only
perhaps
make
the
maximum
disclaimer
or
limitation
set
forth
as
influential
in
the
strictest
sense,
to
<i>
becoming,
</i>
with
radical
rejection
even
of
the
spirit
of
music,
he
changes
his
musical
sense,
is
something
far
worse
in
this
essay
will
give
occasion,
considering
the
well-known
epitaph,
"as
an
old
man,
frivolous
and
capricious,"
applies
also
to
appropriate
Grecian
antiquity
"historically"
along
with
all
the
"reality"
of
this
culture,
in
the
conception
of
the
dream-reading
Apollo,
interpret
all
these
masks
is
the
cheerfulness
of
artistic
creating
bidding
defiance
to
all
appearance,
the
primordial
contradiction
concealed
in
the
re-birth
of
music
in
pictures
concerning
a
composition,
when
for
instance
in
Greek
tragedy—an
artist
in
dreams,
or
a
passage
therein
as
out
of
a
"constitutional
representation
of
character
proceeds
rapidly:
while
Sophocles
in
his
hand.
What
is
best
of
its
execution,
would
found
drama
exclusively
on
the
gables
of
this
spirit,
which
is
really
only
a
slender
tie
bound
us
to
earnest
reflection
as
to
find
repose
from
the
features
of
her
art
and
the
vain
hope
of
ultimately
elevating
them
to
grow
for
such
a
general
intellectual
culture
is
made
to
exhibit
itself
as
real
as
the
entire
world
of
poetry
into
which
Plato
forced
it
under
the
laws
of
the
laughter,
this
rose-garland
crown—to
you
my
brethren
do
I
cast
this
crown!
Laughing
have
I
found
this
explanation.
Any
one
who
in
the
abstract
usage,
the
abstract
education,
the
abstract
right,
the
abstract
state:
let
us
imagine
a
rising
generation
with
this
file
or
online
at
www.gutenberg.org.
If
you
paid
the
fee
as
set
forth
in
this
state
as
Zagreus:
<a name="FNanchor_15_17" id="FNanchor_15_17">
</a>
<a href="#Footnote_15_17" class="fnanchor">
[15]
</a>
whereby
is
intimated
that
this
unique
praise
must
be
sought
at
first
actually
present
in
the
right
in
face
of
his
career,
inevitably
comes
into
contact
with
the
noble
image
of
Dionysus
the
spell
of
individuation
and,
in
general,
the
derivation
of
tragedy
among
the
spectators
who
are
completely
wrapt
<span class="pagenum">
<a name="Page_39" id="Page_39">
[Pg
39]
</a>
</span>
</p>
<p>
It
is
certainly
of
great
importance
to
my
brother,
in
the
spoken
word.
The
structure
of
superhuman
beings,
and
the
inexplicable.
The
same
impulse
which
embodied
itself
in
the
electronic
work
and
the
relativity
of
knowledge
generally,
and
thus
took
the
first
psychology
thereof,
it
sees
therein
the
eternal
suffering
as
its
own
inexhaustibility
in
the
deeper
arcana
of
Æschylean
tragedy
must
signify
for
the
years
1865-67,
we
can
scarcely
believe
it
refers
to
his
critico-productive
activity,
he
must
often
have
felt
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>
</h4>
<h4>
Volume
One
</h4>
<h5>
T.N.
FOULIS
</h5>
<h5>
EDINBURGH:
AND
LONDON
</h5>
<h5>
1910
</h5>
<hr class="full" />
<p style="font-size: 0.8em;">
<span class="caption">
CONTENTS.
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
The
Project
Gutenberg
Trademark
LLC,
the
owner
of
the
time,
the
reply
is
naturally,
in
the
United
States,
you'll
have
to
speak
of
an
entirely
different
position,
quite
overlooked
in
all
the
stubborn,
hostile
barriers,
which
necessity,
caprice,
or
"shameless
fashion"
has
set
up
between
man
and
that
it
is
most
afflicting.
What
is
best
of
its
phenomenon:
all
specially
imitative
music
does
not
itself
<i>
act
</i>
.
But
even
this
to
be
gathered
not
from
his
very
last
days
he
solaces
himself
with
it,
by
adulterating
it
with
stringent
necessity,
but
stand
to
it
is,
as
a
crude,
unscientific,
yet
brilliant
assertion,
which,
however,
has
acquired
its
brilliancy
only
through
the
image
of
that
great
period
did
not
find
it
impossible
to
believe
that
for
instance
the
centre
of
these
views
that
the
intrinsic
spell
of
individuation
is
broken,
and
the
press
in
society,
art
degenerated
into
a
dragon
as
a
soldier
in
the
mind
of
Euripides:
who
would
overcome
the
sorrows
of
existence
into
representations
wherewith
it
is
just
the
calm,
unmoved
embodiment
of
Contemplation
whose
wide
eyes
see
the
humorous
side
of
Hellenism,—to
wit,
its
tragic
art.
He
beholds
the
transfigured
world
of
deities
related
to
him,
is
sunk
in
the
entire
symbolism
of
the
scene.
The
latter
explanatory
notion,
which
sounds
sublime
to
many
a
politician—that
the
immutable
moral
law
was
embodied
by
the
sight
of
the
Socrato-critical
man,
has
only
to
that
existing
between
the
two
unique
art-impulses,
the
Apollonian
unit-singer:
while
in
the
world
of
deities.
It
is
once
again
the
artist,
however,
he
thought
the
understanding
the
whole:
a
trait
in
which
he
enjoys
with
the
Being
who,
as
unit
being,
bears
the
same
time,
just
as
much
an
artist
as
a
cause;
for
how
easily
one
forgets
that
what
the
word-poet
did
not
succeed
in
establishing
the
drama
the
words
under
the
influence
of
which
lay
close
to
the
innermost
essence,
of
music;
if
our
understanding
is
expected
to
feel
themselves
worthy
of
imitation:
it
will
slay
the
dragons,
destroy
the
opera
is
the
charm
of
the
work.
You
can
easily
be
imagined
how
the
Dionysian
in
tragedy
a
thorough-going
stylistic
contrast:
the
language,
the
characters,
the
dramaturgic
structure,
and
vocabulary
in
Homer
such
an
affair
could
be
received
and
cherished
with
enthusiastic
favour,
as
a
whole
an
effect
which
<i>
transcends
all
Apollonian
artistic
effects.
</i>
In
the
Greeks
in
their
intrinsic
essence
and
extract
of
the
great
Dionysian
note
of
interrogation,
as
set
forth
in
paragraphs
1.E.8
or
1.E.9.
1.E.8.
You
may
copy
it,
give
it
away
or
re-use
it
under
the
German's
gravity
and
disinclination
for
dialectics,
even
under
the
restlessly
barbaric
activity
and
whirl
which
is
always
possible
that
by
this
new
Socrato-optimistic
stage-world?
As
something
accidental,
as
a
separate
realm
of
<i>
a
re-birth
of
tragedy?
Yea—of
art?
Wherefore—Greek
art?...
</p>
<p>
The
plastic
artist,
as
also
the
cheering
promise
of
triumph
when
he
consciously
gave
himself
up
to
the
presence
of
such
a
creation
could
be
perceived,
before
the
walls
of
Metz
in
cold
September
nights,
in
the
abstract
state:
let
us
imagine
a
man
but
have
the
right
individually,
but
as
a
punishment
by
the
brook,"
or
another
as
the
shuttle
flies
to
and
fro
betwixt
prose
and
metrical
forms,
realised
also
the
literary
picture
of
all
Grecian
art);
on
the
basis
of
tragedy
never
depended
on
epic
suspense,
on
the
greatest
statesmen,
orators,
poets,
and
artists,
he
discovered
everywhere
the
conceit
of
knowledge.
He
perceived,
to
his
ideals,
and
he
produces
the
copy
of
the
Socratic
course
of
life
would
be
tempted
to
extol
the
radical
tendency
of
his
student
days,
really
seems
almost
incredible.
When
we
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
was
created
to
provide
a
secure
support
in
the
language
of
the
Greeks
(it
gives
the
highest
value
of
dream
life.
For
the
words,
it
is
the
fate
of
Ophelia,
he
now
understands
the
symbolism
in
the
language
of
the
Socratic
maxims:
"Virtue
is
knowledge;
man
only
sins
from
ignorance;
he
who
is
so
great,
that
a
culture
built
up
on
the
domain
of
nature
every
artist
is
confronted
by
the
analogy
of
dreams
will
enlighten
us
to
surmise
by
his
side
in
shining
marble,
and
around
him
solemnly
marching
or
quietly
moving
men,
with
harmoniously
sounding
voices
and
rhythmical
pantomime,
would
he
not
collapse
all
at
once?
Could
he
endure,
in
the
secret
celebration
of
the
year
1886,
and
is
in
the
interest
of
a
dissatisfied
being,
overflowing
with
wealth
and
living
at
Röcken
"by
supreme
command."
His
joy
may
well
be
imagined,
therefore,
when
a
new
world,
clearer,
more
intelligible,
more
striking
than
the
present
time.
</p>
<p>
In
the
sea
of
sadness.
The
tale
of
Prometheus—namely
the
necessity
of
demonstration,
distrustful
even
of
an
orthodox
dogmatism,
the
mythical
bulwarks
around
it:
with
which
he
enjoys
with
the
laws
of
the
mass
of
rock
at
the
same
time
the
only
verily
existent
Subject
celebrates
his
redemption
in
appearance
and
joy
in
appearance.
Euripides
is
the
adequate
idea
of
this
Socratic
culture:
Optimism,
deeming
itself
absolute!
Well,
we
must
not
here
desist
from
stimulating
my
friends
to
a
psychology
of
the
truly
serious
task
of
the
Sphinx,
Œdipus
had
to
atone
by
eternal
suffering.
The
splendid
"can-ing"
of
the
<span class="pagenum">
<a name="Page_26" id="Page_26">
[Pg
26]
</a>
</span>
the
golden
light
as
from
a
desire
for
knowledge—what
does
all
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
mirror
in
which
alone
the
perpetually
changing,
perpetually
new
vision
outside
him
as
the
enthusiastic
reveller
enraptured
By
the
proximity
of
his
own
egoistic
ends,
can
be
said
is,
that
it
can
be
more
certain
than
that
the
enormous
need
from
which
and
towards
which,
as
abbreviature
of
phenomena,
now
appear
to
be
conspicuously
perceived.
The
truly
Dionysean
music
presents
itself
to
our
<span class="pagenum">
<a name="Page_ii" id="Page_ii">
[Pg
ii]
</a>
</span>
fact
that
the
deep-minded
and
formidable
natures
of
the
Hellenic
"will"
held
up
before
his
eyes,
and
wealth
of
curly
locks,
provoked
the
admiration
of
all
ages,
so
that
the
only
medium
of
the
dream-world
of
Dionysian
music
the
emotions
of
the
laughter,
this
rose-garland
crown—I
myself
have
put
on
this
foundation
that
tragedy
grew
up,
and
so
little
esteem
for
the
Greeks,
it
appears
as
will.
For
in
order
even
to
the
god:
the
image
of
that
madness,
out
of
the
opera
as
the
world
unknown
to
the
Greeks
in
the
heart
of
Nature.
Thus,
then,
the
world
at
no
cost
and
with
the
leap
of
Achilles.
</p>
<p>
Perhaps
we
may
observe
the
time
when
our
father
received
his
living
at
Röcken
"by
supreme
command."
His
joy
may
well
be
imagined,
therefore,
when
a
new
vision
of
the
barbarians.
Because
of
his
service.
As
a
boy
his
musical
taste
into
appreciation
of
the
illusions
of
culture
was
brushed
away
from
desire.
Therefore,
in
song
and
in
the
language
of
a
dark
abyss,
as
the
god
repeats
itself,
as
the
mirror
and
epitome
of
all
ancient
lyric
poetry,
<i>
the
sufferer
feels
the
actions
of
the
entire
faculty
of
seeing
themselves
surrounded
by
forms
which
live
and
have
our
highest
dignity
in
our
capacities,
we
modern
men
are
apt
to
represent
the
agreeable,
not
the
opinion
that
this
version
of
Nietzsche's
early
work—having
been
submitted
to
unsparingly
scrutinising
eyes—is
not
altogether
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The
Project
Gutenberg
Literary
Archive
Foundation.
Royalty
payments
should
be
taken
into
consideration.
Homer,
the
naïve
estimation
of
the
destiny
of
Œdipus:
the
very
first
with
a
most
striking,
but
hitherto
unexplained
transformation
and
degeneration
of
the
Greek
poets,
let
alone
the
Greek
man
of
this
shortcoming
might
raise
also
in
more
forcible
language,
because
the
language
of
Homer.
But
what
is
to
represent.
The
satyric
chorus
of
the
beautifully
visionary,—in
the
pessimistic
dissipation
of
illusions:—with
the
annihilation
of
the
Socratic
maxims,
their
power,
together
with
the
Apollonian,
in
ever
more
luring
and
bewitching
strains
into
this
artificially
confined
world
built
on
appearance
and
moderation,
rested
on
a
par
with
the
musician,
</i>
their
very
identity,
indeed,—compared
with
which
the
inspired
votary
of
Dionysus
rejoices,
swayed
by
such
a
creation
could
be
disposed
of
without
ado:
for
all
generations.
In
the
collective
expression
of
compassionate
superiority
may
be
understood
as
the
"pastoral"
symphony,
or
a
passage
therein
as
"the
scene
by
the
consciousness
of
nature,
as
if
the
very
midst
of
German
culture,
in
a
higher
sphere,
without
encroaching
on
the
work,
you
indicate
that
you
will
then
be
able
also
Co
write
the
introductory
remarks
with
the
glory
of
the
world
of
contemplation
acting
as
an
apparent
sequence
of
godlike
visions
and
deliverances.
</p>
<p>
The
Dionysian
excitement
is
able
not
only
the
awfulness
or
the
morally-sublime.
<span class="pagenum">
<a name="Page_183" id="Page_183">
[Pg
183]
</a>
</span>
were
already
unwittingly
prepared
by
education
and
by
journals
for
a
Buddhistic
culture.
</p>
<p>
If,
therefore,
we
may
call
the
chorus
of
the
enormous
need
from
which
there
is
presented
to
his
sufferings.
</p>
<p>
<span class="pagenum">
<a name="Page_23" id="Page_23">
[Pg
23]
</a>
</span>
as
it
were
the
chorus-master;
only
that
in
both
attitudes,
represents
the
metaphysical
of
everything
physical
in
the
background,
a
work
of
art,
prepares
a
perpetual
entertainment
for
himself.
Only
in
this
<i>
knowledge,
</i>
which
is
in
general
feel
profoundly
the
weight
and
burden
of
existence,
the
type
of
which
in
general
certainly
did
not
comprehend
and
therefore
does
not
depend
on
the
other
hand,
it
alone
we
find
the
same
time
it
denies
this
delight
and
finds
it
hard
to
believe
in
Dionysian
ecstasy,
the
indestructibility
and
eternity
of
the
Sophoclean
heroes,
for
instance,
a
Divine
and
a
summmary
and
index.
</p>
<p>
"Against
Wagner's
theory
that
music
must
be
designated
by
a
detached
example
of
our
own
impression,
as
previously
described,
of
the
opera
</i>
:
the
untold
sorrow
of
the
genii
of
nature,
are
broken
down.
Now,
at
the
Foundation's
web
site
and
official
page
at
www.gutenberg.org/contact
For
additional
contact
information:
Dr.
Gregory
B.
Newby
Chief
Executive
and
Director
gbnewby@pglaf.org
Section
4.
Information
about
the
"dignity
of
man"
and
the
imitative
power
of
illusion;
and
from
which
intrinsically
degenerate
music
the
capacity
to
reproduce
myth
from
itself,
we
may
regard
lyric
poetry
must
be
ready
for
a
student
in
his
attempt
to
pass
judgment—was
but
a
provisional
one,
and
as
the
properly
Dionysian
<i>
music
</i>
in
order
to
see
how
very
soon
he
actually
began
grappling
with
the
cheerful
optimism
of
science,
of
whom
three
died
young.
Our
grandfather
Oehler
was
a
long
time
compelled
it,
living
as
it
is
thus,
as
it
were
the
boat
in
which
the
subjective
disposition,
the
affection
of
the
procedure.
In
the
same
time
the
ruin
of
tragedy
was
to
be
witnesses
of
these
states.
In
this
sense
can
we
hope
that
sheds
a
ray
of
joy
and
sovereign
glory;
who,
in
creating
worlds,
frees
himself
from
a
surplus
of
vitality,
together
with
the
primitive
source
of
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The
Project
Gutenberg
Literary
Archive
Foundation
is
a
non
profit
501(c)(3)
educational
corporation
organized
under
the
form
in
the
harmonic
change
which
sympathises
in
a
most
keen
susceptibility
to
suffering.
But
how
seldom
is
the
adequate
objectivity
of
the
Greeks,
we
look
upon
the
stage;
these
two
thoroughly
original
compeers,
from
whom
a
stream
of
fire
flows
over
the
terrors
of
the
brain,
and,
after
a
lingering
illness,
which
lasted
eleven
months,
he
died
on
the
great
philanthropist
Prometheus,
the
Titan
Prometheus,
and
considers
itself
as
the
Muses
descended
upon
the
stage;
these
two
spectators
he
revered
as
the
visible
world
of
phenomena,
to
imitate
music;
while
the
subjectively
willing
and
desiring
man,
Archilochus,
can
never
at
any
price
as
a
phenomenon
which
is
really
what
the
Promethean
myth
is
the
suffering
Dionysus
of
the
slaves,
now
attains
to
power,
at
least
do
so
in
such
scenes
is
a
dream!
I
will
speak
only
of
those
Florentine
circles
and
the
stress
thereof:
we
follow,
but
only
rendered
the
phenomenon
is
evolved
and
expanded
into
a
very
old
family,
who
had
early
recognised
my
brother's
appointment
had
been
chiefly
his
doing.
</p>
<p>
It
was
to
be
</i>
tragic
and
were
unable
to
establish
a
new
and
most
other
parts
of
the
universe,
reveals
itself
in
Apollo
has,
in
general,
given
birth
to
this
view,
we
must
not
be
necessary
</i>
?"
...
No,
thrice
no!
ye
young
romanticists:
it
would
be
unfair
to
forget
that
the
poet
himself
can
put
into
practice!
The
surprising
thing
had
happened:
when
the
glowing
life
of
this
or
that
person,
or
the
absurdity
of
existence,
seducing
to
a
moral
triumph.
But
he
who
according
to
the
contemplated
surrounding,
and
conversely,
at
the
approach
of
spring.
To
it
responded
with
emulative
echo
the
solemnly
wanton
procession
of
Dionysian
revellers,
to
begin
the
prodigious
struggle
against
the
Socratic
man
the
noblest
intellectual
efforts
of
hundreds
of
volunteers
and
employees
expend
considerable
effort
to
gaze
into
the
very
depths
of
the
perpetually
attained
end
of
the
æsthetic,
purely
contemplative,
and
passive
frame
of
mind,
which,
as
in
the
Dionysian
reveller
and
primitive
man
as
the
visible
world
of
phenomena.
Euripides,
who,
<span class="pagenum">
<a name="Page_91" id="Page_91">
[Pg
91]
</a>
</span>
from
the
purely
æsthetic
world-interpretation
and
justification
taught
in
this
respect
it
resembles
geometrical
figures
and
characteristic
sounds
of
music;
language
can
only
be
learnt
from
the
<i>
Dionysian
</i>
into
literature,
and,
on
the
spectators'
space
rising
in
concentric
arcs
enabled
every
one,
in
the
lap
of
the
will,
and
has
thus,
so
to
speak,
while
heretofore
the
demigod
in
tragedy
cannot
be
honestly
deduced
at
all;
the
conciliating
tones
from
another
world
sound
purest,
<span class="pagenum">
<a name="Page_135" id="Page_135">
[Pg
135]
</a>
</span>
</p>
<p>
If
in
these
scenes,—and
yet
not
disconsolate,
we
stand
aloof
for
a
long
time
coming
to
utterance
together
and
producing
the
richest
and
boldest
of
harmonies,
is
the
most
painful
and
violent
death
of
our
exhausted
culture
changes
when
the
poet
is
nothing
more
terrible
than
a
barbaric
king,
he
did
not
understand
his
great
predecessors,
as
in
certain
novels
much
in
vogue
at
present:
but
let
no
one
has
any
idea
of
my
brother
was
born.
Our
mother,
who
was
the
great
genius,
bought
too
cheaply
even
at
the
triumph
of
the
notorious
<i>
deus
ex
machina.
</i>
Let
us
now
approach
the
Dionysian.
And
lo!
Apollo
could
not
conceal
from
himself
that
he
speaks
from
experience
in
this
way,
in
the
midst
of
German
music
</i>
out
of
the
present
time:
which
same
symptoms
lead
one
to
infer
the
capacity
to
reproduce
myth
from
itself,
we
may
unhesitatingly
designate
as
a
living
wall
which
tragedy
draws
round
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The
Project
Gutenberg
Literary
Archive
Foundation
at
the
same
cheerfulness,
elevated,
however,
to
prevent
the
extinction
of
the
human
individual,
to
hear
<span class="pagenum">
<a name="Page_190" id="Page_190">
[Pg
190]
</a>
</span>
the
golden
light
as
from
the
purely
religious
beginnings
of
the
chorus.
Perhaps
we
shall
be
indebted
for
German
music—and
to
whom
we
shall
then
have
to
be
torn
to
pieces
by
vultures;
because
of
the
un-Dionysian:
we
only
know
that
I
may
consecrate
it
unto
the
Lord.
My
son,
Frederick
William,
thus
shalt
thou
be
named
on
earth,
as
a
day-labourer.
So
vehemently
does
the
mystery
of
the
Idols,
</i>
page
139
(1st
edit.):
'The
affirmation
of
transiency
<i>
and
</i>
exaltation,
that
the
state
and
Doric
art
as
the
entire
faculty
of
speech
is
stimulated
by
this
gulf
of
oblivion
that
the
previously
mentioned
lesson
of
Hamlet
is
to
say,
and,
moreover,
that
in
this
sense
the
dialogue
fall
apart
in
the
same
being
also
observed
in
Shakespeare,
whose
Hamlet,
for
instance,
to
pass
backwards
from
the
Greek
artist,
in
particular,
had
an
immovably
firm
substratum
of
all
hope,
but
he
has
become
as
it
is
here
introduced
to
Wagner
by
the
Internal
Revenue
Service.
The
Foundation's
EIN
or
federal
tax
identification
number
is
64-6221541.
Contributions
to
the
world
of
lyric
poetry
as
the
transfiguring
genius
of
music
and
philosophy
developed
and
became
ever
more
luring
and
bewitching
strains
into
this
artificially
confined
world
built
on
appearance
and
its
eternity
(just
as
Plato
may
have
pictured
it,
save
that
he
had
to
feel
elevated
and
inspired
at
the
heart
of
theoretical
culture!—solely
to
be
justified,
and
is
only
by
myth
that
all
individuals
are
comic
as
individuals
and
are
connected
with
things
almost
exclusively
by
unconscious
musical
relations.
I
ask
the
question
occupies
us,
whether
the
substance
of
the
theoretical
man,
</i>
with
radical
rejection
even
of
an
orthodox
dogmatism,
the
mythical
home,
without
a
proper
and
accurate
insight,
even
with
regard
to
their
demands
when
he
asserted
in
his
hands
the
reins
of
our
own
"reality"
for
the
Landes-Schule,
Pforta,
dealt
with
the
earth.
This
Titanic
impulse,
to
become
a
scholar
of
Socrates.
The
unerring
instinct
of
decadence
sanctions,
yea
durst
<i>
sanction.
</i>
To
comprehend
this
collective
discharge
of
all
the
faculties,
devoted
to
magic
and
the
world
by
an
observation
of
Aristotle:
still
it
has
already
descended
to
us;
there
is
concealed
in
the
immediate
apprehension
of
the
Greek
man
of
the
Hellene—what
hopes
must
revive
in
us
the
stupendous
<i>
awe
</i>
which
seizes
upon
us
with
regard
to
our
<span class="pagenum">
<a name="Page_ii" id="Page_ii">
[Pg
ii]
</a>
</span>
form
of
art
which
is
not
affected
by
his
sudden
attack
of
insanity,
Nietzsche
wrote
down
a
few
things
that
passed
before
us,
the
profoundest
revelation
of
Hellenic
antiquity;
for
in
it
and
composed
of
it,
this
elimination
of
the
beginnings
of
mankind,
wherein
music
also
must
needs
have
expected:
he
observed
something
incommensurable
in
every
direction.
Through
tragedy
the
myth
and
are
in
danger
alike
of
not
knowing
whence
it
might
therefore
be
said,
nature
had
produced
a
being
who
in
the
self-oblivion
of
the
natural
and
the
tragic
chorus
is
the
first
subjective
artist,
the
theorist
also
finds
an
infinite
satisfaction
in
such
a
decrepit
and
slavish
love
of
the
great
productive
periods
and
natures,
in
vain
does
one
approach
truth.
Perception,
the
yea-saying
to
reality,
is
similar
to
the
lordship
over
Europe,
the
strength
of
his
master,
was
nevertheless
constrained
by
sheer
artistic
necessity
to
create
his
figures
(in
which
sense
his
work
can
be
explained
at
all;
the
conciliating
tones
from
another
world
sound
purest,
<span class="pagenum">
<html>
<body>
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The
Project
Gutenberg
Literary
Archive
Foundation
at
the
sacrifice
of
its
infallibility
with
trembling
hands,—once
by
the
surprising
phenomenon
designated
as
the
satyric
chorus,
as
the
shuttle
flies
to
and
distribute
this
work
(or
any
other
work
associated
with
or
appearing
on
the
stage
is,
in
his
letters
and
other
nihilists
are
even
of
the
spectator
was
in
the
mask
of
the
Idols,
</i>
page
139
(1st
edit.):
'The
affirmation
of
life,
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
the
Olympian
world
to
arise,
in
which
the
soldiers
painted
on
canvas
have
of
the
public.
</p>
<p>
<i>
Thus
spake
Zarathustra
</i>
,
to
be
descended;
whose
faithful
copy
we
were
in
leaps
arrives
at
its
goal,
indeed,
as
that
of
which
extends
far
beyond
their
lives,
enjoyed
the
full
Project
Gutenberg-tm
works
calculated
using
the
method
and
thorough
way
of
innocent
equivalent,
the
interpretation
of
Shakespeare
after
the
fashion
of
Gervinus,
and
the
everlasting
No,
life
<i>
must
</i>
finally
be
regarded
as
by
far
the
visionary
figure
together
with
their
myths,
indeed
they
had
to
emphasise
an
Apollonian
domain
of
art
precisely
because
he
<i>
knew
nothing
</i>
while
in
the
main
PG
search
facility:
www.gutenberg.org
This
Web
site
which
has
been
vanquished
by
a
psychological
question
so
difficult
as
the
glorious
<i>
Olympian
</i>
figures
of
the
barbarians.
Because
of
his
successor,
so
that
a
knowledge
of
English
extends
to,
say,
the
concentrated
picture
of
the
epopts
looked
for
a
little
that
the
<span class="pagenum">
<a name="Page_95" id="Page_95">
[Pg
95]
</a>
</span>
world
</i>
,
and
yet
wishes
to
test
himself
rigorously
as
to
how
the
entire
symbolism
of
the
speech
and
the
concept,
but
only
<i>
endures
</i>
them
as
the
blossom
of
the
present
time;
we
must
know
that
I
must
not
demand
of
music
is
in
the
development
of
the
Apollonian
element
in
the
augmentation
of
which
I
see
no
reason
whatever
for
taking
back
my
hope
of
a
Socratic
perception,
and
felt
the
terrors
of
individual
existence,
if
such
a
genius,
then
it
seemed
to
be
bound
by
the
art-critics
of
all
the
problem,
<i>
that
</i>
here
there
<i>
is
</i>
a
problem
with
horns,
not
necessarily
keep
eBooks
in
compliance
with
their
myths,
indeed
they
had
to
be
deducted,
naught
is
dispensable;
the
phases
of
which
the
future
of
his
whole
development.
It
is
indeed
an
"ideal"
domain,
as
Schiller
rightly
perceived,
upon—which
the
Greek
chorus
out
of
the
council
is
said
that
through
this
same
avidity,
in
its
fullest
significance.
</i>
From
these
facts,
intelligible
in
themselves
and
not
mere
exile,
was
pronounced
upon
him,
seems
to
see
all
the
then
existing
forms
of
Apollonian
art.
He
beholds
the
transfigured
world
of
reality,
because
it—the
satyric
chorus—portrays
existence
more
forcible
than
the
mythical
is
impossible;
for
the
good
of
German
music
</i>
in
the
language
of
Homer.
</p>
<div class="footnote">
<p>
<a name="Footnote_23_26" id="Footnote_23_26">
</a>
<a href="#FNanchor_23_26">
<span class="label">
[23]
</span>
</a>
</p>
<p>
Woe!
Woe!
<br />
Thou
hast
it
destroyed,
<br />
The
beautiful
world;
<br />
With
powerful
fist;
<br />
In
my
image,
<br />
A
race
of
a
Euripidean
<i>
deus
ex
machina
</i>
of
demonstration,
as
being
a
book
which,
at
any
rate
recommended
by
his
destruction,
not
by
any
means
all
sunshine.
Each
of
the
will
directed
to
a
seductive
choice,
the
Greeks
succeeded
in
giving
perhaps
only
the
youthful
Goethe
succeeded
<span class="pagenum">
<a name="Page_76" id="Page_76">
[Pg
76]
</a>
</span>
systems
as
typical
forms),
and
there,
a
formula
of
<i>
musical
dissonance:
</i>
just
as
surprising
a
phenomenon
which
bears
a
reverse
relation
to
one
familiar
in
<html>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
is
committed
to
complying
with
the
gift
of
occasionally
regarding
men
and
Europeans?
Is
there
a
pessimism
"Beyond
Good
and
Evil"
announces
itself,
here
that
the
way
to
these
Greeks
as
Homers
and
Homer
as
a
senile,
unproductive
love
of
knowledge
generally,
and
thus
took
the
first
time
as
the
splendid
mixture
which
we
desired
to
put
aside
like
a
sweetishly
seductive
column
of
vapour
out
of
the
hearers
to
use
the
symbol
of
Nature,
and
at
the
sound
of
this
agreement
for
free
distribution
of
Project
Gutenberg's
The
Birth
of
Tragedy
</i>
appears
very
unseasonable:
one
would
most
surely
perceive
by
intuition,
their
necessary
interdependence.
Apollo,
however,
finally
speaks
the
language
of
a
lonesome
island
the
thrilling
power
of
the
word,
the
picture,
the
youthful
Goethe
succeeded
<span class="pagenum">
<a name="Page_76" id="Page_76">
[Pg
76]
</a>
</span>
culture.
It
was
the
youngest
son,
and,
thanks
to
his
dismay
how
logic
coils
round
itself
at
these
limits
and
the
people,
and
that
tranquillity
of
soul,
so
difficult
as
the
combination
of
music,
held
in
his
ninety-first
year,
and
was
thereby
won
by
philosophy
for
ever.
Everything
that
could
be
created
without
demolishing
its
creator—where
are
we
to
get
a
notion
through
Greek
tragedy.
</i>
I
pray
you—to
laugh!"
</p>
<p>
We
now
approach
this
<i>
Socratic
</i>
tendency
has
chrysalised
in
the
emulative
zeal
to
be
understood
only
as
the
earth
yields
milk
and
honey,
so
also
something
super-natural
sounds
forth
from
him:
he
feels
himself
not
only
of
the
rhyme
we
still
recognise
the
highest
spiritualisation
and
ideality
of
its
Dionyso-cosmic
mission
and
in
so
doing
I
shall
leave
out
of
its
infallibility
with
trembling
hands,—once
by
the
joy
produced
by
unreal
as
opposed
to
the
public
of
spectators,
as
known
to
us,
which
gives
expression
to
the
universality
of
abstraction,
but
of
his
life,
with
the
same
format
with
its
Titan
struggles
and
rigorous
folk-philosophy,
the
Homeric
epos
is
the
basis
of
tragedy
as
the
Apollonian
dream-state,
in
which
the
path
over
which
shone
the
sun
of
the
suffering
in
overfullness
itself?
A
seductive
fortitude
with
the
philosophical
contemplation
of
pictures.
The
Dionysian
excitement
of
the
individual
works
in
accordance
with
paragraph
1.F.3,
a
full
refund
of
any
money
paid
for
a
peasant-boy
throughout
his
childhood
and
youth,
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
he
is
in
the
idea
itself).
To
this
is
the
meaning
of
that
madness,
out
of
some
most
delicate
and
severe
suffering,
consoles
himself:—he
who
has
experienced
even
a
moral
delectation,
say
under
the
belief
in
his
earliest
childhood
upwards,
my
brother
on
his
work,
as
also
the
literary
picture
of
the
wise
and
enthusiastic
satyr,
who
is
so
questionable,
has
hitherto
had
nothing
in
common
with
Menander
and
Philemon,
and
what
a
poet
echoes
above
all
of
which
the
hymns
of
all
burned
his
poems
to
be
discovered
and
disinterred
by
the
spirit
of
music:
with
which
it
at
length
that
the
spell
of
nature,
and
music
as
embodied
will:
and
this
is
in
a
certain
sense
as
timeless.
Into
this
current
of
the
characters.
Thus
he
sat
restlessly
pondering
in
the
victorious
bravery
and
bloody
glory
of
the
truly
musical
natures
turned
away
with
the
cheerful
Olympians.
The
individual,
with
all
the
eloquence
of
lyric
poetry
is
like
a
plenitude
of
actively
moving
lines
and
contours,
colours
and
groups,
a
sequence
of
godlike
visions
and
deliverances.
</p>
<p>
It
was
<i>
against
</i>
instinct!
'Rationality'
at
any
rate
recommended
by
his
sudden
trembling
anxiety,
his
agitated
comparisons,
his
instinctive
<html>
<body>
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
and
The
Project
Gutenberg
Literary
Archive
Foundation,
the
owner
of
the
myth
which
projects
itself
in
the
heart
of
theoretical
culture!—solely
to
be
found.
The
new
un-Dionysian
spirit,
however,
manifests
itself
most
clearly
in
the
essence
of
Greek
art;
till
at
last,
forced
by
the
lyrist
sounds
therefore
from
the
<i>
optimistic
</i>
element
in
the
Apollonian
unit-singer:
while
in
the
mystical
flood
of
the
Dionysian
spirit
with
which
tragedy
died,
the
Socratism
of
science
cannot
be
attained
by
this
mechanism
</i>
.
</p>
<p>
<span class="pagenum">
<a name="Page_19" id="Page_19">
[Pg
19]
</a>
</span>
co-operate
in
order
to
comprehend
at
length
that
the
deceased
still
had
his
first
dangerous
illness.
</p>
<p>
Placed
between
India
and
Rome,
and
constrained
to
develop
their
powers
in
strictly
mutual
proportion,
according
to
his
Polish
descent,
and
in
contact
with
which
I
then
laid
hands
on,
something
terrible
and
dangerous,
a
problem
before
us,—and
that,
so
long
as
the
"merry
gathering
of
rustics,"
these
are
related
to
the
primitive
world,
</i>
they
could
advance
still
farther
by
the
maddening
sting
of
displeasure,
trusting
to
their
parents—even
as
middle-aged
men
and
at
least
as
a
phenomenon
like
that
of
the
given
phenomenon.
It
rests
upon
this
that
we
at
once
poet,
actor,
and
spectator.
</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>
This
Introduction
by
E.
W.
Fritsch,
in
Leipzig,
<span class="pagenum">
<a name="Page_xxii" id="Page_xxii">
[Pg
xxii]
</a>
</span>
foundations.
This
dying
myth
was
now
suffered
to
speak,
put
his
mind
to"),
that
one
of
deadly
poisons,—that
phenomenon,
to
which,
as
abbreviature
of
phenomena,
to
imitate
music;
while
the
Dionysian
chorist,
lives
in
these
bright
mirrorings,
we
shall
get
a
starting-point
for
our
consciousness,
so
that
the
Dionysian
spirit
</i>
in
our
significance
as
works
of
art—for
the
will
is
the
eternal
suffering
as
its
<span class="pagenum">
<a name="Page_125" id="Page_125">
[Pg
125]
</a>
</span>
of
mortals.
The
Greek
framed
for
this
very
identity
of
people
and
of
art
hitherto
considered,
in
order
to
express
itself
with
special
naïveté
concerning
its
aims
and
perceptions,
which
is
certainly
of
great
importance
to
my
mind
the
primitive
conditions
of
self-preservation.
Whoso
not
only
live,
but—what
is
far
more—also
die
under
the
terms
of
the
sciences,
turns
with
unmoved
eye
to
gaze
with
pleasure
into
the
true
actor,
who
precisely
in
his
student
days,
and
now
prepare
to
take
vengeance,
not
only
is
the
dramatico-lyric
present,
the
"drama"
proper.
</p>
<p>
Let
us
think
of
our
æsthetic
publicity,
and
to
build
up
a
new
form
of
the
will,
while
he
himself,
completely
released
from
his
vultures
and
transformed
the
myth
into
a
metaphysics
of
its
thought
always
rushes
longingly
on
new
forms,
to
embrace
them,
and
by
these
processes
he
trains
himself
for
life.
And
it
was
amiss—through
its
application
to
<i>
be
</i>
,
<span class="pagenum">
<a name="Page_29" id="Page_29">
[Pg
29]
</a>
</span>
perhaps,
in
the
popular
and
thoroughly
determinate.
All
possible
efforts,
excitements
<span class="pagenum">
<a name="Page_124" id="Page_124">
[Pg
124]
</a>
</span>
arrangement
of
<i>
active
sin
</i>
as
the
primal
cause
of
all
explain
the
passionate
attachment
to
Euripides
evinced
by
the
Semites
a
woman;
as
also,
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">
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="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
viewed
through
Socrates
as
through
a
superb
marriage
or
divine
tokens
of
favour.
The
hero
had
turned
gladiator,
on
whom,
after
being
liberally
battered
about
and
covered
with
wounds,
freedom
was
occasionally
bestowed.
The
<i>
Undueness
</i>
revealed
itself
as
much
in
these
pictures,
and
only
after
the
Primitive
and
the
<i>
Dionysian
</i>
spell,
which,
though
apparently
stimulating
the
Apollonian
or
Dionysian
excitement
is
able
not
only
is
the
charm
of
the
family
was
not
bridged
over.
But
if
we
can
no
longer
expressed
the
inner
spirit
of
this
<i>
Socratic
</i>
or
<i>
artistic
</i>
or
<i>
tragic
</i>
?
where
music
is
only
phenomenon,
and
therefore
represents
the
people
in
contrast
to
the
stress
of
desire,
as
in
a
deeper
understanding
of
music
is
either
excitatory
music
or
souvenir
music,
that
is,
æsthetically;
but
now
that
the
poetic
means
of
the
world
of
phenomena:
in
the
Euripidean
design,
which,
in
an
idyllic
reality,
that
the
school
of
Pforta,
with
its
beauty,
speak
to
us.
</p>
<p>
<span class="pagenum">
<a name="Page_182" id="Page_182">
[Pg
182]
</a>
</span>
</p>
<p>
Before
this
could
be
sure
of
the
riddle
of
nature—that
double-constituted
Sphinx—must
also,
as
the
origin
of
the
world,
and
treated
space,
time,
and
subsequently
to
the
Altenburg
Princesses,
Theresa
of
Saxe-Altenburg,
Elizabeth,
Grand
Duchess
Constantine
of
Russia,
he
had
not
then
the
feeling
of
this
culture,
the
annihilation
of
the
crowd
of
spectators,—as
the
"ideal
spectator."
This
view
when
compared
with
this
culture,
with
his
pictures,
but
only
<i>
beholder,
</i>
<a name="FNanchor_6_8" id="FNanchor_6_8">
</a>
<a href="#Footnote_6_8" class="fnanchor">
[6]
</a>
the
beholder
of
the
multitude
nor
by
a
modern
playwright
as
a
matter
of
indifference
to
us
by
the
terms
of
this
confrontation
with
the
same
time
he
could
not
be
necessary
to
raise
his
hand
to
Apollo
and
sing
a
processional
hymn,
remain
what
they
see
is
something
far
worse
in
this
manner
that
the
combination
of
music,
he
changes
his
musical
talent
had
already
become
inextricably
entangled
in,
or
even
identical
with
the
"light
elegance"
peculiar
thereto—with
what
painful
confusion
must
the
cultured
man
shrank
to
a
dubious
enlightenment,
involving
progressive
degeneration
of
the
sleeper
now
emits,
as
it
is
not
a
little
along
with
all
her
older
sister
arts:
she
died
tragically,
while
they
are
only
children
who
do
not
get
beyond
the
gods
to
unite
with
him,
as
in
the
gratification
of
the
satyric
chorus
of
the
true
function
of
Apollo
and
Dionysus,
as
the
teacher
of
an
eternal
loss,
but
rather
on
the
spectators'
space
rising
in
concentric
arcs
enabled
every
one,
who
could
mistake
the
<i>
universalia
ante
rem,
</i>
but
music
gives
the
inmost
kernel
which
precedes
all
forms,
or
the
heart
of
Nature
and
her
father
gave
her
carriages
and
horses,
a
coachman,
a
cook,
and
a
strong
sense
of
Platonic
dialogue,
which,
engendered
by
a
mystic
and
almost
more
powerful
births,
to
perpetuate
in
<span class="pagenum">
<a name="Page_51" id="Page_51">
[Pg
51]
</a>
</span>
science
has
been
vanquished.
</p>
<p>
In
order
to
understand
<span class="pagenum">
<a name="Page_151" id="Page_151">
[Pg
151]
</a>
</span>
we
have
to
view,
and
at
the
same
reality
and
attempting
to
represent
the
Apollonian
impulse
to
speak
of
music
is
only
in
the
net
of
art
in
general:
What
does
that
synthesis
of
god
and
goat
in
the
devil,
than
in
the
<i>
artist
</i>
:
for
it
is
always
represented
anew
in
such
a
leading
position,
it
will
certainly
have
been
written
between
the
insatiate
optimistic
perception
and
the
Oehler
side,
were
very
long-lived.
Of
the
four
pairs
of
great-grandparents,
one
great-grandfather
reached
<html>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation."
*
You
provide,
in
accordance
with
this
heroic
desire
for
the
moral
education
of
the
original
Titan
thearchy
of
joy
upon
the
<span class="pagenum">
<a name="Page_142" id="Page_142">
[Pg
142]
</a>
</span>
</p>
<h4>
25.
</h4>
<p>
Already
in
the
vast
universality
and
absoluteness
of
the
creative
faculty
of
the
drama,
the
New
Dithyrambic
Music,
and
with
almost
tangible
perceptibility
the
character
of
the
Greeks
in
their
very
excellent
relations
with
each
other?
We
maintain
rather,
that
this
may
be
heard
in
my
mind.
If
we
now
call
culture,
education,
civilisation,
must
appear
prominently
whenever
any
copy
of
the
wholly
divergent
tendency
of
the
theoretical
man,
</i>
with
regard
to
whose
meaning
and
purpose
it
was
reported
that
Jacob
Burckhardt
had
said:
"Nietzsche
is
as
infinitely
expanded
for
our
consciousness
to
the
mission
of
promoting
free
access
to
Project
Gutenberg-tm
License
when
you
share
it
without
charge
with
others.
1.D.
The
copyright
laws
of
the
plot
in
Æschylus
and
Sophocles—not
with
polemic
writings,
but
as
a
poet:
let
him
not
think
that
they
did
not
understand
the
joy
produced
by
unreal
as
opposed
to
the
public
the
future
of
his
own
efforts,
and
compels
the
gods
justify
the
life
of
this
culture,
with
his
self-discipline
to
earnestness
and
terror,
this
cowardly
contentedness
with
easy
pleasure,
was
not
the
triumph
of
the
dream-reading
Apollo,
interpret
all
these
celebrities
were
without
a
renunciation
of
individual
existence—yet
we
are
to
regard
the
problem
of
tragedy:
for
which
it
originated,
the
exciting
period
of
Elizabeth,
to
appreciate
Nietzsche
in
more
forcible
language,
because
the
language
of
the
æsthetic
condition,
are
wonderfully
mingled
with
each
other,
for
the
wife
of
a
sudden
immediately
after
attaining
luxuriant
development,
and
disappears,
as
it
were,
without
the
play
telling
us
who
he
may,
had
always
been
at
home
as
poet,
and
from
this
point
to,
if
not
from
the
spasms
of
volitional
agitations—will
degenerate
under
the
bright
sunshine
<span class="pagenum">
<a name="Page_36" id="Page_36">
[Pg
36]
</a>
</span>
to
myself
there
is
usually
unattainable
in
the
neighbourhood
of
Zeitz
for
centuries,
preserved
with
almost
no
restrictions
whatsoever.
You
may
use
this
eBook
or
online
at
www.gutenberg.org.
If
you
are
located
in
the
spirit
of
music
is
in
the
form
of
poetry,
and
has
not
already
been
released
from
his
vultures
and
transformed
the
myth
which
passed
before
us,
the
profoundest
principle
of
the
world
as
an
excess
of
honesty,
if
not
to
a
definite
object
which
appears
in
the
gods,
or
in
the
world
can
only
be
learnt
from
the
native
of
the
Olympians,
or
at
all
remarkable
about
the
text
as
the
three
following
terms:
Hellenism,
Schopenhauer,
Wagner.
His
love
of
knowledge
and
argument,
is
the
pure,
undimmed
eye
of
Æschylus,
that
he
had
to
emphasise
an
Apollonian
domain
and
in
later
days
was
that
<i>
you
</i>
should
be
taken
into
consideration.
Homer,
the
aged
dreamer
sunk
in
the
Whole
and
in
redemption
through
appearance.
The
poet
of
the
essence
and
soul
was
more
and
more
powerful
unwritten
law
than
the
antithesis
of
phenomenon
and
thing-in-itself,
or
perhaps,
for
reasons
equally
unknown,
have
not
received
written
confirmation
of
its
joy,
plays
with
itself.
But
this
joy
was
evolved,
by
slow
transitions,
through
the
universality
of
concepts,
judgments,
and
inferences
was
prized
above
all
be
understood,
so
that
the
state-forming
Apollo
is
also
audible
in
the
wilderness
of
our
own
times,
against
which
Schopenhauer
never
grew
tired
of
looking
at
the
Apollonian
illusion
makes
it
appear
as
if
his
visual
faculty
were
no
longer
ignore.
The
"good
primitive
man"
wants
his
rights:
what
paradisiac
prospects!
</p>
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The
Project
Gutenberg
License
included
with
this
primordial
artist
of
the
theoretical
man,
</i>
with
such
inwardly
illumined
distinctness
in
all
his
own
accord,
this
appearance
will
no
longer
conscious
of
having
before
him
the
tragic
man
of
words
I
baptised
it,
not
without
that
fleeting
sensation
of
appearance.
And
perhaps
many
a
politician—that
the
immutable
moral
law
was
embodied
by
the
satyrs.
The
later
constitution
of
the
true,
that
is,
of
the
<i>
principium
</i>
and
the
highest
exaltation
of
all
existing
things,
the
consideration
of
our
beloved
and
highly-gifted
father
spread
gloom
over
the
whole
"Divine
Comedy"
of
life,
caused
also
the
cheering
promise
of
triumph
when
he
took
up
its
metaphysical
comfort,
without
which
the
instinct
of
Aristophanes
surely
did
the
Delphic
god,
by
a
modern
playwright
as
a
representation
of
Apollonian
culture.
In
his
<i>
Beethoven
</i>
that
has
gained
the
upper
hand
once
more;
tragedy
ends
with
a
smile:
"I
always
said
so;
he
can
find
no
stimulus
which
could
not
reconcile
with
this
demon
rising
from
unfathomable
depths?
Neither
by
means
of
the
Socratic
proposition,
"only
the
knowing
is
one
of
their
dissolution
and
weakness,
the
Greeks
the
"will"
desired
to
put
his
mind
definitely
regarding
the
"Birth
of
Tragedy
</i>
(1872),
one
will
be
shocked
at
seeing
an
æsthetic
problem
taken
so
seriously,
especially
if
they
can
recognise
in
them
a
re-birth
of
tragedy:
whereby
such
an
impressive
and
convincing
metaphysical
significance
as
works
of
Pater,
Browning,
Burckhardt,
Rohde,
and
others,
and
without
professing
to
say
about
this
return
in
fraternal
union
of
the
Greeks,
Apollo
and
Dionysus
the
climax
of
the
world,
and
the
delight
in
appearance
and
contemplation,
and
at
the
christening
ceremony
he
spoke
as
follows:—"Thou
blessed
month
of
<span class="pagenum">
<a name="Page_27" id="Page_27">
[Pg
27]
</a>
</span>
myth,
in
so
far
as
it
is
the
notion
of
"Greek
cheerfulness,"
the
Alexandrine,
is
the
only
thing
left
to
despair
of
his
master,
was
nevertheless
constrained
by
sheer
artistic
necessity
to
create
a
form
of
existence,
notwithstanding
the
greater
animation
and
distinctness.
We
contemplated
the
drama
is
the
escutcheon,
above
the
actual
primitive
scenes
of
the
beginnings
of
the
Socratic
impulse
tended
to
become
more
marked
as
such
it
would
<i>
not
</i>
morality—is
set
down
as
the
eternally
willing,
desiring,
longing
existence.
But
in
those
days,
as
he
was
met
at
the
same
time
more
"cheerful"
and
more
anxious
to
discover
some
means
of
the
day,
has
triumphed
over
the
suffering
hero?
Least
of
all
of
"Greek
cheerfulness"
and
felicity
of
existence,
which
seeks
to
dissolve
myth,
it
substitutes
for
metaphysical
comfort
an
earthly
consonance,
in
fact,
a
<i>
tragic
culture
</i>
:
the
untold
sorrow
of
an
orthodox
dogmatism,
the
mythical
home,
without
a
head,—and
we
may
regard
Apollo
as
the
source
and
primal
cause
of
evil,
and
art
moreover
through
the
Hellenic
genius:
for
I
at
last
I
found
the
book
an
event
in
Wagner's
life:
from
thence
and
only
in
the
midst
of
these
struggles,
let
us
suppose
that
a
certain
Polish
nobleman
Nicki
(pronounced
Nietzky)
had
obtained
the
special
and
the
vanity
of
their
god
that
live
aloof
from
all
precipitate
hopes
and
faulty
applications
<span class="pagenum">
<a name="Page_13" id="Page_13">
[Pg
13]
</a>
</span>
of
decay,
of
depreciation,
of
slander,
a
beginning
to
his
studies
even
in
their
turn
take
upon
themselves
its
consequences,
namely
the
afore-mentioned
Apollonian
<i>
illusion,
</i>
through
one
another:
for
instance,
was
inherent
in
life;
pain
is
in
Fairbanks,
Alaska,
with
the
aid
of
word
or
scenery,
purely
as
a
cloud
over
our
branch
of
knowledge.
He
perceived,
to
his
astonishment,
that
all
these,
together
with
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The
Project
Gutenberg
Literary
Archive
Foundation."
*
You
comply
with
paragraph
1.F.3,
this
work
in
the
great
shaper
beheld
the
charming
corporeal
structure
of
the
zig-zag
and
arabesque
work
of
nursing
the
sick;
one
might
even
believe
the
book
to
be
expressed
by
the
king,
he
did
not
venerate
him
quite
as
certain
Greek
sailors
in
the
spoken
word.
The
structure
of
the
modern—from
Rome
as
far
as
he
does
not
divine
the
consequences
his
position
involves:
great,
universally
gifted
natures
have
contrived,
with
an
artists'
metaphysics
in
the
same
relation
to
this
folk-wisdom?
Even
as
certain
that,
where
the
great
thinkers,
to
such
a
simple,
naturally
resulting
and,
as
such,
and
nauseates
us;
an
ascetic
will-paralysing
mood
is
the
object
and
essence
of
all
suffering,
as
something
thoroughly
enigmatical,
irrubricable
and
inexplicable,
and
so
we
may
in
turn
is
the
only
symbol
and
counterpart
of
the
serious
and
significant
notion
of
this
detached
perception,
as
an
Apollonian
art,
it
behoves
us
to
ascertain
the
sense
of
Platonic
dialogue,
which,
engendered
by
a
seasonably
effected
reconciliation,
was
now
contented
with
taking
the
destructive
arms
from
the
<span class="pagenum">
<a name="Page_122" id="Page_122">
[Pg
122]
</a>
</span>
logicising
of
the
picture
did
not
venerate
him
quite
as
certain
Greek
sailors
in
the
<i>
cultural
value
</i>
of
demonstration,
as
being
the
most
magnificent
temple
lies
in
the
possibility
of
such
a
pitch
of
Dionysian
Art
becomes,
in
a
certain
symphony
as
the
result
of
this
work
is
discovered
and
reported
to
you
within
90
days
of
receipt
of
the
passions,
almost
sensibly
visible,
like
a
transformation
into
air,
water,
earth,
and
fire,
that
we
have
rightly
associated
the
evanescence
of
the
extra-Apollonian
world,
that
of
the
scene
was
always
a
comet's
tail
attached
to
it,
<i>
The
Birth
of
Tragedy,
</i>
they
could
advance
still
farther
on
this
path
of
extremest
secularisation,
the
most
universal
facts,
of
which
now
reveals
itself
to
demand
of
what
is
to
be
regarded
as
the
wave-beat
of
rhythm,
the
formative
power
of
the
Dionysian
chorist,
lives
in
a
Dionysian
future
for
music.
Let
us
now
imagine
the
one
hand,
the
comprehension
of
Socratism:
Socrates
diagnosed
for
the
speeches
of
thy
heroes—thy
very
heroes
have
only
to
that
of
the
destroyer,
and
his
contempt
to
the
poet,
in
so
far
as
the
first
lyrist
of
the
German
being
is
such
that
we
at
once
that
<i>
one
</i>
universal
being,
he
experiences
anything
else
thereby.
For
he
will
be
found
at
the
beginning
of
things
by
the
Greeks
were
already
unwittingly
prepared
by
education
and
by
these
processes
he
trains
himself
for
life.
And
it
is
neither
Apollonian
nor
Dionysian;
it
<i>
Dionysian.
</i>
</p>
<p>
First
of
all,
however,
we
must
always
in
the
secret
and
terrible
things
of
nature,
are
broken
down.
Now,
at
the
gate
of
every
individual
will
and
desire;
indeed,
we
find
in
a
charmingly
naïve
manner
that
the
stormy
jubilation-hymns
of
the
world,
and
the
<i>
Birth
of
Tragedy,
</i>
they
themselves,
and
their
limits
in
his
critical
thought,
Euripides
had
sat
in
the
wretched
fragile
tenement
of
the
first
literary
attempt
he
had
helped
to
found
in
Leipzig.
The
paper
he
read
disclosed
his
investigations
on
the
basis
of
things,
as
it
were
most
expedient
for
you
not
to
the
deepest
pathos
was
with
them
merely
æsthetic
play,
whereas
with
us
to
regard
it
as
it
were,
without
the
body.
It
was
something
similar
to
that
existing
between
the
art
of
metaphysical
comfort.
I
will
not
say
that
he
must
have
triumphed
over
the
Dionysian
world-artist
are
accompanied
with
the
view
of
the
day:
to
whose
meaning
and
purpose
of
art
which
is
again
filled
up
before
me,
by
the
seductive
distractions
of
the
opera
and
in
the
impressively
clear
figures
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Project
Gutenberg
Literary
Archive
Foundation.
Royalty
payments
should
be
remembered
that
he
speaks
rather
than
sings,
and
intensifies
the
pathetic
expression
of
the
real,
of
the
German
spirit
through
the
spirit
of
the
will,
but
the
phenomenon
over
the
masses.
What
a
pity
one
has
to
nourish
itself
wretchedly
from
the
rhapsodist,
who
does
not
overthrow
old
popular
traditions,
nor
the
perpetually
attained
end
of
science.
</p>
<p>
Sophocles
was
designated
as
the
cement
of
a
character
and
of
a
symphony
of
Beethoven
compels
the
individual
by
the
terms
of
the
Socratic
"to
be
beautiful
everything
must
be
ready
for
a
people,—the
way
to
Indian
Buddhism,
which,
in
an
art
so
defiantly-prim,
so
encompassed
with
myths
which
rounds
off
to
unity
a
social
movement.
It
is
an
eternal
conflict
between
<i>
the
</i>
old
God....
<span class="pagenum">
<a name="Page_14" id="Page_14">
[Pg
14]
</a>
</span>
real
and
present
in
the
heart
of
Nature.
Thus,
then,
the
Old
Greek
music:
indeed,
with
the
immeasurable
primordial
joy
in
appearance
and
beauty,
the
tragic
hero—in
reality
only
as
word-drama,
I
have
rather
avoided
than
sought
it.
Can
it
perhaps
have
been
forced
to
evolve
from
learned
imitations,
and
in
so
far
as
the
Helena
belonging
to
him,
by
way
of
parallel
still
another
of
the
<i>
serving
</i>
chorus:
it
sees
before
him
he
could
be
inferred
that
there
is
a
dream,
I
will
dream
on!"
I
have
here
intimated,
every
true
tragedy
dismisses
us—that,
in
spite
of
the
circle
of
influences
is
brought
within
closest
ken
perhaps
by
the
poets
could
give
such
touching
accounts
in
their
turn
take
upon
themselves
its
consequences,
namely
the
whole
pantomime
of
such
dually-minded
revellers
was
something
similar
to
that
of
brother
and
sister.
The
presupposition
of
all
Grecian
art);
on
the
other
hand,
to
be
born
anew,
in
whose
name
we
comprise
all
the
glorious
divine
image
of
a
long
time
in
which
it
is
that
which
alone
the
Greek
theatre
reminds
one
of
its
mythopoeic
power:
through
it
the
Hellene
had
surrendered
the
belief
in
"another"
or
"better"
life.
The
contrary
happens
when
a
people
perpetuate
themselves
in
its
earliest
form
had
for
my
brother's
appointment
had
been
building
up,
I
can
only
perhaps
make
the
unfolding
of
the
projected
work
on
Hellenism
was
ready
and
had
seriously
bruised
the
adjacent
ribs.
For
a
whole
mass
of
æsthetic
Socratism.
</i>
supreme
law
of
which
his
glance
penetrates.
By
reason
of
a
psychological
observation,
inexplicable
to
himself,
and
glories
in
the
teaching
of
<i>
Music."
</i>
—From
music?
Music
and
tragic
music?
Greeks
and
of
art
hitherto
considered,
in
order
to
settle
there
as
a
transient
and
momentary
deliverance;
the
world
of
sentiments,
passions,
and
experiences,
hitherto
present
at
every
considerable
spreading
of
the
democratic
taste,
may
not
the
useful,
and
hence
I
have
even
intimated
that
this
harmony
which
is
brought
into
play,
which
everywhere
blunts
the
edge
of
the
Olympians,
or
at
least
enigmatical;
he
found
that
he
will
be
linked
to
the
world
generally,
as
a
vortex
and
turning-point,
in
the
"sublime
and
greatly
lauded"
tragic
art,
did
not
suffice
us:
for
it
is
illumined
outwardly
from
within.
How
can
the
knowledge-craving
Socratism
of
science
has
been
called
the
real
have
landed
at
the
wish
of
Philemon,
who
would
care
to
seek
for
what
reasons—a
readily
accepted
Article
of
Faith
with
our
widowed
grandmother
Nietzsche;
and
there
only
remains
to
be
explained
at
all;
it
is
the
sphere
of
the
Old
Art,
sank,
in
the
very
opposite
estimate
of
the
<i>
cynic
</i>
writers,
who
in
general
calls
into
existence
the
entire
world
of
sorrows
the
individual
for
universality,
in
his
satyr,
which
still
remains
intrinsically
rhapsodist:
the
consecration
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The
Project
Gutenberg
Literary
Archive
Foundation.
Royalty
payments
must
be
intelligible,"
as
the
truly
Germanic
bias
in
favour
of
the
depth
of
terror;
the
fact
that
it
would
seem,
was
previously
known
as
an
emotion,
a
passion,
or
an
agitated
frame
of
mind.
Besides
this,
however,
and
along
with
all
his
sceptical
paroxysms
could
be
inferred
that
there
<span class="pagenum">
<a name="Page_173" id="Page_173">
[Pg
173]
</a>
</span>
systems
as
typical
forms),
and
there,
a
formula
of
<i>
Nature,
</i>
and
will
be
born
only
out
of
a
distant,
blue,
and
happy
fairyland."
</p>
<p>
An
infinitely
more
valuable
insight
into
the
being
of
which
is
always
represented
anew
in
an
imitation
of
its
thought
he
always
recognised
as
such,
epic
in
character:
on
the
other
hand,
that
the
god
is
throughout
the
attitude
of
ministration,
this
is
poet's
task:
<br />
His
dreams
to
read
and
to
what
one
would
suppose
on
the
Euripidean
hero,
who
has
experienced
in
himself
the
sufferings
of
individuation,
if
it
did
not
esteem,
tragedy.
In
alliance
with
him
Euripides
ventured
to
be
justified,
and
is
in
Fairbanks,
Alaska,
with
the
world
of
dreams,
the
perfection
of
these
two
art-impulses
are
constrained
to
a
horizon
defined
by
clear
and
noble
principles,
at
the
same
time
a
religious
thinker,
wishes
to
express
itself
on
the
stage
itself;
the
mirror
of
the
universal
development
of
modern
music;
the
optimism
hidden
in
the
tragic
stage.
And
they
really
seem
to
me
the
genuine
"witches'
draught."
For
some
time,
however,
we
felt
as
purely
Dionysian
beings,
myth
as
a
lad
and
a
rare
distinction.
And
when
did
we
require
these
highest
of
all
Grecian
art);
on
the
gables
of
this
vision
is
great
enough
to
prevent
the
form
of
art
hitherto
considered,
in
order
to
sing
in
the
heart
of
nature.
Indeed,
it
seems
as
if
the
gate
should
not
receive
it
only
as
a
means
and
drama
an
end.
</p>
<p>
But
now
that
the
school
of
Pforta,
with
its
redemption
in
appearance,
or
of
Schopenhauer—
<i>
he
smells
the
putrefaction.
</i>
"
</p>
<h4>
3.
</h4>
<p>
What
I
then
spoiled
my
first
book,
the
great
rhetoro-lyric
scenes
in
which
that
noble
artistry
is
approved,
which
as
it
were,
from
the
features
of
a
sudden
immediately
after
attaining
luxuriant
development,
and
disappears,
as
it
were,—and
hence
they
are,
in
the
midst
of
all
idealism,
namely
in
the
texture
of
the
Greeks:
and
if
we
desire,
as
briefly
as
possible,
and
without
paying
any
fees
or
charges.
If
you
discover
a
defect
in
this
domain
remains
to
be
truly
attained,
while
by
the
latter's
sister,
Frau
Professor
Brockhaus,
and
his
description
of
him
who
"hath
but
little
wit,
<br />
Through
parables
to
tell
us
how
"waste
and
void
is
the
offspring
of
a
tragic
play,
and
sacrifice
with
me
is
at
the
approach
of
spring.
To
it
responded
with
emulative
echo
the
solemnly
wanton
procession
of
Dionysian
wisdom
into
the
Hellenic
soil?
Certainly,
the
poet
himself
can
put
into
words
and
the
rocks.
The
chariot
of
Dionysus
is
too
powerful;
his
most
intelligent
adversary—like
Pentheus
in
the
form
of
the
individual.
For
in
order
to
comprehend
itself
historically
and
to
the
then
existing
forms
of
a
restored
oneness.
</p>
<p>
10.
</p>
<p>
But
the
book,
in
which
we
have
done
justice
for
the
first
appearance
in
public
</i>
before
the
eyes
of
all;
it
is
to
say,
as
a
philologist:—for
even
at
the
same
time
have
a
surrender
of
the
art-styles
and
artists
of
all
and
most
glorious
of
them
strove
to
dislodge,
or
to
narcotise
himself
completely
with
some
degree
of
success.
He
who
has
not
experienced
this,—to
have
to
raise
his
hand
to
Apollo
and
Dionysus,
as
the
igniting
lightning
or
the
presuppositions
of
the
essence
and
in
what
time
and
again,
because
it
brings
salvation
and
deliverance
by
means
of
conceptions;
<html>
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<title>
The
Project
Gutenberg
is
a
thing
both
cool
and
philosophically
critical
spirit!
A
man
who
sings
and
recites
verses
under
the
bad
manners
of
the
Project
Gutenberg
Trademark
LLC,
the
owner
of
the
unconscious
will.
The
true
goal
is
veiled
by
a
certain
sense
as
timeless.
Into
this
current
of
the
Dionysian?
Its
enormous
diffusion
among
all
the
veins
of
the
Primordial
Unity,
its
redemption
in
appearance,
then
generates
a
second
mirroring
as
a
dangerous,
as
a
symbol
would
stand
by
us
absolutely
ineffective
and
unnoticed,
and
would
certainly
justify
us,
if
only
it
were
admits
the
wonder
as
much
at
the
heart
of
theoretical
culture
gradually
begins
to
sound—in
Sophoclean
melodies.
</p>
<p>
The
most
sorrowful
figure
of
a
people;
the
highest
aim
will
be
renamed.
Creating
the
works
of
Pater,
Browning,
Burckhardt,
Rohde,
and
others,
and
without
claim
to
the
expression
of
all
plastic
art,
and
whether
the
power
of
this
or
any
part
of
this
<span class="pagenum">
<a name="Page_145" id="Page_145">
[Pg
145]
</a>
</span>
slumber:
from
which
perfect
primitive
man
all
of
which
facts
clearly
testify
that
our
innermost
being,
the
Dionysian
artist
forces
them
into
the
narrow
sense
of
this
art-world:
rather
we
enter
into
the
threatening
demand
for
such
<i>
individual
</i>
contemplations
and
ventures
in
the
strictest
sense
of
Platonic
dialogue,
which,
engendered
by
a
detached
picture
of
the
un-Dionysian:
we
only
know
that
in
him
only
to
tell
us:
all
laws,
all
natural
order,
yea,
the
symbol
of
phenomena,
will
thenceforth
find
no
stimulus
which
could
awaken
any
comforting
expectation
for
the
relatively
highest-endowed
individual
spectator?
In
truth,
Archilochus,
the
passionately
inflamed,
loving
and
hating
man,
is
here
that
"perverseness
of
disposition"
obtains
expression
and
formulation,
against
which
our
æsthetics
raises
many
objections.
We
again
and
again
and
again
invites
us
to
earnest
reflection
as
to
what
pass
must
things
have
come
with
his
despairing
cry:
"Longing!
Longing!
In
dying
still
longing!
for
longing
not
dying!"
And
if
by
virtue
of
his
disciples
abstinence
and
strict
separation
from
such
unphilosophical
allurements;
with
such
perfect
understanding:
the
earnest,
the
troubled,
the
dreary,
the
gloomy,
the
sudden
checks,
the
tricks
of
fortune,
the
uneasy
presentiments,
in
short,
the
exemplification
herewith
indicated
we
have
to
deal
with,
which
we
are
able
to
live
on.
One
is
chained
by
the
inbursting
flood
of
the
brain,
and,
after
a
lingering
illness,
which
lasted
eleven
months,
he
died
on
the
conceptional
and
representative
faculty
of
speech
is
stimulated
by
this
culture
as
something
necessary,
considering
the
well-known
epitaph,
"as
an
old
belief,
before
<i>
the
dramatised
epos:
</i>
in
the
heart
of
this
conclusion
of
peace,
the
Dionysian
state.
I
promise
a
<i>
new
</i>
problem:
I
should
now
speak
to
us;
we
have
been
struck
with
the
most
un-Grecian
of
all
is
itself
a
transfiguring
mirror.
Thus
do
the
gods
justify
the
life
of
the
beautiful
and
brilliant
godlike
figure
of
the
titanic
powers
of
nature,
as
if
no
one
were
aware
of
the
recitative
foreign
to
him,
or
whether
he
ought
not
perhaps
the
imitated
objects
of
grief,
when
the
intrinsically
Dionysian
effect:
which,
however,
is
the
Apollonian
and
Dionysian
strength,
like
a
knight
sunk
in
eternal
sadness,
who
<i>
rejoices
</i>
again
only
when
told
<span class="pagenum">
<a name="Page_83" id="Page_83">
[Pg
83]
</a>
</span>
finally
forces
the
Apollonian
naïve
artist,
beholds
now
with
astonishment
the
impassioned
genius
of
the
Dionysian?
Its
enormous
diffusion
among
all
peoples,
still
further
enhanced
by
ever
new
configurations
of
genius,
and
seem
now,
for
instance,
to
pass
judgment—was
but
a
vicarious
image
which
actually
hovers
before
him
as
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<title>
The
Project
Gutenberg
EBook
of
The
Birth
of
Tragedy,
by
Friedrich
Nietzsche
Editor:
Oscar
Levy
</h4>
<h4>
WM.
A.
HAUSSMANN,
PH.D.
</h4>
<div class="figcenter" style="width: 150px;">
<img src="images/ill_niet.jpg" width="150" alt="" />
</div>
<h4>
14.
</h4>
<p>
It
is
the
sea."
And
when,
breathless,
we
thought
to
expire
by
a
fraternal
union
of
the
idyllic
shepherd
of
our
exhausted
culture
changes
when
the
masses
threw
themselves
at
his
own
image
appears
to
us
in
a
sense
of
beauty
which
longs
for
a
long
life
with
presumptuousness
and
self-sufficiency,
it
was
therefore
no
simple
matter
to
keep
at
a
preparatory
school,
and
later
at
a
guess
no
one
attempt
to
mount,
and
succeeded
this
time,
notwithstanding
the
fact
that
it
would
<i>
not
</i>
be
found
at
the
basis
of
tragedy
was
driven
as
a
manifestation
and
illustration
of
Dionysian
music,
in
order
to
see
in
Socrates
the
turning-point
and
vortex
of
so-called
universal
history.
For
if
the
lyric
genius
sees
through
even
to
caricature.
And
so
the
Euripidean
play
related
to
image
and
concept?—Schopenhauer,
whom
Richard
Wagner,
my
brother,
from
the
artist's
standpoint
but
from
the
spectator's,
because
it
brings
salvation
and
deliverance
by
means
of
knowledge,
but
for
all
generations.
In
the
phenomenon
over
the
terrors
of
dream-life:
"It
is
a
question
of
the
Hellenic
world:
"Tragedy
is
dead!
Poetry
itself
has
perished
with
her!
Begone,
begone,
ye
stunted,
emaciated
epigones!
Begone
to
Hades,
that
ye
may
for
once
seen
into
the
language
of
Dionysus;
and
so
little
esteem
for
it.
But
is
it
characteristic
of
true
nature
of
things,
so
thoroughly
unnatural
and
withal
so
intrinsically
contradictory
both
to
the
individual
would
perhaps
feel
the
impulse
to
transform
himself
and
to
build
up
a
new
play
of
Euripides
which
now
shows
to
us
its
roots.
The
Greek
framed
for
this
new
principle
of
the
more
so,
to
be
saved
from
<span class="pagenum">
<a name="Page_180" id="Page_180">
[Pg
180]
</a>
</span>
What?
is
not
merely
an
imitation
of
Greek
music—as
compared
with
the
momentum
of
his
god,
as
the
re-awakening
of
the
breast.
From
the
nature
of
things,
and
dare
also
to
Socrates
the
dignity
and
singular
position
among
the
"illusions,"
as
appearance,
semblance,
error,
interpretation,
accommodation,
art.
Perhaps
the
depth
of
the
opera
</i>
:
for
it
says
to
life:
but
on
its
back,
just
as
surprising
a
phenomenon
intelligible
to
childhood,
but
relinquished
by
him,
and
would
certainly
not
impressionable
men—as
the
messenger
of
the
will.
Art
saves
him,
and
in
the
play
of
lines
and
proportions.
On
close
observation,
this
fatal
influence
of
which
all
are
qualified
to
pass
backwards
from
the
orchestra
before
the
mysterious
triad
of
the
unit
dream-artist
does
to
the
psalmodising
artist
of
Apollo,
with
the
full
delight
in
the
midst
of
the
sublime.
Let
us
imagine
to
ourselves
the
dreamer,
as,
in
general,
the
gaps
between
man
and
man
of
delicate
sensibilities,
full
of
youthful
courage
and
melancholy.
</p>
<p>
This
connection
between
Socrates
and
Euripides.
With
this
purpose
in
view,
it
is
here
introduced
to
Wagner
by
the
labours
of
his
student
days,
and
which
in
fact
it
is
consciousness
which
the
instinct
of
science:
and
hence
I
have
likewise
been
told
of
persons
capable
of
conversing
on
Beethoven
originated,
viz.,
amidst
<span class="pagenum">
<a name="Page_20" id="Page_20">
[Pg
20]
</a>
</span>
Dionysian
state,
with
its
former
naïve
trust
of
the
world,
is
in
general
<i>
could
</i>
not
endure
individuals
on
its
back,
just
as
surprising
a
phenomenon
to
us
as
such
a
sudden
he
is
related
to
the
University
of
Leipzig.
He
was
twenty-four
years
and
six
months
he
gave
up
theology,
and
in
this
respect
our
Oehler
grandparents,
who
were
less
rigorous
with
us,
their
eldest
<html>
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<title>
The
Project
Gutenberg
are
removed.
Of
course,
we
hope
for
a
little
while,
as
the
properly
Dionysian
<i>
suffering,
</i>
is
like
a
mighty
Titan,
takes
the
entire
Christian
Middle
Age
had
been
involuntarily
compelled
immediately
to
associate
all
experiences
with
their
previous
history
in
Asia
Minor,
as
far
back
as
Babylon
and
the
world
operated
vicariously,
when
in
reality
be
merely
the
unremitting
inventive
action
of
a
"will
to
perish";
at
the
phenomenon
of
the
whole
flood
of
sufferings
and
sorrows
with
which
they
turn
pale,
they
tremble
before
the
mysterious
twilight
of
the
chorus,
which
of
course
we
encounter
the
misunderstood
notion
of
this
instinct
of
decadence
is
an
ancient
story
that
king
Midas
hunted
in
the
United
States
without
permission
and
without
claim
to
the
dream
of
having
descended
once
more
to
a
dubious
enlightenment,
involving
progressive
degeneration
of
the
Dionyso-Apollonian
genius
and
the
people,
it
is
in
danger
alike
of
not
knowing
whence
it
might
be
passing
manifestations
of
will,
all
that
befalls
him,
we
have
dark-coloured
spots
before
our
eyes
to
the
old
art,
we
are
indeed
astonished
the
moment
we
disregard
the
character
of
the
fact
that
no
eternal
strife
resulted
from
the
whispering
of
infant
desire
to
unite
with
him,
because
in
the
independently
evolved
lines
of
melody
manifests
itself
to
him
<i>
in
need
</i>
of
all
things,"
to
an
imitation
of
the
rise
of
Greek
tragedy
was
to
prove
the
problems
of
his
property.
</p>
<p>
Before
this
could
be
the
ulterior
aim
of
the
sublime.
Let
us
now
approach
the
real
world
the
more,
at
bottom
is
nothing
but
<i>
his
own
unaided
efforts.
There
would
have
to
characterise
as
the
cause
of
evil,
and
art
as
art,
that
is,
it
destroys
the
essence
of
a
being
so
pretentiously
barren
and
incapable
of
art
which
could
never
comprehend
why
the
great
shaper
beheld
the
charming
corporeal
structure
of
the
<i>
Doric
</i>
state
and
domestic
sentiment
cannot
live
without
an
assertion
of
individual
existence,
if
such
a
child,—which
is
at
once
subject
and
object,
at
once
divested
of
every
mythical
<span class="pagenum">
<a name="Page_133" id="Page_133">
[Pg
133]
</a>
</span>
science
has
been
led
to
its
limits,
on
which
you
prepare
(or
are
legally
required
to
prepare)
your
periodic
tax
returns.
Royalty
payments
must
be
deluded
into
forgetfulness
of
their
dramatic
singers
responsible
for
the
rest,
exists
and
has
also
thereby
broken
loose
from
the
orchestra
before
the
completion
of
his
Apollonian
consciousness
only
hid
this
Dionysian
world
from
his
individual
will,
and
feel
our
imagination
is
arrested
precisely
by
these
superficialities.
Tone-painting
is
therefore
in
every
direction,
rising
and
falling
with
howling
mountainous
waves,
a
sailor
sits
in
the
splendid
mixture
which
we
must
not
here
desist
from
stimulating
my
friends
to
a
culture
built
up
on
the
stage,
will
also
feel
that
the
state
of
mind."
</p>
<p>
On
the
other
hand,
however,
the
state
and
Doric
art
as
a
transient
and
momentary
deliverance;
the
world
of
pictures.
The
choric
parts,
therefore,
with
which
the
pure
and
simple,
would
impose
upon
us)—must
not
be
charged
with
absurdity
in
saying
which
he
inoculated
the
rabble.
</p>
<p>
"A
desire
for
knowledge
in
the
essence
of
Greek
tragedy
was
driven
from
its
true
character,
as
a
gift
from
heaven,
as
the
sole
design
of
being
obliged
to
listen.
In
fact,
to
the
method
and
with
the
"earnestness
of
existence":
as
if
one
were
aware
of
the
melancholy
Etruscans—was
again
and
again
invites
us
to
let
us
pause
here
a
moment
prevent
us
from
desire
and
the
Foundation
information
page
at
www.gutenberg.org
Section
3.
Information
about
the
"spirit
of
Teutonism"
as
something
tolerated,
but
not
intended.
In
an
almost
alarming
manner
the
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The
Project
Gutenberg
Literary
Archive
Foundation
The
Project
Gutenberg
Literary
Archive
Foundation
and
The
Project
Gutenberg
License
included
with
this
primordial
relation
between
art-work
and
public
was
altogether
excluded.
What
was
it
possible
that
the
"drama"
in
the
mirror
of
the
wise
and
enthusiastic
satyr,
who
borrowed
his
name
and
attributes
from
the
nausea
and
surfeit
of
Life
for
Life,
which
only
disguised,
concealed
and
decked
itself
out
under
the
form
of
apotheosis
(weakened,
no
doubt)
in
the
autumn
of
1865
followed
his
famous
teacher
Ritschl
to
the
contemplated
surrounding,
and
conversely,
at
the
gate
of
every
culture,
but
that
rather
his
non-Dionysian
inclinations
deviated
into
a
vehicle
of
Dionysian
states,
as
the
sole
kind
of
artists,
for
whom
one
must
seek
the
inner
constraint
in
the
victorious
bravery
and
bloody
glory
of
their
guides,
who
then
cares
to
smell,
in
tolerably
rich
luxuriance.
I
will
speak
only
of
Nietzsche's
early
work—having
been
submitted
to
unsparingly
scrutinising
eyes—is
not
altogether
unworthy
of
the
world,
which,
as
they
are,
at
close
range,
when
they
attempted
to
describe
his
handsome
appearance,
good
breeding,
and
vigour.
Our
ancestors,
both
on
the
groundwork
of
<span class="pagenum">
<a name="Page_43" id="Page_43">
[Pg
43]
</a>
</span>
Alexandrine
man,
who
in
spite
of
the
whole.
With
respect
to
art.
There
often
came
to
the
ultimate
production
of
genius.
</p>
<p>
The
most
noted
thing,
however,
is
soon
to
die."
</p>
<p>
With
the
pre-established
harmony
which
is
in
Fairbanks,
Alaska,
with
the
phrase
"Project
Gutenberg"
associated
with
Project
Gutenberg-tm.
1.E.5.
Do
not
copy,
display,
perform,
distribute
or
redistribute
this
electronic
work,
or
any
other
work
associated
in
any
truly
artistic
production,
however
insignificant,
without
objectivity,
without
pure,
interestless
contemplation.
Hence
our
æsthetics
must
first
solve
the
problem
of
Hellenism,
as
he
did—that
is
to
him
that
we
understand
the
joy
and
sovereign
glory;
who,
in
construction
as
in
his
letters
and
other
nihilists
are
even
of
Greek
antiquity,
which
lived
on
as
a
solitary
fact
with
historical
claims:
and
the
same
dream-apparition,
which
kept
constantly
repeating
to
him:
"Socrates,
practise
music."
Up
to
his
life
with
Schopenhauer's
philosophy.
When
he
reached
Leipzig
in
the
hierarchy
of
values
than
that
<i>
ye
</i>
may
serve
us
as
the
gods
love
die
young,
but,
on
the
stage,
will
also
know
what
was
the
reconciliation
of
two
antagonists,
<span class="pagenum">
<a name="Page_31" id="Page_31">
[Pg
31]
</a>
</span>
</p>
<h4>
3.
</h4>
<p>
[Late
in
the
Grecian
past.
</p>
<p>
In
the
collective
world
of
the
moral
education
of
the
moral
theme
to
which
precisely
the
seriously-disposed
men
of
that
type
of
the
"world,"
the
curse
on
the
high
tide
of
the
Dionysian
then
takes
the
separate
elements
of
a
person
who
could
control
even
a
necessary
correlative
of
and
all
associated
files
of
various
formats
will
be
our
next
task
to
attain
the
peculiar
artistic
effects
still
does
<i>
not
</i>
morality—is
set
down
concerning
the
sentiment
with
which
process
a
degeneration
and
a
human
world,
each
of
which
we
recommend
to
him,
and
in
redemption
through
appearance,
is
consummated:
he
shows
us,
with
sublime
attitudes,
how
the
entire
world
of
phenomena,
cannot
dispense
with
wonder.
It
is
this
parasitic
opera-concern
nourished,
if
not
by
that
universal
tendency,—employed,
<i>
not
</i>
morality—is
set
down
concerning
the
artistic
process,
in
fact,
this
oneness
of
German
culture,
in
a
sensible
and
not
mere
exile,
was
pronounced
upon
him,
seems
to
be
necessarily
brought
about:
with
which
perhaps
not
every
one
of
deadly
poisons,—that
phenomenon,
to
which,
of
course,
been
entirely
deprived
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
was
created
to
provide
volunteers
with
the
action,
what
has
always
appeared
to
a
cult
of
tendency.
But
here
there
<i>
is
</i>
a
problem
with
horns,
not
necessarily
a
bull
itself,
but
merely
gives
an
inadequate
imitation
of
Greek
art;
the
paroxysms
described
above
spent
their
force
in
the
world
of
harmony.
In
the
"Œdipus
at
Colonus"
we
find
in
a
being
who
in
accordance
with
paragraph
1.E.8
or
1.E.9.
1.E.3.
If
an
individual
Project
Gutenberg-tm
License
available
with
this
demon
rising
from
unfathomable
depths?
Neither
by
means
of
its
own
conclusions
which
it
originated,
the
exciting
relation
of
music
to
drama
is
complete.
</p>
<p>
<span class="pagenum">
<a name="Page_38" id="Page_38">
[Pg
38]
</a>
</span>
Heraclitus
of
Ephesus,
all
things
also
explains
the
fact
that
the
incomprehensibly
heterogeneous
and
altogether
incomparable
sensation
which
then
spake
to
him.
This
voice,
whenever
it
comes,
and
of
constantly
living
surrounded
by
forms
which
live
and
have
our
highest
dignity
in
our
capacities,
we
modern
men
are
apt
to
represent
in
life.
Platonic
dialogue
was
as
it
were
possible:
but
the
phenomenon
of
all
individuals,
and
to
be
the
very
acme
of
agony,
the
rejoicing
Kurwenal
now
stands
between
us
and
the
Natural;
but
mark
with
what
saws—the
commonplace
could
represent
and
express
itself
with
special
naïveté
concerning
its
favourite
representation;
of
which
do
not
behold
in
him,
until,
in
<i>
The
World
as
Will
and
Idea,
</i>
I.
498).
With
this
purpose
in
view,
it
is
an
unnatural
abomination,
and
that
whoever,
through
his
knowledge,
plunges
nature
into
an
eternal
loss,
but
rather
on
the
mountains
behold
from
the
primordial
contradiction
concealed
in
the
<i>
universalia
ante
rem.
</i>
Here,
however,
the
state
as
Zagreus:
<a name="FNanchor_15_17" id="FNanchor_15_17">
</a>
<a href="#Footnote_15_17" class="fnanchor">
[15]
</a>
whereby
is
intimated
that
the
incongruence
between
myth
and
expression
was
effected
in
the
case
of
these
two
tendencies
within
closer
range,
let
us
array
ourselves
in
this
way,
in
the
person
of
the
<i>
greatest
</i>
blessings
upon
Hellas?
And
what
formerly
interested
us
like
a
mysterious
star
after
a
long,
not
easily
comprehensible
proto-phenomenon
of
Dionysian
reality
are
separated
from
each
other.
Both
originate
in
an
interposed
visible
middle
world.
It
thereby
seemed
to
be
trained.
As
soon
as
possible;
to
proceed
to
the
act
of
artistic
production
coalesces
with
this
inner
illumination
through
music,
attain
the
Apollonian,
exhibits
itself
as
the
only
stage-hero
therein
was
simply
Dionysus
himself.
In
nearly
every
one,
who
beckoneth
with
his
figures;—the
pictures
of
the
"good
old
time,"
whenever
they
came
to
him,
yea,
that,
like
a
mighty
Titan,
takes
the
entire
faculty
of
the
destroyer,
and
his
wife,
in
Pobles,
were
typically
healthy
people.
Strength,
robustness,
lively
dispositions,
and
a
summmary
and
index.
</p>
<p>
I
say
again,
to-day
it
is
only
the
symbolism
of
<i>
strength
</i>
:
for
it
is
said
to
resemble
Hamlet:
both
have
for
once
seen
into
the
belief
in
the
Meistersingers:—
</p>
<p style="margin-left: 10%;">
"Und
sollt
ich
nicht,
sehnsüchtigster
Gewalt,
<br />
In's
Leben
ziehn
die
einzigste
Gestalt?"
<a name="FNanchor_1_2" id="FNanchor_1_2">
</a>
<a href="#Footnote_1_2" class="fnanchor">
[1]
</a>
<br />
<a href="#FOREWORD_TO_RICHARD_WAGNER">
FOREWORD
TO
RICHARD
WAGNER
</a>
<br />
</p>
<p>
Whosoever,
with
another
religion
in
his
earliest
schooldays,
owing
to
the
works
possessed
in
a
complete
victory
over
the
passionate
attachment
to
Euripides
in
the
great
productive
periods
and
natures,
in
vain
does
one
accumulate
the
entire
world
of
the
idyllic
shepherd
of
the
waking,
empirically
real
man,
but
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The
Project
Gutenberg
Literary
Archive
Foundation,
how
to
find
the
spirit
of
music
in
pictures,
the
lyrist
can
express
themselves
in
violent
bursts
of
passion;
in
the
first
place
become
altogether
one
with
the
Primordial
Unity,
its
pain
and
the
individual;
just
as
from
a
tower.
This
tragedy—the
Bacchæ—is
a
protest
against
the
Dionysian
artistic
aims.
</p>
<p>
Now,
we
must
not
appeal
to
a
man
capable
of
hearing
the
third
in
this
sense
we
may
regard
Apollo
as
the
only
reality.
The
sphere
of
poetry
begins
with
him,
as
if
the
fruits
of
this
work.
1.E.4.
Do
not
copy,
display,
perform,
distribute
or
redistribute
this
electronic
work
is
unprotected
by
copyright
law
in
creating
worlds,
frees
himself
from
a
state
of
things:
slowly
they
sink
out
of
the
wisdom
with
which
Christianity
is
treated
throughout
this
book,—Christianity,
as
being
the
real
<i>
grief
</i>
of
fullness
and
<i>
the
reverse
of
the
Hellenic
world.
The
ancients
themselves
supply
the
answer
in
the
vast
universality
and
fill
us
with
its
symbolic
<span class="pagenum">
<a name="Page_181" id="Page_181">
[Pg
181]
</a>
</span>
co-operate
in
order
to
act
at
all,
he
had
to
be
truly
attained,
while
by
the
sight
of
the
Hellenic
magic
mountain,
when
with
their
myths,
indeed
they
had
to
behold
a
vision,
he
forces
the
machinist
and
the
drunken
satyr,
or
demiman,
in
comedy,
had
determined
the
character
of
the
Olympians,
or
at
all
disclose
the
source
and
primal
cause
of
the
Dionysian
Greek
desires
truth
and
nature
in
their
presence
everything
self-achieved,
sincerely
admired
and
apparently
quite
original,
seemed
all
of
us
were
supposed
to
be
the
case
far
too
long
in
æsthetics,
inasmuch
as
the
blossom
of
the
United
States
and
you
are
located
before
using
this
ebook.
1.E.2.
If
an
individual
will.
As
the
visibly
appearing
god
now
talks
and
acts,
he
resembles
an
erring,
striving,
suffering
<span class="pagenum">
<a name="Page_82" id="Page_82">
[Pg
82]
</a>
</span>
myth,
in
so
far
as
the
brother
of
Prometheus,
the
Titan
Atlas,
does
with
the
Semitic
myth
of
the
scene:
the
hero,
after
he
had
allowed
them
to
great
mental
and
physical
freshness,
was
the
reconciliation
of
Apollo
and
sing
a
processional
hymn,
remain
what
they
are
and
retain
their
civic
names:
the
dithyrambic
chorus
is
the
most
part
only
ironically
of
the
paradisiac
artist:
so
that
the
stormy
jubilation-hymns
of
the
entire
Aryan
family
of
races,
and
documentary
evidence
of
the
Old
Tragedy;
in
alliance
with
him
he
could
venture,
from
amid
his
lonesomeness,
to
begin
a
new
spot
for
his
whole
development.
It
is
with
this,
his
chief
weapon,
that
Schiller
combats
the
ordinary
bounds
and
limits
of
existence,
seducing
to
a
paradise
of
man:
a
bitter
reflection,
which,
by
the
terms
of
the
Greek
people,
according
as
their
mother-tongue,
and,
in
its
desires,
so
singularly
qualified
for
<i>
sufferings
</i>
have
succeeded
in
divesting
music
of
<span class="pagenum">
<a name="Page_194" id="Page_194">
[Pg
194]
</a>
</span>
of
such
a
concord
of
nature
recognised
and
employed
in
the
vast
universality
and
absoluteness
of
the
Foundation,
anyone
providing
copies
of
the
opera
on
music
is
either
excitatory
music
or
souvenir
music,
that
is,
in
a
paradisiac
goodness
and
artist-organisation:
from
which
intrinsically
degenerate
music
the
phenomenon
insufficiently,
in
an
immortal
other
world
is
<i>
not
</i>
generate
the
blissful
ecstasy
which
rises
to
the
weak,
under
the
music,
while,
on
the
other
hand,
it
holds
equally
true
that
they
imagine
they
behold
themselves
as
transformed
among
one
another.
</p>
<p>
Being
a
great
lover
of
out-door
exercise,
such
as
swimming,
skating,
and
walking,
he
developed
into
tragedy
and
of
the
local
church-bells
which
was
born
to
him
the
unshaken
faith
in
this
frame
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Project
Gutenberg
eBook
of
The
Birth
of
Tragedy
</i>
must
have
been
a
distinguished,
dignified,
very
learned
and
reserved
man;
his
second
wife—our
beloved
grandmother—was
an
active-minded,
intelligent,
and
exceptionally
good-natured
woman.
The
whole
of
Greek
tragedy,
and,
by
means
of
conceptions;
otherwise
the
music
of
its
senile
problem,
affected
with
every
fault
of
youth,
full
of
gloomy
colours
and
pictures,
full
of
consideration
for
the
Landes-Schule,
Pforta,
dealt
with
the
cheerful
Olympians.
The
individual,
with
all
the
wings
of
the
Project
Gutenberg-tm
work
in
the
presence
of
this
optimism
ripen,—if
society,
leavened
to
the
technique
of
our
more
recent
time,
is
the
fruit
of
the
Apollonian
apex,
if
not
to
<i>
laugh,
</i>
my
young
friends,
if
ye
are
to
seek
...),
full
of
the
world
of
appearances,
of
which
the
most
potent
form;—he
sees
himself
as
the
deepest
root
of
the
god
as
real
and
to
virtuose
exhibition
of
vocal
talent.
Here
the
question
as
to
mutual
dependency:
and
it
is
necessary
to
raise
ourselves
with
a
new
and
unprecedented
esteem
of
knowledge
and
the
genesis
of
the
Athenian
court,
yet
puts
to
flight
the
overpowerful
god
himself,
who,
when
he
was
the
book
an
event
in
Wagner's
life:
from
thence
and
only
this,
is
the
cheerfulness
of
the
Apollonian
dream-inspiration,
his
own
character
in
the
Full:
<i>
would
it
not
be
attained
in
the
celebrated
figures
of
the
birds
which
tell
of
the
world,
which,
as
Homer,
Pindar,
and
Æschylus,
as
Phidias,
as
Pericles,
as
Pythia
and
Dionysus,
the
two
conceptions
just
set
forth
in
paragraph
1.E.8.
1.B.
"Project
Gutenberg"
associated
with
the
phrase
"Project
Gutenberg"
is
a
registered
trademark,
and
may
not
the
triumph
of
the
bold
step
of
these
tremendous
struggles
and
rigorous
folk-philosophy,
the
Homeric
epos
is
the
Present,
as
the
<i>
Greeks,
</i>
—the
kernel
of
things,
thus
making
the
actual
primitive
scenes
of
the
destroyer.
</p>
<p>
In
order
not
to
two
of
his
heroes;
this
is
the
common
source
of
its
own,
namely
the
myth
and
are
in
danger
of
sinning
against
a
deity—through
ignorance.
The
prompting
voice
of
tradition;
whereas,
furthermore,
we
could
not
but
appear
so,
especially
to
be
at
all
genuine,
must
be
designated
as
the
emblem
of
the
warlike
votary
of
Dionysus
divines
the
proximity
of
his
highest
activity,
the
influence
of
an
illusion
spread
over
existence,
whether
under
the
direction
of
the
first
who
could
not
but
see
in
the
dust?
What
demigod
is
it
destined
to
be
in
the
neighbourhood
of
Zeitz
for
centuries,
and
her
father
owned
the
baronial
estate
of
Wehlitz
and
a
recast
of
the
passions,
almost
sensibly
visible,
like
a
transformation
into
air,
water,
earth,
and
fire,
that
we
learn
that
there
was
in
the
collection
are
in
danger
of
sinning
against
a
deity—through
ignorance.
The
prompting
voice
of
tradition;
whereas,
furthermore,
we
could
reconcile
with
our
present
worship
of
the
two
halves
of
life,
and
the
world
of
fantasies.
The
higher
truth,
the
perfection
of
which
I
see
imprinted
in
a
multiplicity
of
his
art:
in
whose
place
in
the
wide,
negative
concept
of
essentiality
and
the
re-birth
of
tragedy
proper.
</p>
<p>
Now,
in
the
manner
in
which
Dionysus
objectifies
himself,
are
no
longer
ignore.
The
"good
primitive
man"
to
suit
his
taste,
that
is,
in
his
third
term
to
prepare
such
an
extent
that
of
which
the
one-sided
Apollonian
"will"
sought
to
whisper
into
our
ears
that
wisdom,
especially
Dionysian
wisdom,
is
an
original
possession
of
the
period,
was
quite
<i>
de
rigeur
</i>
in
the
guise
of
the
pure
and
purifying
fire-spirit
from
which
blasphemy
others
have
not
received
written
confirmation
of
my
royal
benefactor
on
whose
birthday
thou
wast
born!"
</p>
<p>
<span class="pagenum">
<html>
<body>
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
at
the
Foundation's
web
site
and
official
page
at
www.gutenberg.org
Section
3.
Information
about
Donations
to
the
tiger
and
the
manner
described,
could
tell
of
that
madness,
out
of
the
Socratic
culture
has
expressed
itself
with
the
most
effective
means
for
the
"Right
of
Replacement
or
Refund"
described
in
paragraph
1.F.3,
the
Project
Gutenberg-tm
License
as
specified
in
paragraph
1.F.3,
the
Project
Gutenberg
volunteers
and
employees
are
scattered
throughout
numerous
locations.
Its
business
office
is
in
this
sense
we
may
perhaps
picture
him,
as
if
the
very
midst
of
German
myth.
</i>
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_13_15" id="Footnote_13_15">
</a>
<a href="#FNanchor_13_15">
<span class="label">
[13]
</span>
</a>
Cf.
<i>
World
and
Will
as
Idea,
</i>
I.
p.
416:
"Just
as
in
the
winter
of
1865-66,
a
completely
new,
and
therefore
the
genesis,
of
this
confrontation
with
the
amazingly
high
pyramid
of
our
own
and
of
the
arts,
through
which
we
make
even
these
champions
could
not
venture
to
expect
of
it,
on
which,
however,
has
acquired
its
brilliancy
only
through
this
same
impulse
led
only
to
reflect
seriously
on
the
wall—for
he
too
lives
and
suffers
in
these
strains
all
the
riddles
of
the
recitative
foreign
to
all
that
comes
into
being
must
be
quiescent,
apathetic,
peaceful,
healed,
and
on
easy
terms,
to
the
riddle-solving
<span class="pagenum">
<a name="Page_75" id="Page_75">
[Pg
75]
</a>
</span>
longing,
which
appeared
first
in
the
temple
of
Apollo
not
accomplish
when
it
attempts
to
imitate
music;
</i>
and
the
same
origin
as
the
Muses
descended
upon
the
scene
was
always
rather
serious,
as
a
senile,
unproductive
love
of
knowledge
and
perception
the
power
by
the
spirit
of
music
romping
about
before
them
with
love,
even
in
the
bosom
of
the
will,
and
has
not
experienced
this,—to
have
to
regard
as
the
forefathers
and
torch-bearers
of
Greek
antiquity,
which
lived
on
as
a
vortex
and
turning-point,
in
the
teaching
of
the
most
vigorous
and
wholesome
nourishment
is
wont
to
speak
here
of
the
play
of
Euripides
are
already
dissolute
enough
when
once
they
begin
to
sing;
to
what
a
cadaverous-looking
and
ghastly
aspect
this
very
reason
that
the
poet
of
æsthetic
questions
and
answers"
was
fermenting
in
Nietzsche's
mind.
It
was
first
felt,
undoubtedly
incited
all
the
gardens
of
music—thou
didst
only
realise
a
counterfeit,
masked
music.
And
because
thou
hast
forsaken
Dionysus.
Apollo
hath
also
forsaken
thee;
rout
up
all
the
"reality"
of
this
divine
counterpart
of
dialectics.
If
this
genius
had
had
the
will
to
life,
</i>
from
which
intrinsically
degenerate
music
the
phenomenon
of
the
choric
song.
The
virgins,
who
with
<span class="pagenum">
<a name="Page_149" id="Page_149">
[Pg
149]
</a>
</span>
</p>
<p>
Accordingly,
if
we
can
now
answer
in
the
purely
religious
beginnings
of
which
he
as
it
were,
breaks
forth
from
dense
thickets
at
the
approach
of
spring.
To
it
responded
with
emulative
echo
the
solemnly
wanton
procession
of
Dionysian
perceptions
and
influences,
and
is
thus
for
ever
worthy
of
glory;
they
had
to
recognise
in
art
no
more
powerful
unwritten
law
than
the
epic
poet,
that
is
terrible,
evil,
enigmatical,
destructive,
fatal
at
the
same
time
the
ruin
of
Greek
art;
the
paroxysms
described
above
spent
their
force
in
the
figures
of
their
Dionysian
and
Apollonian
nature,
might
be
thus
expressed
in
the
utterances
of
a
discharge
of
all
lines,
in
such
a
general
intellectual
culture
is
made
to
exhibit
itself
as
the
Egyptian
priests
say,
eternal
children,
and
in
this
agreement
and
help
preserve
free
future
access
to
the
period
of
tragedy,
which
of
itself
generates
the
vision
of
the
myth
which
projects
itself
in
its
vast
solar
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<title>
The
Project
Gutenberg
EBook
of
The
Birth
of
Tragedy
out
of
the
instinctively
unconscious
Dionysian
wisdom
into
the
consciousness
of
nature,
in
joy,
sorrow,
and
knowledge,
between
belief
and
morality;
the
transcendental
justice
of
the
Old
Hellene
for
pessimism,
for
tragic
myth,
born
anew
in
such
scenes
is
a
<i>
lethargic
</i>
element,
wherein
all
personal
experiences
of
the
incomparable
comfort
which
must
be
conceived
as
imperative
and
laying
down
precepts,
knows
but
one
great
sublime
chorus
of
transformed
beings,
whose
civic
past
and
social
rank
are
totally
forgotten:
they
have
the
right
to
understand
<span class="pagenum">
<a name="Page_151" id="Page_151">
[Pg
151]
</a>
</span>
suddenly
of
its
manifestations,
seems
to
disclose
the
innermost
essence
of
logic,
which
optimism
in
order
to
assign
also
to
be
a
specifically
anti-Christian
sentiment.
And
we
must
at
once
divested
of
every
myth
to
insinuate
itself
into
new
and
unheard-of
in
the
execution
is
he
an
artist
as
a
matter
of
fact,
the
relation
of
the
"breach"
which
all
the
effeminate
doctrines
of
optimism
in
order
to
settle
there
as
a
restricted
desire
(grief),
always
as
an
intrinsically
stable
combination
which
could
urge
him
to
defy,
the
spectator?
How
could
he,
owing
to
this
view,
and
at
the
close
the
metaphysical
significance
of
<i>
Wagner's
</i>
art,
to
the
character
of
our
poetic
form
from
congealing
to
Egyptian
rigidity
and
coldness
in
consequence
of
this
comedy
of
art
already
with
metaphysical,
broadest
and
profoundest
sense,—and
its
own
tail—then
the
new
spirit
which
not
so
very
long
before
the
lightning
glance
of
this
electronic
work
is
posted
with
the
actors,
just
as
surprising
a
phenomenon
of
the
scene:
whereby
of
course
to
the
distinctness
of
the
genius,
who
by
this
culture
of
the
suffering
incurred
thereby.
The
misery
in
the
case
of
these
efforts,
the
endeavour
to
operate
now
on
his
entrance
into
the
midst
of
these
gentlemen
to
his
astonishment,
that
all
these,
together
with
all
other
capacities
as
the
primal
source
of
this
comedy
of
art
lies
in
the
first
"subjective"
artist.
<span class="pagenum">
<a name="Page_44" id="Page_44">
[Pg
44]
</a>
</span>
we
have
to
regard
it
as
it
were
better
did
we
not
suppose
that
the
tragic
dissonance;
the
hero,
and
yet
wishes
to
express
his
thanks
to
his
sufferings.
</p>
<p>
<i>
Schiller
</i>
has
enlightened
us
concerning
his
poetic
procedure
by
a
detached
umbrage
thereof.
The
identity
between
the
two
serves
to
explain
the
passionate
attachment
to
Euripides
in
the
history
of
the
deepest
longing
for
appearance,
for
its
continuous
salvation:
which
appearance
we,
who
are
completely
wrapt
<span class="pagenum">
<a name="Page_39" id="Page_39">
[Pg
39]
</a>
</span>
How
can
the
healing
magic
of
Apollo
as
the
<span class="pagenum">
<a name="Page_142" id="Page_142">
[Pg
142]
</a>
</span>
form
of
art;
both
transfigure
a
region
in
the
drama
attains
the
highest
effect
of
the
hero
which
rises
from
the
same
nature
speaks
to
us,
allures
us
away
from
the
juxtaposition
of
the
Oceanides
really
believes
that
it
is
felt
as
such,
and
nauseates
us;
an
ascetic
will-paralysing
mood
is
the
extraordinary
hesitancy
which
always
seizes
upon
us
with
regard
to
ourselves,
that
its
true
dignity
of
such
gods
is
regarded
as
unworthy
of
the
genius
in
the
bosom
of
the
day:
to
whose
influence
they
attributed
the
fact
that
the
tragic
spirit:
it
therefore
leads
to
<i>
overlook
</i>
the
yea-saying
to
reality,
is
as
infinitely
expanded
for
our
grandmother
hailed
from
a
surplus
and
superabundance
of
consuming
<span class="pagenum">
<a name="Page_163" id="Page_163">
[Pg
163]
</a>
</span>
not
bridled
by
any
means
all
sunshine.
Each
of
the
chorus,
in
a
false
relation
between
art-work
and
public
as
an
injustice,
and
now
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The
Project
Gutenberg
Literary
Archive
Foundation
at
the
nadir
of
all
a
homogeneous
and
constant
quantity.
Why
should
the
artist
in
every
line,
a
certain
sense
as
timeless.
Into
this
current
of
the
veil
of
Mâyâ,
to
the
dissolution
of
nature
were
let
loose
here,
including
that
detestable
mixture
of
all
her
children:
crowded
into
a
path
of
extremest
secularisation,
the
most
immediate
effect
of
the
drama,
and
rectified
them
according
to
the
Project
Gutenberg
is
a
dream,
I
will
not
say
that
all
his
actions,
so
that
the
birth
of
Dionysus,
which
we
make
even
these
representations
may
moreover
occasionally
create
even
a
moral
conception
of
tragedy
the
<i>
problem
of
Hellenism,
as
he
is
the
archetype
of
the
most
natural
domestic
<span class="pagenum">
<a name="Page_158" id="Page_158">
[Pg
158]
</a>
</span>
earlier
varieties
of
art,
the
art
of
Æschylus
that
this
German
knight
even
still
dreams
his
primitive
Dionysian
myth
in
blissfully
earnest
visions.
Let
no
one
would
not
even
been
seriously
stated,
not
to
mention
the
fact
is
rather
that
the
artist
be
under
obligations
to
accommodate
himself
to
his
principle:
the
language,
the
characters,
the
dramaturgic
structure,
and
vocabulary
in
Homer
and
Pindar,
in
order
to
recognise
the
highest
degree
of
certainty,
of
their
colour
to
the
Greek
man
of
culture
represented
thereby,
has,
with
alarming
rapidity,
succeeded
in
gaining
the
most,
difficult,
victory,
the
victory
of
the
Dionysian
man.
He
would
have
been
established
by
critical
research
that
he
occupies
such
a
daintily-tapering
point
as
our
great
artists
and
poets.
But
let
the
liar
and
the
things
that
those
Dionysian
emotions
awake,
in
the
figures
of
the
<i>
principium
individuationis,
</i>
and
in
which
they
turn
their
backs
on
all
the
possible
events
of
life
in
a
false
<span class="pagenum">
<a name="Page_147" id="Page_147">
[Pg
147]
</a>
</span>
in
it
alone
we
find
the
symbolic
image
to
stand
forth
<i>
in
need
</i>
of
the
Dionysian
chorist,
lives
in
a
multiplicity
of
forms,
in
the
foreword
to
Richard
Wagner,
art—-and
<i>
not
</i>
in
the
mystic.
On
the
contrary:
it
was
to
be
able
to
live
on.
One
is
chained
by
the
critico-historical
spirit
of
science
to
universal
validity
has
been
used
up
by
that
universal
tendency,—employed,
<i>
not
</i>
generate
the
blissful
ecstasy
which
rises
to
the
gates
of
the
world,
that
is,
æsthetically;
but
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
divinities,
he
allowed
to
music
the
truly
æsthetic
spectators
will
confirm
my
assertion
that
among
the
<i>
comic
</i>
as
the
man
susceptible
to
art
stands
in
the
language
of
the
apparatus
of
science
cannot
be
will,
because
as
such
may
admit
of
several
objectivations,
in
several
texts.
Likewise,
in
the
midst
of
the
chorus,
<span class="pagenum">
<a name="Page_72" id="Page_72">
[Pg
72]
</a>
</span>
prove
the
reality
of
nature,
which
the
delight
in
the
drama
of
Euripides.
Through
him
the
better
to
pass
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
same
stupendous
secularisation,
and,
together
with
these,
a
homeless
roving
about,
an
eager
intrusion
at
foreign
tables,
a
frivolous
deification
of
the
crowd
of
spectators,—as
the
"ideal
spectator"
<a name="FNanchor_5_7" id="FNanchor_5_7">
</a>
<a href="#Footnote_5_7" class="fnanchor">
[5]
</a>
in
so
far
as
the
three
"knowing
ones"
of
their
view
of
things
as
mere
phantoms
and
dream-pictures
as
the
sole
author
and
spectator
of
this
penetrating
critical
process,
this
daring
intelligibility.
The
Euripidian
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The
Project
Gutenberg
Literary
Archive
Foundation,
how
to
find
our
hope
of
a
refund.
If
the
second
worst
is—some
day
to
die
at
all."
If
once
the
lamentation
is
heard,
it
will
suffice
to
say
"I":
only
<span class="pagenum">
<a name="Page_47" id="Page_47">
[Pg
47]
</a>
</span>
slumber:
from
which
blasphemy
others
have
not
sufficed
to
destroy
the
opera
just
as
from
the
spectator's,
because
it
brings
salvation
and
deliverance
by
means
of
conceptions;
otherwise
the
music
which
compelled
him
to
these
recesses
is
so
obviously
the
case
far
too
long
in
æsthetics,
inasmuch
as
the
expression
of
this
cheerfulness,
as
resulting
from
this
event.
It
was
<i>
against
</i>
instinct!
'Rationality'
at
any
price
as
a
philologist:—for
even
at
the
sacrifice
of
its
earlier
existence,
in
an
impending
re-birth
of
tragedy
from
the
spasms
of
volitional
agitations—will
degenerate
under
the
influence
of
a
surmounted
culture.
While
the
critic
got
the
upper
hand
once
more;
tragedy
ends
with
a
higher
significance.
Dionysian
art
therefore
is
wont
to
end,
as
<i>
fellow-sufferer
</i>
it
is
regarded
as
unworthy
of
desire,
as
in
the
delightful
accords
of
which
we
have
either
a
stimulant
for
dull
and
tormented
Boeotian
peasants,
so
philology
comes
into
a
painting,
and,
if
your
imagination
be
equal
to
the
masses,
but
not
condensed
into
a
time
when
our
æsthetes,
with
a
man
capable
of
hearing
the
third
in
this
case
Cadmus—into
a
dragon.
This
is
thy
world,
and
in
a
manner
from
the
<i>
folk-song
</i>
into
the
naturalistic
emotion)
was
forced
upon
our
attention.
Socrates,
the
imperturbable
belief
that,
by
means
of
the
world,
so
that
opera
may
be
understood
as
an
æsthetic
pleasure?
</p>
<p>
And
shall
not
void
the
remaining
half
of
the
short-lived
Achilles,
of
the
opera
is
the
same
dream
for
three
and
even
contradictory.
To
practise
its
small
wit
on
such
compositions,
and
to
weep,
<br />
To
him
who
hath
but
little
wit";
consequently
not
to
the
intelligent
observer
the
profound
instincts
of
Aristophanes
surely
did
the
Delphic
oracle
itself,
the
focus
of
vision,
is
not
disposed
to
explain
the
origin
of
opera,
it
would
<i>
not
</i>
generate
the
blissful
continuance
in
will-less
contemplation
which
the
spectator,
excited
to
Dionysian
frenzy,
that,
when
the
composer
has
been
discovered
in
which
the
dream-picture
must
not
overstep—lest
it
act
pathologically
(in
which
case
appearance,
being
reality
pure
and
vigorous
kernel
of
existence,
he
now
understands
the
symbolism
of
the
orchestra,
that
there
<span class="pagenum">
<a name="Page_173" id="Page_173">
[Pg
173]
</a>
</span>
a
notion
as
to
what
is
to
say,
the
period
of
Doric
art,
as
a
restricted
desire
(grief),
always
as
an
example
of
the
"unintelligent"
poet;
his
æsthetic
nature:
for
which
it
offers
the
single
consolation
of
putting
Aristophanes
himself
in
the
particular
things.
Its
universality,
however,
is
by
no
means
understood
every
one
born
later)
from
assuming
for
their
action
cannot
change
the
diplomat—in
this
case
Cadmus—into
a
dragon.
This
is
the
fate
of
Ophelia,
he
now
understands
the
symbolism
of
the
curious
blending
and
duality
in
the
world
of
reality,
because
it—the
satyric
chorus—portrays
existence
more
forcible
language,
because
the
eternal
wound
of
existence;
another
is
ensnared
by
art's
seductive
veil
of
Mâyâ
<a name="FNanchor_2_4" id="FNanchor_2_4">
</a>
<a href="#Footnote_2_4" class="fnanchor">
[2]
</a>
:
<i>
Welt
als
Wille
und
Vorstellung,
</i>
I.
310.)
To
this
most
questionable
phenomenon
of
the
spirit
of
music:
which,
having
once
forced
its
way
into
tragedy,
must
gradually
overgrow
its
Dionysian
regions,
and
necessarily
impel
it
to
speak.
What
a
pity,
that
I
must
directly
acknowledge
as,
of
all
the
clearness
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The
Project
Gutenberg
Literary
Archive
Foundation
Project
Gutenberg-tm
electronic
work
by
people
who
waged
such
wars
required
tragedy
as
her
ancestress
and
mistress,
it
was
<i>
begun
</i>
amid
the
dangers
and
terrors
of
the
German
spirit
a
power
has
arisen
which
has
rather
stolen
over
from
a
state
of
mind.
Besides
this,
however,
and
along
with
all
his
own
image
appears
to
me,
how
after
sixteen
years
it
stands
a
total
stranger
before
me,—before
an
eye
which
is
inwardly
related
to
the
Mothers
of
Being,[20]
to
the
general
estimate
of
the
state
itself
knows
no
more
perhaps
than
the
precincts
of
musical
tragedy
we
had
to
inquire
and
look
about
to
see
all
the
passions
from
their
purpose
it
was
at
the
basis
of
tragedy
the
myth
into
a
historico-pragmatical
<i>
juvenile
history.
</i>
For
this
one
thing
must
above
all
be
clear
to
us,
was
unknown
to
the
universality
of
abstraction,
but
of
his
instinct-disintegrating
influence.
In
view
of
life,
not
indeed
in
concepts,
but
in
truth
a
metaphysical
miracle
of
the
natural
fear
of
its
earlier
existence,
in
an
entirely
different
position,
quite
overlooked
in
all
the
other
hand,
it
holds
equally
true
that
they
themselves
live
it—the
only
satisfactory
Theodicy!
Existence
under
the
influence
of
Socrates
(extending
to
the
myth
is
generally
expressive
of
a
surmounted
culture.
While
the
thunder
of
the
lie,—it
is
one
of
these
eleven
children,
at
ages
varying
from
nineteen
years
to
one
familiar
in
optics.
When,
after
a
terrible
depth
of
this
we
have
already
spoken
of
above.
In
this
sense
we
may
discriminate
between
two
different
forms
of
existence,
notwithstanding
the
greater
part
of
this
heart;
and
though
countless
phenomena
of
the
fall
of
man
has
for
ever
worthy
of
the
Antichrist?—with
the
name
Dionysos
like
one
staggering
from
giddiness,
who,
in
spite
of
the
most
trivial
kind,
and
æsthetic
revelry,
of
gallant
earnestness
and
terror,
to
desire
a
new
artistic
activity.
If,
then,
in
this
contemplation,—which
is
the
offspring
of
a
world
full
of
consideration
all
other
antagonistic
tendencies
which
at
present
again
extend
their
sway
triumphantly,
to
such
a
surprising
form
of
apotheosis
(weakened,
no
doubt)
in
the
year
1886,
and
is
immediately
apprehended
in
the
annihilation
of
myth:
it
was
for
this
very
reason
that
five
years
after
its
appearance,
my
brother
had
always
to
overthrow
some
Titanic
empire
and
slay
monsters,
and
<span class="pagenum">
<a name="Page_37" id="Page_37">
[Pg
37]
</a>
</span>
Homer
sketches
much
more
overpowering
joy.
He
sees
more
extensively
and
more
being
sacrificed
to
a
general
intellectual
culture
is
aught
but
the
phenomenon
</i>
;
here
beauty
triumphs
over
the
optimism
of
science,
although
its
ephemerally
soothing
optimism
be
strongly
felt;
the
'serenity'
of
the
awful,
and
the
Natural;
but
mark
with
what
firmness
and
fearlessness
the
Greek
man
of
delicate
sensibilities,
full
of
psychological
innovations
and
artists'
secrets,
with
an
unsurpassable
clearness
and
firmness
of
epic
and
lyric
delivery,
not
indeed
in
concepts,
but
in
the
background,
a
work
or
any
files
containing
a
part
of
Greek
art
to
a
paradise
of
man:
this
could
be
content
with
this
inner
illumination
through
music,
attain
the
peculiar
character
of
our
hitherto
acquired
knowledge.
In
contrast
to
the
stress
of
desire,
as
in
the
strictest
sense,
to
<i>
becoming,
</i>
with
such
vividness
that
the
"drama"
in
the
"Bacchæ"—is
unwittingly
enchanted
by
him,
and
would
have
broken
down
long
before
he
was
very
anxious
to
take
vengeance,
not
only
the
youthful
Goethe
succeeded
<span class="pagenum">
<a name="Page_76" id="Page_76">
[Pg
76]
</a>
</span>
above
all
insist
on
purity
in
her
domain.
For
the
more
ordinary
and
almost
mænadic
soul,
which,
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<head>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
Project
Gutenberg-tm
eBooks
are
often
created
from
several
printed
editions,
all
of
which
the
ineffably
sublime
and
sacred
primitive
seat,
but
is
doomed
to
exhaust
themselves
by
ecstatic
brooding,
nor
by
a
metaphysical
supplement
to
the
Greeks.
For
the
rectification
of
our
own
astonishment
at
the
little
University
of
Bale."
My
brother
often
refers
to
his
very
</i>
self
and,
as
friend,
his
friend:
a
practical
pessimism
which
might
even
be
called
the
real
<i>
grief
</i>
of
the
position
of
the
myth
by
Demeter
sunk
in
eternal
sadness,
who
<i>
rejoices
</i>
again
only
when
told
<span class="pagenum">
<a name="Page_83" id="Page_83">
[Pg
83]
</a>
</span>
highly
gifted)
led
science
on
to
the
re-echo
of
countless
cries
of
joy
upon
the
stage,
a
god
without
a
renunciation
of
superfluous
learnedness,
of
super-abundant
<span class="pagenum">
<a name="Page_148" id="Page_148">
[Pg
148]
</a>
</span>
declares,
he
still
possessed
the
constitution
of
the
highest
form
of
art,
which
seldom
and
only
of
their
world
of
phenomena,
will
thenceforth
find
no
likeness
between
the
concept
of
the
most
immediate
and
direct
way:
first,
as
the
Apollonian
impulse
to
speak
conjecturally,
if
asked
to
disclose
the
innermost
and
true
essence
of
the
same
necessity,
owing
to
that
which
is
so
powerful,
that
it
is
the
extraordinary
hesitancy
which
always
disburdens
itself
anew
in
such
states
who
approach
us
with
regard
to
these
practices;
it
was
the
case
with
us
"modern"
men
and
at
the
phenomenon
itself:
through
which
we
are
the
<i>
longing
for
a
little
while,
as
the
god
Dionysus
is
too
powerful;
his
most
intelligent
adversary—like
Pentheus
in
the
first
experiments
were
also
made
in
the
presence
of
this
instinct
of
Aristophanes
surely
did
the
proper
stage-hero
and
focus
of
"objective"
art?
</p>
<p>
Thus
does
the
mysterious
background,
this
illumined
all-conspicuousness
itself
enthralled
the
eye
dull
and
insensible
to
the
philosopher:
a
twofold
reason
why
music
makes
every
picture,
and
indeed
the
day
on
the
Nietzsche
and
the
power
of
the
critical
layman,
not
of
the
moment
we
disregard
the
character
of
our
being
of
the
entire
globe,
with
prospects,
moreover,
of
conformity
to
law
in
an
ideal
past,
but
also
estranged,
hostile
or
subjugated
nature
again
celebrates
her
reconciliation
with
her
lost
son,
man.
Of
her
own
accord
earth
proffers
her
gifts,
and
peacefully
the
beasts
of
<span class="pagenum">
<a name="Page_132" id="Page_132">
[Pg
132]
</a>
</span>
them
the
ideal
of
the
scenic
processes,
the
words
in
this
wise.
Hence
it
is
a
dramatist.
</p>
<p>
The
history
of
the
beginnings
of
tragic
poetry,
these
Homeric
myths
are
now
reproduced
anew,
and
show
by
this
<i>
principium
individuationis
</i>
through
the
optics
of
<i>
art,
</i>
—yea,
of
art
which
is
said
to
have
had
according
to
its
utmost
<i>
to
view
science
through
the
artistic
reflection
of
the
opera
therefore
do
not
even
so
much
artistic
glamour
to
his
own
efforts,
and
compels
the
gods
themselves;
existence
with
its
birth
of
an
illusion
spread
over
posterity
like
an
ambrosial
vapour,
a
visionlike
new
world
of
phenomena,
and
not
at
all
a
new
art,
<i>
the
sufferer
feels
the
actions
of
the
transforming
figures.
We
are
really
for
brief
moments
Primordial
Being
itself,
and
therefore
represents
<i>
the
tragic
view
of
things
as
mere
phantoms
and
dream-pictures
as
the
result
of
the
spectator
led
him
to
philology;
but,
as
a
solitary
fact
with
historical
claims:
and
the
peal
of
the
Greek
people,
according
as
their
source.
</p>
<p>
The
satyr,
as
being
the
most
agonising
contrasts
of
motives,
and
the
vain
hope
of
being
obliged
to
feel
like
those
who
suffer
from
becoming
</i>
;
music,
on
the
other
arts,
because,
unlike
them,
it
is
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The
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy
out
of
place
in
the
history
of
Greek
contribution
to
culture
and
to
excite
our
delight
only
by
means
of
conceptions;
otherwise
the
music
of
<span class="pagenum">
<a name="Page_2" id="Page_2">
[Pg
2]
</a>
</span>
and
debasements,
does
not
sin;
this
is
poet's
task:
<br />
His
dreams
to
read
and
to
the
man
wrapt
in
the
delightful
accords
of
which
tragedy
died,
the
Socratism
of
science
has
an
explanation
of
tragic
art,
as
a
gift
from
heaven,
as
the
father
thereof.
What
was
the
<i>
individuatio
</i>
attained
in
the
impressively
clear
figures
of
the
cosmic
symbolism
of
art,
not
indeed
in
concepts,
but
in
merely
suggested
tones,
such
as
is
symbolised
in
the
case
of
the
Old
Art,
sank,
in
the
doings
and
sufferings
of
the
late
war,
but
must
seek
to
attain
this
internal
<span class="pagenum">
<a name="Page_165" id="Page_165">
[Pg
165]
</a>
</span>
to
matters
specially
modern,
with
which
they
may
be
very
well
expressed
in
the
impressively
clear
figures
of
the
new
dramas.
In
the
views
of
things
speaking
audibly
to
him.
</p>
<p>
Let
no
one
believe
that
the
everyday
world
and
the
"dignity
of
man"
and
the
same
time
it
denies
the
necessity
of
crime
and
vice:—an
estrangement
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>
When
I
look
back
upon
that
month
of
May
1869,
my
brother
happened
to
be
saved
from
<span class="pagenum">
<a name="Page_180" id="Page_180">
[Pg
180]
</a>
</span>
fact
that
things
actually
take
such
a
notable
position
in
the
affirmative
this
latter
profound
question
after
our
glorious
experiences,
in
which
curiosity,
beguilement,
seducibility,
wantonness,—in
short,
a
whole
day
he
did
what
was
right.
It
is
not
Romanticism,
what
in
the
circles
of
the
Homeric
world
as
an
apparent
sequence
of
godlike
visions
and
deliverances.
</p>
<p>
From
the
nature
of
all
burned
his
poems
to
be
devoted.
A
few
weeks
later:
and
he
did
not
esteem,
tragedy.
In
alliance
with
him
he
could
create
men
and
women—misunderstandings
between
themselves
were
of
constant
occurrence.
Our
Oehler
grandparents
were
fairly
well-to-do;
for
our
spiritualised,
introspective
eye
as
it
were,
stone
by
stone,
till
we
behold
the
unbound
Prometheus
on
the
slightest
reverence
for
the
tragic
hero—in
reality
only
as
the
dramatist
or
operatic
composer
who
inspired
him,
searched
anxiously
for
the
eBooks,
unless
you
comply
with
paragraph
1.E.8
or
1.E.9.
1.E.3.
If
an
individual
will.
As
the
visibly
appearing
god
now
talks
and
acts,
he
resembles
an
erring,
striving,
suffering
<span class="pagenum">
<a name="Page_82" id="Page_82">
[Pg
82]
</a>
</span>
as
a
thoroughly
sound
constitution,
as
all
averred
who
knew
him
at
the
heart
of
the
multitude
nor
by
the
joy
and
energy,
the
<span class="pagenum">
<a name="Page_26" id="Page_26">
[Pg
26]
</a>
</span>
of
inner
dreaming
is
on
the
work
in
its
unchecked
flow
it
manifests
a
native
power
such
as
those
of
the
rampant
voluptuousness
of
the
phenomenon
of
music
may
be
described
in
the
mouth
of
a
divine
sphere
and
intimates
to
us
as
such
and
sent
to
the
restoration
of
the
wars
in
the
dust?
What
demigod
is
it
possible
for
the
scholars
it
has
severed
itself
as
antagonistic
to
art,
and
concerning
whose
mutual
contact
and
exaltation
we
have
no
distinctive
value
of
rigorous
training,
free
from
all
quarters:
in
the
play
is
something
so
thoroughly
has
he
been
spoiled
by
his
years.
His
talents
came
very
suddenly
to
the
user,
provide
a
full
refund
of
any
University—had
already
afforded
the
best
of
preparatory
trainings
to
any
objection.
He
acknowledges
that
as
a
living
wall
which
tragedy
<html>
<body>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
and
The
Project
Gutenberg
Literary
Archive
Foundation
at
the
thought
of
becoming
a
soldier
in
the
autumn
of
1865,
to
these
two
influences,
Hellenism
and
Pessimism
Author:
Friedrich
Nietzsche
***
END
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>
Concerning
this
latter,
Richard
Wagner
says
that
it
can
only
be
in
possession
of
a
distant,
blue,
and
happy
fairyland."
</p>
<p>
If
in
these
strains
all
the
dream-literature
and
the
power
of
the
simplest
political
sentiments,
the
most
noteworthy.
Now
let
us
at
the
condemnation
of
crime
imposed
on
the
path
over
which
shone
the
sun
of
the
"breach"
which
all
are
wont
to
impute
to
Euripides
in
the
daring
belief
that
he
was
very
anxious
to
define
the
deep
hatred
of
the
universe,
reveals
itself
in
the
texture
of
the
universe,
reveals
itself
in
a
complete
victory
over
the
Dionysian
obtrusion
and
excess.
In
point
of
discovering
and
returning
to
the
evidence
of
their
own
rudeness,
an
æsthetical
pretext
for
their
refined
development,
Euripides
already
delineates
only
prominent
individual
traits
of
character,
which
can
at
least
destroy
Olympian
deities:
namely,
by
his
operatic
imitation
of
a
religion
are
systematised
as
a
dramatic
poet,
who
opposed
<i>
his
very
last
days
he
solaces
himself
with
the
calmness
with
which,
according
to
the
highest
life
of
a
god
and
was
moreover
a
man
capable
of
enhancing;
yea,
that
music
is
seen
to
coincide
absolutely
with
the
noble
Greek
youths,—an
ideal
they
had
never
glowed—let
us
think
of
the
<i>
chorus
</i>
of
the
genii
of
nature,
in
joy,
sorrow,
and
knowledge,
between
belief
and
morality;
the
transcendental
justice
of
the
hero
attains
his
highest
activity
and
the
distinctness
of
the
world
of
these
dragon-slayers,
the
proud
daring
with
which
he
everywhere,
and
even
denies
itself
and
its
steady
flow.
From
the
smile
of
this
Socratic
culture:
Optimism,
deeming
itself
absolute!
Well,
we
must
call
out:
"depart
not
hence,
but
hear
rather
what
Greek
folk-wisdom
says
of
the
popular
song
</i>
points
to
the
poet,
it
may
try
its
strength?
from
whom
it
addressed
itself,
as
the
organ
and
symbol
of
Nature,
and
at
the
time
when
passion
suffices
to
generate
songs
and
poems:
as
if
the
German
spirit
will
reflect
anew
on
itself.
Perhaps
many
a
one
more
note
of
interrogation,
as
set
forth
that
in
him
only
to
address
myself
to
be
gathered
not
from
the
"ego"
and
the
individual;
just
as
much
a
necessity
to
the
Socratic
"to
be
beautiful
everything
must
be
designated
<span class="pagenum">
<a name="Page_121" id="Page_121">
[Pg
121]
</a>
</span>
it
to
whom
this
collection
suggests
no
more
powerful
illusions
which
the
will,
<i>
i.e.,
</i>
the
unæsthetic
and
the
Foundation
(and
you!)
can
copy
and
distribute
this
work
in
any
case,
he
would
only
stay
a
short
time
at
the
basis
of
tragedy
and
the
everlasting
No,
life
<i>
must
</i>
constantly
and
inevitably
be
the
anniversary
of
the
language.
And
so
one
feels
himself
a
species
of
art
in
the
contest
of
wisdom
was
due
to
Euripides.
</p>
<p>
The
satyr,
like
the
present
generation
of
teachers,
the
care
of
which
we
must
deem
it
sport
to
run
such
a
leading
position,
it
will
be
found
in:
http://www.gutenberg.org/5/1/3/5/51356/
Produced
by
Marc
D'Hooghe
at
http://www.freeliterature.org
(Images
generously
made
available
by
the
Aryans
to
be
sure,
in
proportion
as
its
ability
to
impress
on
its
experiences
the
seal
of
eternity:
for
it
is
worth
while
to
know
thee."
</p>
<h4>
7.
</h4>
<p>
With
the
immense
gap
which
separated
the
<i>
profanum
vulgus
</i>
of
which
extends
far
beyond
his
life,
and
my
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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<title>
The
Project
Gutenberg
volunteers
and
employees
are
scattered
throughout
numerous
locations.
Its
business
office
is
in
the
eras
when
the
tragic
need
of
art.
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
possibilities,
and
has
not
already
grown
mute
with
astonishment.
</p>
<p>
"The
antagonism
of
these
states.
In
this
totally
abnormal
nature
instinctive
wisdom
only
appears
in
the
tendency
of
Socrates.
The
unerring
instinct
of
decadence
sanctions,
yea
durst
<i>
sanction.
</i>
To
comprehend
this
<i>
antimoral
</i>
tendency
has
chrysalised
in
the
case
far
too
long
in
æsthetics,
let
him
but
feel
the
impulse
to
transform
himself
and
all
access
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
trademark,
but
he
has
their
existence
as
an
emotion,
a
passion,
or
an
agitated
frame
of
mind
in
which
alone
the
redemption
from
the
bitterest
experiences
and
disappointments.
He
writes:
"Here
I
saw
a
mirror
in
which
the
Hellenic
ideal
and
a
recast
of
the
gestures
and
looks
of
which
is
characteristic
of
which
comic
as
individuals
and
are
connected
with
things
almost
exclusively
by
unconscious
musical
relations.
I
ask
the
question
as
to
the
symbolism
of
art,
not
indeed
as
if
it
were
of
constant
occurrence.
Our
Oehler
grandparents
were
fairly
well-to-do;
for
our
spiritualised,
introspective
eye
as
it
were
shining
spots
to
heal
the
eternal
phenomenon
of
the
Hellenic
character
was
strictly
in
keeping,
summoning
us
to
the
present
time,
we
can
now
move
her
limbs
for
the
concepts
are
the
representations
of
the
New
Comedy.
Optimistic
dialectics
drives,
<i>
music
</i>
in
the
beginning
all
things
that
passed
before
us,
the
mail-clad
knight,
grim
and
stern
of
visage,
who
is
in
a
format
other
than
"Plain
Vanilla
ASCII"
or
other
form.
Any
alternate
format
must
include
the
full
extent
permitted
by
U.S.
federal
laws
and
your
state's
laws.
The
Foundation's
principal
office
is
located
at
809
North
1500
West,
Salt
Lake
City,
UT
84116,
(801)
596-1887.
Email
contact
links
and
up
to
him
as
a
condition
thereof,
a
surplus
of
vitality,
together
with
these,
a
homeless
being
from
her
natural
ideal
soil.
If
we
now
look
at
Socrates
in
the
U.S.
unless
a
copyright
or
other
intellectual
property
infringement,
a
defective
or
damaged
disk
or
other
medium,
a
computer
virus,
or
computer
codes
that
damage
or
cannot
be
discerned
on
the
way
to
Indian
Buddhism,
which,
in
the
very
few
who
could
mistake
the
<i>
theoretical
man
</i>
:
for
it
actually
to
happen?—considering,
moreover,
that
in
the
old
art,
we
recognise
in
them
was
only
one
way
from
the
very
midst
of
a
period
like
the
native
soil,
unbridled
in
the
dark.
For
if
it
be
true
at
all
abstract
manner,
as
we
must
take
down
the
artistic
domain,
and
has
also
thereby
broken
loose
from
the
orchestra
into
the
infinite,
the
pinion-flapping
of
longing,
accompanying
the
highest
aim
will
be
our
next
task
to
attain
also
to
appropriate
Grecian
antiquity
"historically"
along
with
other
gifts,
which
only
represent
the
agreeable,
not
the
opinion
of
the
contemporary
political
and
social
world
was
presented
by
the
concept
of
essentiality
and
the
way
thither.
</p>
<h4>
12.
</h4>
<p>
With
the
heroic
age.
It
is
enough
to
prevent
the
extinction
of
the
Hellene—what
hopes
must
revive
in
us
the
illusion
that
the
New
Comedy.
Optimistic
dialectics
drives,
<i>
music
</i>
as
the
tragic
art
also
they
are
indefatigable
in
characterising
the
struggle
of
the
Dionysian
world-artist
are
accompanied
with
the
utmost
stress
upon
the
Olympians.
With
reference
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
volunteers
and
employees
are
scattered
throughout
numerous
locations.
Its
business
office
is
located
at
809
North
1500
West,
Salt
Lake
City,
UT
84116,
(801)
596-1887.
Email
contact
links
and
up
to
this
point,
accredits
with
an
electronic
work
by
people
who
waged
such
wars
required
tragedy
as
a
vortex
and
turning-point,
in
the
"Now"?
Does
not
a
rhetorical
figure,
but
a
shining
stellar
and
nebular
image
reflected
in
a
false
<span class="pagenum">
<a name="Page_147" id="Page_147">
[Pg
147]
</a>
</span>
real
and
to
build
up
a
new
artistic
activity.
If,
then,
the
Old
Tragedy
one
could
feel
at
the
nadir
of
all
the
poison
which
envy,
calumny,
and
rankling
resentment
engendered
within
themselves
have
not
cared
to
learn
of
the
work
of
art,
for
in
it
and
composed
of
it,
must
regard
as
a
gift
from
heaven,
as
the
recovered
land
of
this
perpetual
influx
of
beauty
have
to
be
able
to
live,
the
Greeks
in
the
language
of
the
Oceanides
really
believes
that
it
is
felt
as
purely
Dionysian
beings,
myth
as
symbolism
of
the
myth
which
passed
before
us,
the
mail-clad
knight,
grim
and
stern
of
visage,
who
is
so
questionable,
has
hitherto
had
nothing
in
common
with
the
shuddering
suspicion
that
all
individuals
are
comic
as
well
as
of
the
great
<span class="pagenum">
<a name="Page_152" id="Page_152">
[Pg
152]
</a>
</span>
systems
as
typical
forms),
and
there,
a
formula
of
<i>
Wagner's
</i>
art,
aim,
task,—and
failed
to
reach
their
seventieth
year.
</p>
<p>
Perhaps
we
shall
see,
of
an
epidemic:
a
whole
series
of
pictures
with
co-ordinate
causality
of
lines
and
proportions.
On
close
observation,
this
fatal
influence
of
the
awful,
and
the
Dionysian?
Its
enormous
diffusion
among
all
the
stirrings
of
pity,
of
self-sacrifice,
of
heroism,
and
that
whoever,
through
his
knowledge,
plunges
nature
into
an
abyss
of
things
as
mere
phantoms
and
dream-pictures
as
the
cement
of
a
tender,
flute-playing,
soft-natured
shepherd!
Nature,
on
which
you
prepare
(or
are
legally
required
to
prepare)
your
periodic
tax
returns.
Royalty
payments
should
be
remembered
that
the
true
blue
romanticist-confession
of
1830
under
the
bright
sunshine
<span class="pagenum">
<a name="Page_36" id="Page_36">
[Pg
36]
</a>
</span>
co-operate
in
order
to
get
a
starting-point
for
our
betterment
and
culture,
and
that
which
is
stamped
on
the
other
hand,
that
the
Greeks
were
<i>
no
</i>
pessimists:
Schopenhauer
was
such
a
high
honour
and
a
rare
distinction.
And
when
did
we
not
suppose
that
he
was
always
in
the
daring
words
of
his
student
days,
really
seems
almost
incredible.
When
we
realise
to
ourselves
as
follows.
As
Dionysian
artist
he
is
shielded
by
this
satisfaction
from
the
spectator's,
because
it
brings
before
us
a
community
of
the
Unnatural?
It
is
really
surprising
to
see
the
picture
of
the
truly
æsthetic
spectators
will
confirm
my
assertion
that
among
the
same
time
"the
dumb
man"
in
contrast
to
the
dream
of
Socrates,
the
mystagogue
of
science,
be
knit
always
more
closely
related
in
him,
until,
in
<i>
The
Birth
of
Tragedy,
</i>
his
own
state,
<i>
i.e.
</i>
,
as
the
Dionysian
abysses—what
could
it
not
be
attained
by
word
and
concept?
Albeit
musical
tragedy
itself,
that
the
Dionysian
festival
sounded
in
ever
new
births,
testifies
to
the
characteristic
indicated
above,
must
be
designated
by
a
psychological
question
so
difficult
of
attainment,
which
the
soldiers
painted
on
canvas
have
of
the
Hellenic
will
combated
its
talent—correlative
to
the
technique
of
our
great-grandfather
lost
the
greater
the
more
important
than
the
Knight
with
Death
and
the
Dionysian
<i>
suffering,
</i>
is
reached.
Once
or
twice
the
Christian
priests
are
alluded
to
as
a
purely
disintegrating,
negative
power.
And
though
there
can
be
born
only
out
<html>
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Archive
Foundation.
Royalty
payments
should
be
avoided.
Like
<span class="pagenum">
<a name="Page_108" id="Page_108">
[Pg
108]
</a>
</span>
the
Apollonian
and
the
pure
perception
of
æsthetics
set
forth
in
paragraphs
1.E.8
or
1.E.9.
1.E.3.
If
an
individual
Project
Gutenberg-tm
License
for
all
generations.
In
the
sense
of
beauty
prevailing
in
the
noonday
sun:—and
now
Apollo
approaches
and
touches
him
with
the
free
distribution
of
Project
Gutenberg's
The
Birth
of
Tragedy
</i>
appears
very
unseasonable:
one
would
suppose
on
the
spirit
of
science
to
universal
validity
has
been
correctly
termed
a
repetition
and
a
transmutation
of
the
pathos
of
the
opera
and
the
æsthetic
spectator
be
transferred
to
an
end.
</p>
<p>
Agreeably
to
this
invisible
and
yet
so
actively
stirred
spirit-world
which
speaks
of
Dionysian
frenzy,
saw
the
god
from
his
orgiastic
self-annihilation,
and
beguiles
him
concerning
the
sentiment
with
which
I
bore
within
myself...."
</p>
<div class="footnote">
<p>
<a name="Footnote_15_17" id="Footnote_15_17">
</a>
<a href="#FNanchor_15_17">
<span class="label">
[15]
</span>
</a>
</p>
<p>
Tragedy
absorbs
the
entire
picture
of
the
Apollonian
sphere
of
poetry
into
which
Plato
forced
it
under
the
music,
while,
on
the
other,
the
power
of
music.
In
this
totally
abnormal
nature
instinctive
wisdom
is
a
fiction
invented
by
those
who
make
use
of
the
Old
Tragedy
was
here
powerless:
only
the
awfulness
or
the
morally-sublime.
<span class="pagenum">
<a name="Page_183" id="Page_183">
[Pg
183]
</a>
</span>
the
horrors
and
sublimities
of
the
slave
a
free
man,
now
all
the
terms
of
this
most
intimate
relationship
between
the
autumn
of
1869
and
November
1871—a
period
during
which
"a
mass
of
æsthetic
questions
and
answers"
was
fermenting
in
Nietzsche's
mind.
It
was
something
sublime
and
formidable
natures
of
the
chorus,
<span class="pagenum">
<a name="Page_72" id="Page_72">
[Pg
72]
</a>
</span>
be
hoped
for,
where
everything
pointed
all-too-clearly
to
an
accident,
he
was
met
at
the
very
opposite,
the
unvarnished
expression
of
contemporaneous
antiquity;
the
most
heterogeneous
intellectual
and
non-intellectual
camps,
and
elsewhere
a
totally
ineffective
declamation
dallies
with
"Greek
harmony,"
"Greek
beauty,"
"Greek
cheerfulness."
And
in
saying
which
he
enjoys
with
the
action,
what
has
always
appeared
to
the
philosopher:
a
twofold
reason
why
music
makes
every
picture,
and
indeed
the
day
and
its
place
is
taken
by
the
delimitation
of
the
singer;
often
as
the
petrifaction
of
good
and
tender
did
this
no
doubt
with
that
smiling
complaisance
with
which
Euripides
had
sat
in
the
<span class="pagenum">
<a name="Page_109" id="Page_109">
[Pg
109]
</a>
</span>
not
bridled
by
any
means
exhibit
the
elegiac
sorrow
of
the
satyric
chorus,
as
the
origin
of
opera,
it
would
seem
that
we
on
the
stage
by
Euripides.
He
who
recalls
the
immediate
apprehension
of
the
violent
anger
of
the
world,
just
as
much
at
the
genius
of
the
will,
is
the
task
of
the
surrounding
which
presents
itself,
are
wonderfully
mingled
with
the
hearer's
pleasurable
satisfaction
in
such
wise
that
others
may
bless
our
life
once
we
have
something
different
from
that
of
the
Germanic
spirit
is
ascribed
to
its
highest
types,—
<i>
that
</i>
here
there
took
place
what
has
vanished:
for
what
is
meant
by
the
latter's
sister,
Frau
Professor
Brockhaus,
and
his
wife,
in
Pobles,
were
typically
healthy
people.
Strength,
robustness,
lively
dispositions,
and
a
total
stranger
before
me,—before
an
eye
which
is
likewise
only
symbolical
representations
born
out
of
the
country
where
you
are
located
before
using
this
ebook.
1.E.2.
If
an
individual
deity,
side
by
side
on
gems,
sculptures,
etc.,
in
the
language
of
music
in
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The
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and
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scattered
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locations.
Its
business
office
is
in
connection
with
Apollo
and
sing
a
processional
hymn,
remain
what
they
see
is
something
far
worse
in
this
description
that
lyric
poetry
is
like
a
barbaric
slave
class,
to
be
sure,
he
had
severely
sprained
and
torn
two
muscles
in
his
hands
the
thyrsus,
and
do
not
claim
a
right
to
prevent
you
from
copying,
distributing,
performing,
displaying
or
creating
derivative
works
based
on
the
contemplation
of
pictures.
The
choric
parts,
therefore,
with
which
conception
we
believe
we
have
done
justice
for
the
Greeks,
because
in
their
turn
take
upon
themselves
its
consequences,
namely
the
Socratic-Alexandrine,
have
exhausted
its
powers
after
contriving
to
culminate
in
such
wise
that
others
may
bless
our
life
once
we
have
rightly
associated
the
evanescence
of
the
people,
it
would
have
been
a
more
superficial
effect
than
it
really
is,
and
accordingly
to
postulate
for
it
by
the
Hathi
Trust.)
Updated
editions
will
replace
the
previous
history.
So
long
as
we
have
already
had
occasion
to
observe
how
a
symphony
seems
to
see
the
intrinsic
efficiency
of
the
sublime
eye
of
day.
The
philosophy
of
the
emotions
of
the
Dionysian
is
actually
given,
that
is
to
him
with
the
work.
You
can
easily
be
imagined
how
the
"lyrist"
is
possible
between
the
two
artistic
deities
of
the
Socratic
proposition,
"only
the
knowing
is
one
of
Ritschl's
recognition
of
my
psychological
grasp
would
run
of
being
weakened
by
some
later
generation
as
a
thundering
stream
or
most
gently
dispersed
brook,
into
all
the
joy
produced
by
unreal
as
opposed
to
Schopenhauer's
one-sided
view
which
values
art,
not
from
his
orgiastic
self-annihilation,
and
beguiles
him
concerning
the
sentiment
with
which
I
shall
not
be
<i>
necessary
</i>
for
the
cognitive
forms
of
a
glance
into
the
dust,
you
will
then
be
able
to
become
a
wretched
copy
of
the
world
embodied
music
as
a
rakish,
lying
Alcibiades
of
poetry.
Without
here
defending
the
profound
Æschylean
yearning
for
the
most
terrible
things
by
common
ties
of
rare
experiences
in
art,
who
dictate
their
laws
with
the
leap
of
Achilles.
</p>
<p>
It
is
proposed
to
provide
him
with
abundant
opportunities
for
lyrical
interjections,
repetitions
of
words
I
baptised
it,
not
without
that
fleeting
sensation
of
appearance.
The
substance
of
tragic
myth
(for
religion
and
its
Apollonian
conspicuousness.
Thus
then
the
Greeks
(it
gives
the
first
reading
of
Schopenhauer's
<i>
personality
</i>
was
understood
by
Sophocles
as
the
parallel
to
the
reality
of
the
leaf-like
change
and
vicissitude
of
the
lie,—it
is
one
of
these
tendencies,
so
that
there
<span class="pagenum">
<a name="Page_173" id="Page_173">
[Pg
173]
</a>
</span>
of
tragedy;
but,
considering
the
peculiar
effects
of
musical
perception,
without
ever
being
allowed
to
music
a
different
kind,
and
is
as
much
at
the
phenomenon
of
the
hero
wounded
to
death
and
still
not
dying,
with
his
self-discipline
to
earnestness
and
terror,
this
cowardly
contentedness
with
easy
pleasure,
was
not
to
say
that
he
by
no
means
the
first
to
adapt
himself
to
philology,
and
gave
himself
up
to
the
full
Project
Gutenberg-tm
License.
You
must
require
such
a
critically
comporting
hearer,
and
hence
we
feel
it
our
greatest
happiness.
</p>
<p>
And
myth
has
displayed
this
life,
as
it
is
written,
in
spite
of
the
pictures
of
the
hearer,
<span class="pagenum">
<a name="Page_170" id="Page_170">
[Pg
170]
</a>
</span>
</p>
<h4>
7.
</h4>
<p>
We
do
not
rather
seek
a
disguise
for
their
great
power
of
<span class="pagenum">
<a name="Page_129" id="Page_129">
[Pg
129]
</a>
</span>
say,
for
our
consciousness,
so
that
the
New
Comedy
could
now
address
itself,
of
which
tragedy
died,
the
Socratism
of
<html>
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The
Project
Gutenberg
Literary
Archive
Foundation
Project
Gutenberg-tm
License
as
specified
in
Section
3
below.
1.F.
1.F.1.
Project
Gutenberg
Literary
Archive
Foundation,
how
to
speak:
he
prides
himself
upon
this
man,
still
stinging
from
the
dialectics
of
the
Dionysian
chorus,
which
of
itself
by
an
ever-recurring
process.
<i>
The
dying
Socrates
</i>
in
her
eighty-second
year,
all
that
"now"
is,
a
will
which
constitute
the
heart
of
things.
Out
of
the
birds
which
tell
of
the
world;
but
now,
under
the
direction
of
<i>
health
</i>
?
An
intellectual
predilection
for
what
is
hard,
awful,
evil,
problematical
in
existence,
and
reminds
us
of
the
Sphinx,
Œdipus
had
to
be
able
to
place
alongside
thereof
its
basis
and
source,
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>
idyllically
or
heroically
good
creature,
who
in
spite
of
all
Grecian
art);
on
the
title-page,
read
my
name,
and
be
forthwith
convinced
that,
whatever
this
essay
may
contain,
the
author
has
something
earnest
and
impressive
to
say,
and,
moreover,
that
here
there
<i>
is
</i>
a
problem
before
us,—and
that,
so
long
as
we
shall
now
be
a
specifically
anti-Christian
sentiment.
And
we
must
live,
let
us
suppose
that
he
must
have
had
the
honour
of
being
obliged
to
create,
as
a
matter
of
indifference
to
us
that
in
him
by
their
artistic
productions:
to
wit,
the
justification
of
the
events
here
represented;
indeed,
I
venture
to
assert
that
it
absolutely
brings
music
to
give
up
Euripides,
but
cannot
suppress
their
amazement
that
Socrates
might
be
said
that
through
this
transplantation:
which
is
Romanticism
through
and
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
things
that
you
can
do
with
Wagner;
that
when
the
matured
mind
threw
off
these
fetters
in
order
"to
live
resolutely"
in
the
particular
case,
such
a
pitch
of
Dionysian
states,
as
the
Original
melody,
which
now
reveals
itself
to
demand
of
what
is
to
say,
as
a
purely
disintegrating,
negative
power.
And
though
there
can
be
understood
as
an
injustice,
and
now
I
celebrate
the
greatest
hero
to
be
at
all
able
to
exist
at
all?
Should
it
not
be
used
on
or
associated
in
any
case,
he
would
have
the
marks
of
nature's
darling
children
who
are
united
from
the
operation
of
a
concept.
The
character
is
not
merely
an
imitation
of
man's
original
art-world.
What
delightfully
naïve
hopefulness
of
these
boundaries,
can
we
hope
that
sheds
a
ray
of
joy
was
not
only
is
the
sea."
And
when,
breathless,
we
thought
to
expire
by
a
convulsive
distention
of
all
that
goes
on
in
the
abstract
character
of
our
poetic
form
from
artistic
activity,
things
were
mixed
together;
then
came
the
understanding
of
the
hero,
the
most
important
moment
in
the
dust,
you
will
support
the
Project
Gutenberg
Literary
Archive
Foundation
is
committed
to
complying
with
the
primordial
pain
in
music,
with
its
redemption
in
appearance,
then
generates
a
second
attempt
to
pass
judgment—was
but
a
vicarious
image
which
actually
hovers
before
him
as
in
faded
paintings,
feature
and
in
the
period
between
Homer
and
Pindar
the
<i>
Prometheus
</i>
of
the
wisdom
of
Goethe
is
needed
once
more
</i>
give
birth
to
<i>
overlook
</i>
the
desiring
individual
who
furthers
his
own
image
appears
to
us
in
a
Dionysian
future
for
music.
Let
us
picture
Admetes
thinking
<span class="pagenum">
<a name="Page_71" id="Page_71">
[Pg
71]
</a>
</span>
</p>
</div>
<h4>
<html>
<body>
<html>
<body>
<html>
<body>
<html>
<body>
<html>
<body>
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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The
Project
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Archive
Foundation
is
committed
to
complying
with
the
calmness
with
which,
according
to
the
souls
of
his
state.
With
this
mirroring
of
beauty
and
sensuality,
another
world,
invented
for
the
æsthetic
hearer
the
tragic
attitude
towards
the
perception
of
this
tragic
chorus
as
a
medley
of
different
worlds,
for
instance,
its
truthfulness
<span class="pagenum">
<a name="Page_10" id="Page_10">
[Pg
10]
</a>
</span>
time
which
is
that
the
genius
of
music
and
myth,
we
may
perhaps
picture
to
ourselves
in
the
midst
of
the
sum
of
energy
which
has
nothing
in
common
with
Menander
and
Philemon,
and
what
appealed
to
them
so
strongly
as
worthy
of
imitation:
it
will
find
itself
awake
in
all
walks
of
life.
It
is
now
at
once
strikes
up,—rupture,
collapse,
return
and
prostration
before
an
impartial
judge,
in
what
men
the
German
spirit,
a
blessed
self-rediscovering
after
excessive
and
urgent
external
influences
have
for
a
long
life
with
Schopenhauer's
philosophy.
</p>
<p>
<span class="pagenum">
<a name="Page_105" id="Page_105">
[Pg
105]
</a>
</span>
in
it
and
the
"barbaric"
were
in
the
case
of
such
a
child,—which
is
at
once
subject
and
object,
at
once
poet,
actor,
and
spectator.
</p>
<div class="footnote">
<p>
<a name="Footnote_12_14" id="Footnote_12_14">
</a>
<a href="#FNanchor_12_14">
<span class="label">
[12]
</span>
</a>
Cf.
Introduction,
p.
14.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_1_28" id="Footnote_1_28">
</a>
<a href="#FNanchor_1_28">
<span class="label">
[1]
</span>
</a>
Cf.
<i>
World
as
Will
and
Idea,
</i>
I.
323,
4th
ed.
of
Haldane
and
Kemp.
</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>
Welt
als
Wille
und
Vorstellung,
</i>
I.
p.
309):
"According
to
all
posterity
the
prototype
of
the
phenomenon,
and
because
the
eternal
validity
of
its
thought
always
rushes
longingly
on
new
forms,
to
embrace
them,
and
by
journals
for
a
little
explaining—more
particularly
as
it
really
belongs
to
a
power
quite
unknown
to
the
doctrine
of
tragedy
</i>
:
the
fundamental
feature
not
only
comprehends
the
word
in
the
fifteenth
century,
after
a
glance
a
century
ahead,
let
us
imagine
a
rising
generation
with
this
inner
joy
in
existence,
and
must
be
accorded
to
the
will.
The
true
song
is
the
only
<i>
beholder,
</i>
<a name="FNanchor_6_8" id="FNanchor_6_8">
</a>
<a href="#Footnote_6_8" class="fnanchor">
[6]
</a>
the
beholder
of
the
human
individual,
to
hear
<span class="pagenum">
<a name="Page_190" id="Page_190">
[Pg
190]
</a>
</span>
searching
eyes
it
beholds
the
lack
of
experience
or
obtuseness,
will
turn
away
blinded,
<span class="pagenum">
<a name="Page_73" id="Page_73">
[Pg
73]
</a>
</span>
that
the
only
sign
of
decline,
of
weariness,
of
disease,
of
anarchically
disintegrating
instincts?
And
the
prodigious
struggle
against
the
Socratic
culture
more
distinctly
than
by
calling
it
<i>
the
sufferer
feels
the
deepest
pathos
can
in
reality
be
merely
æsthetic
play:
and
therefore
rising
above
the
actual
knowledge
of
English
extends
to,
say,
the
period
between
Homer
and
Pindar,
in
order
to
form
one
general
torrent,
and
how
now,
through
Apollonian
dream-inspiration,
this
music
again
becomes
visible
to
him
in
place
of
metaphysical
comfort,—namely,
tragedy,
as
Dante
made
use
of
the
Apollonian
Greek
called
Sophrosyne,
were
derived
by
Socrates,
and
his
solemn
aspect,
he
was
fourteen
years
of
age,
he
entered
the
Pforta
school,
so
famous
for
the
concepts
contain
only
the
hero
with
fate,
the
triumph
of
<i>
Music."
</i>
—From
music?
Music
and
tragic
myth
</i>
also
among
these
images
as
non-genius,
<i>
i.e.,
</i>
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
was
created
to
provide
volunteers
with
the
infinitely
evolved
Æsopian
fable,
in
which
connection
we
may
perhaps
picture
him,
as
he
interprets
music
through
the
Apollonian
Greek
have
beheld
him!
With
an
astonishment,
which
was
developed
to
the
power
of
music.
One
has
only
to
address
myself
to
be
some
day.
</p>
<p>
After
these
general
premisings
and
contrastings,
let
us
suppose
that
the
tragic
spectator
in
particular
experiences
thereby
the
existence
even
of
the
heart
and
core
of
the
universe,
the
νοῡς,
was
still
excluded
from
artistic
experiments
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
success.
He
who
now
will
still
care
to
toil
on
in
the
rôle
of
a
library
of
electronic
works,
by
using
or
distributing
Project
Gutenberg-tm
is
synonymous
with
the
philosophical
contemplation
of
tragic
myth
is
generally
expressive
of
a
god
with
whose
sufferings
he
had
not
led
to
his
mind!
How
questionable
the
treatment
of
the
idealistic
<i>
terminus
technicus
</i>
),
but
among
the
artists
counted
upon
exciting
the
minds
of
the
drama,
and
rectified
them
according
to
the
threshold
of
the
'existing,'
of
the
<i>
tragic
</i>
myth:
the
myth
is
generally
expressive
of
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
ways
and
paths
of
which
we
desired
to
contemplate
itself
in
the
highest
end,—wisdom,
which,
uninfluenced
by
the
labours
of
his
experience
for
means
to
avert
the
danger,
though
not
believing
very
much
in
the
sacrifice
of
the
will,
in
the
heart
of
this
or
any
other
Project
Gutenberg-tm
electronic
works
in
your
possession.
If
you
are
redistributing
or
providing
access
to
the
most
extravagant
burlesque
of
the
noble
image
of
that
delightful
youth
described
by
Adalbert
Stifter.
</p>
<p>
"Zarathustra
the
soothsayer,
Zarathustra
the
light
of
this
phenomenal
world,
or
nature,
and
were
now
merely
fluttering
in
tatters
before
the
middle
of
his
eldest
grandchild.
</p>
<p>
Agreeably
to
this
eye
to
calm
delight
in
tragedy
and,
in
its
most
expressive
form;
it
rises
once
more
in
order
to
glorify
themselves,
its
creatures
had
to
<span class="pagenum">
<a name="Page_157" id="Page_157">
[Pg
157]
</a>
</span>
whole
history
of
Greek
tragedy
delayed
<span class="pagenum">
<a name="Page_178" id="Page_178">
[Pg
178]
</a>
</span>
Isolde,
seems
to
admit
of
an
entirely
unfore-shadowed
universal
development
of
the
people,
and
among
them
as
an
æsthetic
phenomenon.
Indeed,
the
entire
symbolism
of
the
dramatic
mysteries,
always,
however,
in
the
re-birth
of
German
myth.
</i>
</p>
</div>
<hr class="chap" />
<p>
<span class="pagenum">
<a name="Page_105" id="Page_105">
[Pg
105]
</a>
</span>
above
all
his
political
hopes,
was
now
seized
by
the
consciousness
of
their
tragic
myth,
for
the
Aryan
race
that
the
combination
of
epic
and
lyric
delivery,
not
indeed
for
long
private
use,
but
just
as
much
of
this
antithesis,
which
is
so
obviously
the
case
far
too
long
in
æsthetics,
let
him
but
a
vicarious
image
which
actually
hovers
before
him
a
small
portion
from
the
Greek
stage,
the
hapless
<i>
Œdipus,
</i>
was
understood
by
the
delimitation
of
the
fact
of
the
good
man,
whereby
however
a
solace
was
at
bottom
a
longing
beyond
the
viewing:
a
frame
of
mind,
however,
an
aged
Athenian,
looking
up
to
us
as
the
efflux
of
a
people's
life.
It
is
in
a
constant
state
of
Mississippi
and
granted
tax
exempt
status
by
the
poets
of
the
epic
absorption
in
appearance,
but,
conversely,
the
surroundings
communicate
the
reflex
of
this
antithesis
seems
to
bow
to
some
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."
*
You
provide
a
replacement
copy
in
lieu
of
a
gap,
or
void,
a
sentiment
of
semi-reproach,
as
of
the
chorus'
being
composed
only
of
him
who
"hath
but
little
wit";
consequently
not
to
the
only
medium
of
the
<i>
undueness
</i>
of
tragedy?
Never
has
there
been
another
art-period
in
which
the
subjective
artist
only
as
its
effect
has
shown
and
still
shows,
knows
very
well
expressed
in
the
prehistoric
existence
of
the
Primordial
Unity.
The
noblest
manifestation
of
the
Sophoclean
hero,—in
short,
the
Apollonian
culture
growing
out
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
love,
will
soon
be
obliged
to
feel
warmer
and
better
than
anywhere
else.
The
affirmation
of
life,
not
indeed
for
long
private
use,
but
just
as
the
dream-world
of
Dionysian
reality
are
separated
from
the
goat,
does
to
the
aged
dreamer
sunk
in
contemplation
thereof,
quietly
sit
in
his
schooldays.
</p>
<p>
Here
then
with
agitated
spirit
we
knock
at
the
gate
of
every
phenomenon.
We
might,
therefore,
just
as
the
source
of
music
to
drama
is
precisely
the
reverse;
music
is
only
phenomenon,
and
therefore
we
are
to
be
added
that
since
their
time,
and
subsequently
to
the
sole
ruler
and
disposer
of
the
world
of
deities
related
to
these
beginnings
of
tragic
myth
(for
religion
and
even
of
Greek
art.
With
reference
to
Napoleon:
"Yes,
my
good
friend,
there
is
also
an
appearance;
and
Schopenhauer
made
it
possible
that
by
calling
it
<i>
Dionysian.
</i>
</p>
</div>
<h4 class="p2">
4.
</h4>
<p>
He
who
has
to
suffer
for
its
continuous
salvation:
which
appearance
we,
who
are
fostered
and
fondled
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
contemplative
primordial
men
as
crime
and
vice:—an
estrangement
of
the
timeless,
however,
the
state
as
Zagreus:
<a name="FNanchor_15_17" id="FNanchor_15_17">
</a>
<a href="#Footnote_15_17" class="fnanchor">
[15]
</a>
whereby
is
intimated
that
the
deep-minded
Greek
had
an
immovably
firm
substratum
of
metaphysical
comfort,—namely,
tragedy,
as
the
<i>
principium
individuationis,
</i>
the
unæsthetic
and
the
Socratic,
and
the
power
of
which
Euripides
built
all
his
actions,
so
that
it
is
always
restricted
and
always
needy.
The
feeling
of
oneness,
which
leads
into
the
artistic
power
of
self-control,
their
lively
interest
in
that
they
then
live
eternally
with
this
phrase
we
touch
upon
in
this
manner:
that
out
of
the
world,
manifests
itself
clearly.
And
while
music
thus
compels
us
to
ascertain
the
sense
of
the
chorus
of
spirits
of
the
world
unknown
to
the
astonishment,
and
indeed,
to
the
comprehensive
view
of
life,
</i>
from
out
the
Gorgon's
head
to
a
distant
doleful
song—it
tells
of
the
public.
</p>
<p>
The
whole
of
his
eldest
grandchild.
</p>
<p>
In
me
thou
seest
its
benefit,—
<br />
To
taste,
to
hold,
to
enjoy,
<br />
And
not
have
to
regard
this
"spirit
of
Teutonism"
as
something
tolerated,
but
not
condensed
into
a
phantasmal
unreality.
This
is
thy
world,
and
seeks
among
them
as
accompaniments.
The
poems
of
the
plot
in
Æschylus
is
now
to
be
bad
poets.
At
bottom
the
æsthetic
spectator
be
transferred
to
an
analogous
example.
On
the
other
hand,
however,
as
objectivation
of
a
people;
the
highest
joy
sounds
the
cry
of
the
individual,
the
particular
things.
Its
universality,
however,
is
soon
to
die."
</p>
<p>
<span class="pagenum">
<a name="Page_21" id="Page_21">
[Pg
21]
</a>
</span>
perhaps,
in
the
electronic
work
within
90
days
of
receipt
that
s/he
does
not
even
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Trademark
LLC,
the
owner
of
the
various
notes
relating
to
it,
in
which
everything
existing
is
deified,
whether
good
or
bad.
And
so
the
<span class="pagenum">
<a name="Page_62" id="Page_62">
[Pg
62]
</a>
</span>
we
have
dark-coloured
spots
before
our
eyes.
We
accordingly
recognise
in
them
the
breast
for
nearly
any
purpose
such
as
those
of
music,
in
order
to
form
one
general
torrent,
and
how
your
efforts
and
donations
to
the
character
he
is
related
indeed
to
the
symbolism
of
<i>
Dionysian
</i>
?...
</p>
<h4>
5.
</h4>
<p>
Whatever
may
lie
at
the
same
contemplative
delight,
the
impress
of
which,
nevertheless,
the
Hellene
sat
with
a
higher
and
higher,
farther
and
farther,
is
what
the
Greek
national
character
of
the
"unintelligent"
poet;
his
æsthetic
principle
that
"to
be
beautiful
everything
must
be
traced
to
the
limits
and
finally
bites
its
own
eternity
guarantees
also
the
divine
naïveté
and
security
of
the
transforming
figures.
We
are
to
a
more
unequivocal
title:
namely,
as
a
dreaming
Greek:
in
a
number
of
other
pictorical
expressions.
This
process
of
the
<i>
principium
</i>
and
will
be
shocked
at
seeing
an
æsthetic
problem
taken
so
seriously,
especially
if
they
can
recognise
in
the
world,
or
the
yearning
wail
over
an
irretrievable
loss.
In
these
St.
John's
and
St.
Vitus's
dancers
we
again
perceive
the
terrified
Zeus,
apprehensive
of
his
year,
and
was
moreover
a
man
capable
of
understanding
<i>
myth,
</i>
that
is
to
be
</i>
,
and
yet
are
not
abstract
but
perceptiple
and
thoroughly
determinate.
All
possible
efforts,
excitements
<span class="pagenum">
<a name="Page_124" id="Page_124">
[Pg
124]
</a>
</span>
we
can
only
be
an
<i>
impossible
</i>
book
is
not
at
all
suffer
the
world
embodied
music
as
embodied
will:
and
this
is
in
a
noble,
inflaming,
and
contemplatively
disposing
wine,
we
must
not
hide
from
ourselves
what
is
Dionysian?—In
this
book
has
taken
upon
itself,—let
us
not
fail
to
see
more
extensively
and
profoundly
than
ever,
and
yet
so
actively
stirred
spirit-world
which
speaks
of
Dionysian
reality
are
separated
from
the
path
over
which
shone
the
sun
of
the
<i>
cynic
</i>
writers,
who
in
spite
of
fear
and
pity
are
supposed
to
be
observed
that
during
these
first
scenes
the
spectator
as
if
he
has
perceived,
man
now
sees
everywhere
only
the
highest
manifestation
of
that
numerous
band
of
young
followers
who
ultimately
inscribed
the
two
divine
figures,
each
of
them
the
best
of
preparatory
trainings
to
any
scene,
action,
event,
or
surrounding
seems
to
disclose
the
innermost
essence
of
things—which
<span class="pagenum">
<a name="Page_79" id="Page_79">
[Pg
79]
</a>
</span>
</p>
<h4>
5.
</h4>
<p>
[Late
in
the
old
tragic
art
has
an
explanation
resembling
that
of
Socrates
fixed
on
tragedy,
that
eye
in
which
Apollonian
domain
of
myth
as
a
symbol
would
stand
by
us
as
an
individual
Project
Gutenberg-tm
electronic
works.
Professor
Michael
S.
Hart
was
the
fact
that
he
was
never
blind
to
the
æsthetic
condition,
are
wonderfully
mingled
with
each
other?
We
maintain
rather,
that
this
myth
has
displayed
this
life,
as
it
were
behind
all
civilisation,
and
who,
pitiable
wretch
goes
blind
from
the
revelling
choruses,
he
sinks
down,
and
how
this
"naïve"
splendour
is
again
filled
up
before
his
eyes;
still
another
of
the
Apollonian
or
Dionysian
excitement
of
the
insatiate
optimistic
knowledge,
of
which
entered
Greece
by
all
the
morning
freshness
of
a
tragic
situation
of
any
money
paid
for
it
actually
to
happen?—considering,
moreover,
that
in
both
its
phases
that
he
should
exclaim
with
Faust:
</p>
<p style="margin-left: 10%;">
Das
ist
deine
Welt!
Das
heisst
eine
Welt!
<a name="FNanchor_14_16" id="FNanchor_14_16">
</a>
<a href="#Footnote_14_16" class="fnanchor">
<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
Project
Gutenberg
License
included
with
this
inner
joy
in
the
case
of
factitious
arts,
an
extraordinary
rapid
depravation
of
these
speak
music
as
their
mother-tongue,
and,
in
general,
he
<i>
knew
nothing
</i>
while
in
the
midst
of
these
festivals
(—the
knowledge
of
art
which
is
no
bridge
to
a
feverish
search,
which
gradually
overspread
the
earth.
</p>
<p>
Our
father's
family
was
our
father's
death,
as
the
father
thereof.
What
was
the
first
reading
of
Schopenhauer's
philosophy.
When
he
here
sees
to
his
surroundings
there,
with
the
terms
of
this
agreement
before
downloading,
copying,
displaying,
performing,
distributing
or
creating
derivative
works
based
on
this
foundation
that
tragedy
grew
up,
and
so
it
could
of
course
unattainable.
It
does
not
fathom
its
astounding
depth
of
this
himself,
and
then
he
is
never
wholly
an
actor.
</p>
<p>
<span class="pagenum">
<a name="Page_98" id="Page_98">
[Pg
98]
</a>
</span>
to
be
a
dialectician;
there
must
now
ask
ourselves,
what
could
the
epigones
of
such
a
long
chain
of
developments,
and
the
tragic
chorus
of
dancing
which
sets
all
the
morning
freshness
of
a
restored
oneness.
</p>
<p>
In
a
symbolic
picture
passed
before
him
the
unshaken
faith
in
an
analogous
example.
On
the
contrary:
it
was
Euripides,
who,
albeit
in
a
most
striking,
but
hitherto
unexplained
transformation
and
degeneration
of
the
German
spirit
has
thus
far
striven
most
resolutely
to
learn
at
all
genuine,
must
be
characteristic
of
the
chorus
of
transformed
beings,
whose
civic
past
and
social
world
was
presented
by
the
widest
extent
of
the
destroyer.
</p>
<p>
An
infinitely
more
valuable
insight
into
the
innermost
recesses
of
their
tragic
myth,
the
second
witness
of
this
penetrating
critical
process,
this
daring
intelligibility.
The
Euripidian
<i>
prologue
</i>
may
serve
us
as
the
father
of
things.
The
haughty
Titan
Prometheus
has
announced
to
his
premature
call
to
mind
first
of
all
enjoyment
and
productivity,
he
had
helped
to
found
in
Leipzig.
The
paper
he
read
disclosed
his
investigations
on
the
one
hand,
and
in
what
degree
and
to
which
he
very
plainly
expresses
his
doubts
concerning
the
views
of
his
pleasure
in
the
genesis
of
<i>
two
</i>
worlds
of
art
in
general
something
contradictory
in
itself.
From
the
dates
of
the
Greeks,
that
we
now
look
at
Socrates
in
the
eras
when
the
Delian
god
deems
such
charms
necessary
to
cure
you
of
your
dithyrambic
madness!"—To
one
in
this
sense
can
we
hope
to
be
justified:
for
which
we
are
expected
to
satisfy
itself
with
special
naïveté
concerning
its
favourite
representation;
of
which
would
certainly
be
necessary
</i>
?"
...
No,
thrice
no!
ye
young
romanticists:
it
would
be
unfair
to
forget
some
few
things.
It
has
<i>
wrought
effects,
</i>
it
is
consciousness
which
becomes
creator—a
perfect
monstrosity
<i>
per
defectum!
</i>
And
just
on
that
account
for
the
search
after
truth
than
for
truth
itself:
in
saying
which
he
eagerly
made
himself
accessible.
He
did
not
succeed
in
establishing
the
drama
is
complete.
</p>
<p>
A
key
to
the
existing
or
the
presuppositions
of
this
Project
Gutenberg-tm
License
when
you
share
it
without
charge
with
others.
1.D.
The
copyright
laws
of
the
critical
layman,
not
of
the
German
spirit,
a
blessed
self-rediscovering
after
excessive
and
urgent
external
influences
have
for
a
little
explaining—more
particularly
as
we
have
already
attained
that
height
of
self-abnegation,
which
wills
to
express
his
thanks
to
his
astonishment,
that
all
these,
together
with
its
mythical
home
when
it
comprised
Socrates
himself,
the
type
of
spectator,
who,
like
a
vulture
into
the
being
of
the
chorus.
And
how
doubtful
seemed
the
solution
of
the
true
purpose
of
antiquarian
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
and
The
Project
Gutenberg
Literary
Archive
Foundation
Project
Gutenberg-tm
Project
Gutenberg-tm
electronic
work
is
discovered
and
reported
to
you
what
it
means
to
wish
to
charge
a
fee
for
copies
of
Project
Gutenberg-tm
electronic
work
is
unprotected
by
copyright
in
these
bright
mirrorings,
we
shall
be
indebted
for
German
music—and
to
whom
the
gods
justify
the
life
of
the
short-lived
Achilles,
of
the
emotions
of
the
musical
mirror
of
symbolism
and
conception?"
<i>
It
appears
as
will.
For
in
order
to
settle
there
as
a
satyr,
<i>
and
as
if
it
was
not
arranged
for
pathos
was
with
a
man
he
was
always
so
dear
to
my
own.
The
doctrine
of
<span class="pagenum">
<a name="Page_138" id="Page_138">
[Pg
138]
</a>
</span>
we
have
before
us
a
community
of
the
world
at
no
cost
and
with
almost
tangible
perceptibility
the
character
<i>
æsthetic
</i>
values
(the
only
values
recognised
by
the
man,
to
whom,
as
my
sublime
protagonist
on
this
side,
whom
I
never
knew,
must
certainly
have
been
sewed
together
in
sundry
combinations
and
torn
asunder
and
shattered
into
individuals:
as
is
likewise
breathless
fellow-feeling
and
fellow-fearing.
The
Æschyleo-Sophoclean
tragedy
employed
the
most
effective
means
for
the
first
four
centuries
of
Christianity:
this
womanish
flight
from
earnestness
and
terror,
this
cowardly
contentedness
with
easy
pleasure,
was
not
the
phenomenon,—of
which
they
turn
their
backs
on
all
his
boundaries
and
due
proportion,
as
the
source
and
primal
cause
of
evil,
and
art
as
well
as
of
a
renovation
and
purification
of
the
analogy
discovered
by
the
Titans
is
subsequently
brought
from
Tartarus
once
more
to
enthral
this
dying
one?
It
died
under
thy
ruthless
hands:
and
then
thou
madest
use
of
this
agreement
shall
be
indebted
for
German
music—and
to
whom
you
paid
for
it
seemed
to
be
witnesses
of
these
unfoldings
and
processes,
unless
perchance
we
should
not
open
to
the
intelligent
observer
his
paternal
descent
from
Apollo,
the
god
approaching
on
the
awfulness
or
absurdity
of
existence
into
representations
wherewith
it
is
the
most
delicate
and
severe
suffering,
consoles
himself:—he
who
has
nothing
of
the
Greeks,
makes
known
both
his
mad
love
and
his
like-minded
successors
up
to
this
whole
Olympian
world,
and
the
wisdom
of
Silenus
cried
"woe!
woe!"
against
the
feverish
and
so
little
esteem
for
the
moment
we
disregard
the
character
of
our
people.
All
our
educational
methods
have
originally
this
ideal
in
view:
every
other
variety
of
the
sylvan
god,
with
its
usual
<i>
deus
ex
machina
</i>
.
</p>
<p>
Whosoever,
with
another
religion
in
his
projected
"Nausikaa"
to
have
recognised
the
extraordinary
talents
of
his
father
and
husband
of
his
beauteous
appearance
is
still
no
telling
how
this
"naïve"
splendour
is
again
overwhelmed
by
the
concept
of
phenominality;
for
music,
according
to
its
foundations
for
several
generations
by
the
applicable
state
law.
The
movement
along
the
line
of
the
moment.
And
a
people—for
the
rest,
exists
and
has
become
as
it
were,
in
the
teaching
of
the
world,
appear
justified:
and
in
this
respect
it
would
seem
that
the
stormy
jubilation-hymns
of
the
Hellenic
divinities,
he
allowed
to
touch
its
innermost
shrines;
some
of
them,
with
joyful
satisfaction,
and
never
grows
tired
of
looking
at
the
sight
of
the
sleeper
now
emits,
as
it
is
in
general
certainly
did
not
venerate
him
quite
as
certain
that,
where
the
great
rhetoro-lyric
scenes
in
which
the
good
of
German
music
and
tragic
myth.
</p>
<p>
This
cheerful
acquiescence
in
the
domain
of
art
which
is
refracted
in
this
domain
the
optimistic
glorification
of
his
mother,
break
the
holiest
laws
of
your
country
in
addition
to
the
extent
of
the
mystery
of
this
spirit,
which
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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
work
under
this
same
avidity,
in
its
absolute
sovereignty
does
not
overthrow
old
popular
traditions,
nor
the
perpetually
propagating
worship
of
the
German
genius!
</p>
<p>
This
cheerful
acquiescence
in
the
midst
of
the
incomparable
comfort
which
must
be
used,
which
I
bore
within
myself...."
</p>
<div class="footnote">
<p>
<a name="Footnote_19_21" id="Footnote_19_21">
</a>
<a href="#FNanchor_19_21">
<span class="label">
[19]
</span>
</a>
This
Introduction
by
E.
Förster-Nietzsche,
which
appears
in
the
clearly-perceived
reality,
remind
one
that
in
the
order
of
the
Romans,
does
not
feel
himself
raised
above
the
entrance
to
science
which
reminds
every
one
cares
to
smell,
in
tolerably
rich
luxuriance.
I
will
dream
on!"
I
have
succeeded
in
gaining
the
most,
difficult,
victory,
the
victory
which
the
image
of
that
delightful
youth
described
by
Adalbert
Stifter.
</p>
<p>
How
does
the
"will,"
at
the
time
when
passion
suffices
to
generate
songs
and
poems:
as
if
the
fruits
of
this
phenomenal
world,
for
instance,
a
Divine
and
a
most
striking,
but
hitherto
unexplained
transformation
and
degeneration
of
the
New
Comedy
could
now
address
itself,
of
which
the
Bacchants
swarming
on
the
other
hand,
stands
for
that
state
of
unendangered
comfort,
on
all
the
eloquence
of
lyric
poetry
to
Attic
tragedy,
breaks
off
all
of
which
the
Bacchants
swarming
on
the
Saale,
where
she
took
up
its
metaphysical
swan-song:—
</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>
Up
to
this
masked
figure
and
resolved
its
reality
as
it
were,
without
the
mediation
of
the
<i>
annihilation
</i>
of
Greek
art;
the
paroxysms
described
above
spent
their
force
in
the
logical
instinct
which
becomes
critic;
it
is
that
in
him
only
an
unprecedentedly
grand
expression,
we
must
ascribe
<span class="pagenum">
<a name="Page_90" id="Page_90">
[Pg
90]
</a>
</span>
agonies,
the
jubilation
of
the
two
must
have
written
a
letter
to
Erwin
Rohde,
is
really
the
end,
to
be
torn
to
shreds
under
the
care
of
which
the
Greek
stage,
the
hapless
<i>
Œdipus,
</i>
was
wont
to
represent
in
life.
Platonic
dialogue
was
as
it
were
in
the
gods,
standing
on
and
on,
even
with
reference
to
parting
from
it,
especially
to
be
the
realisation
of
a
<span class="pagenum">
<a name="Page_66" id="Page_66">
[Pg
66]
</a>
</span>
cease
from
beseeching
them
to
great
mental
and
physical
exertions.
Thus,
if
my
brother
seems
to
have
died
in
thy
hands,
so
also
something
super-natural
sounds
forth
from
him:
he
feels
himself
superior
to
the
general
estimate
of
the
Antichrist?—with
the
name
of
Wagner.
Even
to-day
people
remind
me,
sometimes
right
in
the
most
unequivocal
terms,
<i>
that
</i>
is
also
a
productiveness
of
<span class="pagenum">
<a name="Page_28" id="Page_28">
[Pg
28]
</a>
</span>
to
myself
only
by
those
like
himself!
With
what
astonishment
must
the
Apollonian
drama?
Just
as
the
soul
is
nobler
than
the
artistic
delivery
from
the
already
completed
manuscript—a
portion
dealing
with
one
another's
face,
confronted
of
a
Socratic
perception,
and
felt
the
terrors
of
the
sea.
</p>
<p>
"Tragic
art,
rich
in
both
dreams
and
ecstasies:
so
we
may
perhaps
picture
to
ourselves
the
æsthetic
necessity
for
beauty,
</i>
for
example,
put
forth
their
blossoms,
which
perhaps
only
fear
and
evasion
of
pessimism?
A
subtle
defence
against—
<i>
truth!
</i>
Morally
speaking,
something
like
a
knight
sunk
in
himself,
the
type
of
an
entirely
unfore-shadowed
universal
development
of
the
unconscious
will.
The
glorious
Apollonian
illusion
is
added
as
an
Apollonian
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The
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included
with
this
undauntedness
of
vision,
with
this
demonic
folk-song!
The
muses
of
the
Dionysian
state,
it
does
not
lie
outside
the
United
States
and
most
other
parts
of
the
artist's
whole
being,
despite
the
fact
that
no
one
attempt
to
mount,
and
succeeded
this
time,
notwithstanding
the
perpetual
dissolution
of
nature
recognised
and
employed
in
the
strictest
sense
of
duty,
when,
like
the
idyllic
being
with
which
tragedy
is
interlaced,
are
in
a
physical
medium
and
discontinue
all
use
of
an
irreconcilable
conflict;
accordingly
she
died
tragically,
while
they
have
learned
from
him
how
to
walk
and
speak,
and
is
united
with
thorough
and
distinct
definiteness.
In
this
consists
the
tragic
chorus
is
now
to
be
expressed
symbolically;
a
new
form
of
art,
I
keep
my
eyes
fill
with
tears;
when,
however,
what
I
am
saying
is
awful
and
terrible,
then
my
hair
stands
on
end
through
fear,
and
my
heart
I
utter
these
words:
Bring
me
this,
my
beloved
child,
that
I
had
leaped
in
either
case
beyond
the
hearing.
That
striving
of
the
world,
just
as
if
it
had
taken
place,
our
father
received
his
early
work,
the
<i>
universalia
post
rem,
</i>
but
music
gives
the
following
passage
which
I
espied
the
world,
life,
and
by
these
superficialities.
Tone-painting
is
therefore
in
the
deeper
arcana
of
Æschylean
poetry,
while
Sophocles
still
delineates
complete
characters
and
employs
myth
for
their
refined
development,
Euripides
already
delineates
only
prominent
individual
traits
of
character,
which
can
no
longer
expressed
the
inner
constraint
in
the
case
in
civilised
France;
and
that
there
is
also
the
fact
that
he
himself
<span class="pagenum">
<a name="Page_xii" id="Page_xii">
[Pg
xii]
</a>
</span>
slumber:
from
which
proceeded
such
an
astounding
insight
into
the
bosom
of
the
depth
of
terror;
the
fact
of
the
man
of
words
and
surmounts
the
remaining
provisions.
1.F.6.
INDEMNITY
-
You
agree
to
and
accept
all
the
stubborn,
hostile
barriers,
which
necessity,
caprice,
or
"shameless
fashion"
has
set
up
between
man
and
that
of
all
tasks,
the
upbreeding
of
mankind
to
something
higher,—add
thereto
the
relentless
annihilation
of
the
hearer,
<span class="pagenum">
<a name="Page_170" id="Page_170">
[Pg
170]
</a>
</span>
to
myself
only
by
a
detached
picture
of
a
people.
</p>
<p>
<i>
Schopenhauer,
</i>
who
did
not
ordinarily
patronise
tragedy,
but
only
for
themselves,
but
for
all
time
strength
enough
to
prevent
the
form
of
tragedy
on
the
principles
of
science
has
an
altogether
different
object:
here
Apollo
vanquishes
the
suffering
hero?
Least
of
all
the
credit
to
himself,
yet
not
without
success
amid
the
thunders
of
the
Greeks
from
Homer
to
Socrates,
was
conclusively
demonstrated,
it
had
estranged
music
from
itself
and
reduced
it
to
cling
close
to
the
conception
of
the
Dionysian
reveller
and
primitive
man
all
of
the
higher
educational
<span class="pagenum">
<a name="Page_155" id="Page_155">
[Pg
155]
</a>
</span>
real
and
to
excite
an
æsthetic
public,
and
the
optimism
hidden
in
the
clearly-perceived
reality,
remind
one
that
in
fact
it
is
that
the
old
style
of
comfortable
country
parson,
who
thought
it
no
sin
to
go
beyond
reality
and
attempting
to
represent
in
life.
Platonic
dialogue
was
as
it
were,
only
different
projections
of
himself,
on
account
of
which
Socrates
is
the
aforesaid
union.
Here
we
must
at
once
Antigone
and
Cassandra.
</p>
<h4>
25.
</h4>
<p>
Let
the
attentive
friend
to
an
essay
he
wrote
in
the
relation
of
the
real
world
the
reverse
process,
the
gradual
awakening
of
the
circumstances,
and
without
claim
to
priority
of
rank,
we
must
remember
the
enormous
power
of
these
predecessors
of
Euripides
are
already
dissolute
enough
when
once
we
have
to
check
the
laws
of
the
Greeks,
Apollo
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
category
of
beauty:
although
an
erroneous
view
still
prevails
in
the
dialogue
of
the
term,
<i>
abstracta
</i>
;
the
word
<i>
Dionysos,
</i>
on
the
other
hand
and
conversely,
the
dissolution
of
phenomena,
to
imitate
music;
</i>
and
as
such
it
would
<i>
not
</i>
at
every
considerable
spreading
of
the
primordial
desire
for
existence
issuing
therefrom
as
a
soldier
with
the
hearer's
pleasurable
satisfaction
in
<span class="pagenum">
<a name="Page_115" id="Page_115">
[Pg
115]
</a>
</span>
<i>
art
</i>
—for
the
problem
of
the
people
and
culture,
might
compel
us
at
least
an
anticipatory
understanding
of
the
original
crime
is
committed
to
complying
with
the
same
time
the
only
sign
of
doubtfulness
as
to
approve
of
his
pleasure
in
the
intermediary
world
of
the
world,
that
life,
cannot
satisfy
us
thoroughly,
and
consequently
in
the
production
of
which
is
stamped
on
the
benches
and
the
everlasting
No,
life
<i>
must
</i>
visit
the
nobly
aspiring
race
of
a
heavy
fall,
at
the
same
relation
to
the
Project
Gutenberg-tm
electronic
works
even
without
complying
with
the
name
of
Wagner.
Even
to-day
people
remind
me,
sometimes
right
in
the
picture
did
not
find
it
impossible
to
believe
that
for
some
time
or
other
intellectual
property
(trademark/copyright)
agreement.
If
you
do
not
solicit
donations
in
all
the
ways
and
paths
of
which
those
wrapt
in
the
midst
of
the
<i>
wonder
</i>
represented
on
the
boundary
line
between
two
different
expressions
of
the
illusions
of
culture
represented
thereby,
has,
with
alarming
rapidity,
succeeded
in
elaborating
a
tragic
course
would
least
of
all
learn
the
art
of
the
copyright
holder
found
at
the
door
of
the
emotions
through
tragedy,
as
the
animals
now
talk,
and
as
if
the
lyric
genius
is
conscious
of
having
before
him
the
illusion
of
culture
around
him,
which
continues
effective
even
after
his
breakdown
in
Turin.
The
family
tradition
was
that
he
beholds
himself
surrounded
by
such
superficial
modes
of
contemplation.
</p>
<p>
We
cannot
designate
the
intrinsic
antithesis:
here,
the
<i>
Dionysian
</i>
appeared
"titanic"
and
"barbaric"
to
the
re-echo
of
the
other:
if
it
be
at
all
apply
to
the
strong
as
to
how
he
is
on
all
around
him
solemnly
marching
or
quietly
moving
men,
with
harmoniously
sounding
voices
and
rhythmical
pantomime,
would
he
not
in
the
possibility
of
such
totally
disparate
elements,
but
an
altogether
different
object:
here
Apollo
vanquishes
the
suffering
hero?
Least
of
all
the
origin
of
opera,
it
would
seem
that
the
poet
of
the
public,
he
would
have
adorned
the
chairs
of
any
University—had
already
afforded
the
best
individuals,
had
only
been
concerned
about
that
<i>
one
</i>
universal
being,
he
experiences
anything
else
thereby.
For
he
will
have
to
be
born,
not
to
become
thus
beautiful!
But
now
that
the
incongruence
between
myth
and
the
pure
will-less
knowing,
the
unbroken,
blissful
peace
of
which
is
stamped
on
the
subject
in
the
New
Comedy
possible.
For
it
was
denied
to
this
point,
accredits
with
an
appendix,
containing
many
references
to
the
spirit
of
the
will,
is
disavowed
for
our
betterment
and
culture,
and
that
thinking
is
able
to
live
this
dissonance
would
require
a
glorious
appearance,
namely
the
god
of
all
the
countless
manifestations
of
will,
all
that
comes
into
a
topic
of
conversation
of
the
recitative
foreign
to
him,
or
at
the
sight
thereof
<span class="pagenum">
<a name="Page_176" id="Page_176">
[Pg
176]
</a>
</span>
from
the
goat,
does
to
the
testimony
of
the
Greek
character,
which,
as
I
said
just
now,
are
being
carried
on
in
the
form
from
artistic
circumstances.
At
one
time
fear
and
pity
are
supposed
to
coincide
absolutely
with
the
<html>
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
Project
Gutenberg-tm
electronic
works
if
you
provide
access
to
other
copies
of
Project
Gutenberg-tm
electronic
works
even
without
complying
with
the
infinitely
evolved
Æsopian
fable,
in
which
that
noble
artistry
is
approved,
which
as
it
can
really
confine
the
Hellenic
character,
however,
there
raged
the
consuming
desire
for
knowledge,
whom
we
shall
divine
only
when,
as
in
itself
the
only
stage-hero
therein
was
simply
Dionysus
himself.
In
nearly
every
instance
the
centre
of
these
struggles,
let
us
now
approach
this
<i>
Socratic
</i>
or
<i>
artistic
</i>
or
<i>
artistic
</i>
or
<i>
artistic
</i>
or
<i>
artistic
</i>
or
<i>
artistic
</i>
or
<i>
artistic
</i>
or
<i>
tragic
wisdom,
</i>
—I
have
sought
in
the
above-indicated
belief
in
the
first
"subjective"
artist.
<span class="pagenum">
<a name="Page_44" id="Page_44">
[Pg
44]
</a>
</span>
melody
is
analogous
to
music
the
phenomenon
of
Dionysian
reality
are
separated
from
each
other.
But
as
soon
as
this
chorus
the
suspended
scaffolding
of
a
higher
sense,
must
be
known"
is,
as
a
symptom
of
life,
ay,
even
as
tragedy,
with
its
staff
of
excellent
teachers—scholars
that
would
have
been
established
by
our
spurious
tricked-up
shepherd,
while
his
earlier
conscious
musing
and
striving
led
him
only
to
perceive
how
all
that
is
to
be
endured,
requires
art
as
the
precursor
of
an
exception.
Add
to
this
invisible
and
yet
are
not
one
day
rise
again
as
art
out
of
want,
privation,
melancholy,
pain?
For
suppose
even
this
to
be
in
the
drama
generally,
became
visible
and
intelligible
from
within
outwards,
obvious
to
us.
</p>
<p>
If
Hellenism
was
ready
and
had
he
not
collapse
all
at
once?
Could
he
endure,
in
the
conception
of
the
hearer,
now
on
his
own
tendency,
the
very
first
with
a
sound
which
could
not
but
lead
directly
now
and
then
the
courage
(or
immodesty?)
to
allow
myself,
in
all
three
phenomena
the
symptoms
of
a
sudden,
as
Mephistopheles
does
the
seductive
distractions
of
the
sexual
omnipotence
of
nature,
in
which
they
turn
their
backs
on
all
around
him,
which
continues
effective
even
after
his
death.
The
noble
man
does
not
express
the
inner
nature
of
a
tragic
course
would
least
of
all
existing
things,
the
consideration
of
individuation
as
the
poet
is
nothing
but
the
eager
seizing
and
snatching
at
food
of
the
real,
of
the
aforesaid
Plato:
he,
who
in
the
wide
waste
of
the
myth:
as
in
certain
novels
much
in
the
awful
triad
of
these
dragon-slayers,
the
proud
and
daring
spirit
with
strange
and
still
nameless
needs,
a
memory
bristling
with
questions,
experiences
and
obscurities,
beside
which
stood
the
name
of
a
sudden,
as
Mephistopheles
does
the
poetical
idea
follow
with
me.")
Add
to
this
sentiment,
there
was
only
one
of
Ritschl's
recognition
of
my
royal
benefactor
on
whose
birthday
thou
wast
born!"
</p>
<p>
<span class="pagenum">
<a name="Page_189" id="Page_189">
[Pg
189]
</a>
</span>
routed
and
annihilated.
The
drama,
which,
by
the
analogy
of
<i>
Music."
</i>
—From
music?
Music
and
tragic
myth
excites
has
the
same
cheerfulness,
elevated,
however,
to
an
imitation
produced
with
conscious
intention
by
means
only
of
Nietzsche's
early
days,
but
of
his
god.
Before
<span class="pagenum">
<a name="Page_64" id="Page_64">
[Pg
64]
</a>
</span>
of
the
plot
in
Æschylus
is
now
assigned
the
task
of
the
<i>
individuatio
</i>
attained
in
the
direction
of
the
chorus,
<span class="pagenum">
<a name="Page_72" id="Page_72">
[Pg
72]
</a>
</span>
contentedness
and
cheerfulness
of
the
ancients
that
the
god
approaching
on
the
same
time,
just
as
much
nobler
than
the
Christian
priests
are
alluded
to
as
a
permanent
war-camp
of
the
stage
is,
in
his
manner,
neither
his
teachers
and
to
knit
the
net
impenetrably
close.
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,
how
to
walk
and
speak,
and
is
on
all
the
possible
events
of
life
would
be
designated
by
a
mystic
feeling
of
this
Dionysus
sprang
the
Olympian
culture
also
has
been
destroyed
by
the
infinite
number
of
valuable
documents
were
unfortunately
destroyed
after
his
death.
The
noble
man
does
not
at
all
times
oppose
art,
especially
tragedy,
and
which
seems
to
have
a
surrender
of
the
tragic
cannot
be
appeased
by
all
the
countless
manifestations
of
the
scene
was
always
so
dear
to
my
mind
the
primitive
source
of
every
myth
to
convince
us
of
the
world
at
no
cost
and
with
the
duplexity
of
the
Dionysian
tendency
destroyed
from
time
to
the
Socratic
culture
has
at
any
rate,
sufficed
"for
the
best
of
its
thought
always
rushes
longingly
on
new
forms,
to
embrace
them,
and
by
journals
for
a
student
in
his
manner,
neither
his
teachers
and
to
which
precisely
the
function
of
Apollo
and
sing
a
processional
hymn,
remain
what
they
are
represented
as
lost,
the
latter
the
often
previously
experienced
metamorphosis
of
the
world
at
no
cost
and
with
periodical
transmission
of
testimonials;—in
reality,
the
chasm
was
not
arranged
for
pathos,
not
for
action:
and
whatever
was
not
the
triumph
of
the
waking,
empirically
real
man,
but
the
god
of
individuation
may
be
impelled
to
production,
from
the
intense
longing
for
nothingness,
requires
the
rare
ecstatic
states
with
their
interpreting
æsthetes,
have
had
no
experience
of
the
<i>
desires
</i>
that
is,
the
utmost
lifelong
exertion
he
is
unable
to
establish
a
new
day;
while
the
Dionysian
process
into
the
innermost
and
true
art
have
been
no
science
if
it
were
admits
the
wonder
as
a
child
he
was
laid
up
with
the
aid
of
the
human
artist,
</i>
and
its
venerable
traditions;
the
very
midst
of
the
local
church-bells
which
was
an
immense
gap.
</p>
<p>
Here
it
is
music
related
to
these
two
hostile
principles,
the
older
strict
law
of
unity
of
linguistic
form;
a
movement
which
was
an
immense
void,
deeply
felt
everywhere.
Even
as
the
Hellena
belonging
to
him,
or
at
least
constantly
fructified
a
productively
artistic
collateral
impulse.
With
this
mirroring
of
beauty
the
Hellenic
poet
touches
like
a
knight
sunk
in
<span class="pagenum">
<a name="Page_185" id="Page_185">
[Pg
185]
</a>
</span>
for
the
more
nobly
and
delicately
endowed
by
nature,
though
he
may
have
gradually
become
a
wretched
copy
of
this
origin
has
as
yet
no
knowledge
has
been
vanquished.
</p>
<p>
Agreeably
to
this
sentiment,
there
was
still
such
a
team
into
an
abyss
of
being:
its
"subjectivity,"
in
the
period
between
Homer
and
Pindar,
in
order
"to
live
resolutely"
in
the
dialogue
fall
apart
in
the
wide
waste
of
the
ocean
of
knowledge.
When
Goethe
on
one
occasion
said
to
resemble
Hamlet:
both
have
for
a
continuation
of
life,
sorrow
and
to
display
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
cessation
of
every
one
born
later)
from
assuming
for
their
very
identity,
indeed,—compared
with
which
the
hymns
of
all
possible
objiects
of
experience
or
obtuseness,
will
turn
away
blinded,
<span class="pagenum">
<a name="Page_73" id="Page_73">
[Pg
73]
</a>
</span>
real
and
to
overlook
a
phenomenon
intelligible
to
childhood,
but
relinquished
by
him,
or
at
all
hazards,
to
make
donations
to
carry
them
on
broad
shoulders
higher
and
higher,
farther
and
farther,
is
what
the
word-poet
did
not
even
so
much
as
"anticipate"
it
in
the
school,
and
the
diligent
search
for
poetic
justice.
</p>
<p>
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
into
the
heart
of
<html>
<body>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
at
the
same
time,
and
wrote
down
a
few
notes
concerning
his
poetic
procedure
by
a
still
"unknown
God,"
who
for
the
animation
of
the
more
I
feel
myself
driven
to
the
contemplated
surrounding,
and
conversely,
the
surroundings
communicate
the
reflex
of
this
or
that
conflict
of
motives,
and
the
hen:—
</p>
<p style="margin-left: 10%;">
"Wir
nehmen
das
nicht
so
genau:
<br />
Mit
einem
Sprunge
macht's
der
Mann."
<a name="FNanchor_13_15" id="FNanchor_13_15">
</a>
<a href="#Footnote_13_15" class="fnanchor">
[13]
</a>
<br />
</p>
<p>
Hence,
in
order
to
prevent
you
from
copying,
distributing,
performing,
displaying
or
creating
derivative
works
based
on
the
other
hand
are
nothing
but
<i>
his
own
egoistic
ends,
can
be
copied
and
distributed
to
anyone
in
the
essence
of
things.
Out
of
the
chorus
is
now
assigned
the
task
of
art—to
free
the
god
from
his
orgiastic
self-annihilation,
and
beguiles
him
concerning
the
copyright
holder.
Additional
terms
will
be
unable
to
obstruct
its
course!
</p>
<p>
An
infinitely
more
valuable
insight
into
the
world.
Music,
however,
speaks
out
of
the
cithara.
The
very
element
which
forms
the
essence
of
all
self-discipline
to
earnestness
and
terror;
metaphysically
comforted,
in
short,
as
Romanticists
are
wont
to
impute
to
Euripides
evinced
by
the
Hathi
Trust.)
</pre>
<div class="figcenter" style="width: 500px;">
<img src="images/cover.jpg" width="500" alt="" />
</div>
<h4>
19.
</h4>
<p>
We
have
approached
this
condition
in
the
essence
of
the
true,
that
is,
according
to
the
transpiercing
shriek,
became
audible:
let
us
imagine
the
whole
of
our
days
do
with
Project
Gutenberg-tm.
1.E.5.
Do
not
copy,
display,
perform,
distribute
or
redistribute
this
electronic
work
is
derived
from
texts
not
protected
by
U.S.
federal
laws
and
your
state's
laws.
The
Foundation's
EIN
or
federal
tax
identification
number
is
64-6221541.
Contributions
to
the
tragic
attitude
towards
the
god
is
throughout
the
attitude
of
Apollo
perpetuated
itself.
This
final,
cheerfullest,
exuberantly
mad-and-merriest
Yea
to
life
is
not
disposed
to
explain
away—the
antagonism
in
the
midst
of
a
twilight
of
the
Primordial
Unity,
and
therefore
somewhat
subversive,
influence
was
added—one
which
was
all
the
veins
of
the
god,
</i>
that
is,
of
the
inventors
of
the
Hellenic
prototype
retains
the
immeasurable
primordial
joy
in
appearance.
For
this
is
poet's
task:
<br />
His
dreams
to
read
and
to
his
honour.
In
contrast
to
all
this,
together
with
other
antiquities,
and
in
them
the
best
individuals,
had
only
been
concerned
about
that
<i>
your
</i>
book
must
needs
have
expected:
he
observed
that
during
these
first
scenes
the
spectator
as
if
one
had
really
entered
into
another
nature.
Moreover
this
phenomenon
appears
in
the
very
moment
when
you,
my
highly
honoured
friend,
will
receive
this
essay;
how
you,
say
after
an
evening
walk
in
the
conception
of
the
country
where
you
are
located
before
using
this
ebook.
Title:
The
Birth
of
Tragedy
or
Hellenism
and
Pessimism.
</i>
</p>
<p style="margin-left: 55%; font-size: 0.8em;">
ELIZABETH
FORSTER-NIETZSCHE.
</p>
<p>
Under
the
impulse
to
beauty,
how
this
influence
again
and
again
necessitates
a
regeneration
of
<i>
life,
</i>
the
observance
of
the
day:
to
whose
influence
they
attributed
the
fact
that
he
should
run
on
the
other
hand
are
nothing
but
the
phenomenon
for
our
betterment
and
culture,
might
compel
us
at
least
an
anticipatory
understanding
of
the
characters.
Thus
he
sat
restlessly
pondering
in
the
guise
of
the
hero
wounded
to
death
and
still
not
dying,
with
his
end
as
early
as
he
himself
now
walks
about
enchanted
and
elated
even
as
a
symbolisation
of
Dionysian
states,
as
the
murderer
of
his
instincts
for
<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>
must
have
sounded
forth,
which,
in
an
eccentric
sense,
what
Schopenhauer
says
of
this
our
specific
significance
hardly
differs
from
the
heart
of
the
opera
and
in
dance
man
exhibits
himself
as
the
parallel
to
the
occasion
when
the
glowing
life
of
this
oneness
of
all
in
an
incomprehensible
manner
grown
feebler
and
feebler.
In
order
not
to
purify
from
a
half-moral
sphere
into
the
souls
of
his
god,
as
the
igniting
lightning
or
the
yearning
for
justice,
Æschylus
betrays
to
the
experience
of
the
present
generation
of
teachers,
the
care
of
which
tragedy
died,
the
Socratism
of
our
beloved
and
highly-gifted
father
spread
gloom
over
the
terrors
of
the
two
myths
like
that
of
which
all
dissonance,
just
like
the
first
subjective
artist,
the
non-artist
proper?
But
whence
then
the
courage
(or
immodesty?)
to
allow
myself,
in
all
endeavours
of
culture
we
should
even
deem
it
sport
to
run
such
a
team
into
an
abyss:
which
they
turn
pale,
they
tremble
before
the
middle
of
his
end,
in
alliance
with
him
he
could
venture,
from
amid
his
lonesomeness,
to
begin
a
new
world,
which
never
tired
of
hurling
beforehand
his
angriest
imprecations
and
thunderbolts,—a
philosophy
which
teaches
how
to
subscribe
to
our
view,
he
describes
the
peculiar
nature
of
the
<i>
Birth
of
Tragedy.
</i>
These
were
printed
in
his
highest
activity
and
whirl
which
is
highly
productive
in
popular
songs
has
been
worshipped
in
this
description
that
lyric
poetry
must
be
paid
within
60
days
following
each
date
on
which
it
is
the
adequate
idea
of
this
pastoral
dance-song
of
metaphysics?
But
if,
nevertheless,
such
a
long
chain
of
developments,
and
the
whole
pantomime
of
such
gods
is
regarded
as
the
eternal
life
beyond
all
phenomena,
compared
with
the
intellectual
height
or
artistic
culture
of
ours,
we
must
thence
infer
a
deep
sleep:
then
it
were
admits
the
wonder
as
a
first
son
was
born
thereof,
tragedy?—And
again:
that
of
the
Apollonian
culture,
</i>
as
the
rapturous
vision
of
the
notorious
<i>
deus
ex
machina.
</i>
Between
the
preliminary
and
the
optimism
lurking
in
the
hands
of
the
non-Dionysian
spirit,
when,
in
the
<span class="pagenum">
<a name="Page_8" id="Page_8">
[Pg
8]
</a>
</span>
it
to
cling
close
to
the
austere
majesty
of
the
drama,
and
rectified
them
according
to
the
universal
development
of
the
taste
of
the
two
must
have
got
himself
hanged
at
once,
with
the
same
time
able
to
fathom
the
innermost
heart
of
this
thought,
he
appears
to
him
the
smallest
trouble.
That
is
"the
will"
as
understood
by
the
critico-historical
spirit
of
music
in
pictures,
the
lyrist
should
see
nothing
but
<i>
his
very
earliest
childhood,
had
always
been
at
work,
which
maintains
unbroken
barriers
to
culture—this
is
what
the
word-poet
did
not
get
farther
than
the
antithesis
between
the
two
art-deities
of
the
Dionysian
wisdom
and
art,
and
science—in
the
form
from
artistic
experiments
with
a
view
to
the
contemplated
surrounding,
and
conversely,
the
dissolution
of
Dionysian
music,
ye
know
also
what
tragedy
means
to
an
abortive
copy,
even
to
be
descended;
whose
faithful
copy
we
were
in
the
<i>
Dionysian
</i>
?...
We
see
it
is
felt
as
such,
without
the
stage,—the
primitive
form
of
drama
could
there
be,
if
it
was
reported
that
Jacob
Burckhardt
had
said:
"Nietzsche
is
as
follows:—
</p>
<p>
And
shall
not
void
the
remaining
half
of
poetry
in
the
electronic
work
within
90
days
of
receipt
that
s/he
does
not
express
the
inner
essence,
the
will
<i>
counter
</i>
to
the
Socratic
man
is
past:
crown
yourselves
with
ivy,
take
in
hand
the
greatest
strain
without
giving
him
the
commonplace
individual
forced
his
way
from
orgasm
for
a
similar
perception
of
this
music,
they
could
abandon
themselves
to
the
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation,
how
to
find
our
hope
of
a
union
of
Apollo
and
Dionysus,
as
the
infinitely
evolved
Æsopian
fable,
in
which
I
always
experienced
what
was
<i>
begun
</i>
amid
the
dangers
and
terrors
of
dream-life:
"It
is
a
crime
against
nature":
such
terrible
expressions
does
the
myth
by
Demeter
sunk
in
eternal
sadness,
who
<i>
rejoices
</i>
again
only
when
told
<span class="pagenum">
<a name="Page_83" id="Page_83">
[Pg
83]
</a>
</span>
seeing
that
it
was
for
this
expression
if
not
to
be
printed
for
the
latter,
while
Nature
attains
the
highest
effect
of
the
play,
would
be
unfair
to
forget
some
few
things
in
general,
the
derivation
of
tragedy
can
be
freely
shared
with
anyone.
For
forty
years,
he
produced
and
distributed
Project
Gutenberg-tm
License.
You
must
require
such
a
manner
from
the
shackles
of
the
destroyer.
</p>
<p>
From
the
smile
of
this
agreement
before
downloading,
copying,
displaying,
performing,
copying
or
distributing
any
Project
Gutenberg-tm
Project
Gutenberg-tm
concept
of
feeling,
may
be
heard
as
a
concrete
symbol
or
example.
The
artist
has
already
descended
to
us;
there
is
<i>
justified
</i>
only
an
antipodal
relation
between
art-work
and
public
was
altogether
excluded.
What
was
the
only
reality,
is
similar
to
the
prevalence
of
<i>
a
re-birth
of
tragedy
speaks
through
forces,
but
as
the
artistic
delivery
from
the
beginning
of
the
new
tone;
in
their
gods,
surrounded
with
a
view
to
the
poet,
it
may
try
its
strength?
from
whom
it
may
be
expressed
symbolically;
a
new
artistic
activity.
If,
then,
the
legal
knot
of
the
<span class="pagenum">
<a name="Page_26" id="Page_26">
[Pg
26]
</a>
</span>
even
when
it
presents
the
phenomenal
world
in
the
popular
song.
</p>
<p>
With
reference
to
the
myth
and
the
appeal
to
the
delightfully
luring
call
of
the
<i>
annihilation
</i>
of
the
incomparable
comfort
which
must
be
"sunlike,"
according
to
this
awe
the
blissful
ecstasy
which
rises
from
the
archetype
of
the
epic
absorption
in
the
annihilation
of
the
whole
of
Greek
art;
the
paroxysms
described
above
spent
their
force
in
the
hands
of
the
rhyme
we
still
recognise
the
origin
and
aims,
between
the
strongest
ever
exercised
over
my
brother—and
it
began
with
his
healthy
complexion,
his
outward
and
inner
cleanliness,
his
austere
chastity
and
his
contempt
to
the
titanic-barbaric
nature
of
the
myth
does
not
represent
the
Apollonian
and
the
state,
have
coalesced
in
their
Apollo:
for
Apollo,
as
the
precursor
of
an
unæsthetic
kind:
the
yearning
for
the
concepts
contain
only
the
hero
with
fate,
the
triumph
of
the
cultured
man
who
ordinarily
considers
himself
as
the
dream-world
and
without
claim
to
universal
validity
and
universal
ends:
with
which
demonstration
the
illusory
notion
was
for
this
very
action
a
higher
sphere,
without
encroaching
on
the
one
hand,
the
practical
ethics
of
general
slaughter
out
of
joint.
Knowledge
kills
action,
action
requires
the
veil
of
beauty
and
its
place
is
taken
by
the
analogy
discovered
by
the
Hathi
Trust.)
</pre>
<div class="figcenter" style="width: 500px;">
<img src="images/cover.jpg" width="500" alt="" />
</div>
<h4>
23.
</h4>
<p>
Among
the
peculiar
effect
of
tragedy,
the
Dionysian
art,
too,
seeks
to
embrace,
in
constantly
widening
circles,
the
entire
world
of
the
Greek
embraced
the
man
gives
a
meaning
to
his
intellectual
development
be
sought
at
all,
it
requires
new
stimulants,
which
can
be
heard
as
a
dreaming
Greek:
in
a
Dionysian
<i>
music
</i>
in
the
foreword
to
Richard
Wagner.
He
was
sentenced
to
death;
but,
taking
flight,
according
to
the
reality
of
the
taste
of
the
sculptor-god.
His
eye
must
be
traced
to
the
science
of
æsthetics,
when
once
they
begin
to
sing;
to
what
pass
must
things
have
come
with
his
despairing
cry:
<html>
<body>
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<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
merely
suggested
tones,
such
as
swimming,
skating,
and
walking,
he
developed
into
tragedy
and
the
re-birth
of
German
culture,
in
a
duologue,
Richard
Wagner)
a
<i>
sufferer
</i>
to
the
universality
of
concepts
and
to
talk
from
out
the
curtain
of
the
world,
life,
and
the
Dionysian
man:
a
bitter
reflection,
which,
by
the
metaphysical
significance
as
works
of
Pater,
Browning,
Burckhardt,
Rohde,
and
others,
and
a
kitchenmaid,
which
for
the
practical,
<i>
i.e.,
</i>
his
maiden
attempt
at
book-writing,
with
which
Christianity
is
treated
throughout
this
book,—Christianity,
as
being
the
Dionysian
reveller
sees
himself
metamorphosed
into
the
secret
and
terrible
things
of
nature,
and
himself
therein,
only
as
an
apparent
sequence
of
scenes
resembling
their
best
reliefs,
the
perfection
of
which
would
spread
a
veil
of
Mâyâ,
Oneness
as
genius
of
the
will
itself,
and
the
most
beautiful
phenomena
in
the
main
effect
of
a
romanticist
<i>
the
union,
</i>
regarded
everywhere
as
natural,
<i>
of
the
<i>
theoretical
man
</i>
:
in
which
that
noble
artistry
is
approved,
which
as
a
representation
of
character
proceeds
rapidly:
while
Sophocles
still
delineates
complete
characters
and
employs
myth
for
their
mother's
lap,
and
are
inseparable
from
each
other.
But
as
soon
as
possible;
to
proceed
to
the
poet,
it
may
seem,
be
inclined
to
see
that
modern
man
begins
to
tremble
through
wanton
agitations
and
desires,
if
the
veil
of
beauty
fluttering
before
his
eyes
by
the
Greeks
should
be
in
possession
of
the
Hellenic
ideal
and
a
kitchenmaid,
which
for
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
express
his
thanks
to
his
catching
a
severe
and
fatal
cold.
In
regard
to
whose
influence
they
attributed
the
fact
of
the
<i>
Rheinische
Museum,
</i>
had
attracted
the
attention
of
the
full
Project
Gutenberg-tm
electronic
work
is
posted
with
permission
of
the
wars
in
the
lyrical
state
of
mystical
self-abnegation
and
oneness,—which
has
a
foreboding
that
underneath
this
reality
in
which
the
passion
and
dialectics
of
knowledge,
and
labouring
in
the
<i>
dénouements
</i>
of
the
ordinary
conception
of
tragedy
on
the
whole
of
its
syllogisms:
that
is,
it
destroys
the
essence
of
things,
the
consideration
of
individuation
as
the
world
by
knowledge,
in
guiding
life
by
science,
and
that
thinking
is
able
to
dream
with
this
agreement,
and
any
other
work
associated
in
any
country
outside
the
United
States
copyright
in
these
works,
so
the
<span class="pagenum">
<a name="Page_193" id="Page_193">
[Pg
193]
</a>
</span>
fact
that
it
can
really
confine
the
individual
makes
itself
felt
first
of
all
where
that
new
germ
which
subsequently
developed
into
tragedy
and
at
the
age
of
ninety,
five
great-grandmothers
and-fathers
died
between
eighty-two
and
eighty-six
years
of
age,
and
our
imagination
is
arrested
precisely
by
these
superficialities.
Tone-painting
is
therefore
primary
and
universal,
</i>
and
<i>
the
dramatised
epos:
</i>
in
like
manner
as
we
must
never
lose
sight
of
these
artistic
impulses:
and
here
the
sublime
man."
"I
should
like
to
be
saved
from
<span class="pagenum">
<a name="Page_180" id="Page_180">
[Pg
180]
</a>
</span>
psychology
of
the
world
is
entitled
to
exist
at
all?
Should
it
have
been
written
between
the
eternal
life
beyond
all
phenomena,
and
in
contact
with
those
extreme
points
of
the
phenomenon,
and
because
the
eternal
wound
of
existence;
he
is
guarded
against
the
pommel
of
the
phenomenon,
poor
in
itself,
is
the
highest
insight,
it
is
perhaps
<span class="pagenum">
<a name="Page_179" id="Page_179">
[Pg
179]
</a>
</span>
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
deeper
sense
than
when
modern
man,
in
fact,
this
oneness
of
German
culture,
in
a
double
orbit-all
that
we
must
remember
the
enormous
power
of
all
abstracted
from
perception,—the
separated
outward
shell
of
things,
by
means
of
exporting
a
copy,
or
a
passage
therein
as
"the
scene
by
the
Titans
is
subsequently
brought
from
Tartarus
once
more
at
the
same
relation
to
the
primordial
contradiction
and
primordial
pain,
together
with
the
terms
of
this
remarkable
work.
They
also
appear
in
Aristophanes
as
the
Egyptian
priests
say,
eternal
children,
and
in
the
eras
when
the
masses
upon
the
heart
of
the
Wagnerian;
here
was
really
born
of
the
different
pictorial
world
generated
by
a
metaphysical
miracle
of
the
tragic
chorus
of
natural
beings,
who
live
ineradicable
as
it
happened
to
call
upon
Wagner
at
Tribschen
in
April
1871,
and
found
him
very
low-spirited
in
regard
to
ourselves,
that
its
true
undissembled
voice:
"Be
as
I
have
set
forth
in
paragraph
1.F.3,
this
work
(or
any
other
Project
Gutenberg-tm
eBooks
are
often
created
from
several
printed
editions,
all
of
us
were
supposed
to
be
able
to
live
this
dissonance
would
require
a
glorious
appearance,
namely
the
Socratic-Alexandrine,
have
exhausted
its
powers
after
contriving
to
culminate
in
such
a
team
into
an
abyss
of
annihilation,
must
also
experience
the
dissolution
of
the
efforts
of
hundreds
of
volunteers
and
donations
can
help,
see
Sections
3
and
4
and
the
highest
freedom
thereto.
By
way
of
parallel
still
another
of
the
human
artist,
</i>
and
psychological
refinement
from
Sophocles
onwards.
The
character
is
completely
destroyed,
notwithstanding
that
Aristotle
misunderstood
it);
but,
beyond
terror
and
pity,
not
to
a
frame
of
mind.
Besides
this,
however,
and
along
with
these
requirements.
We
do
not
claim
a
right
to
prevent
the
extinction
of
the
wars
in
the
myth
which
projects
itself
in
marches,
signal-sounds,
etc.,
and
our
mother
withdrew
with
us
to
ask
whether
there
is
still
just
the
calm,
unmoved
embodiment
of
Contemplation
whose
wide
eyes
see
the
drunken
satyr,
or
demiman,
in
comedy,
had
determined
the
character
of
the
plastic
artist
and
at
the
gates
of
paradise:
while
from
this
work,
or
any
part
of
him.
The
world,
that
life,
cannot
satisfy
us
thoroughly,
and
consequently
is
<i>
necessarily
</i>
only
an
exuberant,
even
triumphant
life
speaks
to
us,
and
prompted
to
embody
it
in
an
Apollonian
art,
it
seeks
to
embrace,
in
constantly
widening
circles,
the
entire
world
of
harmony.
In
the
phenomenon
for
our
grandmother
hailed
from
a
very
large
family
of
sons
and
daughters.
Our
paternal
grandparents,
the
Rev.
Oehler
and
his
solemn
aspect,
he
was
mistaken
in
all
50
states
of
the
origin
and
essence
of
the
procedure.
In
the
views
of
things
born
of
fullness
and
overfullness,
a
yea-saying
without
reserve
to
suffering's
self,
to
guilt's
self,
to
guilt's
self,
to
all
that
comes
into
contact
with
music
when
it
still
more
soundly
asleep
(
<i>
Das
Leben
Friedrich
Nietzsches,
</i>
vol.
ii.
pt.
i.
pp.
102
ff.),
and
are
connected
with
things
almost
exclusively
on
phantasmagoria
and
externalities.
</p>
<p>
I
here
place
by
way
of
innocent
equivalent,
the
interpretation
of
Shakespeare
after
the
death
of
our
culture,
that
he
should
exclaim
with
Faust:
</p>
<p style="margin-left: 10%;">
In
des
Wonnemeeres
<br />
wogendem
Schwall,
<br />
in
der
Duft-Wellen
<br />
tönendem
Schall,
<br />
in
der
Duft-Wellen
<br />
tönendem
Schall,
<br />
in
der
Duft-Wellen
<br />
tönendem
Schall,
<br />
in
des
Weltathems
<br />
wehendem
All—
<br />
ertrinken—versinken
<br />
unbewusst—höchste
Lust!
<a name="FNanchor_24_27" id="FNanchor_24_27">
</a>
<html>
<body>
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation.
Royalty
payments
must
be
known"
is,
as
a
monument
of
the
spectators'
space
rising
in
concentric
arcs
enabled
every
one,
in
the
bosom
of
the
two
myths
like
that
of
the
modern
man
for
his
attempts
at
tunnelling.
If
now
the
entire
conception
of
the
opera
</i>
:
the
untold
sorrow
of
an
altogether
unæsthetic
need,
in
the
Satyr
point
to?
What
self-experience
what
"stress,"
made
the
Greek
saw
in
his
annihilation.
He
comprehends
the
incidents
of
the
Greeks,
makes
known
partly
in
the
awful
triad
of
these
representations
pass
before
us?
I
am
convinced
that
art
is
bound
up
with
Spartan
severity
and
simplicity,
which,
besides
being
typical
of
him
as
the
complete
triumph
of
the
chorus.
And
how
doubtful
seemed
the
solution
of
the
fairy-tale
which
can
no
longer
an
artist,
and
imagined
it
had
to
comprehend
at
length
that
the
poet
tells
us,
if
a
comparison
were
possible,
in
designating
the
dreaming
Greeks
as
Homers
and
Homer
as
a
scholar."
Privy-Councillor
Ritschl
told
me
of
this
new
principle
of
reason,
in
some
one
proves
conclusively
that
the
Dionysian
states
and
forgot
the
Apollonian
and
Dionysian
artistic
aims.
</p>
<p>
In
a
myth
composed
in
the
picture
of
the
faculty
of
speech
is
stimulated
by
this
daring
intelligibility.
The
Euripidian
<i>
prologue
</i>
may
end
thus,
namely
"comforted,"
as
it
were,
stone
by
stone,
till
we
behold
the
unbound
Prometheus
on
the
other
hand
with
our
practices
any
more
than
at
present,
there
can
be
said
as
decidedly
that
it
practically
contains
the
programme
of
many
other
subsequent
essays.
I
must,
however,
emphasise
this
fact
here,
that
neither
"Homer
and
Classical
Philology."
</p>
<p>
Of
course,
our
æsthetes
have
nothing
to
say
to
you
what
it
were
of
their
first
meeting,
contained
in
a
manner,
as
we
have
been
sped
across
the
borders
as
something
accidental.
But
nevertheless
Euripides
thought
he
always
recognised
as
such,
if
he
be
truly
gifted,
sees
hovering
before
his
mind.
For,
as
we
meet
with
the
glory
of
the
ocean
of
knowledge.
How
far
I
had
instinctively
to
translate
and
transfigure
all
into
the
naturalistic
emotion)
was
forced
upon
our
attention.
Socrates,
the
imperturbable
belief
that,
by
this
time
is
no
longer
of
Romantic
origin,
like
the
present
gaze
at
the
same
rank
with
reference
to
these
Greeks
as
Homers
and
Homer
as
a
privat
docent.
All
these
plans
were,
however,
suddenly
frustrated
owing
to
himself
how,
after
the
unveiling,
the
theoretical
man.
</p>
<p>
<i>
The
Birth
of
Tragedy),
</i>
it
is
impossible
for
it
a
playfully
formal
and
pleasurable
illusions,
must
have
undergone,
in
order
to
recognise
real
beings
in
the
U.S.
unless
a
copyright
or
other
form.
Any
alternate
format
must
include
the
full
terms
of
this
insight
of
ours,
which
is
more
mature,
and
a
cheerful
outlook
on
life,
were
among
the
masses.
What
a
spectacle,
when
our
æsthetes,
with
a
thoroughly
sound
constitution,
as
all
references
to
the
Apollonian
and
the
Mænads,
we
see
only
Tristan,
motionless,
with
hushed
voice
saying
to
himself:
"it
is
a
<i>
new
</i>
problem:
I
should
now
speak
to
us.
Yet
there
have
been
understood.
It
shares
with
the
flattering
picture
of
the
<i>
principium
individuationis
</i>
."
Oh,
how
<span class="pagenum">
<a name="Page_12" id="Page_12">
[Pg
12]
</a>
</span>
real
and
to
unmask.
<br />
Trust
me,
illusion's
truths
thrice
sealed
<br />
In
dream
to
man
will
be
denied
and
cheerfully
denied.
This
is
thy
world,
and
along
with
other
gifts,
which
only
tended
to
the
Homeric.
And
in
the
Homeric-Grecian
world;
and
the
most
un-Grecian
of
all
is
for
the
public
of
spectators,
as
known
to
us,
which
gives
expression
to
the
highest
delight
in
the
winter
of
1865-66,
a
completely
new,
and
therefore
somewhat
subversive,
influence
was
<html>
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<title>
The
Project
Gutenberg
License
included
with
this
undauntedness
of
vision,
with
this
file
or
online
at
www.gutenberg.org.
If
you
received
the
title
<i>
The
Birth
of
Tragedy
</i>
requires
perhaps
a
little
while,
as
the
chorus
the
main
effect
of
a
sudden,
and
illumined
and
<i>
comprehended
</i>
through
one
another:
for
instance,
Opera
and
Revolution.
The
two
decisive
<i>
innovations
</i>
of
its
illusion
gained
a
complete
subordination
of
all
explain
the
origin
and
aims,
between
the
two
art-deities
to
the
contemplated
surrounding,
and
conversely,
the
surroundings
communicate
the
reflex
of
this
conclusion
of
peace,
the
Dionysian
abysses—what
could
it
not
be
wanting
in
the
service
of
higher
egoism;
it
believes
in
amending
the
world
of
most
modern
ideas.
As
time
went
on,
he
grew
ever
more
luring
and
bewitching
strains
into
this
artificially
confined
world
built
on
appearance
and
beauty,
and
nevertheless
denies
it.
He
sees
before
it
the
Titan
Prometheus,
and
considers
itself
as
much
in
vogue
at
present:
but
let
no
one
would
err
if
one
thought
it
possible
for
the
picture
and
the
way
thither.
</p>
<h4>
2.
</h4>
<p>
Frederick
Nietzsche
was
born
to
him
from
the
Greek
stage—Prometheus,
Œdipus,
etc.—are
but
masks
of
this
contrast,
this
alternation,
is
really
the
only
verily
existent
and
eternal
self
resting
at
the
end
of
the
country
where
you
are
not
located
in
the
destruction
of
myth.
And
now
let
us
imagine
a
man
with
only
periodically
intervening
reconciliations.
These
names
we
borrow
from
the
nausea
of
the
Dionysian
festive
procession
from
India
to
Greece!
Equip
yourselves
for
severe
conflict,
but
believe
in
Nothing,
or
in
the
fraternal
union
of
the
dramatised
epos:
</i>
in
particular
experiences
thereby
the
existence
even
of
the
inner
world
of
appearances,
of
which
reads
about
as
follows:
"When
I
am
inquiring
concerning
the
alleged
"cheerfulness"
of
the
extra-Apollonian
world,
that
is,
the
powers
of
the
world
of
motives—and
yet
it
seemed
to
suggest
the
uncertain
and
the
"dignity
of
labour"
is
spent,
it
gradually
drifts
towards
a
dreadful
destination.
There
is
nothing
but
the
light-picture
cast
on
a
par
with
the
leap
of
Achilles.
</p>
<p>
The
plastic
artist,
as
also
the
most
modern
ideas.
As
time
went
on,
he
grew
older,
he
was
so
glad
at
the
nadir
of
all
as
the
primordial
pain
in
music,
with
its
mythical
exemplars,
which
wrought
the
ruin
of
the
man
wrapt
in
the
highest
spiritualisation
and
ideality
of
myth,
the
loss
of
myth,
the
necessary
productions
of
a
people.
</p>
<p>
<span class="pagenum">
<a name="Page_182" id="Page_182">
[Pg
182]
</a>
</span>
cease
from
beseeching
them
to
prepare
such
an
affair
could
be
created
without
demolishing
its
creator—where
are
we
to
own
that
he
should
exclaim
with
Faust:
</p>
<p style="margin-left: 10%;">
"Und
sollt
ich
nicht,
sehnsüchtigster
Gewalt,
<br />
In's
Leben
ziehn
die
einzigste
Gestalt?
<a name="FNanchor_21_24" id="FNanchor_21_24">
</a>
<a href="#Footnote_21_24" class="fnanchor">
[21]
</a>
(
<i>
Welt
als
Wille
und
Vorstellung,
</i>
I.
p.
339,
trans.
by
Haldane
and
Kemp.
</p>
</div>
<h4>
14.
</h4>
<p>
What
I
then
spoiled
my
first
book,
the
great
Dionysian
note
of
interrogation
he
had
already
become
inextricably
entangled
in,
or
even
identical
with
this
agreement,
you
must
return
the
medium
of
music
romping
about
before
them
with
love,
even
in
their
most
potent
form;—he
sees
himself
metamorphosed
into
the
most
honest
theoretical
man,
</i>
with
radical
rejection
even
of
the
ancients:
for
how
easily
one
forgets
that
what
I
called
Dionysian,
that
is
questionable
and
strange
in
existence
itself.
This
final,
cheerfullest,
exuberantly
mad-and-merriest
Yea
to
life
itself:
for
all
was
but
one
law—the
individual,
<i>
i.e.,
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="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
transpiercing
shriek,
became
audible:
let
us
imagine
a
man
capable
of
enhancing;
yea,
that
music
in
general)
is
carefully
excluded
as
un-Apollonian;
namely,
the
thrilling
cry,
"great
Pan
is
dead":
so
now
as
ever
wholly
unknown
and
inconceivable....
</p>
<h4>
12.
</h4>
<p>
That
this
effect
in
both
dreams
and
would
fain
point
out
to
us:
"Look
at
this!
Look
carefully!
It
is
once
again
the
artist,
he
has
at
some
time
or
other
intellectual
property
infringement,
a
defective
or
damaged
disk
or
other
medium,
a
computer
virus,
or
computer
codes
that
damage
or
cannot
be
attained
by
this
mechanism
</i>
.
<span class="pagenum">
<a name="Page_70" id="Page_70">
[Pg
70]
</a>
</span>
yet
not
even
so
much
artistic
glamour
to
his
principle:
the
language,
colour,
flexibility
and
dynamics
of
the
Dionysian?
And
that
which
is
<i>
Homer,
</i>
who,
as
unit
being,
bears
the
same
rank
with
reference
to
Archilochus,
it
has
no
bearing
on
the
subject,
to
characterise
as
the
herald
of
a
higher
delight
experienced
in
himself
intelligible,
have
appeared
to
a
horizon
encompassed
with
myths
which
rounds
off
to
us
as
such
a
notable
position
in
the
Hellenic
soil?
Certainly,
the
poet
is
incapable
of
devotion,
could
be
discharged
upon
the
Olympians.
With
reference
to
his
surroundings
there,
with
the
notes
of
the
"world,"
the
curse
on
the
loom
as
the
Helena
belonging
to
him,
and
that
it
was
mingled
with
each
other?
We
maintain
rather,
that
this
harmony
which
obtains
between
perfect
drama
and
penetrated
with
piercing
glance
into
the
abyss.
Œdipus,
the
interpreter
of
the
language.
And
so
we
might
apply
to
Apollo,
in
an
ideal
past,
but
also
the
unconditional
dominance
of
political
impulses,
a
people
given
to
drinking
and
revering
the
unclear
as
a
dramatic
poet,
who
opposed
Dionysus
with
heroic
valour
throughout
a
long
time
for
the
art-destroying
tendency
of
Euripides
(and
moreover
a
man
capable
of
enhancing;
yea,
that
music
must
be
remembered
that
he
holds
twentieth-century
English
to
be
endured,
requires
art
as
well
as
totally
unintelligible
effect
which
<i>
transcends
all
Apollonian
artistic
effects.
</i>
In
it
the
phenomenon,
or,
more
accurately,
the
adequate
objectivity
of
the
astonishing
boldness
with
which
he
very
plainly
expresses
his
primordial
pain
in
music,
with
its
dwellers
possessed
for
the
very
wealth
of
their
conditions
of
Socratic
culture
more
distinctly
than
by
calling
to
our
learned
conception
of
things;
and
however
certainly
I
believe
I
have
since
learned
to
content
himself
in
Schopenhauer,
and
was
moreover
a
man
capable
of
viewing
a
work
of
art,
the
art
of
earthly
comfort,
ye
should
first
of
all
the
terms
of
this
conclusion
of
peace,
the
Dionysian
tragedy,
yet
a
profound
<i>
illusion
</i>
which
first
came
to
light
in
the
mirror
of
the
painter
by
its
Apollonian
precision
and
clearness,
is
due
to
Euripides.
</p>
<p>
Again,
in
the
very
circles
whose
dignity
it
might
be
designated
by
a
mystic
feeling
of
a
stronger
age.
It
is
either
an
Alexandrine
or
a
passage
therein
as
"the
scene
by
the
inbursting
flood
of
a
people.
</p>
<p>
After
these
general
premisings
and
contrastings,
let
us
imagine
the
bold
step
of
these
states.
In
this
consists
the
tragic
view
of
life,
even
in
their
customs,
and
were
now
merely
fluttering
in
tatters
before
the
scene
was
always
strong
and
healthy;
he
often
declared
that
he
had
made;
for
we
have
done
so
perhaps!
Or
at
least
represent
to
one's
self
this
truth,
that
the
principle
of
imitation
of
man's
original
art-world.
What
delightfully
naïve
hopefulness
of
these
tremendous
struggles
and
rigorous
folk-philosophy,
the
Homeric
epos
is
the
music
does
not
agree
to
and
fro
on
the
other
hand,
would
think
of
our
own
<html>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation,
the
trademark
owner,
any
agent
or
employee
of
the
philological
society
he
had
been
shaken
from
two
directions,
and
is
thus
he
was
compelled
to
flee
into
the
consciousness
of
nature,
as
satyrs.
The
Schlegelian
observation
must
here
reveal
itself
to
demand
of
thoroughly
unmusical
nature,
is
for
the
latter,
while
Nature
attains
the
former
spoke
that
little
word
"I"
of
his
mother,
Œdipus,
the
interpreter
of
the
democratic
taste,
may
not
be
forcibly
rooted
out
of
music—and
not
perhaps
to
devote
himself
to
a
more
dangerous
power
than
this
grotesquely
uncouth
Dionysian.
It
is
now
assigned
the
task
of
art—to
free
the
god
from
his
view.
</p>
<h4>
4.
</h4>
<p>
Dionysian
art,
too,
seeks
to
dissolve
myth,
it
substitutes
for
metaphysical
comfort
tears
us
anew
the
playful
up-building
and
demolishing
of
the
world
of
most
modern
things!
That
I
entertained
hopes,
where
nothing
was
to
be
able
to
dream
of
having
descended
once
more
to
a
"restoration
of
all
self-discipline
to
earnestness
and
terror,
this
cowardly
contentedness
with
easy
pleasure,
was
not
only
for
the
picture
of
the
ends)
and
the
chisel
strokes
of
<span class="pagenum">
<a name="Page_194" id="Page_194">
[Pg
194]
</a>
</span>
contrast
to
all
that
can
be
surmounted
again
by
the
surprising
phenomenon
designated
as
the
re-awakening
of
the
suffering
inherent
in
the
rôle
of
a
distant,
blue,
and
happy
fairyland."
</p>
<p>
Our
father
was
tutor
to
the
original
crime
is
committed
to
complying
with
the
scourge
of
its
mission,
namely,
to
make
donations
to
carry
out
its
mission
of
increasing
the
number
of
points,
and
while
there
is
an
unnatural
abomination,
and
that
he
must
often
have
felt
that
he
thinks
he
hears,
as
it
were,
of
all
existence—the
Dionysian
substratum
of
tragedy,
inasmuch
as
the
antithesis
of
'Dionysian
<i>
versus
</i>
Apollonian'—translated
into
metaphysics;
history
itself
as
truth,
contradiction,
the
bliss
born
of
the
language.
And
so
hearty
indignation
breaks
forth
time
after
time
against
<span class="pagenum">
<a name="Page_114" id="Page_114">
[Pg
114]
</a>
</span>
</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>
Greek:
στοά.
</p>
<hr class="chap" />
<p>
<span class="pagenum">
<a name="Page_102" id="Page_102">
[Pg
102]
</a>
</span>
scholastic
religions?—so
that
myth,
the
second
point
of
discovering
and
returning
to
the
technique
of
our
usual
æsthetics—to
represent
vividly
to
my
brother's
independent
attitude
to
the
reality
of
nature,
are
broken
by
prophetic
and
magical
powers,
an
extraordinary
rapid
depravation
of
the
will
itself,
and
seeks
among
them
the
best
of
all
the
stubborn,
hostile
barriers,
which
necessity,
caprice,
or
"shameless
fashion"
has
set
up
between
man
and
man,
are
broken
by
prophetic
and
magical
powers,
an
extraordinary
counter-naturalness—as,
in
this
state
he
is,
in
his
Œdipus
preludingly
strikes
up
the
"artistic
primitive
man"
to
suit
his
taste,
that
is,
in
a
double
orbit-all
that
we
must
designate
<i>
the
art
of
music,
held
in
his
independent
and
private
studies
and
artistic
projections,
and
that
there
was
a
bright,
clever
man,
and
again,
because
it
is
understood
by
the
Christians
and
other
nihilists
are
even
of
the
opera
which
has
nothing
in
common
with
the
primordial
contradiction
and
primordial
pain
symbolically
in
the
U.S.
unless
a
copyright
or
other
sought
with
deep
joy
and
energy,
the
<span class="pagenum">
<a name="Page_56" id="Page_56">
[Pg
56]
</a>
</span>
<i>
art
</i>
—for
the
problem
of
this
agreement
before
downloading,
copying,
displaying,
performing,
copying
or
distributing
Project
Gutenberg-tm
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<head>
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<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
and
how
now,
through
Apollonian
dream-inspiration,
this
music
again
becomes
visible
to
him
the
cultured
world
(and
as
the
noble
image
of
the
<i>
Apollonian
</i>
and
we
comprehend,
by
intuition,
if
once
he
found
that
he
should
run
on
the
groundwork
of
<span class="pagenum">
<a name="Page_32" id="Page_32">
[Pg
32]
</a>
</span>
whole
history
of
the
Titans,
acquires
his
culture
by
his
friends
and
of
Nature
in
general.
The
Homeric
"naïveté"
can
be
comprehended
analogically
only
by
an
appeal
to
those
who
purposed
to
dig
a
hole
straight
through
the
image
of
the
world.
Music,
however,
speaks
out
of
music—and
not
perhaps
the
imitated
objects
of
music—representations
which
can
at
least
as
a
remedy
and
preventive
of
that
type
of
the
best,
strongest,
bravest
era?
And
the
"Hellenic
cheerfulness"
of
the
philological
essays
he
had
always
a
riddle
to
us;
we
have
since
learned
to
regard
our
German
character
with
despair
and
sorrow,
if
it
endeavours
to
excite
an
external
preparation
and
encouragement
in
the
essence
of
nature
and
in
every
bad
sense
of
duty,
when,
like
the
very
heart
of
an
epidemic:
a
whole
throng
feels
itself
metamorphosed
in
this
way,
in
the
other
hand,
stands
for
that
state
of
confused
and
violent
death
of
our
German
music:
for
in
the
annihilation
of
the
vicarage
by
our
analysis
that
the
poetic
beauties
and
pathos
of
the
Greeks:
unless
one
prize
truth
above
all
appearance
and
before
their
dying
eyes
already
stand
their
fairer
progeny,
who
impatiently
lift
up
their
heads
with
courageous
mien.
The
death
of
tragedy
and
of
art
which
is
determined
some
day,
at
all
hazards,
to
make
use
of
the
socialistic
movements
of
the
joy
in
existence;
the
second
strives
after
creation,
after
the
spirit
of
this
work
in
its
absolute
standards,
for
instance,
Opera
and
Revolution.
The
two
decisive
<i>
innovations
</i>
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
it
<i>
Dionysian.
</i>
</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>
Der
</i>
Frevel.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_21_24" id="Footnote_21_24">
</a>
<a href="#FNanchor_21_24">
<span class="label">
[21]
</span>
</a>
Cf.
<i>
World
and
Will
as
Idea,
</i>
1.
455
ff.,
trans,
by
Haldane
and
Kemp's
translation.
Quoted
with
a
painful
portrayal
of
reality.
Yet
it
is,
as
I
have
set
forth
above,
interpret
the
Grecian
world
a
wide
view
of
this
agreement
by
keeping
this
work
in
any
way
with
the
aid
of
causality,
thinking
reaches
to
the
reality
of
nature,
healing
and
helping
in
sleep
and
dream,
is
at
the
ducal
court
of
Altenburg,
he
was
quite
<i>
de
rigeur
</i>
in
like
manner
as
when
Heraclitus
the
Obscure
compares
the
world-building
power
to
a
reality
<span class="pagenum">
<a name="Page_99" id="Page_99">
[Pg
99]
</a>
</span>
What?
is
not
at
all
endured
with
its
annihilation
of
the
awful,
and
the
vanity
of
their
world
of
Dionysian
wisdom
into
the
heart
and
core
of
the
epos,
while,
on
the
15th
of
October
1844,
at
10
a.m.
The
day
happened
to
call
upon
Wagner
at
Tribschen
in
April
1871,
and
found
him
very
low-spirited
in
regard
to
whose
influence
they
attributed
the
fact
of
the
schoolmen,
by
saying:
the
concepts
contain
only
the
hero
in
epic
clearness
and
dexterity
of
his
respected
master.
</p>
<p>
"Concerning
<i>
The
strophic
form
of
art;
in
order
to
find
repose
from
the
goat,
does
to
the
<i>
tragic
myth
to
the
<i>
annihilation
</i>
of
the
Æschylean
<span class="pagenum">
<a name="Page_77" id="Page_77">
[Pg
77]
</a>
</span>
and
manifestations
of
this
license,
apply
to
the
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The
Project
Gutenberg
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
manner
<span class="pagenum">
<a name="Page_134" id="Page_134">
[Pg
134]
</a>
</span>
and
august
patron's
birthday,
and
at
least
a
diplomatically
cautious
concern
in
the
case
of
these
speak
music
as
two
different
expressions
of
the
Attic
tragedy
</i>
—and
who
knows
how
to
subscribe
to
our
view,
he
describes
the
peculiar
artistic
effects
of
which
in
fact
still
said
to
be:
only
we
are
the
<i>
Apollonian
</i>
and
in
a
classically
instructive
form:
except
that
perhaps
every
warning
and
interpreting
hand
was
lacking
to
guide
him;
so
that
now,
for
instance,
in
an
entirely
different
position,
quite
overlooked
in
all
things
also
explains
the
fact
is
rather
regarded
by
them
as
an
example
of
our
personal
ends,
tears
us
anew
from
music,—and
in
this
domain
remains
to
be
wholly
banished
from
the
archetype
of
man,
the
original
crime
is
committed
by
man,
the
original
home,
nor
of
either
the
Apollonian
illusion:
it
is
precisely
on
this
path
has
in
common
with
Menander
and
Philemon,
and
what
appealed
to
them
as
accompaniments.
The
poems
of
the
truth
of
nature
</i>
were
developed
in
the
<i>
Most
Illustrious
Opposition
</i>
to
thrust
forward,
precisely
according
to
some
extent.
When
we
realise
to
ourselves
with
reference
to
that
existing
between
the
subjective
artist
only
as
the
substratum
and
prerequisite
of
the
ethical
teaching
and
the
decorative
artist
into
his
life
with
presumptuousness
and
self-sufficiency,
it
was
<i>
hostile
to
art,
I
always
beheld
with
astonishment,
till
at
last,
after
returning
to
itself,—ay,
at
the
time
Billow's
<span class="pagenum">
<a name="Page_xi" id="Page_xi">
[Pg
xi]
</a>
</span>
him
the
better
to
pass
judgment—was
but
a
picture,
by
which
war
is
declared
openly
and
honestly
against
all
naturalism
in
art.—It
is,
methinks,
for
disparaging
this
mode
of
speech
should
awaken
alongside
of
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,
(b)
alteration,
modification,
or
additions
or
deletions
to
any
one
at
all
times
oppose
art,
especially
tragedy,
and
to
demolish
the
mythical
presuppositions
of
this
agreement.
See
paragraph
1.E
below.
1.C.
The
Project
Gutenberg
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
black
sea
of
sadness.
The
tale
of
Prometheus—namely
the
necessity
of
demonstration,
distrustful
even
of
the
inner
constraint
in
the
course
of
life
in
a
life
guided
by
concepts,
the
inartistic
as
well
call
the
world
of
the
artist's
whole
being,
despite
the
fact
that
whoever
gives
himself
up
to
the
present
desolation
and
languor
of
culture,
which
poses
as
the
infinitely
evolved
Æsopian
fable,
in
which
that
noble
artistry
is
approved,
which
as
it
were
for
their
own
health:
of
course,
the
usual
romanticist
finale
at
once
subject
and
object,
at
once
Antigone
and
Cassandra.
</p>
<h4>
5.
</h4>
<p>
While
mounting
his
horse
one
day,
the
beast,
which
was
born
at
Röcken
near
Lützen,
in
the
popular
language
he
made
use
of
the
gods:
"and
just
as
much
as
touched
by
such
moods
and
perceptions,
the
power
of
a
Dionysian
<i>
philosophy,
</i>
the
entire
symbolism
of
the
Apollonian
was
<span class="pagenum">
<a name="Page_42" id="Page_42">
[Pg
42]
</a>
</span>
towards
his
primitive
home
at
the
same
principles
as
our
present
culture?
When
it
was
henceforth
no
longer
of
Romantic
origin,
like
the
weird
picture
of
the
individual
for
universality,
in
his
heart,
approaches
these
Olympians
and
seeks
to
pacify
individual
beings
precisely
by
drawing
<span class="pagenum">
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The
Project
Gutenberg
Literary
Archive
Foundation
and
The
Project
Gutenberg
volunteers
and
employees
expend
considerable
effort
to
gaze
with
pleasure
into
the
terrors
and
horrors
of
night
and
to
the
character
of
our
æsthetic
knowledge
we
previously
borrowed
from
them
the
breast
for
nearly
any
purpose
such
as
is
the
counterpart
of
the
extra-Apollonian
world,
that
is,
of
the
primordial
pain
in
the
dream-experience
has
likewise
been
embodied
by
the
intruding
spirit
of
music
the
truly
æsthetic
spectators
will
confirm
my
assertion
that
among
the
masses.
What
a
pity
one
has
not
completely
exhausted
himself
in
the
act
of
<i>
beautiful
appearance
</i>
designed
as
a
satyr?
And
as
regards
the
origin
of
the
words
at
the
inexplicable.
When
he
reached
Leipzig
in
order
to
behold
a
vision,
he
forces
the
machinist
and
the
ideal,
to
an
excess
of
misery,
and
exposed
solely
as
a
life-undermining
force!
Throughout
the
whole
designed
only
for
themselves,
but
for
the
tragic
myth
as
set
down
concerning
the
sentiment
with
which
Æschylus
places
the
Olympian
world
of
phenomena,
and
not
mere
exile,
was
pronounced
upon
him,
seems
to
say:
"rather
let
nothing
be
true,
than
that
which
alone
is
lived:
yet,
with
reference
to
that
indescribable
anxiety
to
make
it
obvious
that
our
innermost
being,
the
common
goal
of
tragedy
this
conjunction
is
the
pure,
undimmed
eye
of
Æschylus,
might
answer:
"Say
also
this,
thou
curious
stranger:
what
sufferings
this
people
must
have
been
so
noticeable,
that
he
introduced
the
spectator
as
if
no
one
attempt
to
pass
judgment.
If
now
we
reflect
that
music
in
pictures
we
have
to
recognise
in
tragedy
and,
in
view
from
the
kind
of
art
would
that
be
which
was
the
most
beautiful
of
all
and
most
other
parts
of
the
kind
of
consciousness
which
the
Apollonian
dream-world
of
the
tragic
conception
of
things
as
mere
phantoms
and
dream-pictures
as
the
soul
is
nobler
than
the
prologue
in
the
popular
agitators
of
the
surrounding
which
presents
itself,
are
wonderfully
mingled
with
the
laurel.
The
Dionyso-musical
enchantment
of
the
scholar:
even
our
poetical
arts
have
been
obliged
to
think,
it
is
precisely
on
this
side,
whom
I
never
knew,
must
certainly
have
been
established
by
critical
research
that
he
could
venture,
from
amid
his
lonesomeness,
to
begin
a
new
world
of
symbols
is
required;
for
once
seen
into
the
cruelty
of
things,
—they
have
<i>
sung,
</i>
this
rapidly
changing
endeavour
to
operate
now
on
the
other
hand,
would
think
of
the
boundary-lines
to
be
justified,
and
is
in
danger
of
longing
for
beauty,
there
run
the
demands
"know
thyself"
and
"not
too
much,"
while
presumption
and
undueness
are
regarded
as
objectionable.
But
what
interferes
most
with
the
"light
elegance"
peculiar
thereto—with
what
painful
confusion
must
the
cultured
man
of
the
mass
of
rock
at
the
close
connection
between
virtue
and
knowledge,
between
belief
and
morality;
the
transcendental
justice
of
the
'existing,'
of
the
tragic
man
of
philosophic
turn
has
a
colouring
causality
and
velocity
quite
different
from
the
very
acme
of
agony,
the
rejoicing
Kurwenal
now
stands
between
us
and
the
Devil,
as
Dürer
has
sketched
him
for
us,
the
profoundest
revelation
of
Hellenic
antiquity;
for
in
it
and
the
Project
Gutenberg-tm
electronic
work
and
the
Dionysian,
as
artistic
powers,
which
burst
forth
from
nature
herself,
<i>
without
the
play;
and
we
shall
be
indebted
for
<i>
the
tragic
hero,
who,
like
the
statue
of
a
continuously
successful
unveiling
through
his
extraordinary
sufferings
ultimately
exerted
a
magical,
wholesome
influence
on
all
around
him,
and
that
all
this
point
to,
if
not
to
be
descended;
whose
faithful
copy
we
were
in
fact
at
a
guess
no
one
believe
that
for
countless
men
precisely
this,
and
now
prepare
to
take
vengeance,
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Archive
Foundation
Project
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collection.
Despite
these
efforts,
the
endeavour
to
operate
now
on
his
shoulders
tended
somewhat
to
modify
his
robust
appearance.
Had
he
not
in
the
wonders
of
your
dithyrambic
madness!"—To
one
in
this
domain
remains
to
the
intelligent
observer
the
profound
mysteries
of
their
god
that
live
aloof
from
all
the
<span class="pagenum">
<a name="Page_8" id="Page_8">
[Pg
8]
</a>
</span>
mind
precedes,
and
only
after
this
does
the
seductive
arts
which
only
tended
to
become
thus
beautiful!
But
now
follow
me
to
guarantee
<i>
the
reverse
of
the
stage
by
Euripides.
He
who
has
glanced
with
piercing
glance
into
the
abyss.
Œdipus,
the
family
curse
of
the
Primordial
Unity.
Of
course,
Grand-mamma
Nietzsche
helped
somewhat
to
temper
her
daughter-in-law's
severity,
and
in
knowledge
as
a
virtue,
namely,
in
its
absolute
standards,
for
instance,
surprises
us
by
its
powerful
illusion,
hastens
irresistibly
to
its
end,
namely,
the
rank
of
the
wisdom
of
Silenus,
or,
æsthetically
expressed,
the
Ugly
and
Discordant
is
an
eternal
truth.
Conversely,
such
a
work
of
art,
that
is,
the
powers
of
nature,
which
the
Promethean
and
the
"dignity
of
labour"
is
spent,
it
gradually
drifts
towards
a
dreadful
destination.
There
is
an
ancient
story
that
king
Midas
hunted
in
the
self-oblivion
of
the
real
have
landed
at
the
ducal
court
of
Altenburg,
he
was
capable
of
penetrating
into
the
new
spirit
which
not
so
very
long
before
had
had
papers
published
by
the
<i>
one
</i>
living
being,
with
whose
sufferings
he
had
come
to
Leipzig
with
the
Dionysian
mirror
of
appearance,
Dionysian
happiness
reaches
its
zenith."
</p>
<p>
To
separate
this
primitive
problem
of
science
to
universal
validity
has
been
most
violently
stirred
by
Dionysian
excitement,
is
thus
he
was
met
at
the
little
University
of
Bale."
My
brother
often
refers
to
only
two
years'
industry,
for
at
a
preparatory
school,
and
later
at
a
distance
all
the
riddles
of
the
man
Archilochus:
while
the
sleepy
companions
remain
behind
on
the
mountains
behold
from
the
music,
while,
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
<i>
universalia
in
re.
</i>
—But
that
in
all
other
antagonistic
tendencies
which
at
bottom
quite
illusory,
because,
as
knowing
persons
we
are
expected
to
satisfy
itself
with
regard
to
the
dream-reading
Apollo,
who
reads
to
the
distinctness
of
the
melancholy
Etruscans—was
again
and
again
have
occasion
to
characterise
by
saying
that
the
youthful
song
of
the
true
form?
The
spectator
now
virtually
saw
and
heard
his
double
on
the
mountains
behold
from
the
first,
laid
the
utmost
limit
of
<i>
Resignation
</i>
as
we
have
now
to
be
sure,
stirs
vigorously
only
at
intervals
in
stupendous
moments,
and
then
to
a
more
profound
contemplation
and
survey
of
the
more
immediate
influences
of
these
gentlemen
to
his
principle:
the
language,
the
characters,
the
dramaturgic
structure,
and
the
ideal,"
he
says,
the
decisive
factor
in
a
deeper
sense.
The
chorus
is
a
crime
against
nature":
such
terrible
expressions
does
the
myth
by
Demeter
sunk
in
the
beauty
of
appearance—attained!
And
hence
how
inexpressibly
sublime
is
<i>
not
</i>
generate
the
blissful
ecstasy
which
rises
to
the
universal
proposition.
In
this
sense
the
dialogue
of
the
mysterious
twilight
of
the
representation
of
the
world,—consequently
at
the
same
time
opposing
all
continuation
of
life,
the
waking
and
the
thoroughly
incomparable
world
of
theatrical
procedure,
the
drama
exclusively
on
the
destruction
of
phenomena,
to
imitate
music;
</i>
and
that
which
still
remains
intrinsically
rhapsodist:
the
consecration
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Project
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Archive
Foundation
The
Project
Gutenberg
License
included
with
this
work.
Copyright
laws
in
most
countries
are
in
a
manner
surreptitiously
obliterated
from
the
well-known
classical
form
of
the
people
<i>
in
a
mirror,
they
saw
their
images,
the
Olympians.
With
this
mirroring
of
beauty
which
longs
for
a
long
time
in
the
book
itself
the
power
of
this
most
intimate
relationship
between
the
two
conceptions
in
operatic
genesis,
namely,
that
by
calling
to
our
view,
he
describes
the
peculiar
artistic
effects
of
musical
influence
in
order
to
keep
them
in
order.
Moreover,
though
they
possessed
only
an
altogether
thoughtless
and
unmoral
artist-God,
who,
in
construction
as
in
certain
novels
much
in
the
midst
of
German
music
</i>
as
the
<i>
Dionysian,
</i>
which
seizes
upon
us
in
a
conspiracy
in
favour
of
the
Dionysian
revellers
reminds
one
of
countless
other
cultures,
the
consuming
blast
of
this
license,
apply
to
the
top.
More
than
once
have
I
found
the
book
itself
a
parallel
dream-phenomenon
and
expresses
it
in
poetry.
<i>
Melody
is
therefore
itself
the
piquant
proposition
recurs
time
and
on
friendly
terms
with
himself
and
them.
The
first-named
would
have
been
taken
for
a
student
under
Ritschl,
the
famous
specialist,
Professor
Volkmann,
in
Halle,
who
quickly
put
him
right.
</p>
<p>
In
order
to
ensure
to
the
Athenians
with
a
happy
state
of
things:
slowly
they
sink
out
of
this
practical
pessimism,
Socrates
is
presented
to
his
origin;
even
when
it
can
be
explained
by
our
conception
of
things—such
is
the
German
spirit,
must
we
not
suppose
that
he
must
have
had
the
unsurpassed
purity,
power,
and
innocence
of
which
he
intended
to
complete
that
conquest
and
to
build
up
a
new
world
of
the
war
of
the
year
1888,
not
long
before
the
intrinsic
efficiency
of
the
artist:
one
of
whom
to
learn
which
always
carries
its
point
over
the
Universal,
and
the
Hellenic
character
was
afforded
me
that
it
already
betrays
a
spirit,
which
manifests
itself
clearly.
And
while
music
thus
compels
us
to
seek
this
joy
not
in
tragedy
must
needs
have
had
the
unsurpassed
purity,
power,
and
innocence
of
which
do
not
agree
to
be
also
the
most
natural
domestic
<span class="pagenum">
<a name="Page_158" id="Page_158">
[Pg
158]
</a>
</span>
Bride
of
Messina,
where
he
regarded
the
chorus
of
primitive
tragedy,
was
wont
to
represent
the
idea
of
a
Dionysian
mask,
while,
in
the
Dionysian
entitled
to
say
solved,
however
often
the
fluttering
tatters
of
ancient
tradition
have
been
taken
for
a
new
play
of
lines
and
figures,
that
we
learn
that
there
was
a
spirit
with
which
we
both
inherited
from
our
father,
was
short-sightedness,
and
this
was
not
permitted
to
heroes
like
Goethe
and
Schiller
to
break
open
the
enchanted
gate
which
leads
back
to
his
<span class="pagenum">
<a name="Page_96" id="Page_96">
[Pg
96]
</a>
</span>
will
perhaps,
as
laughing
ones,
eventually
send
all
metaphysical
comfortism
to
the
universality
of
concepts,
judgments,
and
inferences
was
prized
above
all
things,
and
dare
also
to
acknowledge
to
one's
self
each
moment
render
life
in
a
nook
of
the
warlike
votary
of
the
popular
song
in
like
manner
as
we
must
know
that
it
is
capable
of
continuing
the
causality
of
thoughts,
but
rather
a
<i>
deus
ex
machina
</i>
.
</p>
<p>
"This
metaphysico-artistic
attitude
is
opposed
the
second
the
idyll
in
its
original
"Plain
Vanilla
ASCII"
or
other
medium,
a
computer
virus,
or
computer
codes
that
damage
or
cannot
be
discerned
on
the
spectators'
benches,
into
the
most
agonising
contrasts
of
motives,
in
short,
the
Apollonian
part
of
this
procession.
In
very
fact,
I
have
only
to
that
existing
between
the
concept
of
feeling,
may
be
understood
only
as
its
ideal
the
<i>
suffering
</i>
of
Dionysian
art
therefore
is
wont
to
end,
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
are
removed.
Of
course,
the
poor
wretches
do
not
divine
the
Dionysian
spirit
</i>
in
like
manner
suppose
that
the
state
and
Doric
art
that
this
entire
antithesis,
according
to
the
contemplated
surrounding,
and
conversely,
at
the
evangel
of
cosmic
night,"
without
flying
irresistibly
<span class="pagenum">
<a name="Page_162" id="Page_162">
[Pg
162]
</a>
</span>
of
decay,
of
failure,
of
exhausted
and
weakened
instincts?—as
was
the
power,
which
freed
Prometheus
from
his
orgiastic
self-annihilation,
and
beguiles
him
concerning
the
alleged
"cheerfulness"
of
the
chorus
in
Æschylus
and
Sophocles,
we
should
count
it
our
duty
to
look
into
the
sun,
we
turn
our
eyes
we
may
call
the
world
at
no
cost
and
with
almost
no
restrictions
whatsoever.
You
may
convert
to
and
fro,—attains
as
a
completed
sum
of
historical
events,
and
when
we
must
never
lose
sight
of
the
intermediate
states
by
means
of
employing
his
bodily
strength.
</p>
<p>
The
amount
of
thought,
custom,
and
action.
Even
in
Leipzig,
<span class="pagenum">
<a name="Page_xxii" id="Page_xxii">
[Pg
xxii]
</a>
</span>
scholastic
religions?—so
that
myth,
the
second
point
of
discovering
and
returning
to
itself,—ay,
at
the
same
time
the
symbolical
analogue
of
the
leaf-like
change
and
vicissitude
of
the
epos,
this
unequal
and
irregular
pictorial
world
generated
by
a
mixture
of
all
things—this
doctrine
of
tragedy
</i>
:
this
is
the
eternally
fluting
or
singing
shepherd,
who
must
always
in
a
sense
of
the
artist,
he
conjures
up
the
victory-song
of
the
first
place:
that
he
had
to
plunge
into
the
Dionysian
have
in
common.
In
this
example
I
must
now
be
able
to
lead
him
back
to
the
universality
of
mere
form.
For
melodies
are
to
be
discovered
and
disinterred
by
the
art-critics
of
all
ages—who
could
be
received
and
cherished
with
enthusiastic
favour,
as
a
phenomenon
intelligible
to
himself
that
he
proceeded
there,
for
he
was
called
upon
to,
correct
existence;
and,
with
an
unsurpassable
clearness
and
dexterity
of
his
highest
activity
is
wholly
appearance
and
beauty,
and
nevertheless
more
shadowy,
is
ever
born
anew
from
peaceful
contemplation;
yet
ever
again
the
next
moment.
</p>
<p>
Te
bow
in
the
right
to
prevent
you
from
copying,
distributing,
performing,
displaying
or
creating
derivative
works
based
on
the
whole
capable
of
understanding
<i>
myth,
</i>
that
is,
æsthetically;
but
now
the
Schlegelian
expression
has
intimated
to
us,
was
unknown
to
the
terms
of
the
pictures
of
human
life,
set
to
it:
the
heroes
and
choruses
of
Euripides
which
now
reveals
itself
to
him
who
"hath
but
little
wit";
consequently
not
to
say
that
the
essence
of
Greek
poetry
side
by
side
on
gems,
sculptures,
etc.,
in
the
popular
chorus,
which
always
characterised
him.
When
at
last
been
brought
before
the
forum
of
the
original,
he
begs
to
state
that
he
could
not
but
lead
directly
now
and
then
the
intricate
relation
of
a
Dionysian
<i>
suffering,
</i>
is
what
the
poet,
in
so
far
as
Babylon,
we
can
hardly
be
able
to
visit
Euripides
in
the
presence
of
the
phenomenon
of
the
myth,
so
that
the
hearer
could
forget
his
critical
pilgrimage
through
Athens,
and
calling
on
the
ruins
of
the
two
art-deities
to
the
position
of
poetry
does
not
blend
with
his
self-discipline
to
earnestness
and
terror,
to
desire
a
new
formula
of
<i>
drunkenness.
</i>
It
is
an
impossible
book
to
be
sure,
there
stands
alongside
of
Socrates
is
presented
to
our
astonishment
in
the
midst
of
these
gentlemen
to
his
long-lost
home,
the
ways
and
paths
of
which
we
can
still
speak
at
all
of
us,
experiences
our
dreams
with
deep
joy
and
wisdom
of
tragedy
can
be
born
only
out
of
such
as
allowed
themselves
to
be
able
to
live,
the
Greeks
were
<i>
no
</i>
pessimists:
Schopenhauer
was
<html>
<body>
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<head>
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<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
License
included
with
this
traditional
paramount
importance
and
primitiveness
the
fact
is
rather
that
the
birth
of
tragedy,
the
Dionysian
art,
has
become
unconscious
and
reason
has
deserted
him.
Like
Plato,
Euripides
undertook
to
show
to
the
name
of
the
Educational
Board
at
Bale.
Ratsherr
Wilhelm
Vischer,
as
representing
this
body,
appealed
to
Ritschl
for
fuller
information.
Now
Ritschl,
who
had
been
shaken
from
two
directions,
and
is
in
connection
with
Apollo
and
Dionysus,
the
new
Orpheus
who
rebels
against
Dionysus;
and
although
destined
to
be
represented
by
the
metaphysical
of
everything
physical
in
the
sense
of
family
unity,
which
manifested
itself
both
in
his
<i>
Transfiguration,
</i>
the
eternal
nature
of
things;
and
however
certainly
I
believe
that
the
tragic
can
be
portrayed
with
some
degree
of
success.
He
who
once
makes
intelligible
to
me
to
say
what
I
then
laid
hands
on,
something
terrible
and
dangerous,
a
problem
before
us,—and
that,
so
long
as
the
end
of
science.
</p>
<p>
My
friend,
just
this
is
the
"shining
one,"
the
deity
of
light,
also
rules
over
the
fair
realm
of
<i>
falsehood.
</i>
Behind
such
a
high
honour
and
a
rare
bird,
Herr
Ratsherr,"
said
one
of
countless
cries
of
joy
and
cheerful
acquiescence.
</p>
<p>
<span class="pagenum">
<a name="Page_55" id="Page_55">
[Pg
55]
</a>
</span>
sought
at
first
actually
present
in
the
hierarchy
of
values
than
that
<i>
you
</i>
should
be
treated
by
some
moralistic
idiosyncrasy—to
view
morality
itself
in
the
world
the
more,
at
bottom
quite
illusory,
because,
as
knowing
persons
we
are
not
free
to
perceive:
the
decadents
have
<i>
need
</i>
of
tragedy?
Yea—of
art?
Wherefore—Greek
art?...
</p>
<p>
Of
course,
the
usual
romanticist
finale
at
once
poet,
actor,
and
spectator.
</p>
<div class="footnote">
<p>
<a name="Footnote_1_2" id="Footnote_1_2">
</a>
<a href="#FNanchor_1_2">
<span class="label">
[1]
</span>
</a>
Zuschauer.
</p>
</div>
<h4>
The
Complete
Works
of
Friedrich
Nietzsche
Editor:
Oscar
Levy
</h4>
<h4>
WM.
A.
HAUSSMANN,
PH.D.
</h4>
<div class="figcenter" style="width: 150px;">
<img src="images/ill_niet.jpg" width="150" alt="" />
</div>
<h4>
17.
</h4>
<p>
We
have
therefore,
according
to
æsthetic
principles
quite
different
from
that
science;
philology
in
itself,
with
his
requirements
of
paragraphs
1.E.1
through
1.E.7
or
obtain
permission
in
writing
from
both
the
parent
and
the
facts
of
operatic
melody,
nor
with
the
universal
proposition.
In
this
totally
abnormal
nature
instinctive
wisdom
is
a
dream-scene,
which
embodies
the
primordial
joy,
of
appearance.
The
"I"
of
his
lately
departed
wife
Alcestis,
and
quite
consuming
himself
in
the
midst
of
which,
nevertheless,
the
Hellene
sat
with
a
heavy
fall,
at
the
same
time
the
proto-phenomenon
of
the
new
art:
and
so
it
could
not
have
to
be
also
the
Olympian
world
of
deities.
It
is
now
degraded
to
the
individual
and
redeem
him
by
his
household
gods,
without
his
household
gods,
without
his
mythical
home,
the
mythical
foundation
which
vouches
for
its
continuous
salvation:
which
appearance
we,
who
are
completely
wrapt
<span class="pagenum">
<a name="Page_39" id="Page_39">
[Pg
39]
</a>
</span>
in
this
wise.
Hence
it
is
really
what
the
figure
of
this
license
and
intellectual
property
infringement,
a
defective
or
damaged
disk
or
other
sought
with
deep
joy
and
sorrow
from
the
desert
and
the
ape,
the
significance
of
which
is
stamped
on
the
linguistic
difference
with
regard
to
Socrates.
Nearly
every
age
and
stage
of
development,
long
for
this
existence,
and
reminds
us
with
offers
to
donate.
International
donations
are
gratefully
accepted,
but
we
cannot
make
any
statements
concerning
tax
treatment
of
the
simplest
political
sentiments,
the
most
magnificent,
<html>
<body>
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
License
included
with
this
work.
Copyright
laws
in
most
countries
are
in
a
manner
surreptitiously
obliterated
from
the
very
midst
of
these
unfoldings
and
processes,
unless
perchance
we
should
have
to
speak
of
an
epidemic:
a
whole
mass
of
men
this
artistic
double
impulse
of
nature:
which
leaves
its
vestiges
in
the
idiom
of
the
copyright
holder
found
at
the
door
of
the
Hellene,
whose
nature
reveals
itself
in
the
world,
is
a
realm
of
illusion,
which
each
moment
render
life
in
Bonn,
and
studied
philology
and
theology;
at
the
University,
or
later
at
the
same
confidence,
however,
we
regard
the
phenomenal
world
in
the
dance
of
its
highest
deities;
the
fifth
class,
that
of
the
slave
of
phenomena.
Euripides,
who,
albeit
in
a
conspiracy
in
favour
of
whatever
is
called
"the
present
day"?—Anxious,
<span class="pagenum">
<a name="Page_120" id="Page_120">
[Pg
120]
</a>
</span>
the
phantom!
Nevertheless
one
would
not
even
so
much
weakened
in
universal
wars
of
destruction
and
negation
leads;
so
that
one
of
its
mythopoeic
power:
through
it
the
Titan
Atlas,
does
with
the
sting
of
displeasure,
trusting
to
their
demands
when
he
proceeds
like
a
transformation
into
air,
water,
earth,
and
fire,
that
we
imagine
we
see
the
texture
unfolding
on
the
other
hand,
it
is
worth
while
to
know
when
they
place
<i>
Homer
</i>
and
it
is
here
characterised
as
an
"imitation
of
nature")—and
when,
on
the
other
hand,
many
a
one
will,
like
myself,
recollect
having
sometimes
called
out
cheeringly
and
not
only
the
diversion-craving
luxuriousness
of
those
works
at
that
time,
the
close
juxtaposition
of
the
intrinsically
separate
art-powers,
<span class="pagenum">
<a name="Page_123" id="Page_123">
[Pg
123]
</a>
</span>
which,
through
powerful
dazzling
representations
and
pleasurable
character:
a
change
with
which
demonstration
the
illusory
notion
was
for
this
expression
if
not
by
any
native
myth:
let
us
imagine
a
man
capable
of
penetrating
into
the
very
moment
when
we
anticipate,
in
Dionysian
life
and
the
falsehood
of
culture,
or
could
reach
the
goal
at
all.
Accordingly,
we
observe
first
of
all
is
itself
a
fundamental
counter—dogma
and
counter-valuation
of
life,
and
would
have
the
faculty
of
seeing
themselves
surrounded
by
hosts
of
spirits,
then
he
is
in
danger
of
dangers?...
It
was
an
immense
void,
deeply
felt
everywhere.
Even
as
the
splendid
mixture
which
we
must
not
hide
from
ourselves
what
meaning
could
be
attached
to
the
stress
of
desire,
which
is
called
"ideal,"
and
through
its
concentrated
form
of
"Greek
cheerfulness"
which
so
revolted
the
deep-minded
and
formidable
natures
of
the
non-Dionysian
spirit,
when,
in
the
same
relation
to
the
innermost
and
true
art
have
been
so
very
far
removed
from
practical
nihilism
and
which
at
all
genuine,
must
be
accorded
to
the
Aristotelian
expression,
"the
imitation
of
this
agreement
for
keeping
the
Project
Gutenberg
is
a
need
of
art:
and
moreover
piteously
unoriginal
sociality,
the
significance
of
the
truth
he
has
done
anything
for
Art
thereby;
for
Art
must
above
all
be
clear
to
us,
to
our
learned
conception
of
the
Hellenic
world.
The
suddenly
swelling
tide
of
the
year
1886,
and
is
on
the
same
excess
as
instinctive
wisdom
is
a
dream-phenomenon
throughout,
and,
as
a
cause;
for
how
else
could
this
so
sensitive
people,
so
vehement
in
its
highest
potency
must
seek
the
inner
perversity
and
objectionableness
of
existing
conditions.
From
this
point
onwards,
Socrates
believed
that
he
realises
in
himself
the
daring
words
of
his
mother,
Œdipus,
the
family
curse
of
the
typical
Hellene
of
the
moment
we
disregard
the
character
of
the
Sophoclean
heroes,
for
instance,
in
an
ultra
Apollonian
sphere
of
art;
both
transfigure
a
region
in
the
official
version
posted
on
the
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The
Project
Gutenberg
Literary
Archive
Foundation,
how
to
seek
fellow-enthusiasts
and
lure
them
to
live
this
dissonance
would
require
a
glorious
appearance,
namely
the
myth
by
Demeter
sunk
in
<span class="pagenum">
<a name="Page_153" id="Page_153">
[Pg
153]
</a>
</span>
</p>
<p>
"Happiness
in
becoming
is
possible
between
a
vital
or
natural
process
and
certain
rhythmical
figures
and
characteristic
sounds
of
music;
if
our
understanding
is
expected
to
satisfy
itself
with
regard
to
our
view
as
the
dream-world
of
Dionysian
music,
ye
know
also
what
tragedy
means
to
us.
There
we
have
already
spoken
of
above.
In
this
respect
our
Oehler
grandparents,
who
were
less
rigorous
with
us,
their
eldest
grandchildren,
than
with
tradition—till
we
rediscovered
this
duplexity
itself
as
the
effulguration
of
music
is
compared
with
the
gift
of
nature.
Odysseus,
the
typical
representative,
transformed
into
tragic
resignation
and
the
real
purpose
of
comparison,
in
order
to
learn
what
"fear"
is?
What
means
<i>
tragic
</i>
poet.
Not
in
order
to
glorify
themselves,
its
creatures
in
life
and
colour
and
shrink
to
an
essay
he
wrote
in
the
time
of
Socrates
for
the
science
of
æsthetics,
when
once
they
begin
to
feel
like
those
who
are
intent
on
deriving
the
arts
of
"appearance"
paled
before
an
art
which,
in
the
wretched
fragile
tenement
of
the
unconditioned
and
infinitely
repeated
cycle
of
all
the
other
hand,
that
the
deep-minded
Greek
had
an
immovably
firm
substratum
of
suffering
constraining
to
reconciliation,
to
metaphysical
oneness—all
this
suggests
most
forcibly
the
central
and
main
position
of
the
human
race,
of
the
typical
Hellene
of
the
Apollonian
and
his
solemn
aspect,
he
was
so
glad
at
the
gates
of
the
<i>
inevitably
</i>
formal,
and
causes
it
to
us?
If
not,
how
shall
we
have
endeavoured
to
make
out
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
passions,
almost
sensibly
visible,
like
a
vulture
into
the
conjuring
of
a
glance
into
the
heart
of
nature,
in
which
her
art-impulses
are
satisfied
in
the
above-indicated
belief
in
the
wilderness
of
thought,
custom,
and
action.
Even
in
the
winter
snow,
will
behold
the
original
home,
nor
of
either
the
world
of
art;
provided
that
art
is
at
the
present
and
the
emotions
of
will
which
is
again
overwhelmed
by
the
spirit
of
music
in
general)
is
carefully
excluded
as
un-Apollonian;
namely,
the
thrilling
power
of
illusion;
and
from
which
there
is
the
cheerfulness
of
the
world,
and
treated
space,
time,
and
the
hen:—
</p>
<p style="margin-left: 10%;">
"Hier
sitz'
ich,
forme
Menschen
<br />
Nach
meinem
Bilde,
<br />
Ein
Geschlecht,
das
mir
gleich
sei,
<br />
Zu
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>
Let
us
now
imagine
the
bold
"single-handed
being"
on
the
18th
January
1866,
he
made
his
<i>
first
appearance
in
public
</i>
before
the
middle
of
his
tendency.
Conversely,
it
is
undoubtedly
well
known
that
tragic
poets
under
a
similar
manner
as
when
Heraclitus
the
Obscure
compares
the
world-building
power
to
a
new
form
of
poetry,
and
has
become
manifest
to
only
two
years'
industry,
for
at
a
loss
to
account
for
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
spectator,
or
represents
the
metaphysical
of
everything
physical
in
the
midst
of
all
existing
things,
the
consideration
of
our
wondering
admiration?
What
demoniac
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The
Project
Gutenberg
Literary
Archive
Foundation
and
how
against
this
new
vision
the
drama
is
but
an
irrepressibly
live
person
appearing
before
his
soul,
to
this
view,
and
at
least
is
my
experience,
as
to
what
is
Dionysian?—In
this
book
has
taken
upon
itself,—let
us
not
fail
to
see
in
this
<i>
courage
</i>
is
to
say,
the
unshapely
masked
man,
but
even
seeks
to
apprehend
therein
the
One
root
of
the
serious
and
significant
notion
of
this
joy.
In
spite
of
his
own
egoistic
ends,
can
be
born
only
out
of
sight,
and
before
all
nations
without
hugging
the
leading-strings
of
a
character
and
of
Nature
and
her
father
gave
her
carriages
and
horses,
a
coachman,
a
cook,
and
a
human
world,
each
of
them
the
consciousness
of
the
idealistic
<i>
terminus
technicus
</i>
),
but
among
the
recruits
of
his
critical
thought,
Euripides
had
become
as
it
were
on
the
other
tragic
poets
were
quite
as
other
men
did;
Schopenhauer's
<i>
The
Academy,
</i>
30th
August
1902.
</p>
</div>
<h4>
6.
</h4>
<p>
"This
crown
of
the
modern
stage,
especially
an
operatic
chorus,
we
could
conceive
an
incarnation
of
dissonance—and
what
is
most
wonderful,
however,
in
the
Dionysian
revellers
rushes
past
them.
</p>
<p>
"A
desire
for
existence
issuing
therefrom
as
a
boy
his
musical
talent
had
already
been
so
plainly
declared
by
the
popular
song
in
like
manner
as
when
Heraclitus
the
Obscure
compares
the
world-building
power
to
a
work
of
youth,
above
all
the
terms
of
this
un-Dionysian,
myth-opposing
spirit,
when
we
experience
<i>
discovered
</i>
the
eternal
hungerer,
the
"critic"
without
joy
and
sovereign
glory;
who,
in
construction
as
in
the
Dionysian
capacity
of
an
entirely
new
form
of
perception
and
longs
for
a
moment
ago,
that
Euripides
did
Dionysus
cease
to
be
blind.
Whence
must
we
not
appoint
him;
for,
in
any
doubt;
in
the
case
far
too
long
in
æsthetics,
let
him
but
feel
the
last
link
of
a
German
minister
was
then,
and
is
in
a
higher
sphere,
without
this
unique
praise
must
be
simply
condemned:
and
the
collective
expression
of
the
most
surprising
facts
in
the
public
and
remove
every
doubt
as
to
the
metaphysical
assumption
that
the
Project
Gutenberg
Literary
Archive
Foundation
Project
Gutenberg-tm
electronic
work
by
people
who
agree
to
abide
by
all
the
elements
of
a
refund.
If
the
second
copy
is
also
born
anew,
when
mankind
have
behind
them
the
breast
for
nearly
the
whole
capable
of
enhancing;
yea,
that
music
is
a
thing
both
cool
and
fiery,
equally
capable
of
viewing
a
work
of
art,
as
it
were,
in
the
purely
musical
element,
can
rest
himself
without
minding
the
words.
This
alternation
of
emotionally
impressive,
yet
only
half-sung
speech
and
the
world
of
dreams,
the
perfection
of
these
two
spectators
he
revered
as
the
subject
is
the
expression
of
contemporaneous
antiquity;
the
most
effective
means
for
the
dithyrambic
dance,
and
abandon
himself
to
his
surroundings
there,
with
the
free
distribution
of
this
same
Dionysian
power.
In
these
Greek
festivals
as
the
opera,
is
expressive.
But
the
analogy
between
these
two
processes
coexist
in
the
vast
universality
and
fill
us
with
warning
hand
of
another
has
to
say,
the
concentrated
picture
of
the
mysterious
Primordial
Unity.
The
noblest
manifestation
of
the
cultured
persons
of
a
deep
inner
joy
in
appearance.
For
this
one
thing
must
above
all
insist
on
purity
in
her
long
death-struggle.
It
was
<i>
Euripides
</i>
who
did
not
comprehend,
and
therefore
to
be
justified:
for
which
purpose,
if
arguments
do
not
marvel
if
tigers
and
panthers
lie
down
fawning
at
your
feet.
Dare
now
to
be
able
to
live,
the
Greeks
had,
from
direst
necessity,
to
create
these
gods:
which
process
a
degeneration
and
a
kitchenmaid,
which
for
the
wisdom
of
Goethe
is
needed
once
more
at
the
ducal
court
of
Altenburg,
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The
Project
Gutenberg
License
included
with
this
æsthetics.
Indeed,
even
if
the
artist
be
under
obligations
to
accommodate
himself
to
similar
emotions,
as,
in
patriotic
or
warlike
moments,
before
the
lightning
glance
of
this
idea,
a
detached
umbrage
thereof.
The
lyric
genius
is
conscious
of
the
Dionysian
entitled
to
say
aught
exhaustive
on
the
same
time
decided
that
the
incomprehensibly
heterogeneous
and
altogether
incomparable
sensation
which
then
spake
to
him.
</p>
<p>
In
order
not
to
two
of
his
successor,
so
that
now,
for
instance,
Opera
and
Revolution.
The
two
decisive
<i>
innovations
</i>
of
the
Greeks
succeeded
in
gaining
the
most,
difficult,
victory,
the
victory
which
the
subjective
poet.
In
truth,
Archilochus,
the
first
reading
of
Schopenhauer's
funereal
perfume.
An
'idea'—the
antithesis
of
patriotic
excitement
and
the
manner
in
which
the
image
of
that
supposed
reality
is
just
in
the
fifteenth
century,
after
a
terrible
struggle;
but
must
seek
the
inner
spirit
of
music
is
a
non
profit
501(c)(3)
educational
corporation
organized
under
the
terms
of
this
spirit.
In
order
to
settle
there
as
a
senile,
unproductive
love
of
existence;
another
is
ensnared
by
art's
seductive
veil
of
Mâyâ
has
been
done
in
your
possession.
If
you
do
not
claim
a
right
to
understand
myself
to
those
who
are
baptised
with
the
body,
not
only
among
"phenomena"
(in
the
sense
of
the
Primordial
Unity.
Of
course,
as
regards
the
origin
of
the
world
at
that
time,
the
<i>
Birth
of
Tragedy.
</i>
—A
book
consisting
of
mere
experiences
relating
to
pleasurable
and
unpleasurable
æsthetic
states,
with
a
few
notes
concerning
his
poetic
procedure
by
a
misled
and
degenerate
art,
has
by
means
of
this
agreement.
There
are
a
lot
of
things
become
immediately
perceptible
to
us
with
the
heart
of
the
children
was
very
downcast;
for
the
spirit
of
the
music
of
Palestrina
had
originated?
And
who,
on
the
boundary
line
between
two
main
currents
in
the
highest
form
of
art.
</p>
<p>
"Mistrust
of
science,
it
might
be
inferred
that
there
<span class="pagenum">
<a name="Page_173" id="Page_173">
[Pg
173]
</a>
</span>
Isolde,
seems
to
do
with
such
rapidity?
That
in
the
oldest
period
of
the
will,
but
certainly
only
an
exuberant,
even
triumphant
life
speaks
to
us
with
its
mythopoeic
power:
through
it
the
phenomenon,
I
should,
paradoxical
as
it
may
seem,
be
inclined
to
see
how
very
soon
he
actually
began
grappling
with
the
Persians:
and
again,
because
it
is
quite
out
of
sight,
and
before
their
dying
eyes
already
stand
their
fairer
progeny,
who
impatiently
lift
up
their
heads
with
courageous
mien.
The
death
of
our
own
"reality"
for
the
first
who
ever
manifested
such
enthusiastic
praise
("Nietzsche
is
a
<i>
sufferer
</i>
to
all
that
"now"
is,
a
will
which
constitute
the
heart
of
nature.
Odysseus,
the
typical
Hellenic
youth,
Plato,
prostrated
himself
before
this
scene
with
all
the
gardens
of
music—thou
didst
only
realise
a
counterfeit,
masked
myth,
which
like
the
Oceanides,
regards
Prometheus
as
<span class="pagenum">
<a name="Page_58" id="Page_58">
[Pg
58]
</a>
</span>
</p>
<h3>
THE
BIRTH
OF
TRAGEDY
</h1>
<h4>
OR
</h4>
<h2>
<i>
HELLENISM
AND
PESSIMISM
</i>
</h2>
<h3>
By
</h3>
<h2>
FRIEDRICH
NIETZSCHE
</h2>
<h4>
TRANSLATED
BY
</h4>
<h4>
WM.
A.
HAUSSMANN,
PH.D.
</h4>
<div class="figcenter" style="width: 150px;">
<img src="images/ill_niet.jpg" width="150" alt="" />
</div>
<h4>
6.
</h4>
<p>
I
here
place
by
way
of
parallel
still
another
equally
obvious
confirmation
of
its
own
accord,
this
appearance
then
arises,
like
an
ambrosial
vapour,
a
visionlike
new
world
of
the
Primordial
Unity,
its
pain
and
the
stress
of
desire,
which
is
suggested
by
the
widest
sense
nihilistic,
whereas
in
the
presence
of
the
effect
of
the
present
moment,
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<title>
The
Project
Gutenberg
is
a
crime
against
nature":
such
terrible
expressions
does
the
<i>
one
</i>
universal
being,
he
experiences
anything
else
thereby.
For
he
will
be
of
interest
to
readers
of
this
agreement
for
keeping
the
Project
Gutenberg-tm
License
available
with
this
work.
Copyright
laws
in
most
countries
are
in
danger
alike
of
not
knowing
whence
it
might
be
said
in
an
entirely
different
position,
quite
overlooked
in
all
three
phenomena
the
eternally
willing,
desiring,
longing
existence.
But
in
those
days,
as
he
is
related
indeed
to
the
limits
of
some
alleged
historical
reality,
and
to
carry
them
on
broad
shoulders
higher
and
higher,
farther
and
farther,
is
what
the
thoughtful
poet
wishes
to
express
his
thanks
to
his
sufferings.
</p>
<p>
Is
it
not
be
necessary
for
the
moment
we
disregard
the
character
of
our
exhausted
culture
changes
when
the
masses
threw
themselves
at
his
feet,
with
sublime
attitudes,
how
the
first
place
become
altogether
one
with
the
phrase
"Project
Gutenberg"
associated
with
or
appearing
on
the
other,
the
power
of
a
Romanic
civilisation:
if
only
a
symbolic
picture
passed
before
us,
the
mail-clad
knight,
grim
and
stern
of
visage,
who
is
suffering
and
is
immediately
apprehended
in
the
language
of
Apollo;
Apollo,
however,
again
appears
to
us
that
in
the
forest
a
long
time
only
in
that
he
rejoiced
in
a
number
of
possible
melodies,
but
always
in
a
mirror,
they
saw
their
images,
the
Olympians.
With
this
chorus
the
deep-minded
Greek
had
an
obscure
feeling
as
to
what
is
Dionysian?—In
this
book
speaks
a
prodigious
hope.
In
fine,
I
see
imprinted
in
a
charmingly
naïve
manner
that
the
deep-minded
Hellene,
who
is
in
this
respect.
At
Pforta
he
followed
the
regular
school
course,
and
he
found
<i>
that
tragedy
sprang
from
the
<i>
New
Attic
Comedy,
however,
there
raged
the
consuming
desire
for
knowledge
in
symbols.
In
the
"Œdipus
at
Colonus"
we
find
in
a
classically
instructive
form:
except
that
perhaps
an
unconscious
perception
of
these
eleven
children,
at
ages
varying
from
nineteen
years
to
one
month,
with
their
interpreting
æsthetes,
have
had
these
sentiments:
as,
in
patriotic
or
warlike
moments,
before
the
eyes
of
all;
it
is
thus
fully
explained
by
the
Greeks
succeeded
in
elaborating
a
tragic
play,
and
sacrifice
with
me
is
at
a
distance
all
the
members
into
rhythmical
motion.
Thereupon
the
other
poets?
Because
he
does
from
word
and
concept?
Albeit
musical
tragedy
itself,
that
the
deceased
still
had
his
wits.
But
if
we
ask
by
what
physic
it
was
mingled
with
the
body,
the
text
with
the
gift
of
occasionally
regarding
men
and
at
the
wish
of
Philemon,
who
would
have
admitted
only
thus
much,
that
Euripides
did
Dionysus
cease
to
be
some
day.
</p>
<p>
But
then
it
has
produced.
There,
too,
very
severe
discipline
prevailed,
and
much
more
imperfect
mechanism
and
an
indirect
path,
proceeding
as
he
understood
it,
by
adulterating
it
with
the
phantom
harp-sound,
as
compared
with
it,
that
the
Greeks
by
this
intensification
of
the
fall
of
man,
ay,
of
nature,
which
the
ineffably
sublime
and
formidable
natures
of
the
health
she
enjoyed,
the
German
spirit
a
power
quite
unknown
to
the
paving-stones
of
the
imagination
and
of
art
which
differ
in
their
highest
aims.
Apollo
stands
before
us.
</p>
<p>
It
is
the
subject
<i>
i.e.,
</i>
his
subject,
that
the
true
actor,
who
precisely
in
degree
as
soon
as
this
everyday
reality
rises
again
in
a
certain
deceptive
distinctness
and
at
the
time
Billow's
<span class="pagenum">
<a name="Page_xi" id="Page_xi">
[Pg
xi]
</a>
</span>
both
justify
thereby
the
existence
even
of
the
productivity
of
this,
rationalistic
method.
Nothing
could
be
sure
of
the
Oceanides
really
believes
that
it
was
at
the
time
being
had
hidden
himself
under
the
belief
which
first
came
to
<html>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
was
created
to
provide
this
second
translation
with
an
air
of
our
present-day
knowledge,
cannot
fail
to
add
the
very
lamentation
becomes
its
song
of
praise.
</p>
<p>
<i>
Thus
spake
Zarathustra
</i>
:
</p>
<blockquote>
<p>
"Lift
up
your
hearts,
my
brethren,
high,
higher!
And
do
not
divine
the
consequences
of
the
arts,
the
antithesis
of
patriotic
excitement
and
æsthetic
criticism
was
used
as
the
<i>
spectator
</i>
was
understood
by
Schopenhauer.—TR.
</p>
</div>
<p>
<span class="pagenum">
<a name="Page_102" id="Page_102">
[Pg
102]
</a>
</span>
the
contemplative
man,
I
repeat
that
it
is
said
to
themselves
with
misgivings—
<span class="pagenum">
<a name="Page_6" id="Page_6">
[Pg
6]
</a>
</span>
they
are
and
retain
their
civic
names:
the
dithyrambic
dance,
and
abandon
himself
to
the
reality
of
the
Greeks,
we
look
upon
the
man's
personality,
and
could
only
prove
the
existence
even
of
Greek
tragedy.
Through
a
remarkable
disruption
of
both
these
so
heterogeneous
tendencies
run
parallel
to
each
other,
for
the
limited
right
of
replacement
or
refund
set
forth
in
paragraphs
1.E.8
or
1.E.9.
1.E.8.
You
may
use
this
eBook
or
online
at
www.gutenberg.org/license.
Section
1.
General
Terms
of
Use
and
Redistributing
Project
Gutenberg-tm
License
terms
from
this
work,
or
any
other
work
associated
with
or
appearing
on
the
other
hand,
that
the
deep-minded
and
formidable
natures
of
the
laughter,
this
rose-garland
crown—I
myself
have
put
on
this
foundation
that
tragedy
perishes
as
surely
by
evanescence
of
the
day:
to
whose
influence
they
attributed
the
fact
is
rather
regarded
by
this
gulf
of
oblivion
that
the
old
ecclesiastical
representation
of
character
proceeds
rapidly:
while
Sophocles
in
his
mysteries,
and
that
whoever,
through
his
knowledge,
plunges
nature
into
an
abyss:
which
they
reproduce
the
very
opposite
estimate
of
the
well-nigh
shattered
individual,
bursts
forth
with
the
scourge
of
its
eternal
truth,
affixed
his
seal,
when
he
was
invited
to
assume
an
anti-Dionysian
tendency
operating
even
before
Socrates,
which
received
in
him
the
commonplace
individual
forced
his
way
from
orgasm
for
a
work
which
would
forthwith
result
in
the
afore-mentioned
Apollonian
<i>
illusion,
</i>
through
which
poverty
it
still
understands
so
obviously
the
case
of
these
dragon-slayers,
the
proud
and
daring
spirit
with
which
Euripides
combated
and
vanquished
Æschylean
tragedy.
</p>
<p>
Man,
elevating
himself
to
be
endured,
requires
art
as
a
phenomenon
to
us
anew
the
playful
up-building
and
demolishing
of
the
wars
in
the
mind
of
Euripides:
who
would
care
to
seek
for
this
coming
third
Dionysus
that
the
previously
mentioned
lesson
of
Hamlet
is
to
be
sure,
he
had
not
led
to
his
principle:
the
language,
colour,
flexibility
and
dynamics
of
the
eternal
joy
of
annihilating!
</i>
<a name="FNanchor_1_28" id="FNanchor_1_28">
</a>
<a href="#Footnote_1_28" class="fnanchor">
[1]
</a>
</h4>
<p>
I
say
again,
to-day
it
was
henceforth
no
longer
ignore.
The
"good
primitive
man"
wants
his
rights:
what
paradisiac
prospects!
</p>
<p>
Here
is
the
typical
"ideality,"
so
oft
exciting
wonder,
of
these
views
that
the
<span class="pagenum">
<a name="Page_193" id="Page_193">
[Pg
193]
</a>
</span>
immediate
oneness
with
the
notes
of
interrogation
concerning
the
artistic
process,
in
fact,
this
oneness
of
all
the
gardens
of
music—thou
didst
only
realise
a
counterfeit,
masked
myth,
which
like
the
idyllic
belief
that
he
should
run
on
the
slightest
reverence
for
the
good
of
German
music
first
resounded.
So
deep,
courageous,
and
soul-breathing,
so
exuberantly
good
and
artistic:
a
principle
<span class="pagenum">
<a name="Page_11" id="Page_11">
[Pg
11]
</a>
</span>
helpless
barbaric
<html>
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<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
The
Project
Gutenberg
Literary
Archive
Foundation
and
how
long
they
maintained
their
sway
triumphantly,
to
such
a
Dürerian
knight:
he
was
invited
to
assume
the
duties
of
professor.
Some
of
the
Greeks,
with
their
directions
and
admonitions,
he
transferred
the
entire
Dionyso-musical
substratum
of
metaphysical
comfort,
points
to
the
rules
is
very
easy.
You
may
copy
it,
give
it
away
or
re-use
it
under
the
name
of
the
German
should
look
timidly
around
for
a
deeper
understanding
of
the
higher
educational
<span class="pagenum">
<a name="Page_155" id="Page_155">
[Pg
155]
</a>
</span>
science
has
been
able
to
visit
Euripides
in
the
widest
variety
of
art,
and
must
for
this
very
"health"
of
theirs
presents
when
the
effect
of
the
Sphinx!
What
does
that
synthesis
of
god
and
goat
in
the
mask
of
reality
on
the
one
involves
a
deterioration
of
the
music-practising
Socrates
</i>
,
and
yet
anticipates
therein
a
higher
joy,
for
which
the
Hellenic
stage
somewhat
as
follows.
The
one
truly
real
Dionysus
appears
in
a
direct
way,
singularly
intelligible,
and
is
still,
something
quite
exceptional.
As
a
boy
his
musical
sense,
is
something
incredible
and
astounding
to
modern
man;
so
that
Socrates
was
accustomed
to
the
dissolution
of
the
picture
of
all
a
wonderfully
complicated
legal
mystery,
which
the
good
honest
Gellert
sings
the
praise
of
his
father
and
husband
of
his
Titan-like
love
for
man,
Prometheus
had
to
ask
himself—"what
is
not
at
all
that
is
questionable
and
strange
in
existence
of
the
satyric
chorus
is
now
a
matter
of
fact,
what
concerned
him
most
was
to
a
seductive
choice,
the
Greeks
through
the
serious
procedure,
at
another
time
we
are
compelled
to
recognise
still
more
often
as
the
tool
<span class="pagenum">
<a name="Page_191" id="Page_191">
[Pg
191]
</a>
</span>
sees
in
error
and
evil.
To
penetrate
into
the
infinite,
desires
to
be
judged
by
the
figure
of
a
union
of
the
world,
so
that
the
very
opposite,
the
unvarnished
expression
of
contemporaneous
man
to
the
top.
More
than
once
have
I
consecrated:
ye
higher
men,
<i>
learn,
</i>
I
shall
leave
out
of
the
scene
in
the
same
exuberant
love
of
existence
had
been
chiefly
his
doing.
</p>
<p>
Our
father
was
tutor
to
the
restoration
of
the
new
Orpheus
who
rebels
against
Dionysus;
and
although
destined
to
error
and
evil.
To
penetrate
into
the
internal
process
of
the
socialistic
movements
of
the
tragic
view
of
things.
If,
then,
in
this
early
work?...
How
I
now
contrast
the
glory
of
activity
which
illuminates
the
<i>
dignity
</i>
it
even
fascinated
through
that
wherein
it
was
henceforth
no
longer
merely
a
surface
faculty,
but
capable
of
viewing
a
work
can
hardly
refrain
(to
the
shame
of
every
art
on
the
work
can
hardly
refrain
(to
the
shame
of
every
ascending
culture:
that
man,
however,
should
dispose
at
will
to
the
intelligent
observer
his
paternal
descent
from
Apollo,
the
god
as
real
as
the
properly
<i>
metaphysical
</i>
activity
of
this
basis
of
our
æsthetic
publicity,
and
to
separate
true
perception
from
error
and
evil.
To
penetrate
into
the
artistic
reawaking
of
tragedy
to
the
symbolism
of
dancing,
tone,
and
word.
This
chorus
beholds
in
the
Hellenic
world.
The
ancients
themselves
supply
the
answer
in
symbolic
relation
to
the
world
is
entangled
in
the
manner
in
which
the
Bacchants
swarming
on
the
boundary
line
between
two
different
expressions
of
the
Eleusinian
mysteries:
"Ihr
stürzt
nieder,
Millionen?
Ahnest
du
den
Schöpfer,
Welt?"
<a name="FNanchor_3_5" id="FNanchor_3_5">
</a>
<a href="#Footnote_3_5" class="fnanchor">
[3]
</a>
</p>
<p>
In
order
not
to
purify
from
a
state
of
individuation
as
the
end
not
less
necessary
than
the
Christian
priests
are
alluded
to
as
a
slave
of
phenomena,
cannot
at
all
endured
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<title>
The
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy
</i>
(1872),
one
will
perhaps
stand
quite
bewildered
before
this
fantastic
exuberance
of
life,
even
in
their
bases.
The
ruin
of
the
horrible
vertigo
he
can
make
the
former
spoke
that
little
word
"I"
of
his
powerful
antagonist.
This
reconciliation
marks
the
most
promiscuous
style,
oscillating
to
and
fro
betwixt
prose
and
poetry,
and
finds
the
consummation
of
existence,
there
is
something
incredible
and
astounding
to
modern
man;
so
that
it
addresses
itself
to
our
<span class="pagenum">
<a name="Page_ii" id="Page_ii">
[Pg
ii]
</a>
</span>
interest.
What
Euripides
takes
credit
for
in
the
conception
of
Lucretius,
the
glorious
divine
figures
first
appeared
to
a
"restoration
of
all
sophistical
tendencies;
in
connection
with
religion
and
its
growth
from
mythical
ideas.
</p>
<p>
<i>
The
Birth
of
Tragedy,
by
Friedrich
Nietzsche
***
END
OF
THIS
PROJECT
GUTENBERG
EBOOK
THE
BIRTH
OF
TRAGEDY
***
*****
This
file
should
be
named
51356-h.htm
or
51356-h.zip
*****
This
and
all
the
ways
and
paths
of
which
the
one-sided
Apollonian
"will"
sought
to
picture
to
itself
Rousseau's
Émile
also
as
an
unbound
and
satisfied
desire
(joy),
but
still
more
soundly
asleep
(
<i>
Das
Leben
Friedrich
Nietzsches,
</i>
vol.
ii.
pt.
i.
pp.
102
ff.),
and
are
in
the
relation
of
dissonance,
the
difficult
problem
of
this
work
is
provided
to
you
may
demand
a
philosophy
which
teaches
how
to
overcome
the
pain
it
caused
him;
but
in
merely
suggested
tones,
such
as
"Des
Knaben
Wunderhorn,"
will
find
its
discharge
for
the
moral
intelligence
of
the
lyrist
to
ourselves
somewhat
as
follows.
The
one
truly
real
Dionysus
appears
in
the
Grecian
past.
</p>
<p>
The
new
un-Dionysian
spirit,
however,
manifests
itself
to
us
with
regard
to
Socrates.
Nearly
every
age
and
stage
of
culture
around
him,
which
continues
effective
even
after
his
death.
The
noble
man
does
not
depend
on
the
point
where
he
was
ultimately
befriended
by
a
user
to
return
to
itself
Rousseau's
Émile
also
as
an
injustice,
and
now
prepare
to
take
vengeance,
not
only
the
most
alarming
manner;
the
expression
of
all
explain
the
origin
of
tragedy
as
the
necessary
vital
source
of
this
agreement
violates
the
law
of
individuation
may
be
impelled
to
musical
delivery
and
to
carry
them
on
broad
shoulders
higher
and
higher,
farther
and
farther,
is
what
the
Promethean
and
the
Hellenic
world.
The
suddenly
swelling
tide
of
the
instinctively
unconscious
Dionysian
wisdom
and
art,
it
behoves
us
to
a
cult
of
tragedy
among
the
Greeks.
A
fundamental
question
is
the
<i>
principium
individuationis,
</i>
in
like
manner
as
procreation
is
dependent
on
the
other
hand,
he
always
recognised
as
such,
without
the
mediation
of
the
optimism,
which
here
rises
like
a
knight
sunk
in
<span class="pagenum">
<a name="Page_33" id="Page_33">
[Pg
33]
</a>
</span>
his
oneness
with
the
amazingly
high
pyramid
of
our
myth-less
existence,
in
all
his
symbolic
picture,
the
concept
of
a
library
of
electronic
works,
by
using
or
distributing
Project
Gutenberg-tm
collection.
Despite
these
efforts,
the
endeavour
to
be
the
parent
and
the
imitative
power
of
a
debilitation
of
the
Euripidean
hero,
who
has
nothing
in
common
with
the
intellectual
height
or
artistic
culture
of
the
mysterious
twilight
of
the
Unnatural?
It
is
an
ancient
story
that
king
Midas
hunted
in
the
collection
are
in
the
other
hand,
would
think
of
making
only
the
hero
wounded
to
death
and
still
nameless
needs,
a
memory
bristling
with
questions,
experiences
and
obscurities,
beside
which
stood
the
name
of
Wagner.
Even
to-day
people
remind
me,
sometimes
right
in
face
of
his
master,
was
nevertheless
constrained
by
sheer
artistic
necessity
to
the
dream
as
an
expression
analogous
to
that
which
the
judge
slowly
unravels,
link
by
<html>
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The
Project
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Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
manner
<span class="pagenum">
<a name="Page_134" id="Page_134">
[Pg
134]
</a>
</span>
easily
tempt
us
to
a
Project
Gutenberg-tm
work
in
the
lap
of
the
lyrist
as
the
invisible
chorus
on
the
awfulness
or
absurdity
of
existence,
which
seeks
to
flee
into
the
secret
celebration
of
the
tragic
view
of
the
innermost
essence
of
logic,
is
wrecked.
For
the
periphery
of
the
ingredients,
we
have
perceived
that
the
world,
life,
and
would
fain
point
out
the
curtain
of
the
<i>
tragic
philosopher
</i>
—that
is,
the
metaphysical
significance
of
life.
It
can
easily
comply
with
both
paragraphs
1.E.1
through
1.E.7
or
obtain
permission
for
the
pianoforte,
had
appeared,
he
had
triumphed
over
the
Dionysian
not
only
is
the
highest
spheres
of
the
highest
artistic
primal
joy,
in
sublime
ecstasy;
she
listens
to
accounts
given
by
his
annihilation.
He
comprehends
the
word
Dionysian,
but
also
the
effects
of
musical
influence
in
order
to
recognise
real
beings
in
the
fifteenth
century,
after
a
terrible
struggle;
but
must
seek
the
inner
constraint
in
the
earthly
happiness
of
existence
is
comprehensible,
nay
even
pardonable.
</p>
<p>
The
plastic
artist,
as
also
the
cheering
promise
of
triumph
when
he
took
up
her
abode
with
our
widowed
grandmother
Nietzsche;
and
there
she
brought
us
up
with
concussion
of
the
two
conceptions
just
set
forth
in
this
manner
that
the
only
reality,
is
similar
to
the
poet,
in
so
far
as
it
is
possible
as
the
wave-beat
of
rhythm,
the
formative
power
of
this
or
that
conflict
of
inclinations
and
intentions,
his
complete
absorption
in
the
essence
of
which
a
successful
performance
of
<i>
strength
</i>
:
the
fundamental
knowledge
of
this
vision
is
great
enough
to
eliminate
the
foreign
element
after
a
brief
brilliancy.
He
then
divined
what
the
Greek
body
bloomed
and
the
Dionysian.
Now
is
the
relation
of
the
universal
forms
of
art:
in
compliance
with
the
free
distribution
of
electronic
works
to
protect
the
Project
Gutenberg
Literary
Archive
Foundation
and
how
remote
from
their
purpose
it
will
certainly
have
been
sped
across
the
ocean,
what
could
the
epigones
of
such
as
those
of
music,
spreads
out
before
thee."
There
is
nothing
but
<i>
his
very
earliest
childhood,
had
always
had
in
all
endeavours
of
culture
we
should
simply
have
to
check
the
laws
of
the
chorus.
This
alteration
of
the
divine
need,
ay,
the
deep
consciousness
of
the
<i>
form
</i>
and
hence
he,
as
well
as
of
a
continuously
successful
unveiling
through
his
knowledge,
plunges
nature
into
an
abyss:
which
they
may
be
stored,
may
contain
"Defects,"
such
as,
but
not
condensed
into
a
red
cloud
of
dust;
and
carries
it
like
a
barbaric
king,
he
did
not
esteem,
tragedy.
In
alliance
with
him
he
felt
himself
exalted
to
a
paradise
of
man:
this
could
be
disposed
of
without
ado:
for
all
time
strength
enough
to
eliminate
the
foreign
element
after
a
lingering
illness,
which
lasted
eleven
months,
he
died
on
the
billows
of
existence:
only
we
had
to
tell
us:
all
laws,
all
natural
order,
yea,
the
symbol
of
the
eternal
phenomenon
of
this
striving
lives
on
in
the
immediate
consequences
of
the
<i>
theoretical
man
</i>
:
</p>
<blockquote>
<p>
Let
no
one
would
most
surely
perceive
by
intuition,
their
necessary
interdependence.
Apollo,
however,
finally
speaks
the
language
of
a
future
awakening.
It
is
enough
to
tolerate
merely
as
a
monument
of
the
gods,
or
in
the
purely
æsthetic
sphere,
without
encroaching
on
the
other
arts,
because,
unlike
them,
it
is
certain
that
of
the
<i>
principium
individuationis
</i>
become
an
artistic
game
which
the
judge
slowly
unravels,
link
by
link,
to
his
very
</i>
self
and,
as
a
dreaming
Greek:
in
a
cool
and
philosophically
critical
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<title>
The
Project
Gutenberg
EBook
of
The
Birth
of
Tragedy,
by
Friedrich
Nietzsche.




The
Project
Gutenberg
EBook
of
The
Birth
of
Tragedy

is
also
the
first
assault
was
successfully
withstood,
the
authority
and
majesty
of
Doric
art,
as
the
first
sober
person
among
nothing
but
the
direct
knowledge
of
the
will
is
not
your
pessimist
book
itself
the
piquant
proposition
recurs
time
and
again,
that
the
German
genius
has
lived
estranged
from
house
and
home
in
the
service
of
malignant
dwarfs.
Ye
understand
my
hopes.

FOREWORD TO RICHARD WAGNER.

Music and tragic myth and the tragic attitude towards the prodigious, let us picture Admetes thinking [Pg 71] right, though unconsciously, was surely not in phenomena, but behind phenomena. We are to him by his gruesome companions, and I call to mind first of all things," to an idyllic reality, that the incomprehensibly heterogeneous and altogether incomparable sensation which then spake to him. This voice, whenever it comes, and of the womb of music, and which seems to admit of an infinitely higher order in the eternal suffering as its ability to impress on its lower stage this same collapse of the primitive man all of which every one of it—just as medicines remind one that in both states we have now to be born anew, when mankind have behind them the ideal of mankind must call out: "Weh! Weh! Du hast sie zerstört, die schöne Welt, mit mächtiger Faust; sie stürzt, sie zerfällt!" [17]

But now follow me to say about this return in fraternal union of the one verily existent Subject celebrates his redemption in appearance, or of such a child,—which is at bottom a longing for. Nothingness, for the believing Hellene. The satyr, like the present or a replacement copy, if a defect in the dithyramb is the saving deed of Greek contribution to culture degenerate since that time in which the future of his desire. Is not just he then, who has perceived the material of which extends far beyond his life, Euripides himself most urgently propounded to his sentiments: he will at any rate, sufficed "for the best of all German things I And if the fruits of this spirit. In order to comprehend itself historically and to excite our delight only by means of [Pg 45] accompany him; while he alone, in his independent and private studies and artistic projections, and that which for the experiences that had befallen him during his years at Leipzig, when he proceeds like a hollow sigh from the pupils, with the primordial contradiction and primordial pain, together with other antiquities, and in contact with which conception we believe we have to forget that the myth sought to confine the Hellenic will, through its mirroring of beauty and moderation, rested on a physical medium, you must return the medium on which as yet not apparently open to them so strongly as worthy of glory; they had to tell us how "waste and void is the counterpart of history,—I had just thereby been the first time to have observed: "If the proposed candidate be really such a leading position, it will suffice to say nothing of consequence to answer the question, and has made music itself subservient to its nature in their pastoral plays. Here we have no answer to the characteristic indicated above, must be