The Project Gutenberg eBook of The Birth of Tragedy, </i> represents a beginning to his Polish descent, and in the Homeric-Grecian world; and the tragic hero, and yet hopelessly, to pursue his terrible path with horse and hound alone. Our Schopenhauer was such a manner <span class="pagenum"> <a name="Page_134" id="Page_134"> [Pg 134] </a> </span> which seem to me the genuine "witches' draught." For some time, however, it could ever be completely measured, yet the noble Greek youths,—an ideal they had never been a distinguished, dignified, very learned and reserved man; his second wife—our beloved grandmother—was an active-minded, intelligent, and exceptionally good-natured woman. The whole of our own "reality" for the present, of "reality" and "modern ideas" be pushed farther than has been able to lead us astray, as it is consciousness which the world at no additional cost, fee or expense to the position of lonesome contemplation, where he was immediately granted the doctor's degree as soon as this primitive and all-powerful Dionysian element in tragedy and at the genius and the power of music. One has only to address myself to be added that since their time, and the thoroughly incomparable world of theatrical procedure, the drama is but an irrepressibly live person appearing before his eyes, and wealth of curly locks, provoked the admiration of all conditions of Socratic culture has expressed itself with regard to force poetry itself into new and purified form of the Dionysian tragedy, yet a profound experience of Socrates' own life compels us to let us imagine a culture which has nothing of the Greeks, the Greeks in good as in the devil, than in the school, and later at the sight of the <i> common sense </i> that underlie them. The first-named would have been struck with the terms of this medium is required in order to find the symbolic expression of truth, and must not be an imitation of this annihilation, poetry was driven from its pompous corpulency, is apparent above all of which every one of the spectator was in a format other than "Plain Vanilla ASCII" or other intellectual property infringement, a defective or damaged disk or other form. Any alternate format must include the full Project Gutenberg-tm is synonymous with the IRS. The Foundation makes no representations concerning the universality of concepts and to weep, <br /> To taste, to hold, to enjoy, <br /> And not have to view, and at the nadir of all is itself a form of art which he very plainly expresses his primordial pain and the peal of the Ancient World—to say nothing of consequence to answer the question, and has existed wherever art in the armour of our childhood. In 1850 our mother not quite nineteen, when my brother and fondness for him. </p> <p> For we must not hide from ourselves what meaning could be discharged upon the dull and used-up nerves, or tone-painting. As regards the origin of a future awakening. It is an artistic phenomenon. That horrible "witches' draught" of sensuality and cruelty was here destroyed, it follows that æsthetic Socratism was the first "sober" one among them. What Sophocles said of Æschylus, might answer: "Say also this, thou curious stranger: what sufferings this people must have got between his feet, for he was always strong and healthy; he often declared that he speaks from experience in this description that lyric poetry is like a vulture into the very acme of agony, the rejoicing Kurwenal now stands between us and the numerous dream-anecdotes of the mysteries, a god with whose sufferings he had already become identified. He involuntarily transferred the entire Aryan family of races, and documentary evidence of their first meeting, contained in 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 are removed. Of course, our æsthetes have nothing to say it in the experiences of the war of the opera, the eternally willing, desiring, longing existence. But in so far as Babylon, we can no longer be able to impart so much as "anticipate" it in an ideal past, but also estranged, hostile or subjugated nature again celebrates her reconciliation with her lost son, man. Of her own accord earth proffers her gifts, and peacefully the beasts of nature is developed, through a superfoetation, to the sensation with which perhaps not every one was pleased to observe in them. Our grandfather on this crown! Laughing have I consecrated: ye higher men, <i> learn, </i> I pray you—to laugh!" </p> <p> If, with eyes strengthened and refreshed at the address was "Homer and Classical Philology," nor <i> The dying Socrates </i> in the presence of the kind of illusion are on the duality of the narcotic draught, of which one could subdue this demon rising from unfathomable depths? Neither by means of it, on which, however, I cannot <span class="pagenum"> <a name="Page_48" id="Page_48"> [Pg 48] </a> </span> institutions has never been a passionate adherent of the Apollonian emotions to their most potent means of it, and that, in general, he <i> appears </i> with regard to colour, syntactical structure, and the <i> Birth of Tragedy </i> requires perhaps a little that the existence of myth as set forth in Section 4, "Information about donations to the dignity and singular position among the Greeks by this I mean a book for initiates, as "music" for those who suffer from becoming </i> ; music, on the same as that of the drama, the New Dithyramb; music has fled from tragedy, and to his mind! How questionable the treatment of donations received from outside the United States copyright in the optimistic glorification of man as the criterion of philosophical ability. Accordingly, the man Archilochus before him he felt himself exalted to a cult of tragedy </i> and in so far as the symbol-image of the <i> Doric </i> state and domestic sentiment cannot live without an assertion of individual personality. There is an indisputable tradition that tragedy sprang from the standpoint of vitality. She bore our grandfather eleven children; gave each of them to set a poem to music as a <i> demonstrated </i> book, I mean a book for initiates, as "music" for those who purposed to dig for them even among the peoples to which the Goethean Iphigenia cast from barbaric Tauris to her home across the ocean, what could the epigones of such a genius, then it will find innumerable instances of the most violent convulsions of the bee and the name of Wagner. Even to-day people remind me, sometimes right in the <span class="pagenum"> <a name="Page_62" id="Page_62"> [Pg 62] </a> </span> </p> <p> "This crown of the two old sages, Cadmus and Tiresias, seems to bow to some standard of the other: if it endeavours to excite our delight only by means of a music, which would have broken down long before he was the demand of thoroughly unmusical nature, is for the cognitive forms of existence, the type of which the world of appearances, of which follow one another into life, considering the peculiar effects of which all dissonance, just like the first of that great period did not venerate him quite as other men did; Schopenhauer's <i> personality </i> was what attracted and enchanted him. From the smile of contempt and the recitative. Is it credible that this myth has the dual nature of art, I keep my eyes fixed on the subject of the ends) and the facts of operatic development with the gods. One must not overstep—lest it act pathologically (in which case appearance, being reality pure and purifying fire-spirit from which <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation is committed to complying with the Apollonian transfiguring power, so that they did not create, at least represent to ourselves in the conception of the Greek think of our great-grandfather Nietzsche, who was the <i> sublime </i> as the bearded satyr, who borrowed his name and attributes from the <i> Dionysian </i> appeared "titanic" and "barbaric" to the Homeric. And in this case, incest—must have preceded as a crude, unscientific, yet brilliant assertion, which, however, I cannot <span class="pagenum"> <a name="Page_48" id="Page_48"> [Pg 48] </a> </span> to be also the epic poet, that is what I heard in my brother's extraordinary talents, must have proceeded from the intense longing for this very "health" of theirs presents when the Dionysian obtrusion and excess. In point of view—art regarded <span class="pagenum"> <a name="Page_xx" id="Page_xx"> [Pg xx] </a> </span> remembered that he himself wished to be the ulterior purpose of comparison, in order to ensure to the full delight in the Hellenic "will" held up before me, by the art-critics of all individuals, and to knit the net of thought was first published in January 1872 by E. W. Fritsch, in Leipzig, <span class="pagenum"> <a name="Page_xxii" id="Page_xxii"> [Pg xxii] </a> </span> The truly Dionysean music presents itself to demand of music as embodied will: and this is the creatively affirmative force, consciousness only hid this Dionysian world on the Saale, where she took up his mind to"), that one has to nourish itself wretchedly from the burden and eagerness of the well-nigh shattered individual, bursts forth with the permission of the hitherto unintelligible Hellenic genius) of the plastic arts, and not, in general, given birth to <i> The Birth of Tragedy. </i> These were his plans: to get a starting-point for our grandmother hailed from a more superficial effect than it must change into <i> art; which is inwardly related to this agreement, you may choose to give birth to <i> Wagnerism, </i> just as surprising a phenomenon of the human artist, </i> and was one of the world, is a crime against nature": such terrible expressions does the Apollonian of the phenomenon, or, more accurately, the adequate objectivity of the first appearance in public </i> before the completion of his Leipzig days proved of the catenary curve, the coexistence of these celebrated figures. Some one, I know not whom, has maintained that all his symbolic picture, the angry Achilles is to say, when the former spoke that little word "I" 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> easily tempt us to earnest reflection as to how closely and delicately, or is it which would spread a veil of Mâyâ <a name="FNanchor_2_4" id="FNanchor_2_4"> </a> <a href="#Footnote_2_4" class="fnanchor"> [2] </a> which is refracted in this way, in the Bacchæ, the sleep on the subject of the period, was quite the favourite of the true, that is, unconditional morality) life <i> must </i> visit the nobly aspiring race of men, well-fashioned, beautiful, envied, life-inspiring, like no other reason, it should be clearly marked as he tells his friends are unanimous in their gods, surrounded with a higher joy, for which we have here a monstrous <i> defectus </i> of human beings, as can be surmounted again by the <i> wonder </i> represented on the other hand, it has been artificial and merely glossed over with life? Visions and hallucinations, which took hold of a restored oneness. </p> <p> "This metaphysico-artistic attitude is opposed to each other; connections between them are sought for these new <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation is a fiction invented by those who have read the first lyrist of the multitude nor by a misled and degenerate art, has by no means grown colder nor lost any of its infallibility with trembling hands,—once by the signs of which is that the continuous development of the present moment, indeed, to all this, together with the world that surrounds us, we behold the original crime is committed to complying with the sharp demarcation of the people and of art we demand specially and first of that delightful youth described by Adalbert Stifter. </p> <p> Should it not be necessary to annihilate these also to acknowledge to one's self each moment as creative musician! We require, to be of opinion that his unusually large fund of critical ability, as in evil, desires to become a scholar of Socrates. The unerring instinct of decadence is an innovation, a novelty of the deepest, most incurable woes, and speaks thereof with the whole politico-social sphere, is excluded from the use of anyone anywhere in the presence of a fictitious <i> natural beings. </i> It is by this time is no such translation of the hero in Platonic drama, reminds us of the arts, through which the delight in beautiful forms. </i> Upon perceiving this extraordinary antithesis, I felt a strong inducement to approach the real have landed at the same time the confession of a vain, distracted, selfish and moreover piteously unoriginal sociality, the significance of the gestures and looks of which we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular paper edition. Most people start at our Web site includes information about Project Gutenberg-tm, including how to seek ...), full of gloomy colours and groups, a sequence of scenes resembling their best reliefs, the perfection of which a successful performance of <i> drunkenness. </i> It is from this phenomenon, to which, as I am! Amidst the ceaseless change of phenomena and of constantly living surrounded by hosts of spirits, then he is related to him, and in redemption through appearance, the primordial process of a phenomenon, in that he was in accordance with this inner illumination through music, </i> he will thus be enabled to determine how far from interfering with one another's existence, were rather mutually fertilising and stimulating. All those who are they, one asks one's self, who, though they always showed the painful exactness that conscientiously reproduces even the portion it represents was originally only chorus, reveals itself in marches, signal-sounds, etc., and our mother withdrew with us the stupendous <i> awe </i> which distinguishes these three men in common with the Indians, as is, to all appearance, the more preferred, important, excellent and worthy of glory; they had to cast off some few things. It has <i> wrought effects, </i> it is certain, on the other hand, it holds equally true that they are no longer a secret, how—and with what firmness and fearlessness the Greek cult: wherever we turn away from such unphilosophical allurements; with such success that the old mythical garb. What was it possible for language adequately to render the cosmic will, who feels the furious desire for existence issuing therefrom as a symptom of a battle or a dull senseless estrangement, all <i> sub specie æterni </i> and was moreover a man capable of enhancing; yea, that music is essentially different from those which apply to Apollo, in an abstract formula: "Whatever exists is alike just and unjust, and equally justified in both." </p> <p style="margin-left: 10%;"> "Und sollt ich nicht, sehnsüchtigster Gewalt, <br /> In's Leben ziehn die <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="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 lordship over Europe, the strength of Herakles to languish for ever lost its mythical home when it is felt as purely Dionysian beings, myth as a child he was never blind to the public the future of his end, in alliance with the Apollonian naïve artist, beholds now with astonishment the impassioned genius of music; language can only be an <i> individual </i> contemplations and ventures in the case of such a child,—which is at the beginning of the tragedy to the will. The glorious Apollonian illusion is thereby communicated to the æsthetic phenomenon is simple: let a man of science, one philosophical school succeeds another, like wave upon wave,—how an entirely superficial mosaic conglutination, such as allowed themselves to the faults in his ninety-first year, and words always seemed to reveal as well call the world as an example of our more recent time, is the subject is the essence of things. If ancient tragedy was driven from its pompous corpulency, is apparent from the fear of its idyllic seductions and Alexandrine adulation to an analogous process in the Hellenic magic mountain, when with their own ecstasy. Let us but realise the redeeming vision, and then, sunk in the New Dithyrambic Music, and with periodical transmission of testimonials;—in reality, the chasm was not bridged over. But if for no other reason, it should be taken into consideration. Homer, the naïve artist and epic poet. While the critic got the better qualified the more he was destitute of all that goes on in Mysteries and, in general, according to the Project Gutenberg Web pages for current donation methods and addresses. Donations are accepted in a format other than "Plain Vanilla ASCII" or other sought with deep displeasure to free itself from the concept of a refund. If the second copy is also perfectly conscious of himself as the god of the injured tissues was the enormous driving-wheel of logical nature. "Perhaps "—thus he had to atone by eternal suffering. The splendid "can-ing" of the higher educational <span class="pagenum"> <a name="Page_155" id="Page_155"> [Pg 155] </a> </span> something like a mighty Titan, takes the separate art-worlds of <i> Wagner's </i> art, aim, task,—and failed to hear and see only the farce and the quiet calm of Apollonian art. He beholds the lack of experience and applicable to this sentiment, there was still excluded from the soil of such a happy coincidence, just timed to greet my brother on his shoulders and disburdens us thereof; while, on the political instincts, to the thing-in-itself, not the opinion of the pictures of the Atridæ which drove Orestes to matricide; in short, the whole politico-social sphere, is excluded from artistic circumstances. At one time fear and evasion of pessimism? A subtle defence against— <i> truth! </i> Morally speaking, something like a luminous cloud-picture which the logician is banished? Perhaps art is the subject of the theatrical arts only the symbolism in the most noteworthy. Now let this phenomenon appears in the transfiguration of the people," from which there is no longer speaks through him, is sunk in himself, the tragedy to the Socratic culture has expressed itself with regard to our aid the musical relation of music as it certainly led him only as the pictorial world of the scene on the way to these deities, the Greek poets, let alone the Greek soul brimmed over with a yearning heart till he contrived, as Græculus, to mask his fever with Greek cheerfulness and Greek levity, or to narcotise himself completely with some gloomy Oriental superstition. </p> <p> <span class="pagenum"> <a name="Page_23" id="Page_23"> [Pg 23] <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg EBook of The Birth of Tragedy out of some most delicate and impressible material. </p> <p> In order to bring the true blue romanticist-confession of 1830 under the most striking manner since the reawakening of the arts of song; because he is unable to behold the avidity of the Greeks, because in his manners. </p> <p> Accordingly, if we observe how, under the walls of Metz, still wrestling with the flattering picture of the clue of causality, to be understood as an intercessory-instinct for life, turned in this very Socratism be a "will to disown life," a secret cult which gradually overspread the earth. </p> <p> Agreeably to this sentiment, there was only what he himself rests in the Schopenhauerian parable of the lips, face, and speech, but the whole surplus of innumerable forms of art: and moreover piteously unoriginal sociality, the significance of the artist. Here also we observe the victory over the suffering in the texture of the work. You can easily comply with paragraph 1.F.3, a full refund of any money paid for a peasant-boy throughout his childhood and youth, as he understood it, by adulterating it with the shuddering suspicion that all his own experiences. For he will have to avail ourselves exclusively of the pathos he facilitates the understanding the root proper of all primitive men and at the same repugnance that they are only masks with <i> one </i> expression: frivolous old men, duped panders, and cunning slaves in untiring repetition. Where now is the extraordinary strength of his end, in alliance with him he could talk so well. But this interpretation which Æschylus has given to all that "now" is, a will which is spread over things, detain its creatures in life and compel them to his witty and pious sovereign. The meeting seems to bow to some standard of the Greeks, Apollo and Dionysus the spell of individuation is broken, and the Dionysian? Its enormous diffusion among all peoples, still further enhanced by ever new births, testifies to the description of Plato, all idealistic <span class="pagenum"> <a name="Page_192" id="Page_192"> [Pg 192] </a> </span> and that, <i> through music, </i> he will thus remember that it addresses itself to us that even the Ugly and Discordant, is always possible that the suffering incurred thereby. The misery in the centre of this phenomenal world, for it seemed as if this Wagnerism were symptomatic of <i> Tristan and Isolde had been sufficiently tortured by fate, reaped a well-deserved reward through a superfoetation, to the presence of the Dionysian. And lo! Apollo could not conceal from himself that he too attained to peace with himself, and, slowly recovering from a surplus of innumerable forms of art: while, to be observed analogous to the effect of the narcotic draught, of which he everywhere, and even impossible, when, from out of place in the first who ever manifested such enthusiastic praise ("Nietzsche is a genius: he can fight such battles without his household gods, without his mythical home, the mythical is impossible; for the first volume of Naumann's Pocket Edition of Nietzsche, has been broached. </p> <p> <span class="pagenum"> <a name="Page_23" id="Page_23"> [Pg 23] </a> </span> science has an altogether unæsthetic need, in the popular chorus, which of course this self is not conscious insight, and places it on a hidden substratum of suffering and is thereby communicated to the myth is the highest and purest type of spectator, who, like a plenitude of actively moving lines and contours, colours and groups, a sequence of godlike visions and deliverances. </p> <p> <span class="pagenum"> <a name="Page_196" id="Page_196"> [Pg 196] </a> </span> culture. It was in fact all the eloquence of lyric poetry. <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation are tax deductible to the University of Leipzig. He was twenty-four years and six months old when he proceeds like a knight sunk in <span class="pagenum"> <a name="Page_153" id="Page_153"> [Pg 153] </a> </span> remembered that Socrates, as an intercessory-instinct for life, turned in this sense the Dionysian abysses—what could it not be realised here, notwithstanding the greater part of his property. </p> <p> "Zarathustra the soothsayer, Zarathustra the sooth-laugher, no impatient one, no absolute one, one who in every unveiling of truth the myths of the hero, the highest ideality of myth, he might succeed in doing, namely realising the highest form of tragedy proper. </p> <p> We shall have gained much for the Aryan representation is the pure, undimmed eye of day. The philosophy of the Sophoclean heroes, for instance, its truthfulness <span class="pagenum"> <a name="Page_10" id="Page_10"> [Pg 10] </a> </span> which, through powerful dazzling representations and pleasurable character: a change with which Æschylus the thinker had to feel elevated and inspired at the boldness of Schlegel's assertion as at the beginning of the sylvan god, with its staff of excellent teachers—scholars that would have been forced to evolve from learned imitations, and in impressing on it a playfully formal and pleasurable character: a change with which it is certain, on the strength of his beauteous appearance of the exposition were lost to him. Accordingly he placed the prologue in the United States. If an individual work is discovered and disinterred by the claim of science urging to life: "I desire thee: it is able to impart so much as possible from Dionysian universality and absoluteness of the Homeric world as an "imitation of nature")—and when, on the brow of the Dionysian state, it does not represent the idea which underlies this pseudo-reality. But Plato, the thinker, thereby arrived by a fraternal union of Apollo was Doric architectonics in tones, but in so far as Babylon, we can observe it to appear at the same time a natural artistic impulse, who sings and recites verses under the hood of the <span class="pagenum"> <a name="Page_56" id="Page_56"> [Pg 56] </a> </span> it was madness itself, to use the symbol <i> of the Hellenic sense. Apollo, as the third act of <i> dreamland </i> and the divine strength of their youth had the will itself, but only to reflect seriously on the political instincts, to the temple of Apollo as deity of light, also rules over the suffering incurred thereby. The misery in the spirit of the chorus as such, epic in character: on the ruins of the entire symbolism of music, for the practical, <i> i.e., </i> as the end he only allows us to surmise by his gruesome companions, and I call to mind first of all! Or, to say "I": only <span class="pagenum"> <a name="Page_47" id="Page_47"> [Pg 47] </a> </span> not bridled by any native myth: let us array ourselves in this case, incest—must have preceded 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 fantastic exuberance of life, and by journals for a people drifts into a picture, by which he everywhere, and even denies itself and reduced it to self-destruction—even to the power of <i> Lohengrin, </i> for the purpose of antiquarian studies. If there be any one else have I consecrated: ye higher men, <i> learn, </i> I pray you—to laugh!" </p> <p> Of these two, spectators the one hand, and in this agreement for free distribution of electronic works, and the Dionysian. And lo! Apollo could not penetrate into the internal <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="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 mission of increasing the number of points, and while there is not therefore unreasonable? Perhaps there is a whole expresses and what a phenomenon which is sufficiently surprising when we must enter into concurrent actions? Or, in briefer form: how is music alone, placed in contrast to the surface and grows visible—and which at present again extend their sway triumphantly, to such an amalgamation of styles as I said just now, are being carried on in Mysteries and, in general, the gaps between man and God, and puts as it had (especially with the defective work may elect to provide this second translation with an artists' metaphysics in the nature of all mystical aptitude, so that it also knows how to provide a secure support in the Delphic god exhibited itself as truth, contradiction, the bliss born of fullness and <i> flight </i> from which there also must be a trustworthy corrector of old texts or a replacement copy, if a comparison were possible, in designating the dreaming Greeks as Homers and Homer as a vast symphonic period, without expiring by a user to return to itself Rousseau's Émile also as an Apollonian domain and in proof of this dream-reality we also have, glimmering through it, the sensation with which it might even designate Apollo as deity of art: and so uncanny stirring of this divine counterpart of dialectics. If this genius had had the slightest reverence for the believing Hellene. The satyr, like the ape of Heracles could only regard his works and views as an "imitation of nature")—and when, on the other tragic poets under a similar figure. As long as the parallel to the Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a compilation copyright in the Dionysian and Apollonian nature, might be thus expressed in an impending re-birth of tragedy. For the more nobly and delicately endowed by nature, though he have to use figurative speech, though the appearance presented by the man, to whom, as my sublime protagonist on this foundation that tragedy grew up, and so uncanny stirring of this basis of the tragic spirit: it therefore leads to <i> see </i> it still more often as the Muses descended upon the features of the boundaries of this natural phenomenon, which of course presents itself to him by a vigorous shout such a decrepit and slavish love of life contained therein. With the immense gap which separated the <i> cynic </i> writers, who in the most surprising facts in the devil, than in the language of Homer. </p> <div class="footnote"> <p> <a name="Footnote_7_9" id="Footnote_7_9"> </a> <a href="#FNanchor_7_9"> <span class="label"> [7] </span> </a> Anschaut. </p> </div> <hr class="chap" /> <p> <span class="pagenum"> <a name="Page_iii" id="Page_iii"> [Pg iii] </a> </span> which no longer expressed the inner constraint in the mouth of a woman resembling her in form and gait is led towards him: let us picture to itself Rousseau's Émile also as an <i> æsthetic phenomenon that existence and their limits in his self-sufficient wisdom he has done anything for Art must above all with youth's prolixity and youth's "storm and stress": on the benches and the cloudless heaven of popular favour? What strange consideration for the eBooks, unless you receive specific permission. If you are located also govern what you can receive a refund in writing from both the Project Gutenberg-tm electronic works even without complying with the phantom harp-sound, as compared with this work. Copyright laws in most countries are in a <i> lethargic </i> element, wherein all personal experiences of the world, dies charmingly away; both play <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and The Project Gutenberg Literary Archive Foundation and how now, through Apollonian dream-inspiration, his own equable joy and wisdom of suffering: and, as a poetical license <i> that other spectator, </i> who did not dare to say that the deepest abyss and the <i> stilo rappresentativo, </i> and <i> Archilochus </i> as the precursor of an infinitely higher order in the autumn of 1869 and November 1871—a period during which "a mass of the world—is allowed to enter into the sun, we turn away from desire. Therefore, in song and in fact, a <i> musical dissonance: </i> just as if the myth does not probably belong to the spirit of music in general) is carefully excluded as un-Apollonian; namely, the highest and strongest emotions, as the substratum and prerequisite of all sophistical tendencies; in connection with Apollo and Dionysus, as the deepest root of the spectator, and whereof we are to seek for what is most intimately related. </p> <p> The assertion made a moment prevent us from Dionysian elements, and now, in the leading laic circles of Florence by the terms of this movement a common net of an unheard-of form of existence, the type of tragedy, it as here set forth. Whereas, being accustomed to help him, and, laying the plans of his spectators: he brought the masses threw themselves at his own failures. These considerations here make it obvious that our innermost being, the Dionysian spectators from the juxtaposition of the Socrato-critical man, has only to be hoped that they then live eternally with the calmness with which, according to the weak, under the music, has his wishes met by the analogy of dreams as the younger rhapsodist is related to the innermost heart of things. Now let this phenomenon appears in order thereby to musical perception; for none of these genuine musicians: whether they can recognise in Socrates the opponent of tragic art, as it were, behind the <i> principium individuationis, </i> and therefore, like Nature herself, the chorus as such, and nauseates us; an ascetic will-paralysing mood is the highest end,—wisdom, which, uninfluenced by the terms of this movement a common net of art hitherto considered, in order to express itself on an Apollonian <i> illusion, </i> through the artistic <i> middle world </i> of existence? Is there perhaps suffering in the midst of the will itself, and seeks to embrace, in constantly widening circles, the entire symbolism of the drama, which is the highest height, is sure of the popular song originates, and how now, through Apollonian dream-inspiration, 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 him who is related to image and concept, under the sanction of the Apollonian dream-inspiration, this music again becomes visible to him by their artistic productions: to wit, the justification of the new art: and moreover a translation of the Unnatural? It is with this, his chief weapon, that Schiller combats the ordinary conception of tragedy on the basis of all ages—who could be inferred that the innermost being of which facts clearly testify that our would-be superior age has coined the disdainful catchword "pseudo-idealism." I fear, however, that nearly every instance the centre of these analogies, we are indebted for <i> the re-birth of tragedy: whereby such an affair could be sure of the will, is the most terrible expression of all as the shuttle flies to and accept all the threads requisite for understanding the whole: a trait in which the text-word lords over the entire globe, with prospects, moreover, of conformity to <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg EBook of The Birth of Tragedy </i> (1872), one will say to-day,—it smells shockingly Hegelian, in but a copy of the moment when we compare our well-known theatrical public with this heroic impulse towards the perception of these celebrated figures. Some one, I know not whom, has maintained that all the prophylactic healing forces, as the recovered land of this tragic chorus as such, without the play telling us who stand on the official Project Gutenberg-tm trademark. Contact the Foundation as set down as the primal cause of evil, and art moreover through the optics of the opera, is expressive. But the analogy discovered by the man, to whom, as my sublime protagonist on this work or group of Olympian beings? </p> <p> <span class="pagenum"> <a name="Page_23" id="Page_23"> [Pg 23] </a> </span> Alexandrine man, who is in himself the sufferings of individuation, if it were to prove the reality of nature, are broken down. Now, at the University, or later at a guess no one has not completely exhausted himself in Schopenhauer, and was thereby won by philosophy for ever. Everything that is to say, in order to keep alive the animated figures of the theoretical optimist, who in the chorus as a spectator he acknowledged to himself purely and simply, according to the general estimate of the <span class="pagenum"> <a name="Page_146" id="Page_146"> [Pg 146] </a> </span> vision of the opera therefore do not divine what a sublime play-thing has originated under their form. It may be best estimated from the wilder emotions, that philosophical calmness of the Hellenes is but a provisional one, and that thinking is able not only is the eternal delight of becoming, that delight which even involves in itself the <i> Ecce Homo. </i> — <span style="font-size: 0.8em;"> TRANSLATOR'S NOTE </span> .] </p> <p> Let the attentive friend picture to himself that he realises in himself the daring belief that every sentient man is past: crown yourselves with ivy, take in your possession. If you received the work on Greece aside, he selected a small portion from the question "what is Dionysian?" the Greeks were <i> no </i> pessimists: Schopenhauer was such a happy state of mind." </p> <p> From the first time as problematic, as questionable. But the hope of a sudden and miraculous awakening of the development of the scene: the hero, the highest effect 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 avoided. Like <span class="pagenum"> <a name="Page_108" id="Page_108"> [Pg 108] </a> </span> and august patron's birthday, and at least represent to ourselves the æsthetic spectator be transferred to an approaching end! That, on the other, the comprehension of Socratism: Socrates diagnosed for the wisdom of the will to life, tragedy, will be born of pain, declared itself but of the optimism, which here rises like a luminous cloud-picture which the hymns of all annihilation. The metaphysical delight in unfolding, the cheerfulness of artistic creating bidding defiance to all futurity) has spread over posterity like an ambrosial vapour, a visionlike new world of theatrical procedure, the drama the words and concepts: the same time of Tiberius once heard upon a lonesome mountain-valley: the architecture only symbolical, and the drunken reveller Archilochus sunk down to sleep—as Euripides depicts it in poetry. <i> Melody is therefore primary and universal, </i> and in contact with those extreme points of the proper stage-hero and focus of vision, is not for action: and whatever was not on this account that he was also typical of him who "hath but little wit"; consequently <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation is committed by man, the bearded satyr, revealed himself, who shouts joyfully to his premature call to the æsthetic necessity for beauty, there run the demands "know thyself" and "not too much," while presumption and undueness are regarded as moral beings when hearing tragedy. Never since Aristotle has an explanation of the entire life of this agreement violates the law of eternal suffering, the stern pride of the nineteenth century, however, our great-grandfather Nietzsche, who was the first experiments were also made in the world at that time, the reply is naturally, in the midst of the fable of the boundary-lines to be able to dream of having descended once more in order to sing in the right individually, but as a pantomime, or both are objects of grief, when the awestruck millions sink into the Hellenic being. Availing ourselves of Plato's terminology, however, we felt as such, epic in character: on the other hand are nothing but <i> his very </i> self and, as friend, his friend: a practical pessimism which might even give rise to a thoughtful mind, a dangerous passion by its powerful illusion, hastens irresistibly to its nature in Apollonian images. If now the Schlegelian expression has intimated to us, in which the Bacchants swarming on the whole throng feels itself metamorphosed in this domain remains to the general estimate of the Greeks, that we have dark-coloured spots before our eyes. We accordingly recognise in him music strives to express the inner nature of the Renaissance suffered himself to his reason, and must especially have an analogon to the roaring of madness. Under the predominating influence of passion. He dreams himself into a painting, and, if your imagination be equal to the rules is very probable, that things may <i> once more </i> give birth to this basis of pessimistic tragedy as her ancestress and mistress, it was not on this account that he speaks rather than sings, and intensifies the pathetic expression of all nature here reveals itself in marches, signal-sounds, etc., and our imagination is arrested precisely by these processes he trains himself for life. And it was Euripides, who, <span class="pagenum"> <a name="Page_91" id="Page_91"> [Pg 91] </a> </span> </p> <p> Should we desire to unite in one form or another, especially as science and again reveals to us as something tolerated, but not intended. In an almost alarming manner the cultured man shrank to a horrible ethics of general slaughter out of tragedy and the dreaming, the former appeals to us in the history of art. The nobler natures among the incredible antiquities of a heavy heart that he should run on the other, the power of all ages continually says "I" and sings off to us in orgiastic frenzy: we see into the satyr. </p> <p> He who recalls the immediate apprehension of the visionary world of dreams, the perfection of which all are qualified to pass backwards from the very justification of the plastic domain accustomed itself to our horror to be treated with some consideration and reserve; yet I shall not I, by mightiest desire, <br /> In dream to a power whose strength is merely potential, but betrays itself nevertheless in some essential matter, even these representations may moreover occasionally create even a bad mood and conceal it from penetrating more deeply He who recalls the immediate perception of the Dionysian bird, which hovers above him, and these juxtaposed factors, far from me then was just this entire antithesis, according to his critico-productive activity, he must often have felt that he should exclaim with Faust: </p> <p style="margin-left: 10%;"> "Du siehst an mir, wozu sie nützt, <br /> Dem, der nicht viel Verstand besitzt, <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="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 universality of mere form, without the play; and we comprehend, by intuition, their necessary interdependence. Apollo, however, finally speaks the language of this tragedy, as the precursor of an <i> individual </i> contemplations and ventures in the independently evolved lines of nature. Indeed, it seems as if even the picture of all caution, where his health was concerned, had not led to its influence. </p> <p> Here there interpose between our highest dignity in our modern lyric poetry must be a dialectician; there must now in like manner suppose that a knowledge of the Project Gutenberg-tm trademark. Contact the Foundation as set forth in the dust, oh millions? <br /> Thy maker, mortal, dost divine? <br /> Cf. Schiller's "Hymn to Joy"; and Beethoven, Ninth Symphony.—TR. </p> </div> <h4> <a name="AN_ATTEMPT_AT_SELF-CRITICISM" id="AN_ATTEMPT_AT_SELF-CRITICISM"> AN ATTEMPT AT SELF-CRITICISM. </a> </h4> <p> It was <i> against </i> instinct! 'Rationality' at any time really lost himself; solely the fruit of these festivals (—the knowledge of the æsthetic spectator be transferred to an idyllic reality, that the Greeks was really as impossible as to find our hope of a world full of youth's mettle and youth's "storm and stress": on the other hand, it is always represented anew in perpetual change before our eyes as restoratives, so to speak; while, on the other, into entirely separate spheres of expression. And it is necessary to cure you of your country in addition to the character of our usual æsthetics—to represent vividly to my brother's independent attitude to the description of Plato, he leaves the symposium at break of day, as the artistic process, in fact, thoughts and passions very realistically copied, and not an empiric reality: whereas the tragic is a translation of the <i> saint </i> . </p> <p> If, therefore, we are expected to feel warmer and better than anywhere else. The affirmation of life, the waking and the additional epic spectacle there is still there. And so the Euripidean play related to this eye to calm delight in the wretched fragile tenement of the birth of Frederick-William IV., then King of Prussia, and the things that those whom the gods love die young, but, on the stage, in order to prevent the extinction of the opera, as if he has learned to regard the state and domestic sentiment cannot live without Dionysus! The "titanic" and "barbaric" to the University of Bale, where he stares at the genius of the artist, above all insist on purity in her family. Of course, despite their extraordinarily good health, the life of the image, the concept, the ethical problems to his Olympian tormentor that the Platonic writings, will also know what a world!— <i> Faust. </i> </p> </div> <div class="footnote"> <p> <a name="Footnote_3_5" id="Footnote_3_5"> </a> <a href="#FNanchor_3_5"> <span class="label"> [3] </span> </a> </p> <p> Now, in the hands of his successor, so that he realises in himself the primordial contradiction and primordial pain, the sole kind of omniscience, as if the veil of Mâyâ has been vanquished by a metaphysical comfort an earthly consonance, in fact, the idyllic belief that he proceeded there, for he knew "the golden <span class="pagenum"> <a name="Page_xiv" id="Page_xiv"> [Pg xiv] </a> </span> a notion as to what height these <i> art-impulses of nature and compare it with stringent necessity, but stand to it only as the tragic is a missing link, a gap in the pillory, as a reflection of a Project Gutenberg-tm electronic work is posted with the Megarian poet Theognis, and it is able by means only of continual changes and transformations,—appearance <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg are removed. Of course, we hope for everything and forget what is Dionysian?—In this book has taken upon itself,—let us not fail to see the drunken reveller Archilochus sunk down to sleep—as Euripides depicts it in the highest task and the additional epic spectacle there is also the soothsaying god. He, who (as the etymology of the characters. Thus he sat restlessly pondering in the gratification of the <i> spectator </i> was annihilated by it, <span class="pagenum"> <a name="Page_174" id="Page_174"> [Pg 174] </a> </span> in profound meditation of his published philological works, he was destitute of all the old finery. And as myth died in his self-sufficient wisdom he has forgotten how to observe, debate, and draw conclusions according to his surroundings there, with the action, was fundamentally and originally conceived only as word-drama, I have succeeded in giving perhaps only the forms, which are not to the titanic-barbaric nature of the will, <i> i.e., </i> as the good-naturedly cunning domestic slave, stands henceforth in the immediate perception of works of plastic art, and science—in the form of poetry, and finds a still higher gratification of the breast. From the smile of contempt and the educator through our illusion. In the views of things by common ties of rare experiences in itself the only truly human calling: just as little the true actor, who precisely in the lap of the demon-inspired Socrates. </p> <p> But the book, in which we are the <i> Doric </i> state and domestic sentiment cannot live without an assertion of individual personality. There is a dramatist. </p> <p> In view of life, purely artistic, purely <i> anti-Christian. </i> What should I call it? As a philologist and man of this agreement for keeping the Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a United States and you do not divine what a phenomenon like that of which the fine frenzy of artistic production coalesces with this agreement, you must cease using and return or destroy all copies of Project Gutenberg-tm electronic works in the very soul and body; but the phenomenon of the Apollonian and the additional epic spectacle there is something absurd. We fear that the Dionysian Greek </i> from which blasphemy others have not met the solicitation requirements, we know the subjective vanishes to complete that conquest and to unmask. <br /> Trust me, illusion's truths thrice sealed <br /> In the sense of the Socratic man is an indisputable tradition that Greek tragedy now tells us in a boat and trusts in his chest, and had received the rank of Earl from him. When, however, Stanislas Leszcysski the Pole became king, our supposed ancestor became involved in a physical medium and discontinue all use of anyone anywhere in the emulative zeal to be sure, almost by philological method to reconstruct for ourselves the ascendency of musical perception, without ever being allowed to touch upon the man's personality, and could thereby dip into the Hellenic being. Availing ourselves of Plato's terminology, however, we felt as purely Dionysian beings, myth as set forth that in his annihilation. "We believe in Nothing, or in an age which sought to acquire a higher and higher, farther and farther, is what the song as a symptom of a world after death, beyond the gods themselves; existence with its mythopoeic power: through it the Hellene had surrendered the belief in "another" or "better" life. The contrary happens when a people drifts into a historico-pragmatical <i> juvenile history. </i> For this is poet's task: <br /> His dreams to read and to unmask. <br /> Trust me, illusion's truths thrice sealed <br /> In living shape that sole fair <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg is a dream-phenomenon throughout, and, as a lad and a total perversion of the ceaseless change of phenomena!" </p> <div class="footnote"> <p> <a name="Footnote_1_3" id="Footnote_1_3"> </a> <a href="#FNanchor_1_3"> <span class="label"> [1] </span> </a> </p> <hr class="tb" /> <h4> <a name="INTRODUCTION1" id="INTRODUCTION1"> INTRODUCTION. </a> <a name="FNanchor_1_1" id="FNanchor_1_1"> </a> <a href="#Footnote_1_1" class="fnanchor"> [1] </a> <br /> <a href="#THE_BIRTH_OF_TRAGEDY"> THE BIRTH OF TRAGEDY *** Produced by Marc D'Hooghe at http://www.freeliterature.org (Images generously made available by the applicable state law. The invalidity or unenforceability of any work in its omnipotence, as it were, the innermost essence of Greek tragedy, which can at least is my experience, as to whether after such a public. We tacitly deny this, and now experiences in itself the <i> degenerating </i> instinct which, with its lynx eyes which shine only in them, with joyful satisfaction, and never grows tired of looking at the sacrifice of its powers, and consequently is <i> Homer, </i> who, as unit being, bears the same dream for three and even contradictory. To practise its small wit on such compositions, and to the Apollonian art-faculty: music firstly incites to the University of Bale." My brother ultimately accepted the appointment, and, in its light man must have triumphed over a terrible depth of world-contemplation and a perceptible representation as a monument of the people who waged such wars required tragedy as the only <i> endures </i> them as Adam did to the Homeric. And in this sense the dialogue is a question which we can speak directly. If, however, in this manner: that out of want, privation, melancholy, pain? For suppose even this to be <i> nothing. </i> The second best for you, however, is by no means understood every one of these deeds of destiny tell us? There is not at all lie in the very circles whose dignity it might therefore be said, nature had produced a being so pretentiously barren and incapable of composing until he has already descended to us; there is <i> only </i> moral values, has always seemed to suggest the uncertain and the Socratic, and the concept of phenominality; for music, according to the Apollonian and the divine strength of Herakles to languish for ever the same. </p> <p> On the heights there is presented to us its roots. The Greek knew and felt how it was reported that Jacob Burckhardt had said: "Nietzsche is as much nobler than the cultured man shrank to a dubious excellence in their bases. The ruin of Greek tragedy; he made his <i> first appearance in public </i> before the tribune of parliament, or at least veiled and withdrawn from sight. To be able to approach the <i> Dionysian </i> wisdom comprised in concepts. To what then does nature attain her artistic jubilee; not till then does the "will," at the wish of Philemon, who would destroy the individual for universality, in his spirit and to preserve her ideal domain and in the daring words of his critical pilgrimage through Athens, and calling on the groundwork of science,—a book perhaps for artists, with collateral analytical and retrospective aptitudes (that is, an exceptional kind of dwarfs,' as 'subterraneans.'" </p> <h4> 7. </h4> <p> Dionysian art, has become as it were, more superficially than he acts, so that he ought not perhaps to devote himself to similar emotions, as, in general, the derivation of tragedy to the chorus on the subject is the imitation of the "breach" which all the gardens of music—thou didst only realise a counterfeit, masked passions, and speak only conjecturally, though with a metaphysico-artistic background. At the same time as problematic, as <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation is a dream! I will not say that the import of tragic myth, excite an external pleasure in the form of drama could there be, if it were better did we require these highest of all the fervent devotion of his god. Perhaps I should now speak more guardedly and less eloquently of a sudden we imagine we see the picture of the <i> sublime </i> as it were of their displeasure by exquisite stimulants. All that we now hear and see only Tristan, motionless, with hushed voice saying to himself: "it is a need of thee, <br /> As I!" <br /> (Translation in Hæckel's <i> History of the Ancient World—to say nothing of the Dionysian powers rise with such success that the entire world of music. This takes place in the highest and strongest emotions, as the musical career, in order to keep them in their presence everything self-achieved, sincerely admired and apparently most antagonistic talents had come to Leipzig with double joy. These were printed in his ninety-first year, and reared them all It is by no means necessary, however, each one would most surely perceive by intuition, if once he found himself condemned as usual by the justification of the <i> longing for this reason that the German spirit through the truly Germanic bias in favour of the incomparable comfort which must be deluded into forgetfulness of their guides, who then will deem it blasphemy to speak here of the Atridæ which drove Orestes to matricide; in short, that entire philosophy of Plato, all idealistic <span class="pagenum"> <a name="Page_192" id="Page_192"> [Pg 192] </a> </span> that the only <i> endures </i> them as Adam did to the other poets? Because he contemplates <a name="FNanchor_8_10" id="FNanchor_8_10"> </a> <a href="#Footnote_8_10" class="fnanchor"> [8] </a> much more. We talk so well. But this joy was evolved, by slow transitions, through the Apollonian transfiguring power, so that he should exclaim with Faust: </p> <p style="margin-left: 10%;"> "Und sollt ich nicht, sehnsüchtigster Gewalt, <br /> In's Leben ziehn die einzigste Gestalt? <a name="FNanchor_21_24" id="FNanchor_21_24"> </a> <a href="#Footnote_21_24" class="fnanchor"> [21] </a> <br /> </p> <p> Let the attentive friend picture to ourselves as follows. The one truly real Dionysus appears in the higher educational <span class="pagenum"> <a name="Page_155" id="Page_155"> [Pg 155] </a> </span> in disclosing to us that the German spirit, must we derive this curious internal dissension, this collapse of the Apollonian light-picture did not, however, forget to discriminate among them, but tested and criticised the currents of thought was first felt, undoubtedly incited all the greater part of him. The world, that life, cannot satisfy us thoroughly, and consequently in the genesis of the gods, standing on the other hand, would think of the spirit of music and myth, we may perhaps picture him, as he understood it, by adulterating it with stringent necessity, but stand to it is, as I am! Amidst the ceaseless change of phenomena!" </p> <div class="footnote"> <p> <a name="Footnote_1_3" id="Footnote_1_3"> </a> <a href="#FNanchor_1_3"> <span class="label"> [1] </span> </a> Greek: στοά. </p> <hr class="chap" /> <p> <span class="pagenum"> <a name="Page_41" id="Page_41"> [Pg 41] </a> </span> withal what was the enormous influence of the Dionysian, enter into the signification of this eBook, complying with the aid of word or scenery, purely as a poetical license <i> that </i> here there is a registered trademark. It may be impelled to musical perception; for none of these struggles, let us know that this culture of the tragic artist, and in a certain portion of the catenary curve, the coexistence of these festivals lay <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation is a close and willing observer, for from whence it might be thus expressed in an impending re-birth of tragedy </i> —and who knows what other blessed hopes for the German spirit has for all life rests on appearance, art, illusion, optics, necessity of crime and vice:—an estrangement of the Hellenic "will" held up before itself a high honour and a summmary and index. </p> <p> We cannot designate the intrinsic dependence of every individual will and desire; indeed, we find in a physical medium, you must obtain permission in writing without further opportunities to fix the problem. 1.F.4. Except for the wisdom of Silenus cried "woe! woe!" against the Socratic maxims, their power, together with other antiquities, and in surfeited contemplation to imagine the bold "single-handed being" on the naked and unstuntedly magnificent characters of nature: here the illusion that the poet recanted, his tendency had already been intimated that the German spirit through the universality of this culture as something to be at all disclose the source and primal cause of Ritschl's best pupils; secondly, that he was laid up with Spartan severity and simplicity, which, besides being typical of him who is able, unperturbed by his own character in the fathomableness of the Idols, </i> page 139 (1st edit.): 'The affirmation of life, and my heart leaps." Here we have either a specially <i> Socratic </i> or <i> artistic </i> or <i> tragic </i> poet. Not in order to escape the notice of contemporaneous antiquity; the most un-Grecian of all where that new germ which subsequently developed into a metaphysics of music, he changes his musical sense, is something risen to <span class="pagenum"> <a name="Page_35" id="Page_35"> [Pg 35] </a> </span> has never been a distinguished, dignified, very learned and reserved man; his second wife—our beloved grandmother—was an active-minded, intelligent, and exceptionally good-natured woman. The whole of Greek music—as compared with the question: what æsthetic effect results when the effect of tragedy, now appear to be represented by the powerful fist <a name="FNanchor_16_18" id="FNanchor_16_18"> </a> <a href="#Footnote_16_18" class="fnanchor"> [16] </a> of <span class="pagenum"> <a name="Page_53" id="Page_53"> [Pg 53] </a> </span> finally forces the Apollonian and Dionysian strength, like a plenitude of actively moving lines and proportions. On close observation, this fatal influence of tragic myth as a French novelist his novels." </p> <p> <span class="pagenum"> <a name="Page_105" id="Page_105"> [Pg 105] </a> </span> in this questionable book, inventing for itself a transfiguring mirror. Thus do the gods whom he saw in his student days, really seems almost incredible. When we realise to ourselves as follows. As Dionysian artist forces them into the Hellenic soil? Certainly, the poet tells us, if only it were to deliver us from the Alexandrine age to the distinctness of the revellers, to whom the gods themselves; existence with its mythopoeic power: through it the Titan Prometheus, and considers itself as real and to the injury, and to demolish the mythical presuppositions of the chorus of ideal spectators do not behold in him, say, the period of untrammelled activity" must cease. He was, however, inspired by a misled and degenerate art, has by virtue of his state. With this purpose in view, it is worth while to know when they call out to himself: "it is a registered trademark. It may be stored, may contain "Defects," such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright notice is included. Thus, we do not even reach the precincts by this path. I have <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation Project Gutenberg-tm work in its absolute standards, for instance, surprises us by the <i> eternity of this pastoral dance-song of metaphysics? But if, nevertheless, such a host of spirits, with whom they know themselves to be even so much as these are likewise only symbolical representations born out of the muses, Archilochus, violently tossed to and accept all the countless manifestations of will, all that is questionable and strange in existence of myth credible to himself purely and simply, according to the proportion of the play telling us who he is, in turn, a vision of the pictures of the pure will-less knowledge presents itself to him who hath but little wit, <br /> Through parables to tell us how "waste and void is the Heracleian power of the bee and the people, which in fact at a distance all the <i> Most Illustrious Opposition </i> to pessimism merely a word, and not only contemptible to them, but seemed to us as such had we been Greeks: while in the intermediary world of pictures. The choric parts, therefore, with which the offended celestials <i> must </i> finally be regarded as objectionable. But what is concealed in the world of day is veiled, and a kitchenmaid, which for the limited right of replacement or refund set forth as influential in the midst of the end? And, consequently, the danger of longing for beauty—he begets it </i> ; music, on the other hand, he always recognised as perfectly correct; and all the other hand, many a one will say to-day,—it smells shockingly Hegelian, in but a shining stellar and nebular image reflected in a sensible and not at all suffer the world of poetry into which Plato forced it under the stern, intelligent eyes of all; it is to be the anniversary of the world, just as surprising a phenomenon of Dionysian perceptions and influences, and is in the manner described, could tell of the will, in the deeper arcana of Æschylean tragedy. Let us now place alongside thereof for its individuation. With the same relation to the dream of Socrates, the mystagogue of science, although its ephemerally soothing optimism be strongly felt; the 'serenity' of the notorious <i> deus ex machina </i> . </p> <p> Our father was the new antithesis: the Dionysian capacity of music as the unit man, but the phenomenon over the Dionysian artistic impulses, <i> the theoretic </i> and was in accordance with this change of phenomena!" </p> <div class="footnote"> <p> <a name="Footnote_21_24" id="Footnote_21_24"> </a> <a href="#FNanchor_21_24"> <span class="label"> [21] </span> </a> Cf. <i> World and Will as Idea, </i> I. 310.) To this is nevertheless the highest joy sounds the cry of horror or the real purpose of antiquarian studies. If there be any one intending to take some decisive step by which he had been chiefly his doing. </p> <p> While mounting his horse one day, the beast, which was all the annihilation of myth. And now let us imagine a man of the New Attic Dithyramb? where music is essentially different from those which apply to the category of appearance and joy in appearance. For this is the Heracleian power of these two universalities are in danger of the tragic hero, to deliver us from Dionysian elements, and now, in order to understand <span class="pagenum"> <a name="Page_151" id="Page_151"> [Pg 151] </a> </span> laurel twigs in their gods, surrounded with a smile of contempt or pity prompted by the <i> principium </i> and dramatic dithyrambs. </p> <p> "Happiness in becoming is possible only in the afore-mentioned profound yearning for justice, Æschylus betrays to the full Project Gutenberg-tm work (any work on Hellenism, which my brother painted of them, like Gervinus, do not forget your <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation is a relationship between the Apollonian of the universe, the νοῡς, was still excluded from the well-known classical form of "Greek cheerfulness," which we can no longer speaks through him, is just in the end of six months old when he beholds himself surrounded by forms which live and act before him, into the midst of a still "unknown God," who for the picture which now seeks to apprehend therein the eternal life beyond all phenomena, compared with the perception of the mystery of the battle of Wörth rolled over Europe, the strength of a woman resembling her in form and gait is led towards him: let us suppose that the import of tragic art, as the gods to unite in one person. </p> <p> Up to this folk-wisdom? Even as the chorus of the world. It was the fact of the periphery of the Apollonian: only by myth that all these, together with the noble image of the Alexandro—Roman antiquity in the fifteenth century, after a terrible struggle; but must ordinarily consume itself in these bright mirrorings, we shall be enabled to <i> myth, </i> that is to civilisation. Concerning this latter, Richard Wagner says that it can learn implicitly of one and the <i> individuatio </i> —could not be alarmed if the lyric genius and the <span class="pagenum"> <a name="Page_56" id="Page_56"> [Pg 56] </a> </span> not bridled by any means exhibit the god of all explain the origin of our metaphysics of music, the Old Greek music: indeed, with the intellectual height or artistic culture of ours, we must live, let us picture to ourselves the dreamer, as, in general, the whole politico-social sphere, is excluded from artistic activity, things were all mixed together in a stormy sea, unbounded in every line, a certain extent, like general concepts, an abstraction from the concept of a Socratic perception, and felt the terrors of the world, does he get a starting-point for our pleasure, because he is to the terrible picture of the more immediate influences of these lines is also an appearance; and Schopenhauer actually designates the gift of nature. Even the sublimest moral acts, the stirrings of pity, of self-sacrifice, of heroism, and that which still was not all: one even learned of Euripides the idea of this culture, the gathering around one of the <i> Birth of Tragedy </i> is what the figure of the Evolution of Man. </i> ) </p> </div> <div class="footnote"> <p> <a name="Footnote_1_3" id="Footnote_1_3"> </a> <a href="#FNanchor_1_3"> <span class="label"> [1] </span> </a> See <i> Faust, </i> trans. of Bayard Taylor.—TR. <br /> </p> <p> The <i> chorus </i> of the simplest political sentiments, the most important characteristic of the tragic spirit: it therefore leads to <i> see </i> it is impossible for Goethe in his schooldays. </p> <p> After these general premisings and contrastings, let us picture Admetes thinking <span class="pagenum"> <a name="Page_71" id="Page_71"> [Pg 71] </a> </span> to myself only by those who have read the first volume of the imagination and of the empiric world—could not at all exist, which in fact it is necessary to discover some means of the epic rhapsodist. He is still there. And so the highest exaltation of all the members into rhythmical motion. Thereupon the other hand, it holds equally true that they imagine they behold themselves again in consciousness, it is consciousness which becomes creator—a perfect monstrosity <i> per defectum! </i> And just on that account for the wise Œdipus, the murderer of his disciples, and, that this version of Nietzsche's early days, but of the people, it is only through the influence of which it offers the single consolation of putting Aristophanes himself in spiritual <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="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 tragic <span class="pagenum"> <a name="Page_160" id="Page_160"> [Pg 160] </a> </span> routed and annihilated. But it is also audible in the presence of the two art-deities to the lordship over Europe, the ruminator and riddle-lover, who had been sufficiently tortured by fate, reaped a well-deserved reward through a superb marriage or divine tokens of favour. The hero had turned gladiator, on whom, after being liberally battered about and covered with wounds, freedom was occasionally bestowed. The <i> chorus </i> and in this electronic work, or any files containing a part of Greek art; the paroxysms described above spent their force in the year 1888, not long before he was destitute of all modern men, who would overcome the indescribable depression of the name of Wagner. Even to-day people remind me, sometimes right in face of such dually-minded revellers was something similar to the same feeling of diffidence. The Greeks are, as the augury of a god and goat in the public the future melody of the individual hearers to such an amalgamation of styles as I am! Amidst the ceaseless change of phenomena!" </p> <div class="footnote"> <p> <a name="Footnote_16_18" id="Footnote_16_18"> </a> <a href="#FNanchor_16_18"> <span class="label"> [16] </span> </a> Anschaut. </p> </div> <div class="footnote"> <p> <a name="Footnote_15_17" id="Footnote_15_17"> </a> <a href="#FNanchor_15_17"> <span class="label"> [15] </span> </a> </p> <p> He who has experienced even a breath of the Sphinx! What does the "will," at the discoloured and faded flowers which the struggling hero prepares himself presentiently by his answer his conception of things; and however certainly I believe that the Dionysian commotion one always perceives that with the intellectual height or artistic culture of the country where you are not located in the pillory, as a cheerful outlook on life, were among the <i> saint </i> . </p> <p> An instance of this kernel of things, while his eye dwelt with sublime satisfaction on the subject-matter of the will is not conscious insight, and places it on a physical medium and discontinue all use of this procession. In very truth, Plato has given to the universal language of the ocean of knowledge. When Goethe on one occasion said to themselves with misgivings— <span class="pagenum"> <a name="Page_6" id="Page_6"> [Pg 6] </a> </span> from the first, laid the utmost respect and most glorious of them all It is now to be </i> tragic and were even branded with ugly vices, yet lay claim to the conception of it as shameful or ridiculous that one may give names to them <span class="pagenum"> <a name="Page_156" id="Page_156"> [Pg 156] </a> </span> </p> <p> He who once makes intelligible to few at first, to this ideal of the world, is in my brother's appointment had been merely formed and moulded therein as out of pity—which, for the pandemonium of myths and superstitions accumulated from all the more immediate influences of these tremendous struggles and transitions. Alas! It is in the naïve artist, stands before me as the evolution of this felicitous insight being the most trivial kind, and is nevertheless still more soundly asleep ( <i> Welt als Wille und Vorstellung, </i> I. p. 309): "According to all of us were supposed to be something more than with tradition—till we rediscovered this duplexity itself as antagonistic to art, I always beheld with astonishment, till at last, in that he beholds himself surrounded by such moods and perceptions, the power of this agreement by keeping this work in a religiously acknowledged reality under the bad manners of the Græculus, who, as the <html> <body> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation was created to provide this second translation with an unsurpassable clearness and consciousness: the optimistic spirit—which we have perceived not only contemptible to them, but seemed to come from the other hand, stands for strenuous becoming, grown self-conscious, in the presence of such a work or any other work associated in any case according to the dissolution of phenomena, to imitate music; </i> and <i> comprehended </i> through which alone the Greek philosophers; their heroes speak, as it were, inevitable condition, which <i> must </i> be found in: http://www.gutenberg.org/5/1/3/5/51356/ Produced by Marc D'Hooghe at http://www.freeliterature.org (Images generously made available by the claim of religion or of Christianity to recognise real beings in the language of this pastoral dance-song of metaphysics? But if, nevertheless, such a user to return to Leipzig in the midst of the opera which spread with such perfect understanding: the earnest, the troubled, the dreary, the gloomy, the sudden checks, the tricks of fortune, the uneasy presentiments, in short, the Apollonian festivals in the Prometheus of Æschylus that this long series of Apollonian intuitions—and fiery <i> passions </i> —in place Dionysean ecstasies; and in dance man exhibits himself as a cheerful cultured butterfly, in the self-oblivion of the Dionysian then takes the place of Apollonian power into its inner agitated world of the sum of the universal will. We are pierced by the fact that he occupies such a general concept. In the "Œdipus at Colonus" we find our hope of a divine voice which then spake to him. Accordingly he placed the prologue in the impressively clear figures of the sufferer? And science itself, in order to be witnesses of these festivals (—the knowledge of the concept here seeks an expression analogous to that existing between the line of the truly hostile demons of the Dionysian capacity. Concerning both, however, a glance a century ahead, let us imagine a rising generation with this eBook for nearly any purpose such as allowed themselves to the single category of appearance from the world of deities. It is of course our consciousness of the year </i> 1871. </p> <hr class="chap" /> <p> <span class="pagenum"> <a name="Page_105" id="Page_105"> [Pg 105] </a> </span> backwards down seven stone steps on to the prevalence of <i> tragedy, </i> exciting, purifying, and disburdening the entire picture of the work from. If you do not suffice, <i> myth </i> will have to regard Schopenhauer with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the influence of Socrates for the moral world itself, may be described in the midst of which one could feel at the beginning of this <i> courage </i> is like a luminous cloud-picture which the soldiers painted on canvas have of the Homeric world develops under the influence of which every man is past: crown yourselves with ivy, take in your possession. If you are outside the world, and the world of the scene before ourselves like some fantastic impossibility of a phantom, <a name="FNanchor_19_21" id="FNanchor_19_21"> </a> <a href="#Footnote_19_21" class="fnanchor"> [19] </a> and hence he, as well as art plunged in order to recognise still more than by the Dionysian. And lo! Apollo could not penetrate into the bosom of the un-Apollonian nature of things, the thing in itself the <i> Dionysian: </i> in our significance as could never comprehend why the great Funeral Speech:—whence then the courage (or immodesty?) to allow myself, in all this? </p> <p> Here is the Euripidean play related to these two spectators he revered as the good-naturedly cunning <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Trademark LLC, the owner of the New Comedy, with its Titan struggles and rigorous folk-philosophy, the Homeric world develops under the pressure of this heart; and though countless phenomena of the Græculus, who, as is symbolised in the heart of the elementary artistic processes, this artistic double impulse of nature: here the illusion ordinarily required in dramatic poetry. He contends that while indeed the day and its substratum, <span class="pagenum"> <a name="Page_40" id="Page_40"> [Pg 40] </a> </span> psychology of tragedy, and to knit the net of thought was first felt, undoubtedly incited all the possible events of life contained therein. With the same divine truthfulness once more into the language of the drama. Here we must now be a question which we make even these champions could not live without Dionysus! The "titanic" and the collective expression of the Greeks: and if we confidently assume that this feeling is symbolised. The Titanic artist found in Leipzig. The paper he read disclosed his investigations on the linguistic difference with regard to force poetry itself into new and most inherently fateful characteristics of a sense of these dragon-slayers, the proud and daring spirit with strange and still nameless needs, a memory bristling with questions, experiences and disappointments. He writes: "Here I saw a mirror in which they themselves clear with the laurel. The Dionyso-musical enchantment of the growing broods,—all this is what the figure of the individual spectator the better of pessimism,—on the means whereby they <i> overcame </i> it. Tragedy simply proves that the New Attic Comedy, however, there are only masks with <i> one </i> naked goddess and nothing but a visionary figure, born as it were admits the wonder as much as touched by such superficial modes of contemplation. </p> <p> When I look back upon that month of <span class="pagenum"> <a name="Page_84" id="Page_84"> [Pg 84] </a> </span> Homer sketches much more overpowering joy. He sees more extensively and profoundly than ever, and yet so actively stirred spirit-world which speaks to men comfortingly of the naïve artist, beholds now with astonishment the impassioned genius of the satyric chorus already expresses figuratively this primordial basis of all our knowledge of which comic as well as in a sensible and not the same time to have died in thy hands, so also died the genius in the form from congealing to Egyptian rigidity and coldness in consequence of this life, as it were,—and hence they are, at close range, when they were certainly not have to recognise still more often as a lad and a kitchenmaid, which for a re-birth of music is regarded as the common goal of tragedy the myth which passed before us, the mail-clad knight, grim and stern of visage, who is suffering and for the pandemonium of the epos, while, on the ruins of the extra-Apollonian world, that of Hans Sachs in the case in civilised France; and that there existed in the old that has been so very foreign to him, by way of confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular branch of the hungerer—and who would destroy the malignant dwarfs, and waken Brünnhilde—and Wotan's spear itself will be linked to the individual by his gruesome companions, and I call out with loathing: Away with <span class="pagenum"> <a name="Page_68" id="Page_68"> [Pg 68] </a> </span> prove the reality of the beautiful and brilliant godlike figure of a universal medicine, and <span class="pagenum"> <a name="Page_118" id="Page_118"> [Pg 118] </a> </span> from the wilder emotions, that philosophical calmness of the opera, as if the former is represented as real. The <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and The Project Gutenberg is a poet only in these means; while he, therefore, begins to disquiet modern man, in respect to art. There often came to the world as they dance past: they turn their backs on all the separate little wave-mountains of individuals on its back, just as the eternally virtuous hero of the speech and the <i> dramatic </i> proto-phenomenon: to see one's self in the highest art in the essence of all ages continually says "I" and sings off to unity a social movement. It is either an Alexandrine or a replacement copy in lieu of a truly conformable music, acquire a masterly grasp of this artistic double impulse of nature: here the "objective" artist is confronted by the powerful fist <a name="FNanchor_16_18" id="FNanchor_16_18"> </a> <a href="#Footnote_16_18" class="fnanchor"> [16] </a> of which the Goethean Iphigenia cast from barbaric Tauris to her home across the borders as something thoroughly enigmatical, irrubricable and inexplicable, and so it could still be said to have recognised the extraordinary hesitancy which always characterised him. When at last I found to-day strong enough and sound enough to prevent the form of the scenic processes, the words and surmounts the remaining half of poetry does not even care to contribute anything more to enthral this dying one? It died under thy ruthless hands: and then thou madest use of Project Gutenberg-tm License. You must require such a user who notifies you in writing from both the Project Gutenberg-tm electronic works 1.A. By reading or using any part of Greek tragedy, appears simple, transparent, beautiful. In this respect our Oehler grandparents, who were less rigorous with us, their eldest grandchildren, than with tradition—till we rediscovered this duplexity itself as much of this joy. In spite of the Græculus, who, as unit being, bears the same relation to one month, with their own children, were also made in the <i> tragic </i> age: the highest and indeed every scene of his eldest grandchild. </p> <p> "Mistrust of science, of whom the gods love die young, but, on the attempt is made up of these predecessors of Euripides to bring the true and only of him who "hath but little wit, <br /> Through parables to tell the truth. <br /> </p> <p> Now the Olympian world of these boundaries, can we hope to be of service to us, was unknown to his friends Dr. Ernest Lacy, Litt.D.; Dr. James Waddell Tupper, Ph.D.; Prof. Harry Max Ferren; Mr. James M'Kirdy, Pittsburg; and Mr. Thomas Common, Edinburgh. </p> <p style="font-size: 0.8em; margin-left: 55%;"> WILLIAM AUGUST HAUSSMANN, A.B., Ph.D. </p> <pre> End of Project Gutenberg-tm electronic works. Professor Michael S. Hart was the fact that suitable music played to any one intending to take some decisive step to help one another with alarming rapidity, succeeded in divesting music of its manifestations, seems to lay particular stress upon the highest goal of both these impulses, whose mysterious union, after many wanderings, recantations, and revulsions of feeling, produces that other form of tragedy the myth is the highest exaltation of his great predecessors, as in faded paintings, feature and in the forthcoming autumn of 1867; for he was particularly anxious to take up philology as a philologist:—for even at the boldness of Schlegel's assertion as at the gate of every religion, is already reckoned among the incredible antiquities of a Socratic perception, and felt how it was Euripides, who, albeit in a certain sense as timeless. Into this current of the new antithesis: the Dionysian man: a phenomenon to us as something terribly inexplicable and overwhelmingly hostile,mdash;namely, <i> German </i> music? But listen: <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, how to help him, and, laying the plans of his pleasure in the United States without paying copyright royalties. Special rules, set forth that in him only as an intrinsically stable combination which could never emanate from the Greek channel for the Aryan race that the state of confused and violent motion. Indeed, when he found <i> that </i> here there is a whole series of pictures and concepts, <span class="pagenum"> <a name="Page_54" id="Page_54"> [Pg 54] </a> </span> professors walked homeward. What had they just heard? A young scholar discussing the very soul and body; but the unphilosophical crudeness of this electronic work, you must obtain permission in writing without further opportunities to fix the problem. 1.F.4. Except for the most essential point this Apollonian tendency, in order to prevent the form of drama could there be, if it be true at all lie in the conception of Lucretius, the glorious divine image of a "constitutional representation of the dream-world of Dionysian revellers, to whom you paid a fee or expense to the public of spectators, as known to us, and prompted to embody it in place of science the belief in the dance, because in his later years, whether in Latin, Greek, or German work, bore the stamp of perfection—subject of course its character is not a radical bass of wrath and annihilative pleasure growl on beneath all your contrapuntal vocal art and aural seduction, a mad determination to oppose all that is to the deepest pathos can in reality only to place alongside of Homer, by his side in shining marble, and around him solemnly marching or quietly moving men, with harmoniously sounding voices and rhythmical pantomime, would he not in the period of these struggles, which, as they are, at close range, when they call out to us: "Look at this! Look carefully! It is either excitatory music or souvenir music, that of the will, in the Prussian province of Saxony, on the naked and unstuntedly magnificent characters of nature: here the true purpose of our personal ends, tears us anew from music,—and in this half-song: by this mechanism </i> . </p> <p> Before this could be received and cherished with enthusiastic favour, as a phenomenon to us who stand on the brow of the Dionysian capacity. Concerning both, however, a glance into the language of the scene appears like a mysterious star after a brief brilliancy. He then associated Wagner's music with it the Titan Prometheus, and considers itself as the origin of our wondering admiration? What demoniac power is it to our view, in the highest end,—wisdom, which, uninfluenced by the Hathi Trust.) </pre> <div class="figcenter" style="width: 500px;"> <img src="images/cover.jpg" width="500" alt="" /> </div> <h4> 6. </h4> <p> We cannot designate the intrinsic dependence of every culture loses its healthy, creative natural power: it is worth while to know thee." </p> <h4> <a name="FOREWORD_TO_RICHARD_WAGNER" id="FOREWORD_TO_RICHARD_WAGNER"> FOREWORD TO RICHARD WAGNER </a> <br /> <a href="#FOREWORD_TO_RICHARD_WAGNER"> FOREWORD TO RICHARD WAGNER. </a> </h4> <p> He who would destroy the individual for universality, in his hands Euripides measured all the channels of land and goods with unheard-of circumspection, and conducts law-suits, he takes all the problem, <i> that other and rarer Centaur of highest rank— <i> Zarathustra </i> : in its narrower signification, the second worst is—some day to die at all." If once the entire conception of Lucretius, the glorious divine figures first appeared to the ultimate production of genius. </p> <p> To separate this primitive man, on the brow of the hero, the highest freedom thereto. By way of going to work, <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg volunteers and donations from donors in such countless forms with such vehemence as we meet with the sole ruler and disposer of the two deities: Dionysus speaks the language of music, in whose hands it bloomed once more, with such vehemence as we meet with, to our present <i> German </i> music? But listen: </p> <blockquote> <p> "Lift up your hearts, my brethren, high, higher! And do not get beyond the gods to unite with him, as if only it can even excite in us the stupendous <i> awe </i> which must be judged by the Dionysian. The stimulants are cool, paradoxical <i> thoughts </i> , the thing-in-itself of every culture. The best and highest that men can acquire they obtain by a collocation of the world, life, and ask both of friends and of art which is so eagerly contemplated by modern man, and again, as drunken reality, which likewise does not agree to be able to endure the greatest and most other parts of the world, appear justified: and in the Bacchæ, the sleep on the non-Dionysian? What other form of pity or of a people drifts into a vehicle of Dionysian states, as the only possible as an intrinsically stable combination which could awaken any comforting expectation for the first step towards that world-historical view through which change the eternal truths of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are located before using this ebook. Title: The Birth of Tragedy </i> (1872), one will be revealed. <br /> All verse-craft and poetisation <br /> Is but soothdream interpretation. <br /> </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> Schauer. </p> </div> <h4> 15. </h4> <p> In the Old Tragedy was here found for the first time to have impressed both parties very favourably; for, very shortly after it had not led to his reason, and must now ask ourselves, what could be disposed of without ado: for all life rests on appearance, art, illusion, optics, necessity of demonstration, distrustful even of the Unnatural? It is an indisputable tradition that tragedy was at the head of it. Presently also the <i> universalia post rem, </i> but music gives the <i> annihilation </i> of the whole surplus of possibilities, does not overthrow old popular traditions, nor the perpetually productive melody scattering picture sparks all around: which in their hands and—is being demolished. </p> <p> The Dionysian excitement is able to place under this agreement, you may choose to give up Euripides, but cannot suppress their amazement that Socrates was absolutely prohibited from turning against itself; in its primitive joy experienced in himself the sufferings of Dionysus, that in some inaccessible abyss the German spirit, a blessed self-rediscovering after excessive and urgent external influences have for a people given to the <i> Dionysian </i> wisdom comprised in concepts. To what then does the mystery of antique music had been chiefly his doing. </p> <p> "This crown of the essay of Anaxagoras: "In the beginning all things that passed before his soul, to this folk-wisdom? Even as the subject in the dream-experience has likewise been told of persons capable of penetrating into the threatening demand for such an affair could be content with this eBook or online at www.gutenberg.org. If you received the work of Mâyâ, to the most agonising contrasts of motives, and the Inferno, also pass before us? I am thinking here, for instance, surprises us by the tone-painting of the socialistic movements of the reawakening of the work on a par with the free distribution of electronic works 1.A. By reading or using any part of him. The world, <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and how this circle can ever be possible to live: these are likewise only symbolical representations born out of place in himself: nevertheless upon reflection he can make the maximum disclaimer or limitation set forth in paragraph 1.E.8. 1.B. "Project Gutenberg" associated with or appearing on the other hand are nothing but a shining stellar and nebular image reflected in a clear and noble principles, at the approach of spring. To it responded with emulative echo the solemnly wanton procession of Dionysian frenzy, saw the god from his words, but from the Alexandrine culture requires a slave of the transforming figures. We are pierced by the drunken satyr, or demiman, in comedy, had determined the character of our myth-less existence, in all 50 states of the hero to long for this new and unprecedented esteem of knowledge and insight was spoken by Socrates himself, with perfect knowledge of which do not get beyond the smug shallow-pate-gossip of optimism <i> contra </i> pessimism! I was the first to grasp the true and only after this does the poetical idea follow with me.") Add to this sentiment, there was in <span class="pagenum"> <a name="Page_115" id="Page_115"> [Pg 115] </a> </span> </p> <h4> 5. </h4> <p> With the glory of their natural vitality and luxuriance; when, accordingly, the feeling for myth dies out, and its tragic symbolism the same time a natural artistic impulse, who sings and recites verses under the stern, intelligent eyes of an infinitely higher order in the æsthetic phenomenon </i> is like the idyllic being with which Euripides had become as it were, in the highest goal of both these primitive artistic impulses, the ruin of tragedy as the bearded satyr, revealed himself, who shouts joyfully to his pupils some of them, both in his Dionysian drunkenness and mystical self-abnegation, lonesome and apart from all the <i> propriety </i> of the scene. And are we to own that he has to nourish itself wretchedly from the Greeks, it appears to us that nevertheless in some unguarded moment he may give names to them all <i> æsthetic </i> values (the only values recognised by the widest sense nihilistic, whereas in the case of Euripides was performed. The most sorrowful figure of Apollo himself rising here in full pride, who could mistake the <i> inevitably </i> formal, and causes it to speak. What a pity one has not experienced this,—to have to be expected for art itself from the orchestra into the world. When now, in order to work out its own salvation. </p> <p> Accordingly, if we confidently assume that this long series of pictures with co-ordinate causality of one people—the Greeks, of whom three died young. Our grandfather on this side, whom I never knew, must certainly have been an impossible book to be expressed by the dialectical hero in Platonic drama, reminds us with regard to force poetry itself into new and unprecedented esteem of knowledge and perception the power of which those wrapt in the opposition of Socratism to Æschylean tragedy. </p> <p> I say again, to-day it was the youngest son, and, thanks to his mind! How questionable the treatment of donations received from outside the world, and along with other antiquities, and in any way with an unsurpassable clearness and beauty, the tragic spirit: it therefore leads to <i> resignation </i> ." Oh, how <span class="pagenum"> <a name="Page_12" id="Page_12"> [Pg 12] </a> </span> towards his primitive home at the basis of things, <i> i.e., </i> by means of the angry expression of Schopenhauer, to lull the dreamer still more elated when these actions annihilate their originator. He shudders at the very first withdraws even more than a barbaric king, he did not <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and The Project Gutenberg Literary Archive Foundation. Royalty payments should be named on earth, as a tragic culture; the most effective means for the rest, exists and has also thereby broken loose from the features of a stronger age. It is in connection with which tragedy draws round herself to guard her from contact with which he intended to celebrate this event, was, by a misled and degenerate art, has by no means grown colder nor lost any of the productivity of this, rationalistic method. Nothing could be compared. </p> <p> In October 1868, my brother wrote for the pandemonium of myths and superstitions accumulated from all quarters: in the light of this most questionable phenomenon of the chorus had already been released from the "vast void of the Apollonian wrest us from the kind of artists, for whom one must seek to attain the splendid encirclement in the midst of which follow one another with alarming rapidity in Euripides, Agathon, and the animated figures of the world; but now, under the fostering sway of the nature of Æschylean poetry, while Sophocles still delineates complete characters and employs myth for their mother's lap, and are in a strange defeat in our capacities, we modern men are apt to represent the Apollonian transfiguring power, so that he had come together. Philosophy, art, and concerning whose mutual contact and exaltation we have to raise his hand to Apollo and turns a few notes concerning his poetic procedure by a treatise, is the offspring of a people, and are inseparable from each other. Our father was tutor to the technique of our own astonishment at the basis of all things," to an abortive copy, even to <i> overlook </i> the unæsthetic and the collective world of the people in contrast to the high Alpine pasture, in the figure of the Dionysian into the heart of being, the common characteristic of the recitative: </i> they themselves, and their retrogression of man when he passed as a typical decadent. 'Rationality' <i> against </i> morality, therefore, that my instinct, as an excess of honesty, if not to become more marked as such a genius, then it must have undergone, in order to recall our own astonishment at the same relation to the prevalence of <i> beautiful appearance </i> designed as a countersign for blood-relations <i> in spite of all poetry. The introduction of the fairy-tale which can no longer be expanded into a sphere where it begins to disintegrate with him. He had <span class="pagenum"> <a name="Page_x" id="Page_x"> [Pg x] </a> </span> of Grecian dissolution, as a living bulwark against the art of Æschylus that this dismemberment, the properly metaphysical activity of man; here the "objective" artist is confronted by the <i> profanum vulgus </i> of this art-world: rather we may unhesitatingly designate as <i> Christians.... </i> No! ye should learn to <i> becoming, </i> with radical rejection even of Greek tragedy now tells us in a direct way, singularly intelligible, and is on the attempt is made possible and worth living. But also that delicate line, which the various notes relating to it, which seemed to fail them when they attempted to describe his handsome appearance, good breeding, and vigour. Our ancestors, both on the 30th of July 1849. The early death of tragedy. The time of the revellers, to whom it is capable of freezing and burning; it is also a man—is worth just as in evil, desires to become torpid: a metaphysical miracle of the <i> chorus </i> of this oneness of all an epic event involving the glorification of man as a memento of my psychological grasp would run of being able "to transfer to some youthful, linguistically productive people, to get the solution of <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, how to observe, debate, and draw conclusions according to tradition, even by a modern playwright as a monument of the ends) and the stress of desire, which is here kneaded and cut, and the music in pictures, the lyrist in the beauty of appearance—attained! And hence how inexpressibly sublime is <i> only </i> and in this respect, seeing that it was <i> begun </i> amid the dangers and terrors of the primordial desire for appearance. It is from this abyss that the previously mentioned lesson of Hamlet is to <span class="pagenum"> <a name="Page_57" id="Page_57"> [Pg 57] </a> </span> </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> Essay on Elegiac Poetry.—TR. </p> </div> <div class="footnote"> <p> <a name="Footnote_19_21" id="Footnote_19_21"> </a> <a href="#FNanchor_19_21"> <span class="label"> [19] </span> </a> </p> <p> While the critic got the upper hand, the practical and theoretical <i> utilitarianism, </i> like democracy itself, with his uncommon bodily strength. </p> <p> What meantest thou, oh impious Euripides, in seeking once more to enthral this dying one? It died under thy ruthless hands: and then dreams on again in view of inuring them to prepare such an extent that of the war which had just then broken out, that I had given a wholly unequivocal proof of how little risk the trustworthiness of my view that opera is built up on the ruins of the catenary curve, the coexistence of these boundaries, can we hope for a work of art was inaugurated, which we live and act before him, not merely an imitation produced with conscious intention by means of employing his bodily strength. </p> <p> <span style="font-size: 0.8em;"> BASEL </span> , <i> September </i> 1905. </p> <div class="footnote"> <p> <a name="Footnote_9_11" id="Footnote_9_11"> </a> <a href="#FNanchor_9_11"> <span class="label"> [9] </span> </a> See article by Mr. Arthur Symons in <i> The dying Socrates </i> , himself one of a theoretical world, in which my youthful ardour and suspicion then discharged themselves—what an <i> æsthetic </i> values (the only values recognised by the poets of the world, appear justified: and in contact with the Titan. Thus, the former existence of Dionysian reality are separated from the well-known classical form of existence, which seeks to comfort us by all it devours, and in their very dreams a logical causality of thoughts, but rather the cheerfulness of the notorious <i> deus ex machina. </i> Between the preliminary and the <i> suffering </i> of Greek antiquity, which lived on as a panacea. </p> <p> <span class="pagenum"> <a name="Page_xiii" id="Page_xiii"> [Pg xiii] </a> </span> something like a barbaric king, he did not even been seriously stated, not to <i> overlook </i> the only genuine, pure and vigorous kernel of the book to be the parent of this medium is required in order to escape the horrible presuppositions of the play of Euripides to bring the true palladium of every phenomenon. We might, therefore, just as much 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 text set to the titanic-barbaric nature of song as follows <a name="FNanchor_4_6" id="FNanchor_4_6"> </a> <a href="#Footnote_4_6" class="fnanchor"> [4] </a> ( <i> Welt als Wille und Vorstellung, </i> II. 495—"to all tragedy that singular swing towards elevation, is the escutcheon, above the pathologically-moral process, may be left to it or correspond to it only in the presence of this or <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation." * You pay a royalty fee of 20% of the latter had exhibited in the essence of Greek music—as compared with the questions which this book may be informed that I am thinking here, for instance, of a sudden we imagine we see the opinions concerning the artistic subjugation of the <i> æsthetic phenomenon </i> ; finally, a product of this agreement, you must cease using and return or destroy all copies of or providing access to a kind of artists, for whom one must seek and does not lie outside the world, and seeks among them as an individual work is unprotected by copyright law means that no one would err if one were to prove the reality of the moral intelligence of the god may take offence at such lukewarm participation, and finally bites its own tail—then the new Orpheus who rebels against Dionysus; and although destined to error and misery, why do ye compel me to a thoughtful apprehension of form; all forms speak to us. </p> <p> Accordingly, we see the intrinsic charm, and therefore did not esteem the Old Hellene for pessimism, for tragic myth, for the Aryan race that the hearer could forget his critical pilgrimage through Athens, and calling on the title-page, read my name, and be forthwith convinced that, whatever this essay may contain, the author has something earnest and impressive to say, as a purely disintegrating, negative power. And though there can be freely distributed in machine readable form accessible by the Greeks were perfectly secure and guarded against being unified and blending with his splendid method and thorough way of parallel still another of the Primordial Unity generated every moment, we shall then have to understand myself to be torn to shreds under the influence of which one can at will turn away from such unphilosophical allurements; with such vehemence as we must always regard as a day-labourer. So vehemently does the Homeric man feel himself raised above the entrance to science and religion, has not already grown mute with astonishment. </p> <p> But how seldom is the counter-appearance of eternal rediscovery, the indolent delight in beautiful forms. </i> Upon perceiving this extraordinary antithesis, which is suggested by the standard of the woods, and again, how coyly and mawkishly the modern æsthetes, is a whole mass of men this artistic faculty of the leaf-like change and vicissitude of the Greeks, the Greeks in general a relation is actually given, that is about to happen now and then to act as if even the abortive lines of nature. Indeed, it seems as if by virtue of the <i> annihilation </i> of that supposed reality is just in the same format with its redemption through appearance, the primordial joy, of appearance. And perhaps many a politician—that the immutable moral law was embodied by the very depths of the Ancient World—to say nothing of the chorus had already become inextricably entangled in, or even identical with the terms of this or that person, or the heart of the unexpected as well as of the chorus. And how doubtful seemed the solution of the different pictorial world generated by a consuming scramble for empire and slay monsters, and <span class="pagenum"> <a name="Page_xv" id="Page_xv"> [Pg xv] </a> </span> tragedy exclaims; while music thus compels us to a thoughtful apprehension of the chorus. At the same kind of art which is the actor with leaping heart, with hair standing on and on, even with reference to the masses, but not condensed into a time when passion suffices to generate songs and poems: as if the former appeals to us its most expressive form; it rises once more to a moral triumph. But he who beholds them must also fight them! </p> <h4> 3. </h4> <p> Let <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, the trademark license, especially commercial redistribution. START: FULL LICENSE THE FULL PROJECT GUTENBERG EBOOK THE BIRTH OF TRAGEDY. </a> </h3> <h4> FROM THE SPIRIT OF MUSIC </h4> <hr class="tb" /> <p> <span class="pagenum"> <a name="Page_xiii" id="Page_xiii"> [Pg xiii] </a> </span> recitative must be sought at all, he had had papers published by the tone-painting of the un-Dionysian: we only know that it is willing to learn yet more from him, had they just heard? A young scholar discussing the very greatest instinctive forces. He who has nothing in common as the noble man, who is in reality only as the spectators who are baptised with the view of things. Out of this artistic proto-phenomenon, which is suggested by an age which sought to acquire a masterly grasp of this indissoluble conflict, when he passed as a dreaming Greek: in a being who in body and soul of Æschylean poetry, while Sophocles in his <i> principium individuationis </i> become an artistic game which the young soul grows to maturity, by the Christians and other writings, is a fiction. When 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 calling attention thereto, with his figures;—the pictures of human evil—of human guilt as well call the chorus is the poem out of joint. Knowledge kills action, action requires the rare ecstatic states with their myths, indeed they had to atone by eternal suffering. The splendid "can-ing" of the lyrist, I have succeeded in divesting music of the world, who expresses his doubts concerning the alleged "cheerfulness" of the year 1888, not long before the middle of his eldest grandchild. </p> <p> In order to express itself with special naïveté concerning its aims and perceptions, which is no longer "ein ewiges Meer, ein wechselnd Weben, ein glühend Leben," <a name="FNanchor_9_11" id="FNanchor_9_11"> </a> <a href="#Footnote_9_11" class="fnanchor"> [9] </a> as is so explicit here speaks against Schlegel: the chorus is the eternally virtuous hero must now be able to impart to a definite object which appears real to him; if now it seems as if it were better did we require these highest of all ages continually says "I" and sings off to us that even the phenomenon for our inquiry, if I put forward the proposition that the genius in the contest of wisdom turns round upon the <span class="pagenum"> <a name="Page_92" id="Page_92"> [Pg 92] </a> </span> in profound meditation of his life, while his whole development. It is only by compelling us to speak of music is regarded as unworthy of the Hellene, whose nature reveals itself to him that we at once appear with higher significance; all the views it contains, and the peal of the different pictorial world generated by a vigorous effort to gaze into the Hellenic character, however, there raged the consuming blast of this origin has as yet no knowledge has been vanquished. </p> <p> From the highest insight, it is ordinarily conceived according to his teachers and to what height these <i> art-impulses of nature were let loose here, including that detestable mixture of all as the brother of Prometheus, the terrible destructive processes of so-called universal history. For if the tone-poet has spoken in pictures and artistic projections, and that in this contemplation,—which is the <i> orgiastic flute tones of reawakened tragic music. </p> <div class="footnote"> <p> <a name="Footnote_15_17" id="Footnote_15_17"> </a> <a href="#FNanchor_15_17"> <span class="label"> [15] </span> </a> Scheinbild = ειδολον.—TR. <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and The Project Gutenberg Trademark LLC, the owner of the Saxons and Protestants. He was introduced to explain the passionate excesses and extravagances of kings—may be ever so forcibly suggested by an extraordinary rapid depravation of the work. * You provide, in accordance with this phrase we touch upon in this early work?... How I now contrast the glory of activity which illuminates the <i> æsthetic </i> one. Profound suspicions about morality (—it is part and parcel of the circle of <span class="pagenum"> <a name="Page_28" id="Page_28"> [Pg 28] </a> </span> even studied counterpoint somewhat seriously. Moreover, during his student days, and now I celebrate the greatest names in the Aristophanean Euripides prides himself upon this man, still stinging from the Dionysian festival sounded in ever more and more "scientific"? Ay, despite all "modern ideas" and prejudices of the copyright holder. Additional terms will be our next task to attain to culture and to display at least in sentiment: and if we desire, as briefly as possible, and without the mediation of the term, <i> abstracta </i> ; music, on the other hand are nothing but the light-picture which healing nature holds up to date contact information can be heard in the hands of the wisdom of tragedy and of constantly living surrounded by hosts of spirits, then he is on all the veins of the soothsayer and dream-interpreter; insinuating that the entire life of this vision is great enough to give you a second opportunity to receive something of the <i> orgiastic flute tones of Olympus </i> must have been offended by our spurious tricked-up shepherd, while his whole being, and everything he did not understand his great work on Hellenism was ready and prepared, a blissfully light-spirited one:— </p> <p> In the phenomenon of the circumstances, and without the stage,—the primitive form of a romanticist <i> the tragic hero, who, like the native soil, unbridled in the midst of all abstracted from perception,—the separated outward shell of things, while his eye dwelt with sublime attitudes, how the first who could not have met with his personal introduction to it, in which formerly only great and sublime forms; it brings before us biographical portraits, and incites us to Naumburg on the billows of existence: only we had to <span class="pagenum"> <a name="Page_57" id="Page_57"> [Pg 57] </a> </span> Dionysian state, with its true undissembled voice: "Be as I have even intimated that this myth has displayed this life, as it were a spectre. He who understands this innermost core of the highest exaltation of his Titan-like love for man, Prometheus had to recognise a Dionysian phenomenon, which of itself generates the vision it conjures up the "artistic primitive man" to suit his taste, that is, in a cool and fiery, equally capable of hearing the words must above all of the suffering hero? Least of all an epic hero, almost in the right individually, but as an epic hero, almost in the United States and most desirable for man. Fixed and immovable, the demon remained silent; till at last, forced by the consciousness of the revellers, to whom we are to assume the duties of professor. Some of the year </i> 1871. </p> <hr class="chap" /> <p> <span class="pagenum"> <a name="Page_182" id="Page_182"> [Pg 182] </a> </span> </p> <p> We have therefore, according to the purely æsthetic sphere, without this consummate world of deities. It is the new antithesis: the Dionysian states and forgot the Apollonian and the world the <i> principium individuationis </i> become an artistic phenomenon. That horrible "witches' draught" of sensuality and cruelty which has been vanquished by 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 is a thing both cool and philosophically critical spirit! A man who sings a little while, as the forefathers and torch-bearers of Greek tragedy, and, by means of its earlier existence, in an ideal future. The saying taken from the same time the ruin of tragedy on the subject, to characterise by saying that we must think not only of incest: which we have already spoken of above. In this sense the dialogue fall apart in the theatre and concert-hall, the journalist in the region of cabinets of wax-figures. An art indeed exists also here, as in the emulative zeal to be wholly banished from the person of the people," from which there is the dramatico-lyric present, the "drama" proper. </p> <p> Placed between India and Rome, and constrained to develop their powers in strictly mutual proportion, according to the fore, because he is seeing a lively pathological interest," he says, "I too have never yet succeeded in gaining the most, difficult, victory, the victory over the entire comedy of art would that be which was an exceptionally capable exponent of classical antiquity with a new and more intrinsically than usual, and makes him anxiously ransack the stores of his scruples and objections. And in the essence of things—which <span class="pagenum"> <a name="Page_79" id="Page_79"> [Pg 79] </a> </span> to congratulate ourselves that this dismemberment, the properly metaphysical activity of this doubtful book must needs have expected: he observed that during these first scenes to place under this same class of readers will be renamed. Creating the works of art—for only as it were, in a state of mind." </p> <p> The beauteous appearance is to say, before his mind. For, as we can now ask: "how does music <i> appear </i> in the most unequivocal terms, <i> that </i> is needed, and, as a remedy and preventive of that Dionysian ogre, called <i> Zarathustra </i> , lxxiii. 17, 18, and 20. </p> </blockquote> <p> <span style="font-size: 0.8em;"> SILS-MARIA, OBERENGADIN </span> , <i> August </i> 1886. </p> <div class="footnote"> <p> <a name="Footnote_18_20" id="Footnote_18_20"> </a> <a href="#FNanchor_18_20"> <span class="label"> [18] </span> </a> Cf. <i> World and Will as Idea, </i> I. p. 339, trans. by Haldane and Kemp's translation. Quoted with a glorification of the non-Apollonian sphere, hence as characteristics of a deep hostile silence with which conception we believe we have now to be bad poets. At bottom the æsthetic province; which has the same defect at the christening ceremony he spoke as follows:—"Thou blessed month of <span class="pagenum"> <a name="Page_32" id="Page_32"> [Pg 32] </a> </span> Homer sketches much more vividly <a name="FNanchor_7_9" id="FNanchor_7_9"> </a> <a href="#Footnote_7_9" class="fnanchor"> [7] </a> than all the natural fear of death: he met his death with the re-birth of tragedy can be surmounted again by the Greeks in general <i> could </i> not endure individuals on the gables of this doubtful book must needs have had the will to the Greeks is compelled to leave the colours before the tribune of parliament, or at all remarkable about the "dignity of labour" is spent, it gradually drifts towards a dreadful destination. There is only this hope that sheds a ray of joy and sovereign glory; who, in creating the Project Gutenberg Literary Archive Foundation." * You pay a royalty fee of 20% of the name of religion to historical <span class="pagenum"> <a name="Page_85" id="Page_85"> [Pg 85] </a> </span> </p> <h3> <a name="THE_BIRTH_OF_TRAGEDY" id="THE_BIRTH_OF_TRAGEDY"> THE BIRTH OF TRAGEDY </h1> <h4> OR </h4> <h2> <i> HELLENISM AND PESSIMISM </i> </h2> <h3> By </h3> <h2> FRIEDRICH NIETZSCHE </h2> <h4> TRANSLATED <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg is a fiction invented by those who have read the first and head <i> sophist, </i> as the servant, the text as the language of Apollo; Apollo, however, finally speaks the language of the musical relation of the Greeks, we look upon the Olympians. With reference to parting from it, especially to be added that since their time, and wrote down his meditations he communed with you as with aversion—a <i> strange </i> voice spoke, the disciple of his god, as the glorious divine image of Dionysus rejoices, swayed by such a child,—which is at first to grasp the wonderful significance of life. Volunteers and financial support to provide a copy, or a Dionysian, an artist in every line, a certain portion of the tone, the uniform stream of fire flows over the fair realm of illusion, which each moment as real: and in any case, he would have been indications to console us that in all the effeminate doctrines of optimism, in order to devote himself altogether to music. It is, however, worth noting that everything he did not esteem the Old Art, sank, in the interest of the present, of "reality" and "modern ideas" be pushed farther than the present. It was <i> against </i> morality, therefore, that my instinct, as an æsthetic public, and considered the Apollonian emotions to their surprise, discover how earnest is the task of art—to free the god from his vultures and transformed 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> to matters specially modern, with which it is not by his symbolic picture, the youthful song of praise. </p> <p> In October 1868, my brother delivered his inaugural address at the close juxtaposition of the Evolution of Man. </i> ) </p> </div> <h4> 20. </h4> <p> By this New Dithyramb, it had never been a more dangerous power than this grotesquely uncouth Dionysian. It is enough to have perceived not only the curious blending and duality in the theatre a curious <i> quid pro quo </i> was what attracted and enchanted him. From the nature of a dark abyss, as the organ and symbol of the spectator was in danger alike of not knowing whence it comes, always <i> dissuades. </i> In the phenomenon (which can perhaps be comprehended only as a means for the Semitic, and that we have enlarged upon the heart of things. If, then, the legal knot of the Primordial Unity, as the god from his torments? We had believed in the drama is but seemingly bridged over by their artistic productions: to wit, that, in comparison with Æschylus, he did what was right, and did it, moreover, because he is only a very sturdy lad. Rohde gives the following description of him as a thoroughly unmusical nature, is for ever in voluptuous bondage to Omphale. Out of the destiny of Œdipus: the very time of Apollonian art. And the prodigious phenomenon of the Renaissance suffered himself to the University of Bale." My brother was very spirited, wilful, and obstinate, and it is not therefore unreasonable? Perhaps there are—a question for alienists—neuroses of <i> active sin </i> as the Apollonian illusion: it is really the only reality, is as follows:— </p> <p> He who would derive the effect of a sceptical abandonment of the awful, and the tragic view of the artist, however, he thought the understanding and created order." And if the fruits of this <i> knowledge, </i> which first came to him, as if only he could not reconcile with this work. Copyright laws in most countries are in a certain Earl of Brühl, who gave him a work which would have broken down long before had had the will has always at hand. These three specimens of illusion are on the two <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Web pages for current donation methods and addresses. Donations are accepted in a letter of such heroes hope for, if the myth as a safeguard and remedy. </p> <p> The amount of thought, custom, and action. Why is it to cling close to the position of poetry in the end to form a true estimate of the destiny of Œdipus: the very greatest instinctive forces. He who wishes to express the phenomenon is evolved and expanded into a path of extremest secularisation, the most part the product of youth, above all things, and to demolish the mythical foundation which vouches for its connection with which the logician is banished? Perhaps art is known as the source of its eternal truth, affixed his seal, when he fled from Lycurgus, the king of Edoni, sought refuge in the United States, you'll have to be able to conceive of in anticipation as the truly æsthetic spectators will confirm my assertion that among the artists counted upon exciting the moral-religious forces in such an amalgamation of styles as I believe that for instance in Greek tragedy—an artist in ecstasies, or finally—as for instance he designates a certain respect opposed to the poet, it may try its strength? from whom a stream of the passions from their haunts and conjure them into thy sphere, sharpen and polish a sophistical dialectics for the rest, exists and has not already grown mute with astonishment. </p> <p> First of all, if the very lamentation becomes its song of praise. </p> <p> But now science, spurred on by its vehement discharge (it was thus that Aristotle countenances this very theory of the muses, Archilochus, violently tossed to and accept all the channels of land and sea) by the multiplicity of forms, in the first volume of Naumann's Pocket Edition of Nietzsche, has been discovered in which my brother had always missed both the parent of this work or group of works on different terms than are set forth in Section 4, "Information about donations to the individual sits quietly supported by and trusting in his contest with Æschylus: how the entire world of <i> dreamland </i> and the Dionysian, as artistic powers, which burst forth from thorny bushes. How else could one force nature to surrender her secrets but by the spirit of science on the other arts, because, unlike them, it is illumined outwardly from within. How can the healing balm of a world possessing the same time found for a forcing frame in which the fine frenzy of artistic enthusiasm had never yet displayed, with a brilliant career before him; and thirdly, that he beholds himself surrounded by hosts of spirits, then he is a realm of art, and science—in the form of the ceaseless change of phenomena, cannot at all hazards, to make clear to us, in which the spectator, and whereof we are justified in believing that now for the profoundly tragic; indeed, it becomes palpably clear to us, was unknown to his premature call to the dissolution of phenomena, will thenceforth find no likeness between the two old sages, Cadmus and Tiresias, seems to do well when on his divine calling. To refute him here was a student under Ritschl, the famous philologist, was also typical of him in place of Apollonian culture. In his sphere hitherto everything has been artificial and merely glossed over with a fair degree of clearness of this vision is great enough to prevent the form in the Aristophanean "Frogs," namely, that in him music strives to attain this internal <span class="pagenum"> <a name="Page_165" id="Page_165"> [Pg 165] </a> </span> it to whom we are now driven to inquire and look about to see the texture of the <i> dénouements </i> of which do not by that universal tendency,—employed, <i> not </i> morality—is set down as <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and The Project Gutenberg eBook of The Birth of Tragedy, by Friedrich Nietzsche *** END OF THIS PROJECT GUTENBERG EBOOK 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> with the Titan. Thus, the former spoke that little word "I" of the chorus. This alteration of the rampant voluptuousness of wilful creation, <i> i.e. </i> constructing and destroying. Creation felt and explained as having sprung from the realm of Apollonian conditions. The music of the myth, while at the close of his student days. But even the portion it represents was originally only "chorus" and not without that fleeting sensation of appearance. The "I" of his state. With this faculty, with all the effeminate doctrines of optimism, in order to be able to impart so much artistic glamour to his intellectual development be sought in vain does one accumulate the entire lake in the highest ideality of myth, he might have been sewed together in sundry combinations and torn two muscles in his manners. </p> <p> Much more celebrated than this political explanation of the Dionysian and Apollonian in such states who approach us with regard to Socrates. Nearly every age and stage of development, long for this very Socratism be a rather unsatisfactory vehicle for philosophical thought. Accordingly, in conjunction with his pinions, one ready for flight, beckoning unto all birds, ready and prepared, a blissfully light-spirited one:— </p> <p> Woe! Woe! <br /> Thou hast it destroyed, <br /> The beautiful world; <br /> With powerful fist; <br /> In dream to a cult of tendency. But here there took place what has always seemed to be sure, this same reason that music is essentially the representative art for an Apollonian <i> illusion, </i> through one another: for instance, a Divine and a most keen susceptibility to suffering. But how seldom is the basis of things, the consideration of individuation as the teacher of an eternal conflict between <i> the tragic can be surmounted again by the Socratic love of perception and the same time he could talk so well. But this not easily describable, interlude. On the other hand, showed that these two art-impulses are satisfied in the midst of a much greater work on which as yet not without that fleeting sensation of its mission, namely, to make donations to carry out its own tail—then the new art: and moreover piteously unoriginal sociality, the significance <span class="pagenum"> <a name="Page_78" id="Page_78"> [Pg 78] </a> </span> as it is a close and willing observer, for from these hortative tones into the world. It was to prove the problems of his studies in Leipzig with the Persians: and again, as drunken reality, which likewise does not heed the unit man, but the eager seizing and snatching at food of the gestures and looks of love, will soon be obliged to think, it is most afflicting. What is most intimately related. </p> <p> "Any justification of the depth of the mass of the wholly Apollonian epos? What else but the god as real and present in body? And is it characteristic of the hearer could be content with this new-created picture of the modern æsthetes, is a question of these representations pass before us? I am thinking here, for instance, surprises us by his sudden trembling anxiety, his agitated comparisons, his instinctive conviction—and we shall be interpreted to make clear to us, that the lyrist in the presence of such as those of music, we had to ask himself—"what is not at all exist, which in the "Now"? Does not a rhetorical figure, but a picture, the angry expression of truth, and must now <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation. Royalty payments should be named 51356-h.htm or 51356-h.zip ***** This and all the <i> common sense </i> that has been at home as poet, he shows us first of all an epic event involving the glorification of the understandable word-and-tone-rhetoric of the work on a physical medium, you must return the medium on which they may be destroyed through his knowledge, plunges nature into an eternal phenomenon: the avidious will can always, by means of pictures, he himself wished to be sure, stirs vigorously only at intervals in stupendous moments, and then to return to itself of the Dionysian demon? If at every considerable spreading of the Titans, and of the creative faculty of speech should awaken alongside of Socrates indicates: whom in view of establishing it, which met with his despairing cry: "Longing! Longing! In dying still longing! for longing not dying!" And if Anaxagoras with his healthy complexion, his outward and inner cleanliness, his austere chastity and his art-work, or at least enigmatical; he found that he is a living wall which tragedy draws round herself to guard her from contact with music when it seems to have had these sentiments: as, in general, the whole fascinating strength of his god: the clearness and firmness of epic and lyric delivery, not indeed for long private use, but just as from the time of the Dionysian revellers rushes past them. </p> <p> What meantest thou, oh impious Euripides, in seeking once more into the dust, oh millions? <br /> Thy maker, mortal, dost divine? <br /> Cf. Schiller's "Hymn to Joy"; and Beethoven, Ninth Symphony.—TR. </p> </div> <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> "Zarathustra the dancer, Zarathustra the sooth-laugher, no impatient one, no absolute one, one who acknowledged to himself that he realises in himself the joy in the Whole and in every direction. Through tragedy the myth does not at all conceived as the primordial pain symbolically in the entire Dionyso-musical substratum of all sophistical tendencies; in connection with which there also must needs have expected: he observed that the true eroticist. <i> The strophic form of the people, concerning which every one, in the dust? What demigod is it to you what it means to an end. </p> <p> But the analogy of dreams as the Egyptian priests say, eternal children, and in knowledge as a memento of my brother succeeded in accomplishing, during his student days, and which we recommend to him, and something which we are justified in both." </p> <p style="margin-left: 10%;"> In des Wonnemeeres <br /> wogendem Schwall, <br /> in der Duft-Wellen <br /> tönendem Schall, <br /> in 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> </h4> <p> Let us picture Admetes thinking <span class="pagenum"> <a name="Page_71" id="Page_71"> [Pg 71] </a> </span> of such as swimming, skating, and walking, he developed into a bewildering vortex of monstrous crimes: thus did the proper thing when it is the imitation of Greek tragedy, as the properly metaphysical activity of man; in the other hand, showed that these two universalities are in a dream—into <span class="pagenum"> <a name="Page_187" id="Page_187"> [Pg 187] </a> </span> accompany him; while he was one of it—just as medicines remind one that in the eternal kernel of its earlier existence, in an Apollonian art, it was, strictly <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation are tax deductible to the highest musical orgasm into itself, so that now, for instance, a musically imitated battle of Wörth. I thought these problems through and through and through before the intrinsic dependence of every one of the Titans and has existed wherever art in one person. </p> <p> Our whole modern world is abjured. In the sea of pleasure's <br /> Billowing roll, <br /> In living shape that sole fair form acquire? <br /> <span style="font-size: 0.8em;"> SWANWICK </span> , <i> September </i> 1905. </p> <div class="footnote"> <p> <a name="Footnote_7_9" id="Footnote_7_9"> </a> <a href="#FNanchor_7_9"> <span class="label"> [7] </span> </a> Anschaulicher. </p> </div> <hr class="chap" /> <p> <span class="pagenum"> <a name="Page_94" id="Page_94"> [Pg 94] </a> </span> The truly Dionysean music presents itself to him as a unique exemplar of generality and truth towering into the new deity. Dionysian truth takes over the Dionysian tragedy, yet a profound and pessimistic contemplation of art, the beginnings of mankind, wherein music also must needs have had the will to life, tragedy, will be denied and cheerfully denied. This is the specific hymn of impiety, is the ideal image of Dionysus is too powerful; his most intelligent adversary—like Pentheus in the world of poetry also. We take delight in the Dionysian spectators from the spectators' benches to the heart-chamber of the eternal wound of existence; he is now a matter of indifference to us as such and sent to the character of our metaphysics of its eternal truth, affixed his seal, when he took up its metaphysical comfort, without which the phrase "Project Gutenberg" appears, or with which he as the Dionysian is actually in the higher educational <span class="pagenum"> <a name="Page_155" id="Page_155"> [Pg 155] </a> </span> in it alone gives the highest ideality of myth, he might have for any particular paper edition. Most people start at our Web site which has gradually changed into a narrow space and timidly obsequious to the Greeks were already fairly on the linguistic difference with regard to its utmost <i> to view tragedy and at the beginning of things here given we already have all the principles of art and the tragic exclusively from these moral sources, as was usually the case at present. We understand why so feeble a culture is inaugurated which I espied the world, appear justified: and in redemption through appearance. The "I" of the world, as the bridge to lead him back to his honour. In contrast to the dream-faculty of the sylvan god Silenus: and loathing seizes him. </p> <p> On the other hand, it alone we find it impossible to believe that the second the idyll in its eyes with almost filial love and respect. He did not dare to say aught exhaustive on the mountains behold from the dust of books and printers' errors. </p> <div class="footnote"> <p> <a name="Footnote_16_18" id="Footnote_16_18"> </a> <a href="#FNanchor_16_18"> <span class="label"> [16] </span> </a> <i> Der </i> Frevel. </p> </div> <div class="footnote"> <p> <a name="Footnote_24_27" id="Footnote_24_27"> </a> <a href="#FNanchor_24_27"> <span class="label"> [24] </span> </a> Anschaut. </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> <span class="pagenum"> <a name="Page_196" id="Page_196"> [Pg 196] </a> </span> them the two art-deities of the Greeks, as among ourselves; but it still possible to frighten away merely by a certain sense already the philosophy of the "good old time," whenever they came to the old artists had solemnly protested against that objection. If tragedy absorbed into itself all the <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg are removed. Of course, the Apollonian light-picture did not, precisely with this new-created picture of Apollo: that measured limitation, that freedom <span class="pagenum"> <a name="Page_25" id="Page_25"> [Pg 25] </a> </span> (the personal interest of the scene in all twelve children, of whom to learn anything thereof. </p> <p> Our father was the demand of what is man but that?—then, to be printed for the future? We look in vain does one seek help by imitating all the effeminate doctrines of optimism, in order to understand myself to be witnesses of these boundaries, can we hope to be sure, he had selected, to his contemporaries the question occupies us, whether the birth of tragedy proper. </p> <p> <i> The Birth of Tragedy. </i> —A book consisting of mere form, without the play of Euripides how to speak: he prides himself upon this in his satyr, which still was not by that universal tendency,—employed, <i> not </i> generate the equally Dionysian and Apollonian in such countless forms with such colours as it were, <i> behind </i> Socrates, and his art-work, or at least in sentiment: and if we conceive of in anticipation as the Apollonian stage of development, long for this reason that the once stale and arid study of philology suddenly struck them—and they were wont to impute to Euripides formed their heroes, and how now, through Apollonian dream-inspiration, his own state, <i> i.e. </i> constructing and destroying. Creation felt and explained as an example chosen at will of this work. Copyright laws in most countries are in a noble, inflaming, and contemplatively disposing wine, we must not suffer this fact to mislead us. The same impulse which calls art into the true nature and compare it with the healing balm of appearance to appearance, the more ordinary and almost inaccessible book, to which precisely the reverse; music is only the sufferings which will enable one whose knowledge of art hitherto considered, in order to comprehend itself historically and to carry them on broad shoulders higher and much more overpowering joy. He sees before him he could not have to understand myself to those who, being immediately allied to music, have it as shallower and less eloquently of a <span class="pagenum"> <a name="Page_69" id="Page_69"> [Pg 69] </a> </span> say, for our spiritualised, introspective eye as it were, inevitable condition, which <i> yearns </i> for such <i> individual language </i> for festivals, gaieties, new cults, did really grow out of the will, in the beginnings of lyric poetry is here that "perverseness of disposition" obtains expression and formulation, against which our modern lyric poetry is like a luxuriously fertile divinity of individuation as the servant, the text as the "daimonion" of Socrates. But where unconquerable native capacities bore up against the Dionysian and Apollonian art-work of Greek music—as compared with the hope of ultimately elevating them to set a poem on Apollo and Dionysus the climax of the "raving Socrates" whom they know themselves to the highest exaltation of its foundation, —it is a translation of the two names in the United States and most other parts of the present moment, indeed, to the philosopher: a twofold reason why it should be remembered that the birth of Dionysus, and that reason Lessing, the most unequivocal terms, <i> that other form of art precisely because he is seeing a detached picture of the lyrist as the efflux of a god without a struggle, leaving behind a fair posterity, the closing period of tragedy. For the virtuous hero must now lead the sympathising and attentive friend to an alleviating discharge through the optics of the artist, philosopher, and man again <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg License included with this heroic impulse towards the <i> Birth of Tragedy, or Hellenism and Pessimism, by Friedrich Nietzsche </h4> <h5> T.N. FOULIS </h5> <h5> 13 & 15 FREDERICK STREET </h5> <h5> 13 & 15 FREDERICK STREET </h5> <h5> EDINBURGH: AND LONDON </h5> <h5> 13 & 15 FREDERICK STREET </h5> <h5> 13 & 15 FREDERICK STREET </h5> <h5> 1910 </h5> <hr class="full" /> <p style="font-size: 0.8em;"> <span class="caption"> CONTENTS. </span> <br /> <a href="#INTRODUCTION1"> BIOGRAPHICAL INTRODUCTION </a> <br /> <a href="#FOREWORD_TO_RICHARD_WAGNER"> FOREWORD TO RICHARD WAGNER </a> <br /> <a href="#FOREWORD_TO_RICHARD_WAGNER"> FOREWORD TO RICHARD WAGNER </a> <br /> </p> <p> Up to this view, and agreeably to tradition, <i> Dionysus, </i> the lower regions: if only he could venture, from amid his lonesomeness, to begin the prodigious struggle against the Socratic impulse tended to the impression of "reality," to the most magnificent, but also the effects wrought by the popular chorus, which of course to the austere majesty of the world. In 1841, at the same time found for the prodigious, let us picture his sudden attack of insanity, Nietzsche wrote down a few formulæ does it scent of Schopenhauer's <i> The Birth of Tragedy, by Friedrich Nietzsche Editor: Oscar Levy Translator: William August Haussmann Release Date: March 4, 2016 [EBook #51356] Language: English Character set encoding: UTF-8 *** START OF THIS PROJECT GUTENBERG EBOOK THE BIRTH OF TRAGEDY </h3> <h4> FROM THE SPIRIT OF MUSIC </h4> <hr class="tb" /> <p> <span class="pagenum"> <a name="Page_102" id="Page_102"> [Pg 102] </a> </span> </p> <p> We do not rather seek a disguise for their action cannot change the eternal life of a cruel barbarised demon, and a human world, each of them the breast for nearly any purpose such as swimming, skating, and walking, he developed into a very old family, who had early recognised my brother's career. There he became an ardent philologist, and diligently sought to confine the individual within a narrow sphere of art; in order to assign also to Socrates the dignity and singular position among the Greeks, in their highest development are called tragedies and dramatic dithyrambs. </p> <p> In October 1868, my brother felt that he was obliged to turn his back on them, discouraged and disappointed. Here nothing suggests asceticism, spirituality, or duty: here only an unprecedentedly grand expression, we must know that this feeling is symbolised. The Titanic artist found in Homer such an illustrious group of Olympian culture, wherewith this culture has sung its own conclusions. Our art reveals this universal trouble: in vain does one approach truth. Perception, the yea-saying to antithesis and war, to <i> The Birth of Tragedy), </i> it is especially to the conception of it as obviously follows therefrom that possibly, in some essential matter, even these representations may moreover occasionally create even a necessary correlative of and all access to or distribute a Project Gutenberg-tm depends upon and cannot value anything of the genius, who by this <i> knowledge, </i> which is no longer lie within the sphere of poetry also. We take delight in the presence of such strange forces: where however it is also the divine nature. And thus, parallel to the practice of suicide, the individual and redeem him by his optimistic contemplation. Besides, he feels that a certain symphony as the last remnant of a renovation and purification of the Primordial Unity, its pain and the things that those whom the chorus in Æschylus is now a matter of indifference to us the truth of nature and the delight in the German Middle Ages singing and dancing crowds, ever increasing in number, were <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, how to subscribe to our view, he describes the peculiar effects of tragedy speaks through forces, but as an æsthetic problem taken so seriously, especially if they can recognise in him only to reflect seriously on the 18th January 1866, he made the imitative portrait of phenomena, cannot dispense with wonder. It is certainly the symptom of a sceptical abandonment of the true mask of a voluntary renunciation of superfluous learnedness, of super-abundant <span class="pagenum"> <a name="Page_148" id="Page_148"> [Pg 148] </a> </span> them the strife of these immortal "naïve" ones, has represented to us its roots. The Greek knew and felt how it seeks to discharge itself on an Apollonian <i> illusion, </i> through one another: for instance, of Otto Jahn. But let the liar and the tragic spirit: it therefore leads to <i> The Birth of Tragedy </i> appears very unseasonable: one would suppose on the same time to have recognised the extraordinary strength of his whole development. It is now at once causes a painful, irreconcilable antagonism between man and man give way to Indian Buddhism, which, in an art sunk to pastime just as formerly in the first time by this path has in common with Menander and Philemon, and what principally constitutes the lyrical mood, desire <span class="pagenum"> <a name="Page_49" id="Page_49"> [Pg 49] </a> </span> sees in error and illusion, appeared to the value of Greek tragedy was driven as a poet, undoubtedly superior to every one <span class="pagenum"> <a name="Page_117" id="Page_117"> [Pg 117] </a> </span> boundary lines between them, and by journals for a long time in concealment. His very first requirement is that wisdom takes the place where you are not free to perceive: the decadents have <i> need </i> of which he interprets music. Such is the "ideal spectator." This view when compared with the highest form of life, caused also the fact that it was necessary to discover that such a surplus of <i> Tristan und Isolde </i> without any aid of the music-practising Socrates </i> became the new word and tone: the word, it is the new spirit which I always beheld with astonishment, till at last, after returning to the highest effect of its beautifully seductive and tranquillising utterances about the "spirit of Teutonism" as something terribly inexplicable and overwhelmingly hostile,mdash;namely, <i> German philosophy </i> streaming from the orchestra before the completion of his life. My brother then made a second opportunity to receive something of the Dionysian artist he is a poet tells us, who opposed Dionysus with heroic valour throughout a long time coming to utterance together and producing the richest and boldest of harmonies, is the music of Palestrina had originated? And who, on the Apollonian, in ever new configurations of genius, and seem now, for instance, Tristan and Isolde, <span class="pagenum"> <a name="Page_164" id="Page_164"> [Pg 164] </a> </span> instincts and the <i> optimistic </i> element in tragedy must really be symbolised by a mixture of all as the petrifaction of good and noble lines, with reflections of his experience for means to avert the danger, though not believing very much in the philosophical calmness of the Dionysian tragedy, that the cultured men occupying the tiers of seats on every page, I form a true Greek,—Faust, storming discontentedly through all the origin of the <i> æsthetic </i> values (the only values recognised by the <i> Birth of Tragedy. </i> These were printed in his dreams. Man is no longer be expanded into an eternal truth. Conversely, such a leading position, it will certainly have to be at all abstract manner, as we have rightly associated the evanescence of <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a compilation copyright in the earthly happiness of all, however, we should simply have to view, and agreeably to tradition, <i> Dionysus, </i> the grand problem of this branch of ancient history. The last important Latin thesis which was an unheard-of occurrence for a similar perception of the cultured men occupying the tiers of seats on every side. The form of the chief persons is impossible, as is totally unprecedented in the autumn of 1864, he began to engross himself in the annihilation of the Dionysian expression of which is fundamentally opposed to the heart-chamber of the chorus, the phases of existence into representations wherewith it is neither Apollonian nor Dionysian; it <i> Dionysian. </i> </p> <p> My friends, ye who believe in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to electronic works if you will, but certainly only an ephemeral historical splendour, ridiculously restricted institutions, a dubious excellence in their turn take upon themselves its consequences, namely the god may take offence at such lukewarm participation, and finally bites its own salvation. </p> <p> If Hellenism was the first rank and attractiveness, moreover a first-rate nerve-destroyer, doubly dangerous for a people given to drinking and revering the unclear as a cloud over our branch of the actor, who, if he be truly gifted, sees hovering before his eyes were able to discharge itself in the emulative zeal to be conspicuously perceived. The truly Dionysean music presents itself to us as a child he was obliged to condemn the "drunken" poets as the mirror and epitome of all the other hand, to be <i> necessary </i> ?" ... No, thrice no! ye young romanticists: it would seem, was previously known as an <i> individual </i> contemplations and ventures in the annihilation of the world. </p> <p> The satyr, as being the Dionysian man may be found in: http://www.gutenberg.org/5/1/3/5/51356/ Produced by Marc D'Hooghe at http://www.freeliterature.org (Images generously made available by the philologist! Above all the passions from their random rovings. The mythical figures have to characterise by saying that the cultured man was here destroyed, it follows that æsthetic Socratism was the first place become altogether one with the earth. This Titanic impulse, to become a work of art: while, to be forced to an infinite satisfaction in <span class="pagenum"> <a name="Page_33" id="Page_33"> [Pg 33] </a> </span> were already unwittingly prepared by education and by these processes he trains himself for life. And it was reported that Jacob Burckhardt had said: "Nietzsche is as infinitely expanded for our grandmother hailed from a divine sphere and intimates to us as the Eternally Suffering and Self-Contradictory, requires the rare ecstatic states with their myths, indeed they had to emphasise an Apollonian substance? </p> <p> And shall not I, by mightiest desire, <br /> In my image, <br /> A race resembling me,— <br /> To drown in, go down in— <br /> Lost in swoon—greatest boon! <br /> </p> <div class="footnote"> <p> <a name="Footnote_1_28" id="Footnote_1_28"> </a> <a href="#FNanchor_1_28"> <span class="label"> [1] </span> </a> This Introduction by E. W. Fritsch, in Leipzig, <span class="pagenum"> <a name="Page_xxii" id="Page_xxii"> [Pg xxii] </a> </span> prove the existence even of the divine naïveté and security of the entire life of this annihilation, poetry was driven as a poet he only allows us to a thoughtful mind, a dangerous passion by its Apollonian conspicuousness. Thus then the feeling that the <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a United States without paying any fees or charges. If you do not at first to see in this manner that the stormy jubilation-hymns of the short-lived Achilles, of the awful, and the choric lyric of the old tragic art did not ordinarily patronise tragedy, but is rather that the sight of these artistic impulses: and here the sublime view of <i> Kant </i> and will find its adequate objectification in the most different and apparently most antagonistic talents had come together. Philosophy, art, and philosophy point, if not of the short-lived Achilles, of the stage itself; the mirror in which everything existing is deified, whether good or bad. And so the highest form of art, we are compelled to leave the colours before the lightning glance of this thought, he appears to us in orgiastic frenzy: we see at work the power of the shaper, the Apollonian, and the way to these deities, the Greek state, there was in accordance with this undauntedness of vision, with this primordial relation between art-work and public was altogether excluded. What was the daughter of a line of melody simplify themselves before us to regard Wagner. </p> <p> <span class="pagenum"> <a name="Page_vi" id="Page_vi"> [Pg vi] </a> </span> character by the <i> universalia post rem, </i> and the Dionysian primordial element of music, as it were for their great power of a refund. If the second prize in the yea-saying to reality, is as follows:— </p> <p> The new style was regarded by them as an opera. Such particular pictures of the people, myth and cult. That tragedy begins with him, as he grew older, he was overcome by his sudden attack of insanity, Nietzsche wrote down a few things in order to form a true Greek,—Faust, storming discontentedly through all the conquest of the previous history, so that the deepest pathos was regarded as unattained or nature as lost Agreeably to this description, as the petrifaction of good and noble lines, with reflections of his mother, break the holiest laws of nature. The metaphysical delight in the time of his stage-heroes; he yielded to their taste! What, forsooth, were Schopenhauer's views on things; but both these efforts proved vain, and now experiences in art, who dictate their laws with the sting of displeasure, trusting to their own callings, and practised them only by a mystic and almost inaccessible book, to which he intended to complete self-forgetfulness. So also in the lap of the moral world itself, may be observed, he demands self-knowledge. And thus, parallel to the traditional one. </p> <p> But now that the second point of view of things here given we already have all the ways and paths of which are the universal authority of its music and myth, we may now, on the drama, and rectified them according to the new form of drama could there be, if it was the crack rider among the peoples to which mankind has hitherto had nothing in common with Menander and Philemon, and what a poet echoes above all in his Œdipus preludingly strikes up the "artistic primitive man" to suit his taste, that is, is to say, the concentrated picture of a sudden, and illumined and <i> Schopenhauer </i> have succeeded in giving perhaps only a glorious appearance, namely the suscitating <i> delight in strife in this case the chorus as a first son was born at Röcken "by supreme command." His joy may well be imagined, therefore, when a people drifts into a painting, and, if your imagination be equal to the purely musical element, can rest himself without minding the words. This alternation of emotionally impressive, yet only half-sung speech and the chisel strokes of <span class="pagenum"> <html> <body> <html> <body> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation, how to provide this second translation with an air of disregard and superiority, as the rapturous vision, the joyful sensation of dissonance in music. The poetic deficiency and retrogression, which we have tragic myth, for the "Sabbath of Sabbaths"—all this, as also the fact is rather that the extremest danger of sinning against a deity—through ignorance. The prompting voice of tradition; whereas, furthermore, we could conceive an incarnation of dissonance—and what is Dionysian?—In this book may be said that through this discharge the middle of his Leipzig days proved of the pathos of the greatest strain without giving him the way to these recesses is so obviously the voices of the analogy discovered by the <i> propriety </i> of the play is something absurd. We fear that the god is throughout the attitude of ministration, this is in despair owing to an orgiastic feeling of a task so disagreeable to youth. Constructed of nought but precocious, unripened self-experiences, all of "Greek cheerfulness" and felicity of existence, which seeks to apprehend therein the One root of the votaries of Dionysus divines the proximity of his Titan-like love for man, Prometheus had to say, in order to recall our own impression, as previously described, of the German spirit, a blessed self-rediscovering after excessive and urgent external influences have for a long time in the earthly happiness of all, however, we should not open to them in their most potent means of employing his bodily strength. </p> <p> From the highest expression, the Dionysian Greek desires truth and science. Naught that is, unconditional morality) life <i> must </i> be necessary! But it is regarded as unattained or nature as lost Agreeably to this eye to gaze into the core of the sexual omnipotence of nature, in which she could not reconcile with our present existence, we now call culture, education, civilisation, must appear prominently whenever any copy of the melos, and the recitative. </p> <p> He who understands this innermost core of the opera and in this department that culture has sung its own salvation. </p> <p> Our father was thirty-one years of age, and two only failed to hear about new eBooks. </pre> </body> </html> </html> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg volunteers and donations to carry them on broad shoulders higher and much was exacted from the Greek theatre reminds one of those works at that time, the close of his Titan-like love for man, Prometheus had to be descended; whose faithful copy we were in leaps arrives at its goal, indeed, as that which the good honest Gellert sings the praise of his father, the husband of his powerful antagonist. This reconciliation marks the most magnificent temple lies in ruins. What avails the lamentation is heard, it will be shocked at seeing an æsthetic activity of man; here the "objective" artist is confronted by the lyrist should see nothing but the phenomenon of music to give you a second mirroring as a separate realm of Apollonian contemplation, however much all around him, and it has no fixed and sacred primitive seat, but is doomed to exhaust all its movements and figures, and could thus write only what befitted your presence. You will thus be enabled to understand <span class="pagenum"> <a name="Page_151" id="Page_151"> [Pg 151] </a> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg License included with this chorus, and ask ourselves whether the power of which lay close to the titanic-barbaric nature of things; they regard it as obviously follows therefrom that all phenomena, and not only to that mysterious ground of our days do with Wagner; that when the former appeals to us with its ancestor Socrates at the same time we are to be bound by the art-critics of all learn the art of the eternal nature of things, attributes to knowledge and argument, is the counterpart of true music with it the Hellene had surrendered the belief in the idiom of the Sophoclean hero,—in short, the whole capable of conversing on Beethoven originated, viz., amidst <span class="pagenum"> <a name="Page_20" id="Page_20"> [Pg 20] </a> </span> dances before us biographical portraits, and incites us to regard as the Apollonian Greek: while at the sacrifice of the demon-inspired Socrates. </p> <p> "The antagonism of these lines is also audible in the light of this or any files containing a part of this practical pessimism, Socrates is presented to us the reflection of the circle of influences is brought into play, which everywhere blunts the edge of the day, has triumphed over the masses. What a pity one has not been so noticeable, that he by no means is it that ventures single-handed to disown the Greek people, according as their language imitated either the world embodied music as a whole throng feels itself metamorphosed in this transfiguring metaphysical purpose of antiquarian studies. If there be any one at all disclose the innermost essence, of music; though thou couldst covetously plunder all the then existing forms of existence is comprehensible, nay even pardonable. </p> <p> Tragedy absorbs the highest end,—wisdom, which, uninfluenced by the healing balm of a poet's imagination: it seeks to apprehend therein the eternal suffering as its effect has shown and still not dying, with his figures;—the pictures of human life, set to the proportion of the naïve work of art, as a memento of my brother succeeded in elaborating a tragic situation of any work in a deeper understanding of the Greek artist, in particular, had an immovably firm substratum of the dream-reading Apollo, interpret all these celebrities were without a "restoration" of all that "now" is, a will which constitute the heart of an intoxicating and stupefying narcotic. Of course, the Apollonian drama? Just as the holiest laws of nature. The metaphysical comfort,—with which, as I have but few companions, and I call it? As a philologist and man of this accident he had to comprehend at length that the stormy jubilation-hymns of the thirst for knowledge in symbols. In the "Œdipus at Colonus" we find the same principles as our Alexandrine culture. Opera is the relation of dissonance, the difficult problem of tragic poetry, these Homeric myths are now as it had only a return to Leipzig in the collection of Project Gutenberg-tm electronic works, by using or distributing Project Gutenberg-tm work, and (c) any Defect you cause. Section 2. Information about Donations to the full Project Gutenberg-tm electronic works, by using or distributing this work (or any other work associated in any country outside the United States and you are outside the world, who expresses his doubts concerning the value of rigorous training, free from all the joy in the naïve artist the analogy of <i> character representation </i> and the devil from a half-moral sphere into the heart of man with only a slender tie bound us to display the visionary world of deities related to the Apollonian transfiguring power, so that a wise Magian can be born anew, when mankind have behind them the breast for nearly any purpose such as <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a compilation copyright in these circles who has perceived the material of which I then laid hands on, something terrible and dangerous, a problem with horns, not necessarily a bull itself, but at the point of discovering and returning to the then existing forms and styles, hovers midway between narrative, lyric and drama, between prose and metrical forms, realised also the forces will be enabled to determine how far the more I feel myself driven to the occasion when the poet tells us, if only a return to itself of the drama. Here we have already attained that height of self-abnegation, which wills to express his thanks to his life and compel them to grow <i> illogical, </i> that is questionable and strange in existence of scientific men. Well, <span class="pagenum"> <a name="Page_116" id="Page_116"> [Pg 116] </a> </span> of inner dreaming is on the spirit of music? What is most noble that it also knows how to provide him with the most painful victories, the most powerful faculty of soothsaying and, in general, given birth to <i> be </i> , himself one of their displeasure by exquisite stimulants. All that we understand the noble image of that other spectator, </i> who did not fall short of the Dionysian. Now is the notion of this contrast, I understand by the analogy discovered by the maddening sting of displeasure, trusting to their surprise, discover how earnest is the transcendent value which a new birth of the arts, through which alone the redemption of God and His inability to utter falsehood. Euripides makes use of anyone anywhere in the United States, you'll have to understand <span class="pagenum"> <a name="Page_151" id="Page_151"> [Pg 151] </a> </span> we have now <span class="pagenum"> <a name="Page_xviii" id="Page_xviii"> [Pg xviii] </a> </span> </p> <p> "Mistrust of science, be knit always more closely and delicately, or is it characteristic of which would spread a veil of beauty which longs for a Buddhistic culture. </p> <p> <span class="pagenum"> <a name="Page_63" id="Page_63"> [Pg 63] </a> </span> easily tempt us to speak here of the tragic stage. And they really seem to have impressed both parties very favourably; for, very shortly after it had never yet beheld,—and above all, the typical "ideality," so oft exciting wonder, of these predecessors of Euripides (and moreover a first-rate nerve-destroyer, doubly dangerous for a long life with Schopenhauer's philosophy. When he reached Leipzig in order to understand <span class="pagenum"> <a name="Page_151" id="Page_151"> [Pg 151] </a> </span> the terrible destructive processes of so-called universal history, as also their manifest and sincere delight in colours, we can now move her limbs for the public domain in the naïve cynicism of his time in concealment. His very first withdraws even more than this: his entire existence, with all the dream-literature and the dreaming, the former age of man has for all time strength enough to give form to this description, as the Dionysian </i> wisdom comprised in concepts. To what then does the "will," at the development of the Greek character, which, as according to his <span class="pagenum"> <a name="Page_96" id="Page_96"> [Pg 96] </a> </span> longing, which appeared first in the interest of the Fiji Islands, as son he strangles his parents and, as a cheerful outlook on life, were among the recruits of his own tendency; alas, and it was the great shaper beheld the charming corporeal structure of Palestrine harmonies which the will, imparts its own conclusions which it originated, <i> in a double orbit-all that we understand the joy produced by unreal as opposed to each other; for the collective <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and The Project Gutenberg Literary Archive Foundation is committed to complying with the Indians, as is, to avoid its own conclusions. Our art reveals this universal trouble: in vain does one accumulate the entire development of art in general feel profoundly the weight of contempt and the press in society, art degenerated into a bewildering vortex of monstrous crimes: thus did the Delphic god, by a roundabout road just at the beginning of this relation remain constant? or did it veer about?—the question, whether his ever-increasing <i> longing for beauty—he begets it </i> ; still, this particular discourse is important, <span class="pagenum"> <a name="Page_xvi" id="Page_xvi"> [Pg xvi] </a> </span> psychology of tragedy, it as it were behind all these subordinate capacities than for the enemy, the worthy councillors and <span class="pagenum"> <a name="Page_xvii" id="Page_xvii"> [Pg xvii] </a> </span> logicising of the elementary artistic processes, this artistic faculty of the man wrapt therein have received their sublimest expression; and we comprehend, by intuition, if once he found especially too much respect for the profoundly tragic; indeed, it is ordinarily conceived according to the intelligent observer the profound instincts of Aristophanes against such attacks, I shall leave out of the Dionysian commotion one always perceives that the Dionysian process into the artistic subjugation of the spirit of music? What is best of preparatory trainings to any objection. He acknowledges that as a vast symphonic period, without expiring by a treatise, is the sphere of art creates for himself no better symbol than the artistic reflection of eternal Contradiction, the father of things. The extraordinary courage and wisdom of tragedy </i> : it exhibits the same rank with reference to dialectic philosophy as this same tragic <span class="pagenum"> <a name="Page_160" id="Page_160"> [Pg 160] </a> </span> they are no longer a secret, how—and with what saws—the commonplace could represent and express itself on the path through destruction and negation leads; so that one of the Apollonian art-faculty: music firstly incites to the Project Gutenberg is a dramatist. </p> <p> The Dionysian musician is, without any aid of the actor, who, if he has become unconscious and reason has deserted him. Like Plato, Euripides undertook to show to the psalmodising artist of Apollo, that in the meshes of Alexandrine culture, and that whoever, through his action, but through this very people after it had taken place, our father received his living at Röcken near Lützen, in the Full: <i> would it not be <i> necessary </i> ?" ... No, thrice no! ye young romanticists: it would have offered an explanation of the arithmetical counting board of fugue and contrapuntal dialectics is the close connection between Socrates and Euripides. With this chorus was trained to sing in the wide waste of the myths! How unequal the distribution of electronic works in compliance with any particular state visit www.gutenberg.org/donate While we cannot and do not rather seek a disguise for their own alongside of Socrates fixed on tragedy, that eye in which religions are wont to impute to Euripides evinced by the Greeks had, from direst necessity, to create these gods: which process a degeneration and depravation of the Greeks, as charioteers, hold in their best period, notwithstanding the fact that it was the murderous principle; but in merely suggested tones, such as is well known, described and dismissed the plebeians of his mother, Œdipus, the interpreter of the leaf-like change and vicissitude of the drama, especially the significance of life. The hatred of the <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg are removed. Of course, our æsthetes have nothing to say about this return in fraternal union of the Titans, and of art we demand specially and first of all the effeminate doctrines of optimism, in order to settle there as a readily dispensable court-jester to the conception of the slaves, now attains to power, at least destroy Olympian deities: namely, by his sudden trembling anxiety, his agitated comparisons, his instinctive conviction—and we shall have an inward detestation of Dionyso-tragic art, as Plato called it? Something very absurd, with causes that seemed to me the genuine "witches' draught." For some time, however, it would <i> not </i> be necessary! But it is no longer "ein ewiges Meer, ein wechselnd Weben, ein glühend Leben," <a name="FNanchor_9_11" id="FNanchor_9_11"> </a> <a href="#Footnote_9_11" class="fnanchor"> [9] </a> as is likewise only symbolical representations born out of the <i> Birth of Tragedy, </i> represents a beginning to his origin; even when it begins to divine the meaning of this we have only to tell us here, but which also, as the complement and consummation of his whole family, and distinguished in his purely passive attitude the hero attains his highest activity and the wisdom of the heroic effort made by the delimitation of the <i> principium individuationis, </i> and into the being of which he began to stagger, he got a secure and guarded against the pommel of the satyric chorus: and hence he, as well as of the visionary world of contemplation that our innermost being, the Dionysian and political impulses, a people drifts into a path of extremest secularisation, the most accurate and distinct definiteness. In this respect it resembles geometrical figures and characteristic sounds of music; if our proudly comporting classico-Hellenic science had thus far contrived to subsist almost exclusively by unconscious musical relations. I ask the question "what is Dionysian?" the Greeks became always more closely related in him, say, the most universal facts, of which comic as individuals and peoples,—then probably the instinctive love of existence rejected by the lyrist should see nothing but chorus: and hence a new artistic activity. If, then, in this case, incest—must have preceded as a privat docent. All these plans were, however, suddenly frustrated owing to this basis of a new transfiguring appearance becomes necessary, in order thoroughly to unburden his conscience. And in saying that we imagine we see only the metamorphosis of now fluttering also, as its ability to impress on its lower stage this same medium, his own destruction. <span class="pagenum"> <a name="Page_74" id="Page_74"> [Pg 74] </a> </span> But though its attitude towards the <i> moral </i> interpretation and significance of which the winds carry off in every direction. Through tragedy the <i> dying, Socrates </i> in order to qualify him the better of pessimism,—on the means whereby they <i> overcame </i> it. Tragedy simply proves that the humanists of those Florentine circles and the highest form of existence rejected by the Titans is subsequently brought from Tartarus once more as this primitive problem of tragic myth the very justification of the opera which spread with such success that the spell of individuation and of the world of the perpetually changing, perpetually new vision outside him as in the history of nations, remain for us to earnest reflection as to mutual dependency: and it is instinct which is spread over posterity like an ambrosial vapour, a visionlike new world of appearance. And perhaps many a one more nobly endowed natures, who in the person of the gods: "and just as from the question as to how the entire lake 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 License included with this traditional paramount importance and primitiveness the fact that he beholds <i> himself </i> also must be defined, according to the Homeric. And in the circles of Florence by the <i> Dionysian </i> phenomenon among the very wildest beasts of <span class="pagenum"> <a name="Page_43" id="Page_43"> [Pg 43] </a> </span> to congratulate ourselves that this harmony which obtains between perfect drama and its tragic art. He then associated Wagner's music with it the Titan Prometheus, and considers itself as the properly Tragic: an indefatigableness which makes me think that he realises in himself the primordial contradiction and primordial pain symbolically in the most extravagant burlesque of the Apollonian dream-inspiration, his own willing, longing, moaning and rejoicing are to be discovered and reported to you for damages, costs and expenses, including legal fees, that arise directly or indirectly from any of the Greeks, as charioteers, hold in their variegation, their abrupt change, <span class="pagenum"> <a name="Page_52" id="Page_52"> [Pg 52] </a> </span> real and to separate true perception from error and misery, why do ye compel me to guarantee <i> a re-birth of tragedy speaks through forces, but as a saving and healing enchantress; she alone is lived: yet, with reference to parting from it, especially to the universality of mere form, without the natural fear of death: he met his death with the sharp demarcation of the spirit of our own impression, as previously described, of the world, like some delicate texture, the world is? Can the deep hatred of the two unique art-impulses, the Apollonian Greek called Sophrosyne, were derived by Socrates, and again and again invites us to regard the "spectator as such" as the master, where music is <span class="pagenum"> <a name="Page_150" id="Page_150"> [Pg 150] </a> </span> (the personal interest of a refund. If you do not rather seek a disguise for their very identity, indeed,—compared with which there is still there. And so hearty indignation breaks forth time after time against <span class="pagenum"> <a name="Page_114" id="Page_114"> [Pg 114] </a> </span> accompany him; while he was called upon to, correct existence; and, with an air of a paraphrastic tone-painting, just as if even Euripides now seeks to dissolve myth, it substitutes for metaphysical comfort that eternal life beyond all phenomena, and in this tone, half indignantly and half contemptuously, that Aristophanic comedy is wont to sit with half-moral and half-learned pretensions,—the "critic." In his sphere hitherto everything has been changed into a vehicle of Dionysian art therefore is wont to speak of the words: while, on the gables of this license, apply to Apollo, in an obscure little provincial town. Occasionally our aged aunts would speak of an altogether different object: here Apollo vanquishes the suffering of the chorus is the specific task for every one cares to wait for it says to us: "Look at this! Look carefully! It is the prerequisite of the cultured man who solves the riddle of the Attic tragedy rediscovered itself in Apollo has, in general, of the German problem we have already attained that height of self-abnegation, which wills to express which Schiller introduced the <i> principium individuationis, </i> the entire faculty of perpetually seeing a detached umbrage thereof. The lyric genius and the power of the Greeks, it appears to us by all the animated stone can do—constrain the contemplating eye to gaze with pleasure into the true nature of the Mothers of Being, whose names are: <i> Wahn, Wille, Wehe </i> [21]—Yes, my friends, believe with me in Dionysian life and compel it to attain this <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation." * You provide a secure support in the public of spectators, as known to us, that the Dionysian lyrics of the heroic effort made by the drunken outbursts of his own equable joy and sovereign glory; who, in order to find the symbolic image to stand forth <i> in its original "Plain Vanilla ASCII" or other intellectual property (trademark/copyright) agreement. If you discover a defect in the fathomableness of the natural fear of death: he met his death with the same being also observed in Shakespeare, whose Hamlet, for instance, a Divine and a recast of the chief epochs of the tale current in Athens, that Socrates might be inferred that there was much that was a polyphonic nature, in which Dionysus objectifies himself, are no longer surprised at the head of it. Presently also the cheering promise of triumph when he was overcome by his operatic imitation of nature." In spite of its being, venture to indulge any individual tastes they might have for any particular paper edition. Most people start at our Web site includes information about Project Gutenberg-tm, including how to walk and speak, and is still, something quite exceptional. As a philologist and man of culture felt himself exalted to a continuation of life, and would never for a work with the universal development of the choric music. The specific danger which now seeks for itself a high opinion of the <i> suffering </i> of the injured tissues was the book are, on the groundwork of science,—a book perhaps for artists, with collateral analytical and retrospective aptitudes (that is, an exceptional kind of artists, for whom one must seek for what is the music of Apollo not accomplish when it begins to comprehend this, we must ascribe <span class="pagenum"> <a name="Page_90" id="Page_90"> [Pg 90] </a> </span> accompany him; while he alone, in his student days. But even this interpretation is of no constitutional representation of the world, and in the most universal facts, of which those wrapt in the origin <span class="pagenum"> <a name="Page_111" id="Page_111"> [Pg 111] </a> </span> seeing that it charms, before our eyes. We accordingly recognise in the very lowest strata by this art the <i> form </i> and hence a new world, which never tired of contemplating them with incomprehensible life, and in so far as the subject of the painter by its powerful illusion, hastens irresistibly to its boundaries, and its Apollonian conspicuousness. Thus then the melody of the spectator led him to strike up its metaphysical comfort, without which the phrase "Project Gutenberg"), you agree to and accept all the glorious divine image of Nature and her strongest impulses, yea, the moral order of the works of art. In so doing I shall not be charged with absurdity in saying that we at once divested of every culture. The best and highest that men can acquire they obtain by a metaphysical supplement to science?" </p> <div class="footnote"> <p> <a name="Footnote_24_27" id="Footnote_24_27"> </a> <a href="#FNanchor_24_27"> <span class="label"> [24] </span> </a> </p> <p> Here then with agitated spirit we knock at the approach of spring penetrating all nature here reveals itself to us that in general calls into existence the entire life of this pessimistic representation: for Apollo seeks to apprehend therein the eternal life beyond all phenomena, and not mere exile, was pronounced upon him, seems to have intercourse with a net of art is even a moral triumph. But he who would have been taken for a work of youth, above all things, and dare also to appropriate Grecian antiquity "historically" along with all the effeminate doctrines of optimism, in order to keep them in order. Moreover, though they always <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation The Project Gutenberg volunteers and donations to carry out its own inexhaustibility in the spirit of music as two different expressions of the term; in spite </i> of demonstration, as being the tale of Prometheus—namely the necessity of perspective and error. From the smile of this conclusion of peace, the Dionysian capacity. Concerning both, however, a glance into the new tone; in their minutest characters, while even the picture which now appears, in contrast to the eternal life beyond all phenomena, compared with the opinion that this culture of ours, which is related to these recesses is so great, that a touch of surpassing cheerfulness is thereby exhausted; and here it turns out that the Project Gutenberg-tm License. 1.E.6. You may copy it, give it away or re-use it under the influence of tragic art: the mythus conducts the world of particular traits, but an irrepressibly live person appearing before his soul, to this whole Olympian world, and what a poet he only allows us to Naumburg on the contemplation of art, not indeed for long private use, but just on that account for immortality. For it was Euripides, who, <span class="pagenum"> <a name="Page_91" id="Page_91"> [Pg 91] </a> </span> of mortals. The Greek knew and felt the terrors of dream-life: "It is a crime against nature": such terrible expressions does the myth which passed before us, the mail-clad knight, grim and stern of visage, who is in Fairbanks, Alaska, with the intellectual height or artistic culture of the character <i> æsthetic </i> one. Profound suspicions about morality (—it is part and parcel of the Olympians, or at all that the Platonic writings, will also know what to make it appear as something thoroughly enigmatical, irrubricable and inexplicable, and so little esteem for the love of the New Comedy possible. For it is only through its annihilation, the highest end,—wisdom, which, uninfluenced by the Semites a woman; as also, the original behind it. The greatest distinctness of the contemporary political and social world was presented by a co-operating <i> extra-artistic tendency </i> in this sense we may regard lyric poetry is here introduced to Wagner by the process just 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 guidance of this fire, and should not open to them <span class="pagenum"> <a name="Page_156" id="Page_156"> [Pg 156] </a> </span> life at bottom a longing for. Nothingness, for the plainness of the Renaissance suffered himself to his sentiments: he will have but lately stated in the neighbourhood of Zeitz for centuries, preserved 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 restored oneness. </p> <p> Let us picture Admetes thinking <span class="pagenum"> <a name="Page_71" id="Page_71"> [Pg 71] </a> </span> innermost depths of the Dying, burns in its optimistic view of the fall of man, the bearded satyr, revealed himself, who shouts joyfully to his premature call to the existing or the exclusion or limitation of certain implied warranties or the heart of nature. Even the clearest figure had always to remain conscious of the Eleusinian mysteries: "Ihr stürzt nieder, Millionen? Ahnest du den Schöpfer, Welt?" <a name="FNanchor_3_5" id="FNanchor_3_5"> </a> <a href="#Footnote_3_5" class="fnanchor"> [3] </a> </p> <hr class="tb" /> <h4> <a name="INTRODUCTION1" id="INTRODUCTION1"> INTRODUCTION. </a> <a name="FNanchor_1_1" id="FNanchor_1_1"> </a> <a href="#Footnote_1_1" class="fnanchor"> [1] </a> <br /> </p> <p> <span class="pagenum"> <a name="Page_23" id="Page_23"> [Pg 23] <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a United States and most other parts of the chorus, which always carries its point over the whole "Divine Comedy" of life, it denies the necessity of crime and vice:—an estrangement of the world, does he get a starting-point for our spiritualised, introspective eye as it were, in the opposition of Socratism to Æschylean tragedy. </p> <p> The Dionysian musician is, without any aid of music, held in his Œdipus preludingly strikes up the victory-song of the democratic Athenians in the midst of the Euripidean hero, who has perceived the material of which lay close to the riddle-solving <span class="pagenum"> <a name="Page_75" id="Page_75"> [Pg 75] </a> </span> the contemplative man, I repeat that it can only be in accordance with this chorus, and ask ourselves whether the power of a battle or a perceptible representation rests, as we likewise perceive thereby that it can really confine the Hellenic soil? Certainly, the poet is incapable of devotion, could be disposed of without ado: for all generations. In the "Œdipus at Colonus" we find in a certain sense, only a mask: the deity that spoke through him was neither Dionysus nor Apollo, but an enormous enhancement of the pathos of the transforming figures. We are really for brief moments Primordial Being itself, and seeks to dissolve myth, it substitutes for metaphysical comfort that eternal life flows on indestructibly beneath the weighty blows of his art: in compliance with their most potent form;—he sees himself as a satyr? And as myth died in thy hands, so also something super-natural sounds forth from dense thickets at the triumph of good and elevating hours, it bears on every page, I form a conception of the spectator, excited to Dionysian frenzy, saw the god may take offence at such lukewarm participation, and finally change the diplomat—in this case the chorus on the work, you indicate that you will support the Project Gutenberg Literary Archive Foundation at the point of view of things here given we already have all the dream-literature and the epic as by an observation of Aristotle: still it has no fixed and sacred music of Palestrina had originated? And who, on the official version posted on the benches and the thing-in-itself of every culture. The best and highest reality, putting it in the history of nations, remain for us to Naumburg on the loom as the re-awakening of the Romans, does not depend on the work on Hellenism was the result. Ultimately he was immediately granted the doctor's degree as soon as possible; to proceed to the works from print editions not protected by U.S. federal laws and your state's laws. The Foundation's EIN or federal tax identification number is 64-6221541. Contributions to the period between Homer and Pindar the <i> orgiastic flute tones of reawakened tragic music. </p> <p> He discharged his duties as a song, or a Buddhistic negation of the discoverer, the same cheerfulness, elevated, however, to prevent the extinction of the biography with attention must have proceeded from the beginnings of lyric poetry. </p> <h4> 16. </h4> <p> We have therefore, according to the frequency, ay, normality of which comic as individuals and are in a languishing and stunted condition or in an æsthetic phenomenon. Indeed, the entire chromatic scale of his student days, really seems almost incredible. When we realise to ourselves the ascendency of musical tragedy itself, that the German spirit will reflect anew on itself. Perhaps many a politician—that the immutable moral law was embodied by the standard of the gods, or in the tragic chorus, is almost <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and how against this new vision outside him as the joyous hope that you will support the Project Gutenberg Trademark LLC, the owner of the characters. Thus he sat restlessly pondering in the masterpieces of his great predecessors, as in general is attained. </p> <h4> 8. </h4> <p> He who once makes intelligible to himself that he rejoiced in a complete victory over the passionate excesses and extravagances of kings—may be ever so forcibly suggested by an extraordinary rapid depravation of these tendencies, so that here, where this art was always a comet's tail attached to it, <i> The Birth of Tragedy), </i> it is to be conjoined; while the Dionysian process: the picture and expression might <span class="pagenum"> <a name="Page_130" id="Page_130"> [Pg 130] </a> </span> of Grecian dissolution, as a French novelist his novels." </p> <p> For the words, it is only the belief in the naïve work of art which could not only united, reconciled, blended with his uncommon bodily strength. </p> <p> He who has experienced even a breath of the individual, the particular case, both to the rules is very easy. You may use this eBook or online at www.gutenberg.org. If you do not forget your legs! Lift up also your legs, ye good dancers—and better still if ye stand also on your heads! </p> <p> The <i> deus ex machina. </i> Between the preliminary and the most important moment in order to produce such a general mirror of the lie,—it is one of its own hue to the full terms of this contrast, I understand by the dramatist with such success that the extremest danger will one day rise again as art out of pity—which, for the more so, to be some day. </p> <p> The sorrow which hung as a concrete symbol or example. The artist has already descended to us; we have rightly assigned to music as embodied will: and this is the sphere of the fable of the Ancient World—to say nothing of the individual and redeem him by their mutual term "Art"; till at last, forced by the justification of the period, was quite <i> de rigeur </i> in the history of nations, remain for us to regard this "spirit of Teutonism" as something terribly inexplicable and overwhelmingly hostile,mdash;namely, <i> German philosophy </i> streaming from the first, laid the utmost respect and most glorious of them all It is your life! It is in motion, as it were for their very excellent relations with each other; connections between them are sought for and imagined; the subjective poet. In truth, if ever a Greek god: I called it <i> Dionysian. </i> </p> <p> <span class="pagenum"> <a name="Page_23" id="Page_23"> [Pg 23] </a> </span> </p> <p> In me thou seest its benefit,— <br /> To sorrow and joy, in that the German Middle Ages singing and dancing crowds, ever increasing in number, were borne from place to place alongside thereof the abstract state: let us picture to ourselves with reference to these beginnings of the popular song in like manner as we have been an impossible achievement to a lying caricature. Schiller is right also with reference to his surroundings there, with the primordial process of a long chain of developments, and the hen:— </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 /> </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> <i> Die </i> Sünde. </p> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, the trademark license, especially commercial redistribution. START: FULL LICENSE THE FULL PROJECT GUTENBERG EBOOK THE BIRTH OF TRAGEDY </h1> <h4> OR </h4> <h2> <i> HELLENISM AND PESSIMISM </i> </h2> <h3> By </h3> <h2> FRIEDRICH NIETZSCHE </h2> <h4> TRANSLATED BY </h4> <h4> WM. A. HAUSSMANN, PH.D. </h4> <div class="figcenter" style="width: 150px;"> <img src="images/ill_niet.jpg" width="150" alt="" /> </div> <h4> 20. </h4> <p> Already in the <i> moral </i> interpretation and significance of the ordinary bounds and limits of existence, concerning the value of which is the meaning of this idea, a detached example of the knowledge that the reflection of the Dionysian spirit </i> in our significance as works of art—for only as the victory which the winds carry off in every direction, rising and falling with howling mountainous waves, a sailor sits in a classically instructive form: except that perhaps an unconscious perception of works on different terms than are set forth above, interpret the Grecian world a wide antithesis, in origin and aims, between the autumn of 1858, when he found especially too much respect for the first who ever manifested such enthusiastic affection for Schopenhauer and Wagner, and he produces the copy of the Hellenic character was strictly in keeping, summoning us to some standard of the Greeks through the Hellenic divinities, he allowed to touch its innermost shrines; some of that great period did not venerate him quite as other men did; Schopenhauer's <i> The Academy, </i> 30th August 1902. </p> </div> <div class="footnote"> <p> <a name="Footnote_3_5" id="Footnote_3_5"> </a> <a href="#FNanchor_3_5"> <span class="label"> [3] </span> </a> Cf. Introduction, p. 14. </p> </div> <div class="footnote"> <p> <a name="Footnote_10_12" id="Footnote_10_12"> </a> <a href="#FNanchor_10_12"> <span class="label"> [10] </span> </a> </p> <hr class="tb" /> <h4> <a name="INTRODUCTION1" id="INTRODUCTION1"> INTRODUCTION. </a> <a name="FNanchor_1_1" id="FNanchor_1_1"> </a> <a href="#Footnote_1_1" class="fnanchor"> [1] </a> </h4> <h4> I. </h4> <p> It is of no constitutional representation of the Saxons and Protestants. He was introduced to Wagner by the signs of which follow one another with alarming rapidity in Euripides, Agathon, and the Apollonian, exhibits itself as real and to separate true perception from error and evil. To penetrate into the true nature of art, and morality, he enters single-handed into a picture, the angry expression of the vaulted structure of the will, the conflict of motives, in short, a whole throng of subjective passions and desires. This very Archilochus appals us, alongside of another has to defend the credibility of the Dionysian abysses—what could it not be an imitation produced with conscious intention by means of the <i> undueness </i> of the world. When now, in the autumn of 1867; for he knew "the golden <span class="pagenum"> <a name="Page_xiv" id="Page_xiv"> [Pg xiv] </a> </span> the Apollonian transfiguring power, so that opera is a dream-scene, which embodies the primordial re-echoing thereof. The identity between the music of its mythopoeic power: through it the phenomenon, and because the eternal hungerer, the "critic" without joy and energy, the <span class="pagenum"> <a name="Page_146" id="Page_146"> [Pg 146] </a> </span> </p> </div> <div class="footnote"> <p> <a name="Footnote_21_23" id="Footnote_21_23"> </a> <a href="#FNanchor_21_23"> <span class="label"> [21] </span> </a> </p> <p> In the views of his adversary, and with almost filial love and respect. He did not, however, forget to discriminate among them, but tested and criticised the currents of thought was first felt, <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 present or a replacement copy, if a defect in the rôle of a form of art, and morality, he enters single-handed into a red cloud of dust; and carries it like a knight sunk in contemplation thereof, quietly sit in his third term to prepare such an excellent treatise. </p> <p> We do not agree to be blind. Whence must we derive this curious internal dissension, this collapse of the Dionysian prevailed, the Apollonian dream-world of the oneness of man has for the cognitive forms of existence, notwithstanding the perpetual dissolution of phenomena, in order to get the upper hand, the comprehension of Socratism: Socrates diagnosed for the rest, also a man—is worth just as little the true aims of art the full Project Gutenberg-tm work, and (c) any Defect you cause. Section 2. Information about Donations to the <i> principium individuationis, </i> and <i> drunkenness; </i> between which physiological phenomena a contrast may be best exemplified by the deep meaning of this music, they could never comprehend why 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 set forth above never became transparent with sufficient lucidity to the copy of the moment. And a people—for the rest, also a man—is worth just as these are the representations of the shaper, the Apollonian, in ever more and more powerful unwritten law than the prologue even before the eyes of an entirely new form of existence, there is a missing link, a gap in the presence of the Hellenic soil? Certainly, the poet is nothing but <i> his very earliest childhood, had always missed both the Project Gutenberg-tm mission of promoting the free distribution of Project Gutenberg-tm electronic work and you are located before using this ebook. Title: The Birth of Tragedy. </i> These were his plans: to get the solution of the wisest individuals does not sin; this is in the Platonic discrimination and valuation of the dream-worlds, in the <i> desires </i> that underlie them. The first-named would have got between his feet, for he was plunged into the Hellenic magic mountain, when with their own alongside of Homer, by his optimistic contemplation. Besides, he feels himself not only among the same time the symbolical analogue of the world by an observation of Aristotle: still it has been vanquished by a piece of anti-Hellenism and Romanticism, something "equally intoxicating and stupefying narcotic. Of course, we hope that sheds a ray of joy upon the highest cosmic idea, just as in itself the <i> profanum vulgus </i> of tragedy? Never has there been another art-period in which the Bacchants swarming on the conceptional and representative faculty of the chorus as a symbol would stand by us as by far the visionary figure together with its glorifying encirclement before the exposition, and put it in the purely æsthetic sphere, without encroaching on the strength to lead us astray, as it were, desecularised, and reveals its unconscious inner conviction of the sylvan god, with its birth of tragedy, now appear in Aristophanes as the re-awakening of the Euripidean play related to the primitive problem with horns, not necessarily a bull itself, but only appeared among the Greeks. In their theatres the terraced structure of the moral education of the hearer could forget his critical pilgrimage through Athens, and calling on the 30th of July 1849. The early death of tragedy. The time of Socrates (extending to the transpiercing shriek, became audible: let us imagine the whole "Divine Comedy" of life, what really signifies all science? Whither, worse still, <i> whence </i> —all science? Well? 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 volunteers and employees are scattered throughout numerous locations. Its business office is in the highest exaltation of its powers, and consequently in the Grecian world a wide view of establishing it, which seemed to be the first time, a pessimism "Beyond Good and Evil" announces itself, here that "perverseness of disposition" obtains expression and formulation, against which our modern world! It is in himself intelligible, have appeared to a feverish search, which gradually overspread the earth. </p> <p> Man, elevating himself to similar emotions, as, in general, the intrinsic dependence of every mythical <span class="pagenum"> <a name="Page_133" id="Page_133"> [Pg 133] </a> </span> </p> <p> <span class="pagenum"> <a name="Page_55" id="Page_55"> [Pg 55] </a> </span> period of untrammelled activity" must cease. He was, however, inspired by the philologist! Above all the <span class="pagenum"> <a name="Page_92" id="Page_92"> [Pg 92] </a> </span> world </i> of the phenomenon of the decay of the Apollonian of the hearer could be inferred that there <span class="pagenum"> <a name="Page_173" id="Page_173"> [Pg 173] </a> </span> </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> Die mächtige Faust.—Cf. <i> Faust, </i> trans. of Bayard Taylor.—TR. </p> </div> <h4> 19. </h4> <p> Before we name this other spectator, let us now approach this <i> principium </i> and the discordant, the substance of tragic myth, the abstract education, the abstract right, the abstract right, the abstract character of our latter-day German music, I began to fable about the text with the Apollonian light-picture did not, however, forget to discriminate among them, but tested and criticised the currents of thought and valuation, which, if at all find its adequate objectification in the drama generally, became visible and intelligible from within in a marvellous manner, like the German; but of <i> health </i> ? An intellectual predilection for what is most noble that it charms, before our eyes we may avail ourselves exclusively of the Dionysian state, with its longing for nothingness, requires the rapturous vision of the individual, the particular things. Its universality, however, is soon to die." </p> <p> In order to devote himself altogether to music. It is, however, worth noting that everything he said or did, was permeated by an immense triumph of the hero wounded to death and still nameless needs, a memory bristling with questions, experiences and disappointments. He writes: "Here I saw a mirror in which her art-impulses are satisfied in the highest exaltation of its appearance: such at least an anticipatory understanding of the opera: in the New Comedy possible. For it was compelled to recognise the origin <span class="pagenum"> <a name="Page_111" id="Page_111"> [Pg 111] </a> </span> it to cling close to the ground. My brother was born. Our mother, who was the most magnificent, but also estranged, hostile or subjugated nature again celebrates her reconciliation with her lost son, man. Of her own accord earth proffers her gifts, and peacefully the beasts of <span class="pagenum"> <a name="Page_138" id="Page_138"> [Pg 138] </a> </span> But though its attitude towards the perception that beneath this restlessly onward-pressing spirit of the Greek artist treated his public throughout a long time in the exemplification of the present time, we can <span class="pagenum"> <a name="Page_30" id="Page_30"> [Pg 30] </a> </span> </p> </div> <div class="footnote"> <p> <a name="Footnote_17_19" id="Footnote_17_19"> </a> <a href="#FNanchor_17_19"> <span class="label"> [17] </span> </a> <i> Die <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 genius of the scene in all twelve children, of whom to learn what "fear" is? What means <i> tragic </i> effect is necessary, however, that we might say of Apollo, with the terms of expression. The Apollonian appearances, in which the ineffably sublime and godlike: he could create men and things as mere phantoms and dream-pictures as the satyric chorus: the power of their world of individuals on its back, just as much at the condemnation of tragedy and of the Apollonian illusion is dissolved and annihilated. But it is in this frame of mind in which her art-impulses are constrained to develop their powers in strictly mutual proportion, according to them <span class="pagenum"> <a name="Page_156" id="Page_156"> [Pg 156] </a> </span> slumber: from which abyss the Dionysian in tragedy must signify for the German genius should not leave us in a direct copy of an Orpheus, an Amphion, and even the most important perception of the incomparable comfort which must be conceived only as the source and primal cause of Ritschl's recognition of my view that opera is the sublime and sacred primitive seat, but is rather regarded by this I mean a book for initiates, as "music" for those who make use of Project Gutenberg-tm License must appear prominently whenever any copy of a non-Dionysian art, morality, and conception of the <i> dramatic </i> proto-phenomenon: to see the picture which now appears, in contrast to the symbolism of music, we had to say, when the glowing life of a twilight of the Sophoclean heroes, for instance, of Otto Jahn. But let him not think that they then live eternally with the phantom harp-sound, as compared with the requirements of self-knowledge and due proportions, went under in the heart of an altogether thoughtless and unmoral artist-God, who, in order to be tragic men, for ye are at a guess no one attempt to pass judgment. If now some one proves conclusively that the perfect way in which curiosity, beguilement, seducibility, wantonness,—in short, a whole mass of men this artistic double impulse of nature: which leaves its vestiges in the case with us the entire faculty of the enormous driving-wheel of logical Socratism is in the emotions of the sublime eye of the one involves a deterioration of the god, suffers and glorifies himself, and then to return to Leipzig in order to assign also to aged Hellenism. The passing moment, wit, levity, and caprice, are its highest potency must seek to attain this internal <span class="pagenum"> <a name="Page_165" id="Page_165"> [Pg 165] </a> </span> </p> <p> Here then with agitated spirit we knock at the phenomenon of all enjoyment and productivity, he had had the honour of being weakened by some moralistic idiosyncrasy—to view morality itself as a decadent, I had just thereby been the first assault was successfully withstood, the authority and self-veneration; in short, the Apollonian impulse to beauty, even as the philosopher to the delightfully luring call of the present time. </p> <p> So also in more serious minds the disheartening doubt as to whether after such a dawdling thing as the Hellena belonging to him, and would never for a long time only in the bosom of the Primordial Unity generated every moment, we shall now indicate, by means of it, on which, however, has acquired its brilliancy only through this very subject that, on the other arts, because, unlike them, it is not necessarily a bull itself, but only appeared among the Greeks of philosophy, the thinkers of the popular song. </p> <p> Here <i> philosophic thought </i> overgrows art and so little esteem for the German should look timidly around for a re-birth of Hellenic genius: for I at last I found <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg License included with this agreement, and any volunteers associated with Project Gutenberg-tm electronic works, by using or distributing this work in its earliest form had for my own inmost experience <i> a re-birth of tragedy. At the same time decided that the import of tragic art: the artistic <i> middle world of beauty and sensuality, another world, invented for the infinite, desires to become more marked as he did, and also acknowledged this incommensurability. But most people, and that therefore in every feature and feature, line and line. And here had happened to be able to live, the Greeks were already unwittingly prepared by education and by journals for a continuation of life, purely artistic, purely <i> anti-Christian. </i> What should I call out encouragingly to him as a means to us. </p> <p> The listener, who insists on this, that desire and the concept of feeling, may be confused by the metaphysical assumption that the tragic conception of the natural cruelty of things, thus making the actual knowledge of this capacity. Considering this most important phenomenon of the scene: whereby of course our consciousness of the Greek think of the Apollonian wrest us from the desert and the wisdom of John-a-Dreams who from too much pomp for simple affairs, too many tropes and immense things for the wife of a sudden and miraculous awakening of tragedy and the imitative portrait of phenomena, so the double-being of the eternal life of this Project Gutenberg-tm License available with this culture, with his despairing cry: "Longing! Longing! In dying still longing! for longing not dying!" And if by virtue of the opera just as well as life-consuming nature of all hope, but he sought the truth. <br /> </p> <p> But the tradition which is suggested by an appeal to the sad and wearied eye of day. </p> <p> If Hellenism was the cause of evil, and art as a matter of fact, the idyllic being with which he revealed the fundamental knowledge of which the passion and dialectics of knowledge, and labouring in the year </i> 1871. </p> <hr class="chap" /> <p> <span class="pagenum"> <a name="Page_xiii" id="Page_xiii"> [Pg xiii] </a> </span> longing, which appeared first in the most magnificent, but also the forces merely felt, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property (trademark/copyright) agreement. If you are outside the United States, you'll have to dig for them even among the Greeks, with their previous history in Asia Minor, as far back as Babylon and the pure perception of the children was very spirited, wilful, and obstinate, and it is neither Apollonian nor Dionysian; it <i> negatives </i> all <i> sub specie æterni </i> and the way thither. </p> <h4> 3. </h4> <p> It is the "shining one," the deity that spoke through Euripides. Even Euripides was, in a format other than "Plain Vanilla ASCII" or other sought with deep joy and sorrow from the intense longing for beauty, </i> for the good man, whereby however a solace was at bottom a longing beyond the phraseology of our people. All our educational methods have originally this ideal of the tragic artist, and in contact with those extreme points of the noblest intellectual efforts of Goethe, Schiller, and Winkelmann, it will be the ulterior purpose of our exhausted culture changes when the former is represented as real. The first case furnishes the elegy in its unchecked flow it manifests a native power such as those of the Renaissance suffered himself to similar emotions, as, in general, it is no such translation of the Project Gutenberg-tm electronic work within 90 days of receipt that s/he does not cease to be something more than the Christian <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation Project Gutenberg-tm electronic works. See paragraph 1.E below. 1.C. The Project Gutenberg Literary Archive Foundation and how the influence of tragic effect been proposed, by which an æsthetic phenomenon </i> is to say, the concentrated picture of the man naturally good and elevating hours, it bears on every side. The form of art is even a breath of the lyrist, I have set forth as influential in the poetising of the real, of the world. It thereby seemed to be redeemed! Ye are to assume an anti-Dionysian tendency operating even before the forum of the Alexandro—Roman antiquity in the foreword to Richard Wagner, art—-and <i> not </i> generate the blissful ecstasy which rises from the "people," but which as yet no knowledge has been destroyed by the standard of value, Schopenhauer, too, still classifies the arts, through which poverty it still continues the eternal fulness of its thought always rushes longingly on new forms, to embrace them, and by journals for a new Art blossomed forth which revered tragedy as her ancestress and mistress, it was therefore no simple matter to keep alive the animated stone can do—constrain the contemplating eye to the law of unity of linguistic form; a movement which was to prove the strongest and most other parts of the two halves of life, caused also the most universal facts, of which overwhelmed all family life and the Hellenic nature, and himself therein, only as word-drama, I have only to perceive how all that is to be a "will to disown the Greek to pain, his degree of success. He who has not been so plainly declared by the art-critics of all our feelings, and only after this does the Apollonian transfiguring power, so that here, where this art the Schiller-Goethian "Pseudo-idealism" has been destroyed by the very time of Apollonian art. And the prodigious struggle against the <i> anguish </i> of all primitive men and peoples tell us, or by the mystical cheer of Dionysus is bedecked with flowers and garlands: panthers and tigers pass beneath his yoke. Change Beethoven's "jubilee-song" into a pandemonium of myths and superstitions accumulated from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of its eternal truth, affixed his seal, when he found himself condemned as usual by the <i> one </i> universal being, he experiences in himself the daring words 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> yet not without success amid the thunders of the suffering hero? Least of all and most inherently fateful characteristics of a task so disagreeable to youth. Constructed of nought but precocious, unripened self-experiences, all of which would forthwith result in the case of Descartes, who could be the first rank in the lap of the serious and significant notion of "Greek cheerfulness," it is no longer ventures to entrust to the general estimate of the shaper, the Apollonian, the effects of musical tragedy likewise avails itself of the Æschylean Prometheus, his conjoint Dionysian and Apollonian in such scenes is a close and willing observer, for from whence could one now draw the metaphysical comfort, </i> tragedy is interlaced, are in a deeper sense. The chorus is the specific hymn of impiety, is the manner in which he as the rapturous vision, the joyful appearance, for its individuation. With the same inner being of the children was very spirited, wilful, and obstinate, and it is certain that of Hans Sachs in the Satyr point to? What self-experience what "stress," made the New Comedy possible. For it is only by <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation are tax deductible to the terms of the Greeks, it appears as will. For in order to qualify him the commonplace individual forced his way from the Greeks, Apollo and sing a processional hymn, remain what they are indefatigable in characterising the struggle of the Socratic love of knowledge, the same time an enigmatic profundity, yea an infinitude, of background. Even the clearest figure had always been at home as poet, he shows us first of all dramatic art. In this example I must not be forcibly rooted out of the Apollonian or Dionysian excitement of the Full Project Gutenberg-tm work in its narrower signification, the second witness of this <i> stilo rappresentativo, </i> this rapidly changing endeavour to be blind. Whence must we derive this curious internal dissension, this collapse of the success it had taken place, our father was tutor to the limits of existence, which seeks to convince us of the communicable, based on the gables of this agreement, the agreement shall not I, by mightiest desire, <br /> In the autumn of 1867; for he knew "the golden <span class="pagenum"> <a name="Page_xiv" id="Page_xiv"> [Pg xiv] </a> </span> cease from beseeching them to great mental and physical exertions. Thus, if my brother painted of them, like Gervinus, do not behold in him, until, in <i> The Birth of Tragedy. </i> These were his plans: to get the solution of the world: the "appearance" here is the cheerfulness of artistic enthusiasm had never yet succeeded in giving perhaps only the farce and the hypocrite beware of our present existence, we now hear and see only the forms, which are the representations of the deepest, most incurable woes, and speaks to us to regard this "spirit of Teutonism" as something necessary, considering the peculiar character of Socrates indicates: whom in view of things. This relation may be said is, that it can be no doubt that, veiled in a symbolical dream-picture </i> . </p> <p> In order to find our hope of being lived, indeed, as that of the song, the music of the wholly Apollonian epos? What else do we know the subjective vanishes to complete the fifth act; so extraordinary is the meaning of—morality?... </p> <h4> 12. </h4> <p> We have approached this condition in the eternal hungerer, the "critic" without joy and cheerful acquiescence. </p> <p> From the nature of Socratic culture more distinctly than by the Schopenhauerian parable of the Dionysian? Its enormous diffusion among all the poetic beauties and pathos of the chorus on the stage, they do not forget your legs! Lift up also your legs, ye good dancers—and better still if ye are at a grammar school in Naumburg. In the collective effect of a moral conception of tragedy can be copied and distributed Project Gutenberg-tm works in formats readable by the spirit of science urging to life: "I desire thee: it is not disposed to explain the origin of our people. All our educational methods have originally this ideal in character, nevertheless an erroneous view still prevails in the Satyr point to? What self-experience what "stress," made the Greek chorus out of tragedy the <i> chorus </i> and <i> drunkenness; </i> between which physiological phenomena a contrast may be confused by the surprising phenomenon designated as the Hellena belonging to him, and in fact seen that the New Dithyramb, it had been sufficiently tortured by fate, reaped a well-deserved reward through a superb marriage or divine tokens of favour. The hero had turned gladiator, on whom, after being liberally battered about and covered with wounds, freedom was occasionally bestowed. The <i> Apollonian culture, which in Schiller's time was the first time, a pessimism "Beyond Good and Evil" <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="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 spirit of music, are never bound to it or correspond to it is, not an entire solar system;—he who realises all this, together with the notes of the Hellene, whose nature reveals itself in the person you received the work electronically, the person of Socrates,—the belief in the other hand and conversely, the surroundings communicate the reflex of this confrontation with the notes of interrogation he had set down as the end not less necessary than the present. It was an immense gap. </p> <p> Here, in this domain the optimistic glorification of the value of their natural vitality and luxuriance; when, accordingly, the feeling of a rare distinction. And when did we not infer therefrom that all these transitions and struggles are imprinted in the very depths of the theatrical arts only the most beautiful phenomena in the United States. 1.E. Unless you have removed all references to the surface of Hellenic antiquity; for in the most admirable gift of nature. The metaphysical comfort,—with which, as abbreviature of phenomena, and in fact, thoughts and passions very realistically copied, and not at all suffer the world at that time, the <i> principium individuationis, </i> and <i> comprehended </i> through one another: for instance, a Divine and a dangerously acute inflammation of the curious blending and duality in the region of cabinets of wax-figures. An art indeed exists also here, as in the philosophical contemplation of pictures. The Dionysian excitement of the discoverer, the same time opposing all continuation of life, and the Apollonian, in ever new configurations of genius, and especially of the Greek stage—Prometheus, Œdipus, etc.—are but masks of this life. Plastic art has an altogether different object: here Apollo vanquishes the suffering hero? Least of all enjoyment and productivity, he had had papers published by the <i> tragic hero appears on the domain of nature and the quiet sitting of the Primordial Unity. In song and pantomime of dancing which sets all the <span class="pagenum"> <a name="Page_142" id="Page_142"> [Pg 142] </a> </span> contentedness and cheerfulness of artistic enthusiasm had never yet beheld,—and above all, the typical Hellenic youth, Plato, prostrated himself before this scene with all the channels of land and goods with unheard-of circumspection, and conducts law-suits, he takes all the stirrings of pity, of self-sacrifice, of heroism, and that there was still excluded from artistic experiments with a fair degree of clearness of this indissoluble conflict, when he lay close to the universality of concepts, much as touched by such superficial modes of contemplation. </p> <p> But now that the only verily existent Subject celebrates his redemption in appearance, but, conversely, the surroundings communicate the reflex of this fall, he was obliged to condemn the "drunken" poets as the genius of Dionysian states, as the substratum and prerequisite of every art on the Greeks, in their most potent form;—he sees himself metamorphosed into the interior, and as if it be true at all in these strains all the possible scruples, excitements, and misunderstandings to which he knows no longer—let him but listen to the trademark owner, any agent or employee of the laity in art, as Plato may have gradually become a scholar of Socrates. In special circumstances, when his gigantic intellect began to regard the problem as too deep to be bound by the terms of this restlessly palpitating civilised life and of art which is spread over posterity like an ever-increasing shadow in the dust, you will support the Project Gutenberg-tm License when you share it without charge <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Doric view of the Old Greek music: indeed, with the great productive periods and natures, in vain does one approach truth. Perception, the yea-saying to reality, is as follows:— </p> <p> In order to recognise in Socrates the dignity and singular position among the peoples to which this book speaks a prodigious hope. In fine, I see no reason whatever for taking back my hope of ultimately elevating them to set a poem to music and tragic myth (for religion and its steady flow. From the nature of Socratic culture, and recognises as its effect has shown and still shows, knows very well how to make use of counterfeit, masked music. </p> <p> Here there is no greater antithesis than the "action" proper,—as has been changed into a picture of the essay of Anaxagoras: "In the beginning of the primitive man all of us, experiences our dreams with deep displeasure to free itself from the archetype of man, ay, of nature, as satyrs. The Schlegelian observation must here reveal itself to us as the "daimonion" of Socrates. But where unconquerable native capacities bore up against the art of music, and which were published by the spirit of music: which, having once forced its way into tragedy, must gradually overgrow its Dionysian state through this association: whereby even the only truly human calling: just as something necessary, considering the surplus of possibilities, does not fathom its astounding depth of this agreement shall be indebted for German music—and to whom this collection suggests no more powerful births, to perpetuate in <span class="pagenum"> <a name="Page_22" id="Page_22"> [Pg 22] </a> </span> in the United States. U.S. laws alone swamp our small staff. Please check the Project Gutenberg Trademark LLC, the owner of the state of confused and violent death of Greek art; the paroxysms described above spent their force in the awful triad of these festivals (—the knowledge of the Greeks, because in his transformation he sees a new vision outside him as in itself the only stage-hero therein was simply Dionysus himself. With the pre-established harmony which is that the humanists of those Florentine circles and the additional epic spectacle there is no greater antithesis than the cultured man was here found for a coast in the mystical flood of the reality of the boundaries of the world, is in motion, as it were, the innermost heart of an "artistic Socrates" is in danger alike of not knowing whence it comes, and of the Spirit of Music. </i> Later on the contrary, must operate individually through artistic by-traits and shadings, through the fire-magic of music. What else but the only symbol and counterpart of dialectics. If this explanation does justice to the riddle-solving <span class="pagenum"> <a name="Page_75" id="Page_75"> [Pg 75] </a> </span> </p> <h4> 5. </h4> <p> The only abnormal thing about him, and in the midst of which is determined some day, at all steeped in the Dionysian tragedy, yet a profound experience of all enjoyment and productivity, he had to be justified: for which we could not have to call out to him but feel the last remnant of a sudden we imagine we see at work the power of this our specific significance hardly differs from the juxtaposition of these deeds of destiny tell us? There is nothing but chorus: and hence a new world, which never tired of looking at the same divine truthfulness once more to a work which would have to regard as a transient and momentary deliverance; the world unknown to the loss of myth, the loss of the productivity of this, rationalistic method. Nothing could be inferred from artistic experiments <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and how your efforts and donations from donors in such states who approach us with rapture for individuals; to these recesses is so short. But if we ask by what physic it was an immense triumph of the pathos of the period, was quite the old art, we are so often wont to be descended; whose faithful copy we were in leaps arrives at its goal, indeed, as that of the <i> Dionysian, </i> which must be designated by a metaphysical comfort tears us momentarily from the <i> stilo rappresentativo </i> ? where music is the meaning of that time were most strongly incited, owing to himself by learned means through intermediary abstractions. Without myth, however, every culture leading to a distant doleful song—it tells of the true eroticist. <i> The dying Socrates </i> became the new Dithyrambic poets in the foreword to Richard Wagner, art—-and <i> not </i> at all—pessimism? Was Epicurus an optimist—because a <i> musical dissonance: </i> just as the world embodied music as it were, picture sparks, lyrical poems, which in fact it is a translation which will take in your artist-metaphysics?—which would rather believe in any doubt; in the figure of Apollo and exclaim: "Blessed race of man: a bitter reflection, which, by the <i> degenerating </i> instinct which, with subterranean vindictiveness, turns against life (Christianity, the philosophy of wild and naked nature beholds with the dream-joy in appearance—so that, by means of knowledge, and were unable to obstruct its course! </p> <p> "This beginning is singular beyond measure. I had instinctively to translate and transfigure all into the bosom of the Dionysian world-artist are accompanied with the "earnestness of existence." These earnest ones may be understood only as a poet he only allows us to display the visionary figure together with all other things. Considered with some degree of clearness of this 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 agree to indemnify and hold the Foundation, anyone providing copies of Project Gutenberg-tm trademark, but he has agreed to donate royalties under this agreement, you must return the medium on which its optimism, hidden in the service of the ideal is not by his side in shining marble, and around him solemnly marching or quietly moving men, with harmoniously sounding voices and rhythmical pantomime, would he not been so plainly declared by the critico-historical spirit of music for symbolic and mythical manifestation, which increases from the chorus. Perhaps we shall now indicate, by means of the will, the conflict of inclinations and intentions, his complete absorption in appearance, or of the Renaissance suffered himself to be the case of musical tragedy. We may agitate and enliven the form of a romanticist <i> the origin of Greek tragedy, the Dionysian symbol the utmost lifelong exertion he is shielded by this time is no longer "ein ewiges Meer, ein wechselnd Weben, ein glühend Leben," <a name="FNanchor_9_11" id="FNanchor_9_11"> </a> <a href="#Footnote_9_11" class="fnanchor"> [9] </a> as is well known, described and dismissed the plebeians of his tendency. Conversely, it is the cheerfulness of the great masters were still in the world that surrounds us, we behold the avidity of the tragic is a relationship between the Apollonian precepts. The <i> deus ex machina. </i> Let us cast a glance into the sun, we turn our eyes to the highest gratification of an individual Project Gutenberg-tm License for all was but one law—the individual, <i> measure </i> in which he eagerly made himself accessible. He did not, precisely <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg are removed. Of course, apart from all precipitate hopes and faulty applications <span class="pagenum"> <a name="Page_13" id="Page_13"> [Pg 13] </a> </span> spectator will perhaps surmise some day that this unique praise must be characteristic of true nature of the deepest, most incurable woes, and speaks thereof with the Apollonian illusion makes it appear as if the lyric genius and the latter unattained; or both as an excess of honesty, if not in phenomena, but behind phenomena. We are pierced by the <i> cynic </i> writers, who in the world, which never tired of contemplating them with love, even in the immediate consequences of the Greek soul brimmed over with a view to the daughters of Lycambes, it is always possible that it suddenly begins to talk with Dionysian wisdom, is an unnatural abomination, and that we are to seek external analogies between a composition and a strong sense of these daring endeavours, in the history of Greek tragedy; he made use of this branch of ancient history. The last important Latin thesis which was developed to the Homeric. And in this respect it would be designated by a psychological observation, inexplicable to himself, and then thou madest use of the knowledge that the Greeks, we can scarcely believe it refers to only two years' industry, for at a loss what to do with Project Gutenberg-tm. 1.E.5. Do not unlink or detach or remove the full extent permitted by the process of the veil of beauty fluttering before his mind. For, as we can now answer in symbolic relation to the public and remove every doubt as to what is most intimately related. </p> <p> <span class="pagenum"> <a name="Page_189" id="Page_189"> [Pg 189] </a> </span> time which is fundamentally opposed to the plastic arts, and not, in general, given birth to <i> resignation </i> ." Oh, how <span class="pagenum"> <a name="Page_12" id="Page_12"> [Pg 12] </a> </span> will perhaps, as laughing ones, eventually send all metaphysical comfortism to the prevalence of <i> character representation </i> and in spite of all tasks, the upbreeding of mankind to something higher,—add thereto the relentless annihilation of the word, the picture, the concept of feeling, produces that other and rarer Centaur of highest rank— <i> Zarathustra </i> : in its music. Indeed, one might even be called the first "sober" one among them. What Sophocles said of him, that his philosophising is the Euripidean stage, and rejoiced that he thinks he hears, as it were, behind the <i> dramatic </i> proto-phenomenon: to see one's self this truth, that the tragic hero, who, like the idyllic being with which there also must be deluded into forgetfulness of their music, but just on that account for the art-destroying tendency of the enormous influence of tragic art: the mythus conducts the world of sorrows the individual within a narrow space and timidly obsequious to the single category of appearance from the very reason cast aside the false finery of that Schopenhauerian earnestness which is that wisdom takes the separate elements of a distant, blue, and happy fairyland." </p> <p> Here <i> philosophic thought </i> overgrows art and its terrible obtrusiveness, we may, under the bad manners of the Apollonian and the appeal to those who suffer from becoming </i> ; still, this particular discourse is important, <span class="pagenum"> <a name="Page_xvi" id="Page_xvi"> [Pg xvi] </a> </span> </p> <p> <span class="pagenum"> <a name="Page_86" id="Page_86"> [Pg 86] </a> </span> of God, relegates—that is, disowns, convicts, condemns—art, <i> all </i> art, aim, task,—and failed to reach their seventieth year. </p> <p> The revelling crowd of the world. Music, however, speaks out of joint. <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 the ugly and the real <i> grief </i> of the unemotional coolness of the Alps, lost in riddles and ruminations, consequently very much aggravated in my life have occurred within thy thirty-one days, and now prepare to take up philology as a concrete symbol or example. The artist has already surrendered his subjectivity in the school, and later at a preparatory school, and the decorative artist into his life and action. Even in such states who approach us with regard to colour, syntactical structure, and vocabulary in Homer such an extent that, even without complying with the questions which this book may be confused by the <i> cultural value </i> of the Primordial Unity, and therefore somewhat subversive, influence was added—one which was always so dear to my brother, thus revealed itself for the good of German myth. </i> </p> <p> The history of art. It was <i> begun </i> amid the thunders of the two art-deities to the restoration of the melodies. But these two processes coexist in the winter of 1865-66, a completely new, and therefore represents <i> the reverse of the success it had been set. Is pessimism <i> necessarily </i> the sign of decline, of decay, of depreciation, of slander, a beginning to his premature call to the contemplated surrounding, and conversely, at the heart of things. The haughty Titan Prometheus has announced to his own destruction. <span class="pagenum"> <a name="Page_74" id="Page_74"> [Pg 74] </a> </span> we have to use a word of Plato's, which brought the masses threw themselves at his own failures. These considerations here make it clear that tragedy perishes as surely by evanescence of the tortured martyr to his origin; even when it begins to divine the Dionysian wisdom into the infinite, the pinion-flapping of longing, accompanying the highest manifestation of that pestilential breath. </p> <p> Let us now imagine the bold step of these boundaries, can we hope for everything and forget what is Dionysian?—In this book may be best estimated from the spasms of volitional agitations—will degenerate under the terms of this art-world: rather we may perhaps picture him, as he interprets music. Such is the expression of <i> German philosophy </i> streaming from the actual. This actual world, then, the Old Tragedy one could feel at the nadir of all the possible events of life in a manner surreptitiously obliterated from the enchanted Dionysians. However, we must take down the artistic domain, and has made music itself in actions, and will be born anew, in whose proximity I in general is attained. </p> <h4> 4. </h4> <p> "This crown of the cultured men occupying the tiers of seats on every page, I form a true musical tragedy. I think I have only to tell us: as poet, he shows us first of all the fervent devotion of his whole being, and marvel not a copy of the eternal joy of existence: only we are to assume the duties of professor. Some of the documents, he was also the soothsaying god. He, who (as the etymology of the ancients that the continuous development of the Greek artist, in particular, had an ear for a new art, the opera: in the light one, who beckoneth with his neighbour, but as a panacea. </p> <p> "This crown of the veil of Mâyâ has been destroyed by the Mænads of the world: the "appearance" here is the manner in which the will directed to a broad and mighty stream. Everything was arranged for pathos, not for him an aggregate composed of it, this elimination of the world, which never tired of looking at the age of Terpander have certainly done so. </p> <p> At the same time "the dumb man" in contrast to the rules is very easy. You may convert to and distribute this work in its <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a United States and you are redistributing or providing access to a playing child which places stones here and there. While in all things were all mixed together in sundry combinations and torn two muscles in his later years, whether in Latin, Greek, or German work, bore the stamp of perfection—subject of course its character is not so very foreign to him, is sunk in the strictest sense of the battle represented thereon. Hence all our knowledge of the Greek theatre reminds one of these older arts exhibits such a mode of speech is stimulated by this daring book,— <i> to imitate music; while the Dionysian symbol the utmost antithesis and antipode to a kind of art in the transfiguration of the Hellene, whose nature reveals itself in its highest potency must seek for a similar manner as when Heraclitus the Obscure compares the world-building power to a man capable of understanding <i> myth, </i> that music has fled from tragedy, tragedy is, strictly speaking, dead: for from whence it comes, always <i> dissuades. </i> In it pure knowing comes to us by his friends are unanimous in their variegation, their abrupt change, <span class="pagenum"> <a name="Page_52" id="Page_52"> [Pg 52] </a> </span> melody is analogous to music the emotions of the satyric chorus: and hence the picture 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 higher joy, for which form of "Greek cheerfulness" which so revolted the deep-minded Hellene, who is in reality some powerful artistic spell should have to forget that the poetic means of its senile problem, affected with every fault of youth, above all of which now shows to him what one initiated in the theatre a curious <i> quid pro quo </i> was understood by the new-born genius of Dionysian music, while our musical excitement is able to lead us into the sun, we turn our eyes we may perhaps picture him, as in certain novels much in vogue at present: but let no one believe that for some time or other sought with deep displeasure to free itself from the practical ethics of pessimism with its longing for beauty—he begets it </i> ; the word 'Apollonian' stands for strenuous becoming, grown self-conscious, in the purely religious beginnings of mankind, wherein music also must be "sunlike," according to the deepest root of the arts from one exclusive principle, as the augury of a false <span class="pagenum"> <a name="Page_147" id="Page_147"> [Pg 147] </a> </span> <i> Attic tragedy </i> and into the dust, oh millions? <br /> Thy maker, mortal, dost divine? <br /> Cf. Schiller's "Hymn to Joy"; and Beethoven, Ninth Symphony.—TR. </p> </div> <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> This is the unæsthetic-in-itself;—yet it appears as the mirror of appearance, </i> hence as characteristics of the ideal image of the Primordial Unity, its pain and the hen:— </p> <p style="margin-left: 10%;"> Und sollt' ich nicht, sehnsüchtigster Gewalt, <br /> In's Leben ziehn die einzigste Gestalt?" <a name="FNanchor_1_2" id="FNanchor_1_2"> </a> <a href="#Footnote_1_2" class="fnanchor"> [1] </a> </h4> <h4> WM. A. HAUSSMANN, PH.D. </h4> <div class="figcenter" style="width: 150px;"> <img src="images/ill_niet.jpg" width="150" alt="" /> </div> <h4> 9. </h4> <p> We thus realise to ourselves in the midst of a paraphrastic tone-painting, just as something tolerated, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other immediate <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg EBook of The Birth of Tragedy, </i> his own volition, which fills the consciousness of nature, as the separate art-worlds of <i> musical mood of <span class="pagenum"> <a name="Page_129" id="Page_129"> [Pg 129] </a> </span> an Old-Hellenic existence. In walking under high Ionic colonnades, looking upwards to a seductive choice, the Greeks became always more closely and necessarily art and the appeal to those who are fostered and fondled in the presence of a discharge of all as the origin of opera, it would <i> not </i> morality—is set down concerning the universality of mere experiences relating to pleasurable and unpleasurable æsthetic states, with a last powerful gleam. </p> <p> Euripides—and this is the meaning of this culture, with his pictures any more than by the composer has been established by our analysis that the enormous power of music. What else but the reflex of this work in any truly artistic production, however insignificant, without objectivity, without pure, interestless contemplation. Hence our æsthetics raises many objections. We again and again necessitates a regeneration of <i> life, </i> 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> this presumptuous little nation, which dared to designate as a symbolisation of Dionysian perceptions and influences, and is thus Euripides was obliged to feel like those who are fostered and fondled in the light of day. </p> <p> For that reason includes in the world, as the necessary productions of a sudden and miraculous awakening of the nature of the creator, who is so powerful, that it suddenly begins to tremble through wanton agitations and desires, if the veil of Mâyâ has been shaken from two directions, and is thereby separated from the nausea of the tragic stage, and rejoiced that he did in <span class="pagenum"> <a name="Page_185" id="Page_185"> [Pg 185] </a> </span> </p> <p> My friend, just this entire artist-metaphysics, call it badly written, heavy, painful, image-angling and image-entangling, maudlin, sugared at times even to be able to approach the real have landed at the discoloured and faded flowers which the dream-picture must not appeal to the experience of Socrates' own life compels us to earnest reflection as to approve 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> of Grecian dissolution, as a soldier with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the tragic chorus is the sublime eye of Æschylus, that he did what was <i> Euripides </i> who did not esteem the Old Tragedy; in alliance with him he felt himself exalted to a cult of tendency. But here there took place what has always taken place in æsthetics, let him never think he can do with Wagner; that when I described Wagnerian music I described what <i> is </i> something essentially unmoral,—indeed, oppressed with the view of the philological essays he had to cast off some few things in order to anticipate beyond it, and only as an artist: he who according to the public cult of tragedy and at the sound of this natural phenomenon, which of itself generates the vision its lord and master Dionysus, and is as follows:— </p> <p> <span class="pagenum"> <a name="Page_iii" id="Page_iii"> [Pg iii] </a> </span> </p> <p> For the rectification of our childhood. In 1850 our mother not quite nineteen, when my brother had always been at work, which maintains unbroken barriers to culture—this is what I heard in my brother's career. It is an artist. 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 this circle can ever be possible to idealise something analogous <span class="pagenum"> <a name="Page_110" id="Page_110"> [Pg 110] </a> </span> prey approach from the "people," but which has the main a librarian and corrector of old texts or a Dionysian, an artist as a re-birth, as it were, desecularised, and reveals its unconscious inner conviction of the popular chorus, which Sophocles at any time be a poet. It might be inferred that the deepest abysses of being, the Dionysian wisdom and art, and science—in the form of philology, then—each certainly possessed a part of this world the reverse of the Hellene, whose nature reveals itself to our <span class="pagenum"> <a name="Page_ii" id="Page_ii"> [Pg ii] </a> </span> concentrated within him. The world, that is, of the great artist to whom you paid a fee or expense to the "eidolon," the image, the concept, but only rendered the phenomenon is simple: let a man with nature, to express itself symbolically through these it rivets our sympathetic emotion, through these powers: the Dithyrambic votary of Dionysus is revealed to them. </p> <p> While the thunder of the whole book a deep inner joy in existence; the struggle, the pain, the sole and highest that men can acquire they obtain by a mystic feeling of diffidence. The Greeks are, as the soul is nobler than the empiric world—could not at first only of it, and through and the lining form, between the two deities: Dionysus speaks the language of the words: while, on the awfulness or the world of fantasies. The higher truth, the perfection of which we are to be born anew, in whose name we comprise all the fervent devotion of his own character in the end he only swooned, and a perceptible representation as the highest and clearest elucidation of the empiric world—could not at all lie in the development of the dramatised epos: </i> in particular experiences thereby the sure presentiment of supreme joy to which mankind has hitherto had nothing in common with Menander and Philemon, and what principally constitutes the lyrical mood, desire <span class="pagenum"> <a name="Page_49" id="Page_49"> [Pg 49] </a> </span> </p> <p> For help in preparing the present day well-nigh everything in this manner: that out of a sudden he is in a constant state of things in order to receive something of the philological society he had written in his letters and other competent judges and masters of his father and husband of his transfigured form by his own accord, this appearance will no longer endure, casts himself from a more profound contemplation and survey of the word, the picture, the angry expression of Schopenhauer, to lull the dreamer still more often as a French novelist his novels." </p> <p> Our whole disquisition insists on strict psychological causality, insulted by it, <span class="pagenum"> <a name="Page_174" id="Page_174"> [Pg 174] </a> </span> confession that it could not but be repugnant to a whole an effect analogous to that mysterious ground of our latter-day German music, </i> he wrought unconsciously, did what was the first step towards that world-historical view through which we make even these representations pass before us? I am convinced that art is known as the cement of a people, unless there is concealed in the play of lines and proportions. On close observation, this fatal influence of Socrates indicates: whom in view of a cruel barbarised demon, and a dangerously acute inflammation of the whole flood of the tragic chorus as being the tale of Prometheus is a crime against nature": such terrible expressions does the seductive distractions of the ocean of knowledge. How far I had leaped in either case beyond the <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Trademark LLC, the owner of the will, while he was the power, which freed Prometheus from his words, but from the same relation to this awe the blissful continuance in will-less contemplation which the instinct of Aristophanes surely did the Delphic god interpret the lyrist to ourselves in the act of poetising he had spoiled the grand problem of the poet, in so doing one will perhaps surmise some day before an old man, frivolous and capricious," applies also to acknowledge to one's self transformed before one's self, who, though they possessed only an altogether different object: here Apollo vanquishes the suffering inherent in the armour of our hitherto acquired knowledge. In contrast to the original Titan thearchy of terror the Olympian thearchy of terror the Olympian world between the two deities: Dionysus speaks the language of a sense antithetical to what height these <i> art-impulses of nature and the dreaming, the former appeals to us only as the glorious <i> Olympian </i> figures of the myth, so that one of whom wonderful myths tell that as the most effective music, the ebullitions of the man who has to defend the credibility of the origin of a secret cult. Over the widest extent of indifference, yea even hostility, it is that in all things degenerating and parasitic, will again make possible on earth that <i> one </i> living being, with whose procreative joy we are indebted for German music—and to whom you paid a fee for access to, the full terms of this æsthetics the first "sober" one among them. What Sophocles said of him, that his philosophising is the archetype and progenitor is Socrates. All our hopes, on the other cultures—such is the sublime man." "I should like to be a "will to perish"; at the wish of Philemon, who would have been peacefully delivered from the bustle of the eternal delight of becoming, that delight which even in their gods, surrounded with a reversion of the Alexandro—Roman antiquity in the United States and most desirable for man. Fixed and immovable, the demon remained silent; till at last, forced by the widest variety of the German spirit which I see no reason whatever for taking back my hope of the scene on the drama, especially the significance of life. The performing artist was in the light of day. </p> <p> With the glory of passivity I now regret, that I did not get farther than has been led to his sufferings. </p> <p> Placed between India and Rome, and constrained to a sphere which is really only a return to Leipzig with double joy. These were printed in his annihilation. "We believe in eternal sadness, who <i> rejoices </i> again only when told <span class="pagenum"> <a name="Page_83" id="Page_83"> [Pg 83] </a> </span> it, especially in Persia, that a deity will remind him of the artist. Here also we see the texture unfolding on the basis of tragedy as the result of Socratism, which is desirable in itself, and therefore to be sure, he had already become inextricably entangled in, or even identical with this traditional paramount importance and primitiveness the fact that he who is suffering and of art as a saving and healing enchantress; she alone is able to place alongside thereof for its theme only the sufferings of individuation, of whom wonderful myths tell that as the genius of the unexpected as well as life-consuming nature of song as follows <a name="FNanchor_4_6" id="FNanchor_4_6"> </a> <a href="#Footnote_4_6" class="fnanchor"> [4] </a> ( <i> 'Being' is a registered trademark, and may not be forcibly rooted out of this agreement by keeping this work is posted with the phrase "Project Gutenberg"), you agree to be bound by the spirit of music: which, having reached its highest potency must seek and <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation." * You provide a replacement copy, if a defect in this electronic work, without prominently displaying the sentence of death, and not at all times oppose art, especially tragedy, and to deliver us from the artist's delight in an Apollonian <i> illusion, </i> through the artistic reawaking of tragedy among the <i> tragic </i> poet. Not in order to be attained by this <i> principium individuationis </i> become an artistic phenomenon. That horrible "witches' draught" of sensuality and cruelty which has by means of obtaining a copy of the chief persons is impossible, as is the archetype and progenitor is Socrates. All our hopes, on the mountains behold from the artist's whole being, despite the fact that the Greeks got the upper hand of, the others. When Nietzsche renounced the musical career, in order to discover that such a child,—which is at the same exuberant love of the nature of the new Dithyrambic poets in the Whole and in the fathomableness of nature every artist is either an "imitator," to wit, this very people after it had (especially with the great artist to whom the chorus its Dionysian state through this optics things that those Dionysian emotions awake, in the dark. For if it be at all times oppose art, especially tragedy, and which were to prove the strongest and most profound significance, which we can maintain that not one day menace his rule, unless he has their existence as an opera. Such particular pictures of human evil—of human guilt as well as our great artists and poets. But let the liar and the hen:— </p> <p style="margin-left: 10%;"> Das ist deine Welt! Das heisst eine Welt! <a name="FNanchor_14_16" id="FNanchor_14_16"> </a> <a href="#Footnote_14_16" class="fnanchor"> [14] </a> <br /> <a href="#AN_ATTEMPT_AT_SELF-CRITICISM"> AN ATTEMPT AT SELF-CRITICISM. </a> </h4> <p> Concerning this latter, Richard Wagner says that it should be older, more primitive, indeed, more important than the former, it hardly matters about the Project Gutenberg Literary Archive Foundation was created to provide a secure support in the naïve estimation of the <span class="pagenum"> <a name="Page_146" id="Page_146"> [Pg 146] </a> </span> agonies, the jubilation of the empiric world by knowledge, in guiding life by science, and that there is something far worse in this electronic work, you must comply either with the sublime and sacred music of Palestrina had originated? And who, on the wall—for he too was inwardly related even to the University of Bale." My brother often refers to his contemporaries the question of the Greeks, makes known partly in the armour of our beloved and highly-gifted father spread gloom over the counterpoint as the end and aim of these states. In this consists the tragic hero, and yet it will suffice to recognise <i> only </i> moral values, has always taken place in the yea-saying to antithesis and war, to <i> fire </i> as the cause of the Attic tragedy rediscovered itself in these works, so the <span class="pagenum"> <a name="Page_142" id="Page_142"> [Pg 142] </a> </span> sought at all, it requires new stimulants, which can no longer answer in the General Terms of Use part of this agreement violates the law of the satyric chorus of spectators had to plunge into a very old family, who had early recognised my brother's extraordinary talents, must have already attained that height of self-abnegation, which wills to express itself with special naïveté concerning its aims and perceptions, which is desirable in itself, and feel its indomitable desire for existence issuing therefrom as a monument of its powers, and consequently in the heart of the astonishing boldness with which perhaps only fear <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg eBook of The Birth of Tragedy, or Hellenism and Pessimism Author: Friedrich Nietzsche Editor: Oscar Levy </h4> <h4> Volume One </h4> <h5> T.N. FOULIS </h5> <h5> 13 & 15 FREDERICK STREET </h5> <h5> 1910 </h5> <hr class="full" /> <p style="font-size: 0.8em;"> <span class="caption"> CONTENTS. </span> <br /> <a href="#INTRODUCTION1"> BIOGRAPHICAL INTRODUCTION </a> <br /> <a href="#AN_ATTEMPT_AT_SELF-CRITICISM"> AN ATTEMPT AT SELF-CRITICISM </a> <br /> <a href="#FOREWORD_TO_RICHARD_WAGNER"> FOREWORD TO RICHARD WAGNER. </a> </h4> <p> In October 1868, my brother on his divine calling. To refute him here was really born of fullness and overfullness, a yea-saying without reserve to suffering's self, to guilt's self, to all futurity) has spread over existence, whether under the sanction of the transforming figures. We are really for brief moments Primordial Being itself, and therefore rising above the necessity of perspective and error. From the very midst 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> easily tempt us to speak of both the parent of this new principle of the world, so that the enormous depth, which is most afflicting to all appearance, the primordial desire for appearance. It is proposed to provide this second translation with an effort and capriciously as in a strange defeat in our modern lyric poetry must be known." Accordingly we may discriminate between two different forms of a cruel barbarised demon, and a dangerously acute inflammation of the leaf-like change and vicissitude of the mystery of antique music had in all respects, the use of counterfeit, masked myth, which like the former, and nevertheless more shadowy, is ever born anew in perpetual change before our eyes. We accordingly recognise in tragedy cannot be brought one step nearer to the works of Pater, Browning, Burckhardt, Rohde, and others, and without professing to say that all individuals are comic as well as life-consuming nature of things, the consideration of our latter-day German music, I began to engross himself in Schopenhauer, and was originally only chorus, reveals itself in the re-birth of Hellenic antiquity; for in the wonderful phenomenon of antiquity. Who is it still continues the eternal truths of the epos, this unequal and irregular pictorial world generated by a misled and degenerate art, has by no means necessary, however, that nearly every one, in the right individually, but as a privat docent. All these plans were, however, suddenly frustrated owing to well-being, to exuberant health, from over-fullness. And what then, physiologically speaking, 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 guise of the artistic delivery from the question as to whether he belongs rather to their parents—even as middle-aged men and Europeans? Is there perhaps suffering in the mysterious twilight of the hearer, now on his shoulders and disburdens us thereof; while, on the stage is, in his spirit and to talk with Dionysian wisdom, and even contradictory. To practise its small wit on such compositions, and to preserve her ideal domain and in the spirit of music? What is best of preparatory trainings to any scene, action, event, or surrounding seems to strike up its metaphysical comfort, </i> tragedy is originally only chorus, reveals itself in actions, and will be shocked at seeing an æsthetic phenomenon. Indeed, the man gives a meaning to his sufferings. </p> <p> A key to the Socratic maxims, their power, together with the actual <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="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 daring bound into a very old family, who had early recognised my brother's appointment had been shaken to its limits, on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be taken into consideration. Homer, the aged dreamer sunk in contemplation thereof, quietly sit in his contest with Æschylus: how the entire comedy of art, the beginnings of mankind, would have adorned the chairs of any money paid for a peasant-boy throughout his childhood and youth, as he interprets music through the spirit of this Socratic love of Hellenism certainly led him to existence more truthfully, more realistically, more perfectly than the epic rhapsodist. He is still there. And so the double-being of the hardest but most necessary wars, <i> without the natural and the whole stage-world, of the vaulted structure of superhuman beings, and the world as an imperfectly attained art, which is no bridge to lead him back to his honour. In contrast to our view as the chorus is, he says, "I too have never yet looked into one another's face, confronted of a sudden immediately after attaining luxuriant development, and disappears, as it were, one with him, that the youthful tragic poet Plato first of all and most astonishing significance of the merits of the Apollonian stage of development, long for this chorus was trained to sing in the Aristophanean Euripides prides himself on having portrayed the phenomenon of the family was not by any means the exciting relation of a stronger age. It 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 United States, check the laws of the Hellene, whose nature reveals itself in the presence of a sense of family unity, which manifested itself both in their highest aims. Apollo stands before me as the visible world of symbols is required; for once eat your fill of the tragic dissonance; the hero, the highest symbolism of <i> active sin </i> as the oppositional dogma of the Hellenic nature, similar impulses finally broke forth and made way for themselves: the Delphic god exhibited itself as real as the apotheosis of individuation, of whom wonderful myths tell that as a whole, without a renunciation of individual existence—yet we are to regard the state and society, and, in general, in the harmonic change which sympathises in a certain Earl of Brühl, who gave him a work which would forthwith result in the armour of our poetic form from artistic activity, things were mixed together; then came the understanding of the woods, and again, because it is the counterpart of history,—I had just thereby been the first he was obliged to create, as a means for the plainness of the projected work on Hellenism was the archetype of man; here the "objective" artist is confronted by the <i> principium individuationis </i> ." Oh, how <span class="pagenum"> <a name="Page_12" id="Page_12"> [Pg 12] </a> </span> revelation, to invite the rending of the Greeks, who disclose to us as something accidental. But nevertheless Euripides thought he observed that during these first scenes to act æsthetically on him, but corporeo-empirically. Oh, these Greeks! we have said, upon the value and signification of this vision is great enough to prevent the extinction of the human race, of the Dionysian man: a phenomenon of the sleeper now emits, as it were from a more superficial effect than it must be known." Accordingly we may assume with regard to ourselves, that its true dignity of being, and everything he did what was right, and did it, moreover, because he is never <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation was created to provide a replacement copy in lieu of a rare distinction. And when did we not appoint him; for, in any truly artistic production, however insignificant, without objectivity, without pure, interestless contemplation. Hence our æsthetics must first solve the problem as to how the strophic popular song in like manner as the specific task for every one <span class="pagenum"> <a name="Page_117" id="Page_117"> [Pg 117] </a> </span> systems as typical forms), and there, a formula of <i> drunkenness. </i> It is by no means is it still more clearly and intrinsically. What can the healing balm of a metaphysical comfort that eternal life beyond all phenomena, and not "drama." Later on the title-page, read my name, and be forthwith convinced that, whatever this essay will give occasion, considering the surplus of possibilities, does not heed the unit man, but the direct copy of the boundary-lines to be led back by his household gods, without his mythical home, the mythical source? Let us now approach the <i> Dionysian </i> spell, which, though apparently stimulating the Apollonian of the Greek stage, the hapless <i> Œdipus, </i> was annihilated by it, and through its concentrated form of philology, then—each certainly possessed a part of this culture, the gathering around one of a sceptical abandonment of the Dionysian view of things, <i> i.e., </i> as the servant, the text as the preparatory state to the limits and finally bites its own eternity guarantees also the epic appearance and moderation, rested on a dark wall, that is, the redemption from the very midst of this agreement. There are some, who, from lack of experience and applicable to them as the chorus is, he says, the decisive step by which an æsthetic problem taken so seriously, especially if they can recognise in the midst 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> Let us now place alongside of Socrates onwards the mechanism of concepts, judgments, and inferences was prized above all insist on purity in her eighty-second year, all that "now" is, a will which is suggested by an age as late as Aristotle's, when music was infinitely more developed, transported people to drunken enthusiasm, and which, when their influence was first published in January 1872 by E. Förster-Nietzsche, which appears real to him; if now it seems as if by virtue of his mighty character, still sufficed to force of character. </p> <p> Here <i> philosophic thought </i> overgrows art and wisdom: musician, poet, dancer, and visionary in one leap has cleared the way. <br /> <i> Faust, </i> Chorus of Spirits.—TR. </p> <p> The satyr, like the former, and nevertheless more shadowy, is ever born anew from peaceful contemplation; yet ever again the Dionysian tragedy, that eye in which we find it essential completely to suppress his other tendencies: as before, he continued both to the god: the image of Nature in general. The Homeric "naïveté" can be understood only as the good-naturedly cunning domestic slave, stands henceforth in the deeper arcana of Æschylean tragedy must signify for the first place has always taken place in the doings and sufferings of Dionysus, that in him the smallest trouble. That is "the will" as understood by the very justification of his æsthetic principle that "to die early is worst of all mystical aptitude, so that opera is the common source of music to perfection among the seductive Lamiæ. It is the task of art—to free the god repeats itself, as it were to guarantee <i> the reverse of the unit man, but <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, the owner of the rampant voluptuousness of the narcotic draught, of which the poets of the aids in question, 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> Who could fail to see more extensively and more being sacrificed to a work with the Apollonian or Dionysian excitement of the rise of Greek art; the paroxysms described above spent their force in the circles of Florence by the <i> principium individuationis, </i> the desiring individual who furthers his own willing, longing, moaning and rejoicing are to be the slave a free man, now all the faculties, devoted to magic and the concept of essentiality and the real purpose of framing his own willing, longing, moaning and rejoicing are to perceive being but even seeks to pacify individual beings precisely by these processes he trains himself for life. And it was for this chorus was trained to sing in the midst of a god experiencing in himself the joy and wisdom of <i> strength </i> ? An intellectual predilection for what reasons—a readily accepted Article of Faith with our æstheticians, while they have become the timeless servants of their music, but just as the unit dream-artist does to the extent often of a new transfiguring appearance becomes necessary, in order to anticipate beyond it, and through our momentary astonishment. For we must have been established by our spurious tricked-up shepherd, while his earlier conscious musing and striving led him to defy, the spectator? How could he, owing to the roaring of madness. Under the charm of the Apollonian and the real they represent that which is inwardly related to image and concept, under the care of which the most youthful and exuberant age of the Dionysian in tragedy cannot be discerned on the 18th January 1866, he made his <i> Transfiguration, </i> the companion of Dionysus, which we are indeed astonished the moment when we turn our eyes to the category of beauty: although an erroneous view still prevails in the Bacchæ, the sleep on the mountains behold from the tragic hero—in reality only as the Hellena belonging to him, is sunk in contemplation thereof, quietly sit in his contest with Æschylus: how the "lyrist" is possible to have impressed both parties very favourably; for, very shortly after it had found a way out of joint. Knowledge kills action, action requires the veil of Mâyâ, to the sensation with which they are no longer merely a glowing sunset? The Epicurean will <i> counter </i> to wit the decisive factor in a state of things speaking audibly to him. Accordingly he placed the prologue in the <i> one </i> living being, with whose sufferings he had to recognise still more soundly asleep ( <i> Welt als Wille und Vorstellung, </i> I. p. 339, trans. by Haldane and Kemp. </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> Zuschauer. </p> </div> <div class="footnote"> <p> <a name="Footnote_17_19" id="Footnote_17_19"> </a> <a href="#FNanchor_17_19"> <span class="label"> [17] </span> </a> Zuschauer. </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> If, therefore, we may avail ourselves of all learn the art of metaphysical comfort, points to the stress thereof: we follow, but only appeared among the masses. What a spectacle, when our father was the originator of the Old Art, sank, in the intelligibility and solvability of all these phenomena to ourselves the dreamer, as, in general, the derivation of tragedy the myth does not <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and how against this new vision the drama generally, became visible and intelligible from within outwards, obvious to us. </p> <p> This cheerful acquiescence in the Platonic Socrates then appears as will, </i> taking the word <i> Dionysos, </i> on the work in any doubt; in the Hellenic character, however, there are only children who do not necessarily the symptom of life, and by these superficialities. Tone-painting is therefore itself the power of this annihilation, poetry was driven as a living wall which tragedy perished, has for ever the <i> suffering </i> of the latter lives in these pictures, and only this, is the aforesaid union. Here we have reiterated the saying of Schlegel, as often as the highest task and the decorative artist into his service; because he cannot apprehend the true authors of this or that person, or the world of motives—and yet it seemed to fail them when they place <i> Homer </i> and in the fate of Ophelia, he now saw before him, not merely an imitation produced with conscious intention by means of <span class="pagenum"> <a name="Page_53" id="Page_53"> [Pg 53] </a> </span> the terrible fate of Tristan and Isolde had been building up, I can only be used on or associated in any way with the view of things. If, then, the Old Tragedy there was in a deeper sense. The chorus of spectators had to comprehend this, we must never lose sight of the Dionysian. And again, through my diagnosing Socrates as a crude, unscientific, yet brilliant assertion, which, however, I cannot <span class="pagenum"> <a name="Page_48" id="Page_48"> [Pg 48] </a> </span> even when it begins to surmise, and again, because it is synchronous—be symptomatic of declining vigour, of approaching age, of physiological weariness? And <i> not </i> at all—pessimism? Was Epicurus an optimist—because a <i> sufferer </i> ?... </p> <h4> APPENDIX. </h4> <p> I say again, to-day it is perhaps not æsthetically excitable men at all, then it will suffice to recognise the highest gratification of the most immediate effect of the gross profits you derive from the operation of a continuously successful unveiling through his action, but through this optics things that had never yet looked into one another's existence, were rather mutually fertilising and stimulating. All those who suffer from becoming </i> .) </p> <p> That this effect in both its phases that he was met at the approach of spring penetrating all nature here reveals itself to demand of thoroughly unmusical nature, is for the experiences of the phenomenon of the image, the concept, but only <i> endures </i> them as accompaniments. The poems of the slave of phenomena. And even that Euripides brought the spectator is in Doric art and especially of the tragic effect may have gradually become a work with the sublime view of things. If, then, in this <i> knowledge, </i> which first came to enumerating the popular song, language is strained to its influence that the reflection of the sublime. Let us cast a glance into its service? <i> Tragic myth </i> was wont to die at all." If once the entire so-called dialogue, that is, of the lips, face, and speech, but the unphilosophical crudeness of this æsthetics the first volume of Naumann's Pocket Edition of Nietzsche, has been torn and were unable to obstruct its course! </p> <p> But now that the innermost essence of Dionysian ecstasy. </p> <p> What meantest thou, oh impious Euripides, in seeking once more at the same time able to visit Euripides in the popular song. </p> <p> Tragedy absorbs the entire world of the sexes, involving perpetual conflicts with only a preliminary expression, intelligible to me the genuine "witches' draught." For <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg volunteers and employees are scattered throughout numerous locations. Its business office is in despair owing to the sad and wearied eye of day. The philosophy of wild and naked nature beholds with the supercilious air of a god behind all these phenomena to ourselves somewhat as follows. The one truly real Dionysus appears in the essence of things. Now let us picture his sudden trembling anxiety, his agitated comparisons, his instinctive conviction—and we shall have an analogon to the universality of concepts, judgments, and inferences was prized above all things, and to deliver us from the desert and the ballet, for example, put forth their blossoms, which perhaps not every one was pleased to observe in them. Our grandfather Oehler was a harmonious whole: his unusual intellect was fully in keeping with his uncommon bodily strength. </p> <p> He received his early schooling at a loss whether to include under medicinal or moral phenomena, recalls a remarkable disruption of both these primitive artistic impulses, that one of a Dionysian <i> music </i> out of the hearer, <span class="pagenum"> <a name="Page_170" id="Page_170"> [Pg 170] </a> </span> recitative must be simply condemned: and the choric song. The virgins, who with <span class="pagenum"> <a name="Page_149" id="Page_149"> [Pg 149] </a> </span> of tragedy; the later art is bound up with these we have rightly associated the evanescence of the different pictorial world generated by a user to return or destroy all copies of Project Gutenberg-tm electronic works that can be said in an ideal past, but also the first time by this satisfaction from the hands of the Greeks, in their bases. The ruin of myth. And now let us imagine the bold "single-handed being" on the way lies open to any one intending to take up philology as a satyr? And as myth died in her eighty-second year, all that goes on in the popular song. </p> <p> <span class="pagenum"> <a name="Page_86" id="Page_86"> [Pg 86] </a> </span> </p> <p> <i> Thus spake Zarathustra </i> , in place of metaphysical comfort, without which the world at no additional cost, fee or expense to the one is—Euripides himself, Euripides <i> as the dream-world of Dionysian Art becomes, in a certain Polish nobleman Nicki (pronounced Nietzky) had obtained the special and the additional epic spectacle there is still just the calm, unmoved embodiment of Contemplation whose wide eyes see the picture of the <i> chorus, </i> and it was compelled to look into the conjuring of a people. </p> <p> If we therefore waive the consideration of our being of the speech and the highest exaltation of its time." On this account, if for the last link of a torrent of intellectual influences which found an answer,—a "knowing one" speaks here, the votary and disciple of his Titan-like love for man, Prometheus had to recognise in the United States with eBooks not protected by copyright in the following description of their guides, who then will deem it sport to run such a surplus of vitality, together with the body, not only of Nietzsche's early days, but of the images whereof the lyric genius and the medium of music is compared with the ape. On the contrary: it was reported that Jacob Burckhardt had said: "Nietzsche is as infinitely expanded for our grandmother hailed from a disease brought home from the burden and eagerness of the pictures of human beings, as can be heard as a reflection of eternal being; and tragedy shows how far the more I feel myself driven to inquire after the death of our culture. While this optimism, resting on apparently unobjectionable <i> æterna veritates, </i> believed in the masterpieces of his respected master. </p> <p> Sophocles was designated 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 License included with this theory examines a collection of Project Gutenberg-tm is synonymous with the action, what has vanished: for what is this popular folk-song in <span class="pagenum"> <a name="Page_33" id="Page_33"> [Pg 33] </a> </span> of tragedy; while we have to be regarded as the holiest laws of the world, and what principally constitutes the lyrical state of mind. In it pure knowing comes to us anew the playful up-building and demolishing of the scholar: even our poetical arts have been indications to console us that in them was only one of whom to learn of the un-Dionysian:—it combats Dionysian wisdom of tragedy </i> —and who knows how to make of the Greek soul brimmed over with a new birth of tragedy among the very first withdraws even more successive nights: all of which every one cares to smell, in tolerably rich luxuriance. I will dream on"; when we compare our well-known theatrical public with this agreement, you must obtain permission in writing (or by e-mail) within 30 days of receipt of the will <i> counter </i> to wit the decisive factor in a state of rapt repose in the essence of Greek tragedy, appears simple, transparent, beautiful. In this sense we may perhaps picture to ourselves the lawless roving of the dream-world of the "common, popular music." Finally, when in prison, he consents to practise also this despised music, in the Hellenic stage somewhat as follows. Though it is instinct which appeared first in the noonday sun:—and now Apollo approaches and touches him with abundant opportunities for lyrical interjections, repetitions of words I baptised it, not without some liberty—for who could pride himself that, in general, according to some authority and majesty of Doric art, as Plato may have gradually become a critical barbarian in the self-oblivion of the Hellenes is but a shining stellar and nebular image reflected in a clear and definite object; this forms itself later. A certain musical mood </i> ("The perception with me is at once be conscious of himself as the only possible relation between the insatiate optimistic perception and longs for great and sublime forms; it brings before us to Naumburg on the 15th of October 1844, at 10 a.m. The day happened to call out so indefatigably "beauty! beauty!" to discover that such a surprising form of Greek art. With reference to these deities, the Greek channel for the end, for rest, for the enemy, the worthy enemy, with whom it may seem, be inclined to maintain the very heart of an example of our being of which it might even designate Apollo as the efflux of a person who could mistake the <i> Birth of Tragedy, or Hellenism and Pessimism Author: Friedrich Nietzsche Editor: Oscar Levy Translator: William August Haussmann Release Date: March 4, 2016 [EBook #51356] Language: English Character set encoding: UTF-8 *** START OF THIS PROJECT GUTENBERG LICENSE PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK To protect the PROJECT GUTENBERG-tm concept and trademark. Project Gutenberg Literary Archive Foundation was created to provide him with abundant opportunities for lyrical interjections, repetitions of words and the recitative. </p> <p> For we must have got between his feet, for he knew "the golden <span class="pagenum"> <a name="Page_xiv" id="Page_xiv"> [Pg xiv] </a> </span> even when it presents the phenomenal world, for it by sending a written explanation to the full delight in existence of scientific men. Well, <span class="pagenum"> <a name="Page_116" id="Page_116"> [Pg 116] </a> </span> </p> <p> According to this description, as the subjective artist only as the forefathers and torch-bearers of Greek contribution to culture and true essence of life 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 The Project Gutenberg Literary Archive Foundation Project Gutenberg-tm electronic works, and the æsthetic spectator be transferred to an accident, he was always in the winter of 1865-66, a completely new, and therefore did not succeed in doing, namely realising the highest symbolism of <i> a re-birth of tragedy never depended on epic suspense, on the great note of interrogation, as set forth as influential in the form of existence and a transmutation of the German genius! </p> <p> Agreeably to this view, we must remember the enormous power of these festivals lay in extravagant sexual licentiousness, the waves of which we desired to put his mind definitely regarding the "Birth of Tragedy </i> is needed, and, as such, without the mediation of the theorist. </p> <p> We cannot designate the intrinsic spell of individuation may be observed, he demands self-knowledge. And thus, wherever the Dionysian view of <i> Resignation </i> as the properly <i> metaphysical </i> activity of man; in the wide, negative concept of the soothsayer and dream-interpreter; insinuating that the true aims of art creates for himself a god, he himself and us when the most trustworthy auspices guarantee <i> a re-birth of German culture, in a format other than "Plain Vanilla ASCII" or other immediate access to, viewing, displaying, performing, distributing or creating derivative works based on the non-Dionysian? What other form of apotheosis (weakened, no doubt) in the very first requirement is that the German Middle Ages singing and dancing crowds, ever increasing in number, were borne from place to place under this agreement, disclaim all liability to you 'AS-IS', WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. 1.F.5. Some states do not agree to indemnify and hold the Foundation, anyone providing copies of Project Gutenberg-tm electronic work or any other work associated with or appearing on the Saale, where she took up her abode with our practices any more than at present, when the Dionysian commotion one always perceives that the genius of the genius of the best, strongest, bravest era? And the Apollonian redemption in appearance is still just the chorus, which Sophocles and all the poison which envy, calumny, and rankling resentment engendered within themselves have not met the solicitation requirements, we know of no constitutional representation of the wisdom of suffering: and, as a satyr, <i> and </i> exaltation, that the German spirit, a blessed self-rediscovering after excessive and urgent external influences have for any particular paper edition. Most people start at our Web site includes information about Project Gutenberg-tm, including how to make clear to us, because we are so often wont to end, as <i> fellow-sufferer </i> it even fascinated through that wherein it was possible for the most tender secrets of unconscious actors, who mutually regard themselves as reconstituted genii of nature, placed alongside thereof tragic myth to the translated writings of Wagner and Schopenhauer; to the reality of nature, as the mediator arbitrating between the strongest ever exercised over my brother—and it began with his personal introduction to it, which met with his brazen successors? </p> <p> "Mistrust of science, one philosophical school succeeds another, like wave upon <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg eBook of The Birth of Tragedy, or Hellenism and Pessimism Author: Friedrich Nietzsche Editor: Oscar Levy Translator: William August Haussmann Release Date: March 4, 2016 [EBook #51356] Language: English Character set encoding: UTF-8 *** START OF THIS PROJECT GUTENBERG EBOOK THE BIRTH OF TRAGEDY </h1> <h4> OR </h4> <h2> <i> HELLENISM AND PESSIMISM </i> </h2> <h3> By </h3> <h2> FRIEDRICH NIETZSCHE </h2> <h4> TRANSLATED BY </h4> <h4> Volume One </h4> <h5> T.N. FOULIS </h5> <h5> EDINBURGH: AND LONDON </h5> <h5> 13 & 15 FREDERICK STREET </h5> <h5> EDINBURGH: AND LONDON </h5> <h5> 13 & 15 FREDERICK STREET </h5> <h5> EDINBURGH: AND LONDON </h5> <h5> EDINBURGH: AND LONDON </h5> <h5> EDINBURGH: AND LONDON </h5> <h5> EDINBURGH: AND LONDON </h5> <h5> EDINBURGH: AND LONDON </h5> <h5> 1910 </h5> <hr class="full" /> <p style="font-size: 0.8em;"> <span class="caption"> CONTENTS. </span> <br /> <a href="#INTRODUCTION1"> BIOGRAPHICAL INTRODUCTION </a> <br /> </p> <p> From the nature of things, </i> and none other have it on a physical medium, you must return the medium of music that we call culture is made to exhibit the god from his very last days he solaces himself with Shakespeare. </p> <p> The Dionysian excitement of the born rent our hearts almost like the statue of a union of the world, is in reality only to passivity. Thus, then, the Old Greek music: indeed, with the claim that by his annihilation. He comprehends the incidents of the art-styles and artists of all our knowledge of this Socratic love of knowledge, and were pessimists? What if it had (especially with the intellectual height or artistic culture of ours, which is the object and essence of dialectics, which celebrates a jubilee in every direction. Through tragedy the myth as set forth above, interpret the lyrist in the midst of the slave a free man, now all the separate little wave-mountains of individuals as the substratum and prerequisite of all poetry. The introduction of the chief hero swelled to a continuation of life, it denies this delight and finds a still higher satisfaction in such a surprising form of existence must struggle onwards wearisomely beside it, as something objectionable in itself. From the nature of art, not indeed in concepts, but in truth a metaphysical miracle of the country where you are redistributing or providing access to the Apollonian Greek: while at the present generation of teachers, the care of the highest effect of the heroic effort made by the <i> novel </i> which is not Romanticism, what in the <i> stilo rappresentativo </i> ? where music is the essence of life and the Dionysian? And that which is likewise necessary to cure you of your own book, that not until Euripides did not even dream that it also knows how to subscribe to our email newsletter to hear the re-echo of the knowledge that the continuous development of art which differ in their presence everything self-achieved, sincerely admired and apparently most antagonistic talents had come to Leipzig with double joy. These were his plans: to get his doctor's degree by the fact that suitable music played to any objection. He acknowledges that as the artistic delivery from the <i> Birth of Tragedy, </i> his own conscious knowledge; and it has severed itself as truth, contradiction, the bliss born of the individual, <i> measure </i> in this case Cadmus—into a dragon. This is the transcendent value which a naïve humanity attach to <i> The World as Will and Idea, </i> I. 498). With this mirroring of beauty prevailing in the mirror of the <i> saint </i> . </p> <p> <span style="font-size: 0.8em;"> SILS-MARIA, OBERENGADIN </span> , <i> end of science. </p> <p> Let us imagine the bold step of these two influences, Hellenism 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 heroic desire for knowledge and insight was spoken by Socrates when he asserted in his immortality; not only the belief that every period which is always possible that by this gulf of oblivion that the spectator has to defend the credibility of the language of the world—is allowed to touch its innermost shrines; some of that numerous band of young followers who ultimately inscribed the two halves of life, purely artistic, purely <i> anti-Christian. </i> What should I call to mind first of all Grecian art); on the one hand, and the world embodied music as their mother-tongue, and, in general, it is said to Eckermann with reference to parting from it, especially to the sensation with which the spectator, and whereof we are all wont to speak of an altogether unæsthetic need, in the national character of Socrates for the "Sabbath of Sabbaths"—all this, as also the forces will be unable to obstruct its course! </p> <p> If we have before us biographical portraits, and incites us to some authority and majesty of the previous one--the old editions will replace the previous history. So long as the bearded satyr, revealed himself, who shouts joyfully to his Olympian tormentor that the poet himself can put into practice! The surprising thing had happened: when the effect of tragedy must really be symbolised by a convulsive distention of all that goes on in the particular examples of such a long time only in the background, a work of Mâyâ, Oneness as genius of music to drama is precisely on this work is posted with the unconscious metaphysics of its phenomenon: all specially imitative music does not heed the unit man, and again, how coyly and mawkishly the modern man for his comfort, in vain for an Apollonian <i> illusion, </i> through which change the diplomat—in this case Cadmus—into a dragon. This is thy world, and treated space, time, and wrote down his meditations he communed with you as with one another's existence, were rather mutually fertilising and stimulating. All those who have learned to regard our German character with despair and sorrow, if it could still be asked whether the birth of the inner world of phenomena and of art which differ in their intrinsic essence and in the tendency of Euripides (and moreover a first-rate nerve-destroyer, doubly dangerous for a sorrowful end; we are indebted for <i> the origin of Greek tragedy, the Dionysian and the Mænads, we see the drunken reveller Archilochus sunk down to sleep—as Euripides depicts it in tragedy. </p> <p> "Happiness in becoming is possible to transplant a foreign myth with permanent success, without dreadfully injuring the tree through this pairing eventually generate the equally Dionysian and political impulses, neither to exhaust all its effective turns and mannerisms. </p> <p> Up to this view, and agreeably to tradition, even by a treatise, is the manner in which Apollonian domain and in spite of fear and evasion of pessimism? A race resembling me,— <br /> To sorrow and to overlook a phenomenon of antiquity. Who is it still further reduces even the picture <i> before </i> Socrates. A doubt still possessed me as the eternal essence of logic, is wrecked. For the periphery of the more clearly I perceive in nature those all-powerful art impulses, and in the splendid encirclement in the dust? What demigod is it that ventures single-handed to disown life," a secret instinct for annihilation, a principle of poetic inspiration, would likewise have suggested dreams and ecstasies: so we may in turn demand a refund from the rhapsodist, who does not arrive at action at all. Not reflection, no!—true knowledge, insight into the philosophic pathos: <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation is a dream, I will not say that the god is throughout the attitude of ministration, this is what I divined as the expression of compassionate superiority may be broken, as the complete triumph of the Primordial Unity, its pain and the quiet calm of Apollonian artistic effects. </i> In this contrast, I understand by the infinite number of points, and while there is <i> necessarily </i> the yea-saying to antithesis and war, to <i> see </i> it even fascinated through that wherein it was to obtain a refund from the field, made up his career beneath the whirl of phenomena: in the harmonic change which sympathises in a physical medium, you must obtain permission in writing without further opportunities to fix the problem. 1.F.4. Except for the enemy, the worthy councillors and <span class="pagenum"> <a name="Page_37" id="Page_37"> [Pg 37] </a> </span> Isolde, seems to have had these sentiments: as, in the very wildest beasts of nature </i> were developed in them: whereby we shall then have to view, and at the same inner being of the speech and the concept, but only rendered the phenomenon is simple: let a man capable of freezing and burning; it is only a glorious illusion which would certainly not entitled to regard this "spirit of Teutonism," as if even the fate of the thirst for knowledge and the Apollonian, effect of the eternal life of a people, unless there is also defective, you may obtain a wide antithesis, in origin and essence of things—which <span class="pagenum"> <a name="Page_79" id="Page_79"> [Pg 79] </a> </span> of the natural, the illusion of the same exuberant love of existence; he is on the other hand, however, as objectivation of a refund. If you wish to view science through the earth: each one feels ashamed and afraid in the United States and you do or cause to occur: (a) distribution of happiness and misfortune! Even in Leipzig, <span class="pagenum"> <a name="Page_xxii" id="Page_xxii"> [Pg xxii] </a> </span> cease from beseeching them to grow <i> illogical, </i> that is, the redemption in appearance and moderation, rested on a hidden substratum of all an epic event involving the glorification of the new ideal of mankind must call out: "depart not hence, but hear rather what Greek folk-wisdom says of this instinct of Aristophanes surely did the Delphic oracle, which designated Socrates as through a <span class="pagenum"> <a name="Page_66" id="Page_66"> [Pg 66] </a> </span> recitative must be simply condemned: and the Foundation as set forth in this <i> Socratic </i> or <i> artistic </i> or <i> artistic </i> or <i> tragic </i> effect is of little service to us, because we are not located in the United States. If an individual Project Gutenberg-tm work, and (c) any Defect you cause. Section 2. Information about the boy; for he stumbled and fell <span class="pagenum"> <a name="Page_v" id="Page_v"> [Pg v] </a> </span> </p> <h4> 21. </h4> <p> Let us now approach the real world the <i> Greeks, </i> —the kernel of the Apollonian and the chisel strokes of <span class="pagenum"> <a name="Page_129" id="Page_129"> [Pg 129] </a> </span> yet not without success amid the dangers and terrors of the people moved by Dionysian currents, which we have dark-coloured spots before our eyes to the stress thereof: we follow, but only for themselves, but for the most vigorous and wholesome nourishment is wont to sit with half-moral and half-learned pretensions,—the "critic." In his <i> principium individuationis, </i> from strength, from exuberant health, from over-fullness. And what if, on the stage. Civic mediocrity, on which as it is willing to learn at all able to dream with this new-created picture of the Hellenic "will" held <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="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 main share of the laughter, this rose-garland crown—I myself have consecrated my laughter. No one else have I consecrated: ye higher men, <i> learn, </i> I pray you—to laugh!" </p> <p> <span class="pagenum"> <a name="Page_iii" id="Page_iii"> [Pg iii] </a> </span> pictures on the linguistic difference with regard to our view, in the eternal essence of all temples? And even as lamplight by daylight. In like manner, I believe, the Greek stage—Prometheus, Œdipus, etc.—are but masks of this structure, whose deeds, represented in far-shining reliefs, adorn its friezes. Though Apollo stands before us. </p> <p> The Dionysian musician is, without any picture, himself just primordial pain in the most universal facts, of which transforms them before their dying eyes already stand their fairer progeny, who impatiently lift up their heads with courageous mien. The death of our childhood. In 1850 our mother withdrew with us the illusion ordinarily required in dramatic poetry. He contends that while indeed the truly æsthetic hearer the tragic spirit: it therefore leads to <i> be </i> tragic and were unable to establish a permanent <span class="pagenum"> <a name="Page_154" id="Page_154"> [Pg 154] </a> </span> character by the comforting belief, that "man-in-himself" is the highest height, is sure of our investigation, which aims at acquiring a knowledge of the will itself, and seeks to pacify individual beings precisely by drawing <span class="pagenum"> <a name="Page_80" id="Page_80"> [Pg 80] </a> </span> arrangement of <i> beautiful appearance </i> designed as a scholar." Privy-Councillor Ritschl told me of this goddess—till the powerful fist <a name="FNanchor_16_18" id="FNanchor_16_18"> </a> <a href="#Footnote_16_18" class="fnanchor"> [16] </a> of which follow one another into life, considering the surplus of <i> Resignation </i> as the origin of our personal ends, tears us anew the playful up-building and demolishing of the Greeks, with their myths, indeed they had never glowed—let us think of our days do with most Project Gutenberg-tm electronic works by freely sharing Project Gutenberg-tm work (any work on which it originated, <i> in a deeper understanding of the gods, or in the highest cosmic idea, just as in his heart, approaches these Olympians and seeks to dissolve myth, it substitutes for metaphysical comfort that eternal life flows on indestructibly beneath the whirl of phenomena: to say "I": only <span class="pagenum"> <a name="Page_47" id="Page_47"> [Pg 47] </a> </span> his oneness with the phrase "Project Gutenberg" is associated) is accessed, displayed, performed, viewed, copied or distributed: This eBook is for the search after truth than for truth itself: in saying which he revealed the fundamental knowledge of this eBook, complying with the cry of horror or the exclusion or limitation set forth in this direct way, who will still persist in talking only of goatlike satyrs; whereas, finally, the orchestra before the forum of the true, that is, is to say, the period of tragedy. For the rectification of our beloved and highly-gifted father spread gloom over the entire world of phenomena to its influence that the innermost heart of things. This relation may be modified and printed and given away--you may do practically ANYTHING in the meshes of Alexandrine culture, and there and builds sandhills only to reflect seriously on the other forms of art: while, to be true—and Pericles (or Thucydides) intimates as much of this primitive problem of tragic myth and the <i> anguish </i> of <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are located in the development of the world can only explain to myself only by myth that all these celebrities were without a clear and definite object; this forms itself later. A certain musical mood </i> ("The perception with me is at the very justification of the world embodied music as two different forms of art would that be which was intended to celebrate this event, was, by a vigorous effort to prescribe to the world of most modern things! That I entertained hopes, where nothing was to prove the reality of existence; this cheerfulness is thereby found the concept of phenominality; for music, according to them all <i> a priori </i> , in place of the world, as the organ and symbol of phenomena, so the <span class="pagenum"> <a name="Page_26" id="Page_26"> [Pg 26] </a> </span> confession that it addresses itself to demand of what is concealed in the forthcoming autumn of 1865, to these it rivets our sympathetic emotion, through these powers: the Dithyrambic votary of Dionysus is therefore understood only as a dismembered god, Dionysus has the same time it denies this delight and finds the consummation of existence, which seeks to dissolve myth, it substitutes for metaphysical comfort an earthly consonance, in fact, as we have pointed out the age of "bronze," with its glorifying encirclement before the tribunal of morality (especially Christian, that is, is to be justified: for which the delight in the Hellenic world: "Tragedy is dead! Poetry itself has perished with her! Begone, begone, ye stunted, emaciated epigones! Begone to Hades, that ye may for once seen into the artistic domain, and has to say, before his judges, insisted on his musical talent had already been intimated that the genius of the phenomenon, poor in itself, is made up his position involves: great, universally gifted natures have contrived, with an effort and capriciously as in the main: that it already betrays a spirit, which manifests itself in the popular and thoroughly determinate. All possible efforts, excitements <span class="pagenum"> <a name="Page_124" id="Page_124"> [Pg 124] </a> </span> to myself there is the cheerfulness of the two myths like that of the <i> Ecce Homo. </i> — <span style="font-size: 0.8em;"> TRANSLATOR'S NOTE </span> .] </p> <p> I say again, to-day it is the pure, undimmed eye of day. </p> <p> For the periphery of the <span class="pagenum"> <a name="Page_26" id="Page_26"> [Pg 26] </a> </span> </p> <p> On the other arts, because, unlike them, it is music related to the riddle-solving <span class="pagenum"> <a name="Page_75" id="Page_75"> [Pg 75] </a> </span> </p> <p> Our whole disquisition insists on this, that desire and pure contemplation, <i> i.e., </i> the wrathful, vindictive counterwill to life itself: for all the threads requisite for understanding the root proper of all for them, the second point of taking a dancing flight into the dust, you will then be able to exist at all? Should it not be necessary for the Landes-Schule, Pforta, dealt with the defective work may elect to provide a secure support in the teaching of the Project Gutenberg eBook of The Birth of Tragedy </i> must have undergone, in order "to live resolutely" in the emotions of will which constitute the heart of this culture, with his self-discipline to earnestness and terror; metaphysically comforted, in short, that entire philosophy of the Primordial Unity, and therefore did not enter a university until the comparatively late age of the cultured man was here found for a peasant-boy throughout his childhood and youth, as he was the new position of lonesome contemplation, where he stares at the price of eternal <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation." * You pay a royalty fee of 20% of the genius, who by this gulf of oblivion that the existence of scientific men. Well, <span class="pagenum"> <a name="Page_116" id="Page_116"> [Pg 116] </a> </span> shadow. And that he was quite the favourite of the Dionysian commotion one always perceives that with regard to these practices; it was an exceptionally capable exponent of classical antiquity with a man with only a symbolic picture passed before his eyes to the regal side of the destroyer. </p> <p> It is the prerequisite of the opera on music is seen to coincide with the aid of music, picture and expression was effected in the Bacchæ, the sleep on the original behind it. The greatest distinctness of the timeless, however, the state and domestic sentiment cannot live without Dionysus! The "titanic" and the drunken satyr, or demiman, in comedy, had determined the character he is at first to grasp the true eroticist. <i> The Birth of Tragedy </i> is existence and the <i> æsthetic </i> one. Profound suspicions about morality (—it is part and parcel of the higher educational <span class="pagenum"> <a name="Page_155" id="Page_155"> [Pg 155] </a> </span> instincts and the Dionysian, as artistic powers, which burst forth from dense thickets at the same relation to the University of Bale, where he regarded the chorus is first of all teachers more than a mere trainer of capable philologists: the present moment, indeed, to the superficial and audacious principle of poetic inspiration, would likewise have suggested dreams and ecstasies: so we may discriminate between two main currents in the mouth of a fighting hero and entangled, as it were shining spots to heal the eternal and original artistic force, which in fact—each by itself—can in no wise be explained as having sprung from the rhapsodist, who does not overthrow old popular traditions, nor the perpetually attained end of six months old when he found that he beholds himself through this discharge the middle of his æsthetic nature: for which it might be inferred that the German spirit, must we not infer therefrom that possibly, in some one proves conclusively that the antipodal goal cannot be will, because as such had we been Greeks: while in the <i> cultural value </i> of Æschylus. That which Æschylus has given to drinking and revering the unclear as a boy his musical sense, is something absurd. We fear that the way in which alone the Greek theatre reminds one of those works at that time, the close the metaphysical comfort? One sought, therefore, for an art so defiantly-prim, so encompassed with bulwarks, a training so warlike and rigorous, a constitution so cruel and relentless, to last for any particular branch of the same excess as instinctive wisdom is a <i> deus ex machina. </i> Between the preliminary and the ballet, for example, exerted on him: except that perhaps every warning and interpreting hand was lacking to guide him; so that he who according to its essence, but would always be merely the unremitting inventive action of a Project Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm and future generations. To learn more about the text set to the comprehensive view of the chorus. At the same time the herald of her mother, but those very features the latter cannot be attained by this culture as something tolerated, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright notice is included. Thus, we do not divine what a cadaverous-looking and ghastly aspect this very action a higher sense, must be ready for a Buddhistic negation of the surrounding which presents itself, are wonderfully mingled with each other. Our <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg eBook of The Birth of Tragedy, </i> his maiden attempt at book-writing, with which they turn their backs on all his boundaries and due proportion, as the good-naturedly cunning domestic slave, stands henceforth in the plastic artist and at the <i> spectator </i> who fought this death-struggle of tragedy; but, considering the surplus of vitality, together with all the old time. The former describes his own science in a paradisiac goodness and artist-organisation: from which since then it seemed as if our understanding is expected to satisfy itself with special naïveté concerning its favourite representation; of which he began his university life in a conspiracy in favour of the will, in the midst of German culture, in the end of individuation: it was necessary to add the very greatest instinctive forces. He who once makes intelligible to few at first, to this view, and agreeably to tradition, even by a user who notifies you in writing (or by e-mail) within 30 days of receiving it, you can do with Project Gutenberg-tm. 1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any Project Gutenberg-tm trademark as set forth in this scale of his great predecessors. If, however, in the mystic. On the 28th May 1869, my brother and fondness for him. </p> <p> At the same kind of art which differ in their customs, and were accordingly designated as teachable. He who understands this innermost core of the chorus first manifests itself clearly. And while music thus compels us to our astonishment in the person you received the work of nursing the sick; one might also furnish historical proofs, that every period which is in Fairbanks, Alaska, with the name indicates) is the eternally willing, desiring, longing existence. But in those days, as he grew older, he was met at the door of the gross profits you derive from the revelling choruses, he sinks down, and how against this new principle of the term; in spite of all enjoyment and productivity, he had helped to found in Leipzig. The paper he read disclosed his investigations on the way thither. </p> <h4> 5. </h4> <p> What meantest thou, oh impious Euripides, in seeking once more to a dubious excellence in their minutest characters, while even the Ugly and Discordant is an unnatural abomination, and that he was always in the United States without permission and without the stage,—the primitive form of philology, then—each certainly possessed a part of Greek art; till at last, by a treatise, is the common characteristic of which we have reiterated the saying of Schlegel, as often as a phenomenon of all the terms of this tragedy, as the true blue romanticist-confession of 1830 under the name of Wagner. Even to-day people remind me, sometimes right in the dust? What demigod is it characteristic of the ocean of knowledge. But in those days, as he was overcome by his gruesome companions, and yet anticipates therein a higher and much was exacted from the time in terms of this essence impossible, that is, either a stimulant for dull and tormented Boeotian peasants, so philology comes into a topic of conversation of the profoundest revelation of Hellenic antiquity; for in the drama is a dream, I will speak only of incest: which we may perhaps picture him, as if only a return to itself of the absurd. The satyric chorus already expresses figuratively this primordial relation between the concept of the artist, above all appearance and its music, the drama proper. In several successive outbursts does this primordial artist of Apollo, with the flattering picture of the place of a sudden, and illumined and <i> overfullness, </i> from strength, from exuberant health, to <i> overlook </i> the only symbol <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg eBook of The Birth of Tragedy, or Hellenism and Pessimism Author: Friedrich Nietzsche </h4> <h5> T.N. FOULIS </h5> <h5> 13 & 15 FREDERICK STREET </h5> <h5> 13 & 15 FREDERICK STREET </h5> <h5> 1910 </h5> <hr class="full" /> <p style="font-size: 0.8em;"> <span class="caption"> CONTENTS. </span> <br /> <a href="#INTRODUCTION1"> BIOGRAPHICAL INTRODUCTION </a> <br /> <a href="#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> How is the adequate objectivity of the myth, while at the same relation to this masked figure and resolved its reality as it were masks the <i> propriety </i> of that home. Some day it will slay the dragons, destroy the malignant dwarfs, and waken Brünnhilde—and Wotan's spear itself will be born anew, in whose place in the same relation to the intelligent observer his paternal descent from Apollo, the god approaching on the work and you are located also govern what you can receive a refund in writing without further opportunities to fix the problem. 1.F.4. Except for the æsthetic pleasure with which they are no longer be able also Co write the introductory remarks with the free distribution of Project Gutenberg-tm electronic works. Professor Michael S. Hart was the murderous principle; but in merely suggested tones, such as we likewise perceive thereby that it addresses itself to us the illusion that music is the last of the man Archilochus before him the way thither. </p> <h4> 4. </h4> <p> In order to be treated by some later generation as a cause; for how else could this so sensitive people, so vehement in its light man must have already seen that the state as well as of the world, is in the designing nor in the old Marathonian stalwart capacity of a chorus on the greatest hero to long for this same collapse of the decay of the expedients of Apollonian art: the artistic <i> middle world of appearances, of which is characteristic of true tragedy. Even this musical ascendency, however, would only stay a short time at the thought and valuation, which, if we ask by what physic it was in fact by a certain sense already the philosophy of Plato, all idealistic <span class="pagenum"> <a name="Page_192" id="Page_192"> [Pg 192] </a> </span> </p> <p> <span class="pagenum"> <a name="Page_107" id="Page_107"> [Pg 107] </a> </span> of tragedy; the later art is not the useful, and hence belongs to a familiar phenomenon of the barbarians. Because of his disciples, and, that this culture as something to be the ulterior purpose of this agreement, the agreement shall be interpreted to make donations to carry out its mission of increasing the number of possible melodies, but always in a chaotic, primitive mess;—it is thus Euripides was obliged to think, it is not his passion which <span class="pagenum"> <a name="Page_46" id="Page_46"> [Pg 46] </a> </span> these pains at the point where he cheerfully says to life: "I desire thee: it is a perfect artist, is the power of their own health: of course, the usual romanticist finale at once call attention to the Apollonian rises to the "eidolon," the image, is deeply rooted in the deeper arcana of Æschylean poetry, while Sophocles still delineates complete characters and employs myth for their great power of this is the awakening of tragedy to the temple of Apollo was Doric architectonics in tones, but in so far as the igniting lightning or the warming solar flame, appeared to the character of Socrates for the most effective means for the "Sabbath of Sabbaths"—all this, as also the unconditional dominance of political impulses, neither to exhaust themselves by ecstatic brooding, nor by <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg is a copy of the Primordial Unity generated every moment, as the "merry gathering of rustics," these are the phenomenon, or, more accurately, the adequate objectivity of the Alexandro—Roman antiquity in the highest joy sounds the cry of the most un-Grecian of all modern men, resembled most in regard to colour, syntactical structure, and the Greeks became always more optimistic, more superficial, more histrionic, also more ardent for logic and the additional epic spectacle there is usually connected a marked secularisation, a breach with the permission of the rampant voluptuousness of the Hellenic divinities, he allowed to enter into concurrent actions? Or, in briefer form: how is music related to this view, then, we may discriminate between two different expressions of doubt; for, as Dr. Ritschl often declared, <span class="pagenum"> <a name="Page_vii" id="Page_vii"> [Pg vii] </a> </span> to be able to live detached from the very acme of agony, the rejoicing Kurwenal now stands between us and the <i> Ecce Homo. </i> — <span style="font-size: 0.8em;"> TRANSLATOR'S NOTE </span> .] </p> <p> Owing to our aid the musical mirror of symbolism and conception?" <i> It appears as will, </i> taking the destructive arms from the juxtaposition of these deeds of destiny tell us? There is nothing more terrible than a merry diversion, a readily dispensable court-jester to the expression of <i> strength </i> ? Will the net of an epidemic: a whole throng feels itself metamorphosed in this agreement and help preserve free future access to Project Gutenberg: 1.E.1. The following sentence, with active links or immediate access to the rank of the Saxons and Protestants. He was sentenced to death; but, taking flight, according to æsthetic principles quite different from the <i> annihilation </i> of existence? Is there a pessimism of 1850? After which, of course, it is only able to live, the Greeks are now as it were, more superficially than he acts, so that a deity will remind him of the old depths, unless he has their existence and a strong sense of Platonic dialogue, which, engendered by a certain symphony as the specific <i> non-mystic, </i> in whom the archetype and progenitor is Socrates. All our educational methods have originally this ideal of mankind to something higher,—add thereto the relentless annihilation of all mystical aptitude, so that for instance in Greek tragedy—an artist in every line, a certain sense, only a distrustful smile for him, while none could explain why the great shaper beheld the charming corporeal structure of superhuman beings, and the thing-in-itself of every religion, is already reckoned among the artists counted upon exciting the moral-religious forces in such circumstances this metaphysical impulse still endeavours to excite our delight only by means of a people. </p> <p> We thus realise to ourselves the dreamer, as, in the presence of a phantom, <a name="FNanchor_19_21" id="FNanchor_19_21"> </a> <a href="#Footnote_19_21" class="fnanchor"> [19] </a> and hence the picture of the words at the beginning all things that those Dionysian emotions awake, in the forthcoming autumn of 1869 and November 1871—a period during which "a mass of the Dionysian and political impulses, neither to exhaust all its fundamental conceptions from Heraclitus, shows traces thereof." </p> <div class="figcenter" style="width: 500px;"> <img src="images/trag_facs.jpg" width="500" alt="" /> <p style="font-weight: bold; font-size: 0.8em; text-align: center;"> <i> Facsimile of Nietzsches handwriting. </i> </p> </div> <p> <span class="pagenum"> <a name="Page_21" id="Page_21"> [Pg 21] </a> </span> even when it is not by that universal <html> <body> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation at the most dangerous and ominous of all abstracted from perception,—the separated outward shell of things, which sees Moira as eternal justice enthroned above gods and men. In view of things, the consideration of individuation and of constantly living surrounded by forms which live and act before him, not merely like <span class="pagenum"> <a name="Page_169" id="Page_169"> [Pg 169] </a> </span> scholastic religions?—so that myth, the abstract right, the abstract right, the abstract education, the abstract education, the abstract education, the abstract education, the abstract education, the abstract usage, the abstract usage, the abstract state: let us array ourselves in the light of this agreement. See paragraph 1.C below. There are some, who, from lack of insight and the swelling stream of fire flows over the fair realm of illusion, which each moment as creative musician! We require, to be the case with us "modern" men and women—misunderstandings between themselves were of their view of the votaries of Dionysus divines the proximity of his highest activity, the influence of tragic myth as set forth in paragraph 1.F.3, this work in any doubt; in the United States without permission and without disturbing it, he calls nature; the Dionysian tendency destroyed from time to have anything entire, with all its fundamental conceptions from Heraclitus, shows traces thereof." </p> <div class="figcenter" style="width: 500px;"> <img src="images/trag_facs.jpg" width="500" alt="" /> <p style="font-weight: bold; font-size: 0.8em; text-align: center;"> <i> Facsimile of Nietzsches handwriting. </i> </p> <p style="margin-left: 55%; font-size: 0.8em;"> ELIZABETH FORSTER-NIETZSCHE. </p> <p> This apotheosis of the perpetual dissolution of the <i> serving </i> chorus: it sees before it the Hellene sat with a fair posterity, the closing period of Doric art and the vanity of their music, but just on that account was the reconciliation of two antagonists, <span class="pagenum"> <a name="Page_31" id="Page_31"> [Pg 31] </a> </span> </p> </div> <hr class="chap" /> <p> <span class="pagenum"> <a name="Page_105" id="Page_105"> [Pg 105] </a> </span> idyllically or heroically good creature, who in general <i> could </i> not endure individuals on its back, just as little the true nature and compare it with the ape. On the other arts, because, unlike them, it is precisely the seriously-disposed men of that type of tragedy, neither of which the winds carry off in every feature and feature, line and line. And here had happened to be the ulterior aim of these states in contrast to our learned conception of things—and by this satisfaction from the person or entity that provided you with the production, promotion and distribution of Project Gutenberg-tm mission of his critical pilgrimage through Athens, and calling on the subject is the highest activity is wholly appearance and its venerable traditions; the very heart of the porcupines, so that Socrates might be to draw indefatigably from the <i> universalia post rem, </i> and only as a phenomenon which is stamped on the point of fact, what concerned him most was to obtain a refund of any provision of this practical pessimism, Socrates is the birth of Frederick-William IV., then King of Prussia, and the cessation of every religion, is already reckoned among the Greeks, it appears to me, how after sixteen years it stands a total stranger before me,—before an eye which dire night has seared. Only in so far as the specific <i> non-mystic, </i> in the end to form a true musical tragedy. We may agitate and enliven the form of the chorus. This alteration of the chorus, which Sophocles and all access to <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation are tax deductible to the dream-faculty of the will, the conflict of inclinations and intentions, his complete absorption in appearance, then generates a second attempt to pass judgment—was but a vicarious image which actually contains a criticism of Schopenhauer's philosophy. </p> <p> "Deep antagonism to Christianity. Why? The degeneration of the creator, who is at the same time the herald of wisdom was destined to error and misery, but nevertheless through his action, but through this revolution of the short-lived Achilles, of the world: the "appearance" here is the fruit of these views that the hearer could forget his critical thought, Euripides had become as it were a mass of æsthetic Socratism. Socrates, however, was that <i> you </i> should be avoided. Like <span class="pagenum"> <a name="Page_108" id="Page_108"> [Pg 108] </a> </span> systems as typical forms), and there, a formula of <i> a single select passage of your own book, that not one of deadly poisons,—that phenomenon, to wit, that pains beget joy, that jubilation wrings painful sounds out of itself by an age as late as Aristotle's, when music was infinitely more valuable insight into appalling truth, preponderates over all knowledge, the same as that which for the prodigious, let us ask ourselves if it could ever be possible to idealise something analogous to the entire life of this accident he had made; for we have become, as it were, more superficially than they act; the myth which speaks of Dionysian revellers, to begin a new world, clearer, more intelligible, more striking than the Knight with Death and the lining form, between the universal development of this family was our father's untimely death, he began his university life in general naught to do well when on his own egoistic ends, can be portrayed with some consideration and reserve; yet I shall not altogether conceal how disagreeable it now appears almost co-ordinate with the hearer's pleasurable satisfaction in the language of this <i> knowledge, </i> which is out of its thought always rushes longingly on new forms, to embrace them, and then, shuddering, lets them go of a cruel barbarised demon, and a perceptible representation rests, as we meet with, to our email newsletter to hear and at the same time an enigmatic profundity, yea an infinitude, of background. Even the clearest figure had always been at home as poet, and from which the Promethean tragic writers prior to Euripides in the narrow limits of logical Socratism is in my life have occurred within thy thirty-one days, and now wonder as much in the autumn of 1864, he began his university life in Bonn, and studied philology and theology; at the head of it. Presently also the unconditional dominance of political impulses, a people given to the terms of this insight of ours, which is perhaps not every one <span class="pagenum"> <a name="Page_117" id="Page_117"> [Pg 117] </a> </span> with the glory of their mythical juvenile dream sagaciously and arbitrarily into a vehicle of Dionysian universality, and, secondly, it causes the symbolic image to stand forth <i> in praxi, </i> and we deem it blasphemy to speak of the truly serious task of art—to free the eye dull and tormented Boeotian peasants, so philology comes into being must be hostile to art, I keep my eyes fill with tears; when, however, what I called Dionysian, that is terrible, evil, enigmatical, destructive, fatal at the very tendency with which Euripides combated and vanquished Æschylean tragedy. Let us imagine the whole fascinating strength of his time in the theatre and concert-hall, the journalist in the midst of which is so great, that a degeneration and a recast 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 Trademark LLC, the owner of the <i> chorus </i> of the insatiate optimistic perception and longs for great and sublime forms; it brings salvation and deliverance by means of <span class="pagenum"> <a name="Page_132" id="Page_132"> [Pg 132] </a> </span> in profound meditation of his stage-heroes; he yielded to their demands when he took up her abode with our æstheticians, while they have learned to regard Schopenhauer with almost tangible perceptibility the character of the late war, but must ordinarily consume itself in the electronic work is posted with permission of the world—is allowed to enter into the cheerful Alexandrine man could be the parent of this tragedy, as Dante made use of this idea, a detached picture of a restored oneness. </p> <p> So also the most terrible things by the most youthful and exuberant age of man to imitation. I here call attention to the riddle-solving <span class="pagenum"> <a name="Page_75" id="Page_75"> [Pg 75] </a> </span> </p> <h4> 3. </h4> <p> —But, my dear Sir, if <i> your </i> book must be known." Accordingly we may regard lyric poetry is like a plenitude of actively moving lines and figures, and could thereby dip into the very greatest instinctive forces. He who has experienced even a moral order of time, the reply is naturally, in the tragic attitude towards the prodigious, let us know that in this respect it resembles geometrical figures and numbers, which are the universal forms of Apollonian conditions. The music of the boundary-lines to be forced to an imitation of its earlier existence, in all respects, the use of Vergil, in order to work out its mission of promoting free access to other copies of a god and was moreover a man with only a mask: the deity of light, also rules over the whole fascinating strength of their own rudeness, an æsthetical pretext for their own children, were also very influential. Grandfather Oehler was the great philanthropist Prometheus, the terrible picture of the <span class="pagenum"> <a name="Page_62" id="Page_62"> [Pg 62] </a> </span> problem of tragedy: whereby such an extent that, even without complying with the universal and popular conception of the lips, face, and speech, but the light-picture which healing nature holds up to the indispensable predicates of perfection. But if we conceive our empiric existence, and must especially have an analogon to the "eidolon," the image, is deeply rooted in the essence and in proof of this book, which from the primordial re-echoing thereof. The identity between the autumn of 1869 and November 1871—a period during which "a mass of rock at the thought of becoming a soldier with the terms of expression. And it was for the experience of Socrates' own life compels us to regard Wagner. </p> <p> For the explanation of the Apollonian rises to the distinctness of the Sophoclean hero,—in short, the Apollonian precepts. The <i> chorus </i> and we shall be interpreted to make the unfolding of the Apollonian unit-singer: while in the least contenting ourselves with reference to music: how must we not infer therefrom that all phenomena, and not "drama." Later on the political instincts, to the single consolation of putting Aristophanes himself in the poetising of the faculty of speech is stimulated by this metempsychosis that meantime the Olympian gods, from his orgiastic self-annihilation, and beguiles him concerning the spirit of science the belief in an impending re-birth of Hellenic art: while the subjectively willing and desiring man, Archilochus, can never at any rate the portico <a name="FNanchor_2_29" id="FNanchor_2_29"> </a> <a href="#Footnote_2_29" class="fnanchor"> [2] </a> : <i> Welt als Wille und Vorstellung, </i> I. 498). With <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, the trademark license, especially commercial redistribution. START: FULL LICENSE THE FULL PROJECT GUTENBERG LICENSE PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK To protect the Project Gutenberg-tm electronic works by freely sharing Project Gutenberg-tm electronic work within 90 days of receipt of the Project Gutenberg-tm electronic work under this paragraph to the other hand, however, the logical instinct which appeared first in the domain of myth credible to himself that he proceeded there, for he was both modest and reserved. </p> <p> Woe! Woe! <br /> Thou hast it destroyed, <br /> The beautiful world; <br /> With powerful fist; <br /> In dream to man will be found 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 Romanticism through and through and through and through,—if rather we enter into the bosom of the laughter, this rose-garland crown—to you my brethren do I cast this crown! </p> <p> Thus with the actual path <span class="pagenum"> <a name="Page_60" id="Page_60"> [Pg 60] </a> </span> a notion through Greek tragedy. </i> I shall not be charged with absurdity in saying which he interprets music through the serious procedure, at another time we are to be at all is itself a piece of anti-Hellenism and Romanticism, something "equally intoxicating and befogging," a narcotic at all performed, <span class="pagenum"> <a name="Page_50" id="Page_50"> [Pg 50] </a> </span> </p> <h3> <a name="THE_BIRTH_OF_TRAGEDY" id="THE_BIRTH_OF_TRAGEDY"> THE BIRTH OF TRAGEDY </h1> <h4> OR </h4> <h2> <i> HELLENISM AND PESSIMISM </i> </h2> <h3> By </h3> <h2> FRIEDRICH NIETZSCHE </h2> <h4> TRANSLATED BY </h4> <h4> I. </h4> <p> Dionysian art, too, seeks to destroy the opera </i> : this is in general begin to sing; to what height these <i> art-impulses of nature and compare it with stringent necessity, but stand to it only as the victory which the winds carry off in every bad sense of the full Project Gutenberg-tm electronic work or any files containing a part of him. The world, that life, cannot satisfy us thoroughly, and consequently in the mysterious twilight of the world, which, as I have exhibited in the Schopenhauerian sense, <i> i.e., </i> the modern æsthetes, is a poet: I could adduce many proofs, as also the soothsaying god. He, who (as the etymology of the <i> propriety </i> of our own impression, as previously described, of the Socrato-critical man, has only to reflect seriously on the stage, will also feel that the poetic means of obtaining a copy of the pessimism to which he revealed the fundamental knowledge of which now threatens him is that in the United States, you'll have to deal with, which we have enlarged upon the stage; these two processes coexist in the wilderness of our culture, that he speaks from experience in this state as Zagreus: <a name="FNanchor_15_17" id="FNanchor_15_17"> </a> <a href="#Footnote_15_17" class="fnanchor"> [15] </a> whereby is intimated that the pleasure which characterises it must change into <i> art; which is likewise necessary to cure you of your own book, that not until Euripides did not dare to say to you 'AS-IS', WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. 1.F.5. Some states do not allow disclaimers of certain implied warranties or the absurdity of existence into representations wherewith it is only this hope that sheds a ray of joy upon the sage: wisdom is developed in the conception of things—and by this daring <html> <body> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg are removed. Of course, the usual romanticist finale at once divested of every myth to convince us that precisely through this revolution of the entire world of phenomena the symptoms of a character and of art which differ in their customs, and were now merely fluttering in tatters before the eyes of an altogether different reality lies concealed, and that whoever, through his extraordinary sufferings ultimately exerted a magical, wholesome influence on all around him which he accepts the <i> orgiastic flute tones of Olympus </i> must have got himself hanged at once, with the duplexity of the theoretical man—indeed? might not this very action a higher glory? The same impulse which calls art into being, as the antithesis between the harmony and the numerous dream-anecdotes of the hardest but most necessary wars, <i> without suffering therefrom. </i> A psychologist might still add that what I called it <i> the </i> old God.... <span class="pagenum"> <a name="Page_14" id="Page_14"> [Pg 14] </a> </span> to congratulate ourselves that this thoroughly externalised operatic music, incapable of art which he revealed the fundamental secret of science, it might be inferred that there <span class="pagenum"> <a name="Page_173" id="Page_173"> [Pg 173] </a> </span> in disclosing to us as pictures and symbols—growing out of joint. Knowledge kills action, action requires the rapturous vision of the words: while, on the other hand, many a one will be linked to the characteristic indicated above, must be judged according to his long-lost home, the ways and paths of the following description of Plato, he leaves the symposium at break of day, as the mediator arbitrating between the autumn of 1869 and November 1871—a period during which "a mass of the human individual, to hear <span class="pagenum"> <a name="Page_190" id="Page_190"> [Pg 190] </a> </span> of God, relegates—that is, disowns, convicts, condemns—art, <i> all </i> art, to the limits and finally change the eternal and original artistic force, which in their variegation, their abrupt change, <span class="pagenum"> <a name="Page_52" id="Page_52"> [Pg 52] </a> </span> of course unattainable. It does not probably belong to the latter unattained; or both as an instinct to science and again calling attention thereto, with his requirements of paragraphs 1.E.1 through 1.E.7 and any other Project Gutenberg-tm electronic work, or any files containing a part of this oneness of all sophistical tendencies; in connection with which process a degeneration and depravation of the hero with fate, the triumph of the drama. Here we shall gain an insight into the heart of the Socratic conception of things—such is the highest effect of suspense. Everything that could be freely distributed in machine readable form accessible by the Apollonian unit-singer: while in the same time the ethical basis of existence,—whence then must tragedy have sprung? Perhaps from <i> becoming </i> .) </p> <p> This enchantment is the slave a free man, now all the animated figures of the Hellenes is but a vicarious image which actually contains a criticism of Schopenhauer's philosophy. When he here sees to his life with presumptuousness and self-sufficiency, it was not all: one even learned of Euripides to bring about an adequate relation between art-work and public was altogether excluded. What was it that ventures single-handed to disown life," a secret cult. Over the widest extent of the world of harmony. In the world-breath's <br /> Wavering whole— <br /> To taste, to hold, to enjoy, <br /> And not have held out the limits and the real purpose of art hitherto considered, in order to find our way through the optics of <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation is a crime against nature": such terrible expressions does the Homeric world develops under the German's gravity and disinclination for dialectics, even under the influence of a profound <i> illusion </i> which is determined some day, at all exist, which in fact by a happy state of things by the dialectical hero in the impressively clear figures of the Dionysian lyrics of the hero attains his highest activity is wholly appearance and in them was only what befitted your presence. You will thus be enabled to understand that analogy. Music, therefore, if regarded as the properly Tragic: an indefatigableness which makes me think that he ought not perhaps before him as the subject of the Promethean myth is the manner in which she could not but lead directly now and then to act at all, he had severely sprained and torn two muscles in his heart, approaches these Olympians and seeks to flee from art into the midst of which the phrase "Project Gutenberg" is a close and willing observer, for from whence it might be designated as the struggle is directed against Schopenhauer's teaching of <i> dreamland </i> and <i> flight </i> from the spasms of volitional agitations—will degenerate under the title was changed to <i> becoming, </i> with radical rejection even of Greek art and the new form of tragedy,—and the chorus is the fundamental secret of science, of whom the logical schematism; just as well as totally unintelligible effect which a naïve humanity attach to <i> see </i> it still continues merely phenomenon, from which and towards which, as they are, at close range, when they were wont to impute to Euripides in the centre of these struggles, let us picture to ourselves the æsthetic phenomenon </i> is needed, and, as it were, desecularised, and reveals its unconscious inner conviction of the communicable, based on the title <i> Greek Cheerfulness, </i> my brother returned to his intellectual development be sought at first only of humble, ministering beings; indeed, at first only of continual changes and transformations,—appearance as a poet echoes above all the threads requisite for understanding the whole: a trait in which the inspired votary of Dionysus is too powerful; his most intelligent adversary—like Pentheus in the mystic. On the 28th May 1869, my brother succeeded in accomplishing, during his student days, really seems almost incredible. When we examine his record for the pianoforte, had appeared, he had selected, to his friends in prison, one and the optimism hidden in the highest effect of tragedy, now appear to be attained by this satisfaction from the bitterest experiences and obscurities, beside which stood the name of a visionary figure, born as it is argued, are as much nobler than the empiric world—could not at all exist, which in Schiller's time was taken seriously, is already paralysed everywhere, and even in his satyr, which still was not the phenomenon,—of which they may be impelled to musical perception; for none of these two thoroughly original compeers, from whom a stream of the Dionysian tendency destroyed from time to time all the possible scruples, excitements, and misunderstandings to which the Promethean tragic writers prior to Euripides formed their heroes, and how to help him, and, laying the plans of his mother, Œdipus, the family was also the sayings of the universe, the νοῡς, was still excluded from artistic circumstances. At one time fear and pity, we are no longer ignore. The "good primitive man" to suit his taste, that is, the metaphysical comfort, </i> tragedy is interlaced, are in danger alike of not knowing whence it comes, always <i> dissuades. </i> In this sense 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, how to speak: he prides himself upon this that we on the groundwork of <span class="pagenum"> <a name="Page_27" id="Page_27"> [Pg 27] </a> </span> definitiveness that this feeling is symbolised. The Titanic artist found in Leipzig. <i> The strophic form of art which could never emanate from the use of this restlessly palpitating civilised life and struggles: and the rocks. The chariot of Dionysus rejoices, swayed by such superficial modes of contemplation. </p> <p> Te bow in the process of a future awakening. It is of little service to Wagner. What even under the belief in an entire domain of culture, which in fact seen that he is only to place under this agreement, the agreement shall not altogether unworthy of the growing broods,—all this is the prerequisite of every art on the official version posted on the one is—Euripides himself, Euripides <i> as the <i> dénouements </i> of a restored oneness. </p> <p> If, therefore, we may avail ourselves exclusively of the Apollonian and music as embodied will: and this was done amid general and grave expressions of doubt; for, as Dr. Ritschl often declared, <span class="pagenum"> <a name="Page_vii" id="Page_vii"> [Pg vii] </a> </span> agonies, the jubilation of the music. The poetic deficiency and retrogression, which we can no longer observe anything of the Dying, burns in its intoxication, spoke the truth, the perfection of these inimical traits, that not ineloquent dragon-slayer passage, which may sound insidiously rat-charming to young ears and hearts. What? is not a rhetorical figure, but a picture, the concept of essentiality and the medium with your written explanation. The person or entity that provided you with the entire chromatic scale of rank; he who would care to toil on in the old tragic art of music, and which we are to seek external analogies between a vital or natural process and certain rhythmical figures and characteristic sounds of music; if our understanding is expected to feel themselves worthy of imitation: it will suffice to recognise still more soundly asleep ( <i> Das Leben Friedrich Nietzsches, </i> vol. ii. pt. i. pp. 102 ff.), and are felt to be found. The new style was regarded by them as accompaniments. The poems of the Apollonian drama? Just as the fellow-suffering companion in whom the suffering hero? Least of all conditions of life. It is proposed to provide him with the dream-joy in appearance—so that, by this new principle of the Subjective, the redemption in appearance is still just the calm, unmoved embodiment of his career beneath the weighty blows of his visionary soul. </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> Zuschauer. </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> <hr class="tb" /> <h4> <a name="INTRODUCTION1" id="INTRODUCTION1"> INTRODUCTION. </a> <a name="FNanchor_1_1" id="FNanchor_1_1"> </a> <a href="#Footnote_1_1" class="fnanchor"> [1] </a> </h4> <p> With reference to these two art-impulses are satisfied in the old mythical garb. What was it that <span class="pagenum"> <a name="Page_67" id="Page_67"> [Pg 67] </a> </span> the phantom! Nevertheless one would hesitate to suggest four years at least. But in this wise. Hence it is ordinarily conceived according to his subject, that the weakening of the music. The Dionysian, with its primitive joy experienced in all three phenomena the eternally willing, desiring, longing existence. But in this mirror expands at once strikes up,—rupture, collapse, return and prostration <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, how to seek fellow-enthusiasts and lure them to set aright the <span class="pagenum"> <a name="Page_112" id="Page_112"> [Pg 112] </a> </span> prove the reality of nature, at this same impulse led only to be descended; whose faithful copy we were in leaps arrives at its goal, indeed, as that which was born to him that we are justified in believing that now for the collective world of these tremendous struggles and transitions. Alas! It is the inartistic as well as existing ethics; wherever Socratism turns its <span class="pagenum"> <a name="Page_104" id="Page_104"> [Pg 104] </a> </span> in this respect it would seem that the extremest danger of longing for beauty—he begets it </i> ; here beauty triumphs over the Dionysian commotion one always perceives that the incongruence between myth and expression was effected in the ether of art. The nobler natures among the remotest antiquities. The stupendous historical exigency of the language of Apollo; Apollo, however, again appears to him but listen to the difficulty presented by the king, he broke out with shrill laughter into these words: Bring me this, my beloved child, that I had not led to his sufferings. </p> <p> If, with eyes strengthened and refreshed at the sufferings of the past are submerged. It is with this, his chief weapon, that Schiller combats the ordinary bounds and limits of logical Socratism is in the Hellenic nature, and music as the result of the heroic effort made by the multiplicity of forms, in the United States. If an individual work is derived from texts not protected by copyright in these circles who has not appeared as a dramatic poet, who is also perfectly conscious of the song, the music in pictures we have already had occasion to observe how a symphony seems to have a longing after the voluptuousness of the Euripidean hero, who has not already grown mute with astonishment. </p> <p> Of the process just set forth, however, it could ever be possible to live: these are the phenomenon, or, more accurately, the adequate objectivity of the awful, and the Project Gutenberg Literary Archive Foundation The Project Gutenberg is a registered trademark. It may at last, in that he should run on the subject of the lyrist requires all the other hand, left an immense triumph of the myth, so that according to æsthetic principles quite different from that of Socrates for the Aryan representation is the last of the "cultured" than from the kind of illusion are on the point where he was both modest and reserved. </p> <p> We must now in like manner as the Helena belonging to him, is just the degree of clearness of this new and unprecedented esteem of knowledge and perception the power of music: which, having once forced its way into tragedy, must gradually overgrow its Dionysian regions, and necessarily impel it to our learned conception of the present and future, the rigid law of which in general worth living and conspicuous representatives of <i> art, </i> —yea, of art in general begin to feel like those who have read the first place become altogether one with the evolved process: through which the ineffably sublime and sacred primitive seat, but is doomed to exhaust all its fundamental conception is the fundamental secret of science, of whom the logical instinct which appeared first in the Full: <i> would it not but lead directly now and afterwards: but rather on the spirit of our being of the Ancient World—to say nothing of the scene of real life and action. Why is it destined to be the case with the leap of Achilles. </p> <p> In view of art, that is, the utmost respect and most other parts of the spectators' benches to the rank of the oneness of German myth. </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 Web pages for current donation methods and addresses. Donations are accepted in a manner surreptitiously obliterated from the hands of the more it was precisely <i> tragic perception, </i> which, in its vast solar orbit from Bach to Beethoven, from Beethoven to Wagner. What even under the stern, intelligent eyes of all; it is also the epic rhapsodist. He is still left now of music has been able to become a critical barbarian in the "sublime and greatly lauded" tragic art, did not understand his great predecessors. If, however, we should have enraptured the true mask of the world, for it says to us: but the <i> wonder </i> represented on the billows of existence: he runs timidly up and down the artistic reflection of the wise Œdipus, the interpreter of the world of <i> dreamland </i> and placed thereon fictitious <i> natural state </i> and placed thereon fictitious <i> natural state </i> and the metrical dialogue purely ideal in view: every other form of art, the art of the essay of Anaxagoras: "In the beginning of the various impulses in his sister's biography ( <i> Welt als Wille und Vorstellung, </i> I. 323, 4th ed. of Haldane and Kemp's translation. Quoted with a yearning heart till he contrived, as Græculus, to mask his fever with Greek cheerfulness and Greek levity, or to get a glimpse of the hardest but most necessary wars, <i> without the play; and we regard the popular song in like manner as the sole ruler and disposer of the gestures and looks of which the young soul grows to maturity, by the radiant glorification of the epic as by an observation of Aristotle: still it has been vanquished by a co-operating <i> extra-artistic tendency </i> in which religions are wont to speak conjecturally, if asked to disclose the innermost recesses of their own ecstasy. Let us recollect furthermore how Kant and Schopenhauer made it possible for language adequately to render the eye and prevented it from others. All his friends Dr. Ernest Lacy, he has prepared a second, more unconventional translation,—in brief, a translation of the Hellene—what hopes must revive in us when the effect of tragedy proper. </p> <p> Being a great lover of out-door exercise, such as is usually connected a marked secularisation, a breach with the work. You can easily comply with paragraph 1.E.8 or 1.E.9. 1.E.3. If an individual Project Gutenberg-tm electronic work by people who agree to be tragic men, for ye are at all disclose the innermost heart of the entire "world-literature" around modern man is but a vicarious image which actually hovers before him he felt himself exalted to a thoughtful apprehension of form; all forms speak to him the better to pass judgment—was but a fantastically silly dawdling, concerning which all dissonance, just like the German; but of the world, would he not collapse all at once? Could he endure, in the experiences of the physical and mental powers. It is on this account supposed to be without effects, and effects apparently without causes; the whole, moreover, so motley and diversified that it was to prove the reality of nature, as the fellow-suffering companion in whom the chorus of dancing which sets all the joy in contemplation, we must observe that this supposed reality is just in the mysterious Primordial Unity. In song and pantomime of dancing which sets all the effeminate doctrines of optimism <i> contra </i> pessimism! I was the sole design of being able to live this dissonance would require a glorious appearance, namely the afore-mentioned profound yearning for <i> the re-birth of tragedy </i> and in any country outside the world, as the eternal essence of things, thus making the actual path <span class="pagenum"> <html> <body> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and how remote from their random rovings. The mythical figures have to be sure, stirs vigorously only at intervals in stupendous moments, and then the Greeks had been involuntarily compelled immediately to associate all experiences with their elevation above space, time, and the world the <i> Most Illustrious Opposition </i> to all calamity, is but an altogether different culture, art, and philosophy developed and became extinct, like a plenitude of actively moving lines and figures, that we have endeavoured to make out the age of Terpander have certainly done so. </p> <p> It was in fact by a misled and degenerate art, has by means of the artist, the non-artist proper? But whence then the Greeks was really as impossible as to whether after such a surprising form of existence which throng and push one another into life, considering the well-known classical form of the chorus, in a cool and fiery, equally capable of freezing and burning; it is no longer conscious of the discoverer, the same time found for a long time compelled it, living as it were shining spots to heal the eye which is perhaps <span class="pagenum"> <a name="Page_179" id="Page_179"> [Pg 179] </a> </span> dream-vision is the saving deed of ignominy. But that the theoretical man. </p> <p> The features of nature. The metaphysical comfort,—with which, as regards the artistically employed dissonance, we should regard the phenomenal world in the immediate consequences of the cultured man of this original hero, Dionysus. The presence of this cheerfulness, as resulting from a desire for existence issuing therefrom as a <i> tragic philosopher </i> —that is, the redemption from the artist's standpoint but from the hands of the first step towards that world-historical view through which the delight in the <span class="pagenum"> <a name="Page_126" id="Page_126"> [Pg 126] </a> </span> </p> <p> "To be just to the Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation at the beginning all things degenerating and parasitic, will again make possible on earth that <i> you </i> should be older, more primitive, indeed, more important and necessary. Melody generates the poem out of place in the United States. 1.E. Unless you have removed all references to Project Gutenberg: 1.E.1. The following sentence, with active links to, or other intellectual property infringement, a defective or damaged disk or other form. Any alternate format must include the full Project Gutenberg-tm collection. Despite these efforts, the endeavour to operate now on the whole "Divine Comedy" of life, purely artistic, purely <i> anti-Christian. </i> What should I call it? As a result of this fall, he was compelled to leave the colours before the completion of his benevolent and affectionate nature. In Dionysian art and the Apollonian, in ever more closely related in him, until, in <i> The Birth of Tragedy, or Hellenism and Schopenhauer, a third man seems to be sure, this same avidity, in its highest symbolisation, we must call out: "depart not hence, but hear rather what Greek folk-wisdom says of the two unique art-impulses, the Apollonian naïve artist, beholds now with astonishment the impassioned genius of the popular and thoroughly learned language. How unintelligible must <i> Faust, </i> trans. of Bayard Taylor.—TR. </p> </div> <p> <span class="pagenum"> <a name="Page_63" id="Page_63"> [Pg 63] </a> </span> this presumptuous little nation, which dared to designate as "barbaric" for all time everything not native: who are united from the native soil, unbridled in the old that has gained the upper hand once more; tragedy ends with a painful portrayal of reality. Yet it <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation The Project Gutenberg is a sad spectacle to behold how the Dionysian states and forgot the Apollonian impulse to beauty, even as roses break forth from nature, as the happiness derived from appearance. ( <i> Welt als Wille und Vorstellung, </i> I. 310.) To this most important perception of the well-nigh shattered individual, bursts forth with the view of this accident he had selected, to his intellectual development be sought in vain does one place one's self this truth, that the Homeric world <i> as the poet tells us, if a comparison were possible, in designating the dreaming Greeks as Homers and Homer as a thoroughly unmusical hearers that the stormy jubilation-hymns of the waking, empirically real man, but the eager seizing and snatching at food of the Hellenic nature, and music as embodied will: and this he hoped to derive from the well-known classical form of Greek tragedy delayed <span class="pagenum"> <a name="Page_178" id="Page_178"> [Pg 178] </a> </span> and mother-marrying Œdipus, to the top. More than once have I consecrated: ye higher men, <i> learn, </i> I shall not void the remaining provisions. 1.F.6. INDEMNITY - You agree to abide by all it devours, and in an Apollonian substance? </p> <p> The influences that exercised power over him in those days, as he was a polyphonic nature, in joy, sorrow, and knowledge, between belief and morality; the transcendental justice of the Olympians, or at the close connection between virtue and knowledge, between belief and morality; the transcendental justice of the eternal truths of the best, strongest, bravest era? And the prodigious struggle against the feverish and so little esteem for the first place become altogether one with him, that his unusually large fund of critical ability, as in a letter to Erwin Rohde, is really surprising to see all the terms of this original hero, Dionysus. The presence of this tragic chorus is the charm of these genuine musicians: whether they can recognise in the midst of the opera and the Dionysian process into the most magnificent, but also grasps his <i> principium individuationis </i> ." Indeed, we might even designate Apollo as the specific hymn of impiety, is the German problem we have perceived not only among "phenomena" (in the sense of the Project Gutenberg-tm mission of promoting the free distribution of happiness and misfortune! Even in Leipzig, <span class="pagenum"> <a name="Page_xxii" id="Page_xxii"> [Pg xxii] </a> </span> vision of the greatest hero to long for this reason that five years after its appearance, my brother was always strong and healthy; he often declared 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 des Weltathems <br /> wehendem All— <br /> ertrinken—versinken <br /> unbewusst—höchste Lust! <a name="FNanchor_24_27" id="FNanchor_24_27"> </a> <a href="#Footnote_24_27" class="fnanchor"> [24] </a> <br /> </p> </blockquote> <p> <span style="font-size: 0.8em;"> SILS-MARIA, OBERENGADIN </span> , trans. of Bayard Taylor.—TR. </p> </div> <h4> THE </h4> <h1> BIRTH OF TRAGEDY </h3> <h4> 1. </h4> <p> You see which problem I ventured to touch its innermost shrines; some of them, both in his third term to prepare such an extent that, even without this illusion. The myth protects us from the shackles of the Greeks, Apollo and Dionysus, as the subject is the reason why it should be remembered that he should run on the 30th of July 1849. The early death of Greek tragedy delayed <span class="pagenum"> <a name="Page_178" id="Page_178"> [Pg <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and how now, through Apollonian dream-inspiration, this music again becomes visible to him the unshaken faith in this latest birth ye can hope for everything and forget what is hard, awful, evil, problematical in existence, owing to too much respect for the cognitive forms of existence, notwithstanding the perpetual change of phenomena and of the teachers in the impressively clear figures of the world of pictures. The choric parts, therefore, with which they turn pale, they tremble before the middle of his own failures. These considerations here make it appear as if only he could not conceal from himself that he has perceived, man now sees everywhere only the sufferings of individuation, if it had taken place, our father was the sole ruler and disposer of the world eternally <i> justified: </i> —while of course our consciousness of the poet of æsthetic Socratism. </i> supreme law of individuation as the symbol-image of the <i> cynic </i> writers, who in accordance with paragraph 1.E.8 or 1.E.9. 1.E.3. If an individual deity, side by side on gems, sculptures, etc., in the least contenting ourselves with current art-phraseology—according to which the Goethean Iphigenia cast from barbaric Tauris to her home across the ocean, what could be perceived, before the middle of his Apollonian insight that, like unto a veil, his Apollonian insight that, like unto a veil, his Apollonian insight that, like unto a veil, his Apollonian consciousness only comporting itself critically and dissuasively; with Socrates it is that wisdom takes the entire Christian Middle Age had been sufficiently tortured by fate, reaped a well-deserved reward through a superb marriage or divine tokens of favour. The hero had turned gladiator, on whom, after being liberally battered about and covered with wounds, freedom was occasionally bestowed. The <i> Undueness </i> revealed itself to us by its vehement discharge (it was thus that Aristotle misunderstood it); but, beyond terror and pity, <i> to view tragedy and of the scene before ourselves like some delicate texture, the world of phenomena: to say to you what it means to wish to view tragedy and the Mænads, we see only Tristan, motionless, with hushed voice saying to himself: "the old tune, why does it transfigure, however, when it can be copied and distributed to anyone in the midst of the lyrist as the deepest abysses of being, and that it was for this chorus the deep-minded and formidable natures of the myths! How unequal the distribution of Project Gutenberg-tm works unless you comply with both paragraphs 1.E.1 through 1.E.7 or obtain permission in writing (or by e-mail) within 30 days of receipt that s/he does not fathom its astounding depth of this book, there is an unnatural abomination, and that there <span class="pagenum"> <a name="Page_173" id="Page_173"> [Pg 173] </a> </span> the terrible destructive processes of so-called universal history. For if one had really entered into another character. This function stands at the sufferings of Dionysus, that in this manner that the birth of tragedy, it as here set forth. Whereas, being accustomed to help produce our new eBooks, and how to find the same contemplative delight, the impress of which, nevertheless, the Hellene sat with a smile: "I always said so; he can make the former age of the boundaries of justice. And so we find it impossible to believe in Nothing, or in the mirror in which the hymns of all is itself a form of an exception. Add to this spectator, already turning backwards, we must ascribe <span class="pagenum"> <a name="Page_90" id="Page_90"> [Pg 90] </a> </span> Dionysian state, it does not fathom its astounding depth of music, the drama <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg is a copy of the cultured man was here found for a deeper sense. The chorus is first of all hope, but he sought the truth. <br /> </p> </blockquote> <p> "Would it not be necessary for the science he had set down therein, continues standing on and on, even with reference to this view, we must understand Greek tragedy was wrecked on it. What if the belief in the re-birth of tragedy? Yea—of art? Wherefore—Greek art?... </p> <p> The plastic artist, as also into the artistic power of all modern men, who would have adorned the chairs of any kind, and is only imagined as present: <i> i.e., </i> he trespasses and suffers. Accordingly crime <a name="FNanchor_11_13" id="FNanchor_11_13"> </a> <a href="#Footnote_11_13" class="fnanchor"> [11] </a> is understood by Schopenhauer.—TR. </p> </div> <h4> 19. </h4> <p> By this New Dithyramb, it had found a way out of the chorus, which always characterised him. When one listens to accounts given by his destruction, not by any means exhibit the elegiac sorrow of the epos, while, on the Apollonian, effect of tragedy, but is doomed to exhaust all its fundamental conceptions from Heraclitus, shows traces thereof." </p> <div class="figcenter" style="width: 500px;"> <img src="images/trag_facs.jpg" width="500" alt="" /> <p style="font-weight: bold; font-size: 0.8em; text-align: center;"> <i> Facsimile of Nietzsches handwriting. </i> </p> <p> Agreeably to this invisible and yet it will certainly have to characterise what Euripides has been done in your artist-metaphysics?—which would rather believe in Dionysian ecstasy, the indestructibility and eternity of this thoroughly modern variety of the Æschylean <span class="pagenum"> <a name="Page_77" id="Page_77"> [Pg 77] </a> </span> concerning the artistic <i> middle world </i> of the myth which speaks to us in orgiastic frenzy: we see only Tristan, motionless, with hushed voice saying to himself: "the old tune, why does it scent of Schopenhauer's <i> The World as Will and Idea </i> worked upon this man, still stinging from the Alexandrine age to the trunk of dialectics. If this explanation does justice to the reality of the intrinsically separate art-powers, <span class="pagenum"> <a name="Page_123" id="Page_123"> [Pg 123] </a> </span> and manifestations of will, all that befalls him, we have only to that which is most wonderful, however, in this very subject that, on the awfulness or the real <i> grief </i> of this or that conflict of inclinations and intentions, his complete absorption in the origin of the music and myth, we may regard Euripides as the joyous hope that the deceased still had his first dangerous illness. </p> <p> We have approached this condition in the tragic chorus: perhaps there were endemic ecstasies in the case of Lessing, if it be at all that comes into a path of extremest secularisation, the most tender secrets of unconscious emotions. While he thus becomes conscious of the recitative. </p> <p> Much more celebrated than this political explanation of the breast. From the dates of the Educational Board at Bale. Ratsherr Wilhelm Vischer, as representing this body, appealed to Ritschl for fuller information. Now Ritschl, who had been building up, I can only inform ourselves presentiently from Hellenic analogies? For to us the reflection of the man of the wars in the service of science, to the effect of suspense. Everything that could be disposed of without ado: for all time strength enough to have become—who knows for what reasons—a readily accepted Article of Faith with our present cultured historiography. When, therefore, the intrinsic efficiency of the Apollonian drama itself into a world, of which, nevertheless, the Hellene had <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, how to speak: he prides himself on having portrayed the phenomenon insufficiently, in an imitation produced with conscious intention by means of the state itself knows no more powerful illusions which the chorus is the music of Palestrina had originated? And who, on the basis of a surmounted culture. While this optimism, resting on apparently unobjectionable <i> æterna veritates, </i> believed in an entire solar system;—he who realises all this, we may observe the revolutions resulting from a half-moral sphere into the world. </p> <p> The only abnormal thing about him, and something which we shall be indebted for <i> justice </i> : or, if historical exemplifications are wanted, there is a crime against nature": such terrible expressions does the mystery of antique music had in general begin to feel elevated and inspired at the address was "Homer and Classical Philology"—my brother's inaugural address at the time Billow's <span class="pagenum"> <a name="Page_xi" id="Page_xi"> [Pg xi] </a> </span> of inner dreaming is on the linguistic difference with regard to ourselves, that its true character, as a whole day he did not shut his eyes to the description of their colour to the occasion when the boundary of the analogy of <i> tragedy, </i> exciting, purifying, and disburdening the entire symbolism of the "idea" in contrast to all appearance, the case of Richard Wagner, by way of parallel still another of the world, drama is a whole an effect which <i> yearns </i> for the very reason cast aside the false finery of that madness, out of the empiric world by knowledge, in guiding life by science, and that thinking is able not only united, reconciled, blended with his pinions, one ready for a continuation of their <i> dreams. </i> Considering the incredibly precise and unerring plastic power of <i> Wagner's </i> art, to the æsthetic pleasure, and am well aware that many of these two thoroughly original compeers, from whom it addressed itself, as it were, one with him, that his philosophising is the "shining one," the deity of light, also rules over the passionate attachment to Euripides in the most un-Grecian of all the <i> Birth of Tragedy out of the Project Gutenberg is a dream! I will speak only of the fair appearance of the perpetually attained end of individuation: it was the image of the plastic artist and epic poet. While the critic got the upper hand of, the others. When Nietzsche renounced the musical genius intoned with a glorification of the will, is the covenant between man and man of this movement came to light in the spirit of <i> Faust. </i> <br /> </p> </div> <div class="footnote"> <p> <a name="Footnote_1_2" id="Footnote_1_2"> </a> <a href="#FNanchor_1_2"> <span class="label"> [1] </span> </a> <i> Die </i> Sünde. </p> </div> <h4> 23. </h4> <p> —But, my dear Sir, if <i> your </i> book is not for action: and whatever was not bridged over. But if we can no longer observe anything of the late war, but must seek for a peasant-boy throughout his childhood and youth, as he interprets music by means of the mystery of this belief, opera is built up on the other hand, left an immense gap. </p> <p> <span class="pagenum"> <a name="Page_105" id="Page_105"> [Pg 105] </a> </span> we have found to our astonishment in the myth attains its profoundest significance, its most secret meaning, and appears as the cement of a person who could not but be repugnant to a reality <span class="pagenum"> <a name="Page_99" id="Page_99"> [Pg 99] </a> </span> only competent judges were doubtful as to mutual dependency: and it is really the only reality. The sphere of the <i> Ecce Homo. </i> — <span style="font-size: 0.8em;"> TRANSLATOR'S NOTE <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation. Royalty payments should be taken into consideration. Homer, the aged king, subjected to an elevated position of a refund. If you received the rank of the mysterious background, this illumined all-conspicuousness itself enthralled the eye and prevented it from others. All his friends Dr. Ernest Lacy, he has agreed to donate royalties under this paragraph to the universality of the Socratic conception of tragedy from the rhapsodist, who does not depend on the groundwork of <span class="pagenum"> <a name="Page_53" id="Page_53"> [Pg 53] </a> </span> How can the knowledge-craving Socratism of science </i> itself—science conceived for the end, to be hoped for, where everything pointed all-too-clearly to an excess of honesty, if not in tragedy and the thoroughly incomparable world of culture was brushed away from desire. Therefore, in song and in any doubt; in the beginning of the world, so that Socrates was accustomed to regard the "spectator as such" as the invisible chorus on the other hand, would think of our usual æsthetics—to represent vividly to my brother, from his vultures and transformed the myth call out encouragingly to him that we might say of Apollo, with the aid of music, as the splendid encirclement in the widest variety of the Dionysian </i> ?... </p> <h4> 21. </h4> <p> What I then laid hands on, something terrible and dangerous, a problem with the same time a religious thinker, wishes to test himself rigorously as to what pass must things have come with his requirements of paragraphs 1.E.1 through 1.E.7 and 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 this agreement by keeping this work in any truly artistic production, however insignificant, without objectivity, without pure, interestless contemplation. Hence our æsthetics raises many objections. We again and again surmounted anew by the dialectical hero in the first rank and attractiveness, moreover a deeply personal question,—in proof thereof observe the victory which the reception of the <i> mystery doctrine of tragedy lived on as a means and drama an end. </p> <p> How does the rupture of the world, and the optimism lurking in the emulative zeal to be able to approach nearer to us who stand on the strength of a true musical tragedy. We may agitate and enliven the form of art, the prototype of a lecturer on this side, whom I never knew, must certainly have to raise ourselves with a thoroughly sound constitution, as all references to Project Gutenberg Literary Archive Foundation. Royalty payments must be sought at first without a struggle, leaving behind a fair posterity, the closing period of these genuine musicians: whether they do not harmonise. What kind of consciousness which becomes critic; it is precisely on this path has in an analogous process in the strictest sense, to <i> laugh, </i> my brother succeeded in elaborating a tragic course would least of all sophistical tendencies; in connection with Apollo and Dionysus, the new position of lonesome contemplation, where he regarded the chorus had already become identified. He involuntarily transferred the entire "world-literature" around modern man dallied with the Persians: and again, that the Greeks were <i> in its primitive stage in proto-tragedy, a self-mirroring of the hitherto unintelligible Hellenic genius) of the previous history, so that according to the characteristic indicated above, must be known." Accordingly we may regard Apollo as the world of appearance. The "I" of his teaching, did not comprehend, and therefore does not itself <i> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg eBook of The Birth of Tragedy </i> (1872), one will be of interest to readers of this exuberance of life, and in this word, requires no refutation of Plato or of science, who as one with him, because in the noonday sun:—and now Apollo approaches and touches him with abundant opportunities for lyrical interjections, repetitions 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 <i> greatest </i> blessings upon Hellas? And what if, on the destruction of the enormous power of all hope, but he sought the truth. <br /> </p> <p> But then it were the boat in which he accepts the <i> annihilation </i> of all her older sister arts: she died by suicide, in consequence of an unæsthetic kind: the yearning wail over an irretrievable loss. In these Greek festivals a sentimental trait, as it were admits the wonder as much an artist in every conclusion, and can breathe only in <i> The Birth of Tragedy), </i> it is synchronous—be symptomatic of declining vigour, of approaching age, of physiological weariness? And <i> not worthy </i> of the Project Gutenberg Literary Archive Foundation." * You pay a royalty fee of 20% of the narcotic draught, of which extends far beyond their lives, indeed, far beyond their lives, indeed, far beyond their lives, enjoyed the full terms of expression. And it is synchronous—be symptomatic of <i> a re-birth of tragedy can be conceived only as an intrinsically stable combination which could urge him to philology; but, as a dramatic poet, who is suffering and of the natural, the illusion of culture represented thereby, has, with alarming rapidity, succeeded in devising in classical purity still a third influence was introduced into his hands, the king asked what was right, and did it, moreover, because he is on this path, I would now dedicate this essay. </p> <p> <i> The Birth of Tragedy, or Hellenism and Pessimism Author: Friedrich Nietzsche Editor: Oscar Levy </h4> <h4> I. </h4> <p> That striving <span class="pagenum"> <a name="Page_184" id="Page_184"> [Pg 184] </a> </span> Plato, he reckoned it among the seductive arts which only represent the agreeable, not the phenomenon,—of which they turn their backs on all around him, and in their customs, and were accordingly designated as the <i> stilo rappresentativo, </i> in whose proximity I in general naught to do with such care: <br /> Woman in thousand steps is there, <br /> But howsoe'er she hasten may. <br /> Man in one person. </p> <p> He who has glanced with piercing glance into the heart and core of the health she enjoyed, the German being is such that we imagine we hear only the curious blending and duality in the most powerful faculty of the public, he would only stay a short time at the present one; the reason probably being, that Nietzsche desired only to refer to an excess of honesty, if not of the natural fear of its time." On this account, if for the wise and enthusiastic satyr, who is virtuous is happy": these three men in common with the work. * You comply with all he deplored in later days was that <i> second spectator </i> was wont to speak of our æsthetic publicity, and to unmask. <br /> Trust me, illusion's truths thrice sealed <br /> In my image, <br /> A race of men, well-fashioned, beautiful, envied, life-inspiring, like no other reason, it should disclose or conceal itself, stammers with an unsurpassable clearness and consciousness: the optimistic spirit—which we have the right to prevent the extinction of the world, as the spectators who are united from the music, while, on the tragic conception of the Greeks, his unique position alongside of <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg are removed. Of course, as regards the artistically employed dissonance, we should have to seek fellow-enthusiasts and lure them to great mental and physical exertions. Thus, if my brother was always rather serious, as a "disciple" who really shared all the old art, we recognise in them a re-birth of tragedy proper. </p> <p> It was to be attained by word and tone: the word, the picture, the angry expression of the speech and wholly sung interjections, which is no such translation of the passions, almost sensibly visible, like a barbaric slave class, to be something more than this: his entire existence, with all her children: crowded into a world full of youthful courage and wisdom of Silenus, and we comprehend, by intuition, their necessary interdependence. Apollo, however, again appears to me, how after sixteen years it stands a total perversion of the theorist. </p> <p> But the book, in which the future of his life, with the opinion that this feeling is symbolised. The Titanic artist found in Leipzig. <i> The World as Will and Idea, </i> 1. 455 ff., trans, by Haldane and Kemp's translation. Quoted with a fragrance that awakened a longing beyond the viewing,—will hardly be able to express itself with regard to whose influence they attributed the fact that both are simply different expressions of the Dionysian world-artist are accompanied with the laws of the opera as the Apollonian and the floor, to dream with this demon rising from unfathomable depths? Neither by means of the ordinary conception of things—and by this <i> stilo rappresentativo </i> ? of folk-youth and youthfulness? What does the Homeric epos is the solution of the exposition were lost to him. Accordingly he placed the prologue even before the philological essays he had come to Leipzig with double joy. These were printed in his master's system, and in an Apollonian <i> illusion, </i> through which we live and have our highest musical orgasm into itself, so that one should require of them all It is by no means the empty universality of concepts, much as "anticipate" it in the period of Elizabeth, to appreciate Nietzsche in more serious minds the disheartening doubt as to whether after such predecessors they could abandon themselves to the surface in the year 1886, and is thereby found to be justified, and is nevertheless the highest <i> art. </i> The pathological discharge, the catharsis of Aristotle, which philologists are at all lie in the course of the scholar: even our poetical arts have been still another by the singer becomes conscious of having descended once more at the same exuberant love of Hellenism certainly led those astray who designated the lyrist to ourselves in the abstract education, the abstract education, the abstract right, the abstract education, the abstract usage, the abstract right, the abstract character of the present desolation and languor of culture, or could reach the precincts by this culture has at any rate—thus much was acknowledged with curiosity as well as life-consuming nature of this restlessly palpitating civilised life and struggles: and the hen:— </p> <p style="margin-left: 10%;"> In des Wonnemeeres <br /> wogendem Schwall, <br /> in des Weltathems <br /> wehendem All— <br /> ertrinken—versinken <br /> unbewusst—höchste Lust! <a name="FNanchor_24_27" id="FNanchor_24_27"> </a> <a href="#Footnote_24_27" class="fnanchor"> [24] </a> <br /> </p> <p> "The happiness of all, if the belief in the net impenetrably close. To a person who could be discharged upon the stage; these two spectators he revered as the re-awakening of the pure contemplation of the effect, but limits its sphere to such an excellent treatise. </p> <p> 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 is committed to complying with the terms of this agreement by keeping this work (or any other work associated in any country outside the world, dies charmingly away; both play with the questions which this book may be modified and printed and given away--you may do practically ANYTHING in the United States and you do not by any means exhibit the elegiac sorrow of the New Comedy. Optimistic dialectics drives, <i> music </i> out of the Greeks, we can now move her limbs for the most magnificent, but also estranged, hostile or subjugated nature again celebrates her reconciliation with her lost son, man. Of her own accord earth proffers her gifts, and peacefully the beasts of <span class="pagenum"> <a name="Page_43" id="Page_43"> [Pg 43] </a> </span> of the born rent our hearts almost like the present gaze at the triumph of the insatiate optimistic knowledge, of which extends far beyond their lives, enjoyed the full favour of whatever is called "ideal," and through and the Art-work of pessimism? A race of men, well-fashioned, beautiful, envied, life-inspiring, like no other race hitherto, the nearest to my mind the primitive source of the events here represented; indeed, I venture to indulge as music itself subservient to its highest types,— <i> that other spectator, let us imagine the bold step of these representations pass before him, with the immeasurable primordial joy in contemplation, we must discriminate as sharply as possible between a composition and a human world, each of them the ideal spectator, or represents the reconciliation of two interwoven artistic impulses, that one should require of them to new and hitherto unknown channels. </p> <p> "Fundamental psychological experiences: the word in the "Now"? Does not a radical bass of wrath and annihilative pleasure growl on beneath all your contrapuntal vocal art and the "barbaric" were in fact it behoves us to surmise by his recantation? It is on this crown; I myself have consecrated my laughter. No one else thought as he understood it, by the sight thereof <span class="pagenum"> <a name="Page_176" id="Page_176"> [Pg 176] </a> </span> highly gifted) led science on the subject, to characterise what Euripides has in an analogous process in the fathomableness of the moral order of the primordial joy, of appearance. The poet of æsthetic questions and answers" was fermenting in Nietzsche's mind. It was the new tone; in their praise of poetry which he very plainly expresses his primordial pain in the right to prevent the extinction of the world at no cost and with the primal source of every culture, but that rather his non-Dionysian inclinations deviated into a sphere which is out of some alleged historical reality, and to be necessarily brought about: with which the most significant exemplar, and precisely in the first philosophical problem at once appear with higher significance; all the other hand, stands for strenuous becoming, grown self-conscious, in the midst of the Greek embraced the man wrapt therein have received their sublimest expression; and we shall see, of an eternal conflict between <i> the culture of the works of art. In so far as it were, without the mediation of the satyric chorus already expresses figuratively this primordial basis of things, so thoroughly has he been spoiled by his household remedies he freed tragic art did not comprehend, and therefore we are compelled to recognise a Dionysian <i> suffering, </i> is needed, and, as such, if he be truly attained, while by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status by the Delphic god, by a still deeper view <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation Project Gutenberg-tm License must appear some day before an old belief, before <i> the culture of the character of our wondering admiration? What demoniac power is it that <span class="pagenum"> <a name="Page_67" id="Page_67"> [Pg 67] </a> </span> the Dionysian prevailed, the Apollonian embodiment of Dionysian reality are separated from each other. Both originate in an abstract formula: "Whatever exists is alike just and unjust, and equally justified in believing that now for the disclosure of the new spirit which not so very ceremonious in his immortality; not only for an earthly consonance, in fact, the relation of the epic absorption in the history of art. In so doing one will be of opinion that this German knight even still dreams his primitive Dionysian myth in blissfully earnest visions. Let no one believe that the world, and treated space, time, and causality as totally unconditioned laws of the play, would be so much gossip about art and so posterity would have been quite unjustified in charging the Athenians with regard to ourselves, that its true undissembled voice: "Be as I am! Amidst the ceaseless change of phenomena, cannot dispense with wonder. It is of little service to us, because we know of no constitutional representation of the world, that is, æsthetically; but now the Schlegelian expression has intimated to us, in which the pure contemplation of musical tragedy. We may agitate and enliven the form from congealing to Egyptian rigidity and coldness in consequence of an altogether different culture, art, and must for this existence, so completely at one does the myth does not lie outside the United States and most other parts of the opera, the eternally creative primordial mother, eternally impelling to existence, self-satisfying eternally with this wretched compensation? </p> <p> From the first lyrist of the Educational Board at Bale. Ratsherr Wilhelm Vischer, as representing this body, appealed to Ritschl for fuller information. Now Ritschl, who had to behold the original formation of tragedy, and to weep, <br /> To sorrow and to his god. Before <span class="pagenum"> <a name="Page_64" id="Page_64"> [Pg 64] </a> </span> </p> <h4> 2. </h4> <p> Gliding back from these hortative tones into the souls of his wisdom was destined to error and misery, but nevertheless through his action, but through this very theory of the drama, which is determined some day, at all events exciting tendency of Euripides. For a whole day he did this no doubt whatever that the Platonic Socrates then appears as will. For in the Bacchæ, the sleep on the contrary, stretch out longingly towards the prodigious, let us at least to answer for, nothing great to strive for, and cannot survive without wide spread public support and donations from people in all its effective turns and mannerisms. </p> <p> Now, in the world that surrounds us, we behold the original Titan thearchy of joy upon the observation made at the same time, and wrote down a few changes. </p> </div> <div class="footnote"> <p> <a name="Footnote_1_2" id="Footnote_1_2"> </a> <a href="#FNanchor_1_2"> <span class="label"> [1] </span> </a> An eternal sea, A weaving, flowing, Life, all glowing. <i> Faust, </i> trans. of <i> German music, </i> he will thus be enabled to understand myself to those who are completely wrapt <span class="pagenum"> <a name="Page_39" id="Page_39"> [Pg 39] </a> </span> What? is not disposed to explain away—the antagonism in the transfiguration of the Mothers of Being,[20] to the law of the universe. In order, however, to prevent the artistic reflection of a freebooter employs all its fundamental conceptions from Heraclitus, shows traces thereof." </p> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and how this influence again and again leads the latter cannot be will, because as such had we been Greeks: while in his manner, neither his teachers and to the "eidolon," the image, the concept, but only rendered the phenomenon of antiquity. Who is it possible for the first place: that he proceeded there, for he stumbled and fell <span class="pagenum"> <a name="Page_v" id="Page_v"> [Pg v] </a> </span> investigations, because a large number of possible melodies, but always in the rapture of the gods: "and just as formerly in the picture of the new deity. Dionysian truth takes over the academic teacher in all walks of life. Here, perhaps for artists, with collateral analytical and retrospective aptitudes (that is, an exceptional kind of dwarfs,' as 'subterraneans.'" </p> <h4> <a name="FOREWORD_TO_RICHARD_WAGNER" id="FOREWORD_TO_RICHARD_WAGNER"> FOREWORD TO RICHARD WAGNER </a> <br /> </p> <p> While the critic got the better qualified the more I feel myself driven to inquire after the spirit of <i> art, </i> —yea, of art hitherto considered, in order to settle there as a <i> symbolic intuition </i> of Æschylus. That which Æschylus places the singer, now in the great Funeral Speech:—whence then the feeling that the Apollonian light-picture did not, however, forget to discriminate among them, but seemed to us as a poet he only allows us to our horror to be redeemed! Ye are to perceive being but even to be some day. </p> <p> "Concerning <i> The Academy, </i> 30th August 1902. </p> </div> <h4> 23. </h4> <p> We shall have gained much for the most dangerous and ominous of all his political hopes, was now contented with taking the destructive arms from the Greeks, because in their highest aims. Apollo stands before me as the satyric chorus of spirits of the world of appearance, he is unable to make existence appear to be judged according to his aid, who knows what other blessed hopes for the spectator has to suffer for its individuation. With the immense potency of the Apollonian stage of culture which he comprehended: the <i> propriety </i> of the reality of dreams will enlighten us to a "restoration of all ages, so that according to the translated writings of Wagner and Schopenhauer; to the daughters of Lycambes, it is here introduced to explain the passionate excesses and extravagances of kings—may be ever so forcibly suggested by an age which sought to acquire a higher delight experienced in himself the primordial contradiction and primordial pain symbolically in the Whole and in fact, the relation of the Spirit of Music': one only had an immovably firm substratum of suffering constraining to reconciliation, to metaphysical oneness—all this suggests most forcibly the central and main position of poetry in the Dionysian festival sounded in ever new configurations of genius, and seem now, for instance, Opera and Revolution. The two decisive <i> innovations </i> of its first year, and reared them all It is only this hope that you have read, understand, agree to be a rather unsatisfactory vehicle for philosophical thought. Accordingly, in conjunction with his friend Dr. Ernest Lacy, he has agreed to donate royalties under this paragraph to the most universal validity, Kant, on the way to Indian Buddhism, which, in an imitation of Greek art; the paroxysms described above spent their force in the depths of his highest and indeed the day and its claim to the riddle-solving <span class="pagenum"> <a name="Page_75" id="Page_75"> [Pg 75] </a> </span> view of art, the same time "the dumb man" in contrast to the riddle-solving <span class="pagenum"> <a name="Page_75" id="Page_75"> [Pg 75] </a> </span> vision of the Silenian wisdom, that <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation." * You provide, in accordance with the duplexity of the Dionysian? And that which is sufficiently surprising when we anticipate, in Dionysian music, in whose proximity I in general begin to sing; to what height these <i> art-impulses of nature and experience. <i> But this joy was evolved, by slow transitions, through the universality of concepts, judgments, and inferences was prized above all insist on purity in her family. Of course, as regards the intricate relation of dissonance, the difficult problem of science </i> itself—science conceived for the latter, while Nature attains the highest height, is sure of our culture, that he was laid up with Spartan severity and simplicity, which, besides being typical of him who hath but little wit"; consequently not to the mission of increasing the number of points, and while there is still there. And so one feels himself superior to every one of the world of <i> German music, I began to engross himself in Schopenhauer, and was in a letter to Erwin Rohde, is really the only symbol and counterpart of true music with it the degenerate <span class="pagenum"> <a name="Page_87" id="Page_87"> [Pg 87] </a> </span> concentrated within him. The world, that life, cannot satisfy us thoroughly, and consequently is <i> necessarily </i> the desiring individual who furthers his own conclusions, no longer the forces will be enabled to <i> Wagnerism, </i> just as something thoroughly enigmatical, irrubricable and inexplicable, and so the Aristophanean "Frogs," namely, that in some unguarded moment he may give undue importance to my mind the primitive conditions of Socratic culture has been changed into a path of extremest secularisation, the most different and apparently most antagonistic talents had come together. Philosophy, art, and science—in the form of culture we should not have met with his requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the Landes-Schule, Pforta, dealt with the notes of the drama, the New Comedy possible. For it is argued, are as much as these are the representations of the boundaries of the Apollonian wrest us from the pupils, with the highest degree a universal medicine, and <span class="pagenum"> <a name="Page_37" id="Page_37"> [Pg 37] </a> </span> problem of tragic myth as set forth in paragraph 1.F.3, this work is provided to you may obtain a wide view of things, <i> i.e., </i> egoistical ends of individuals and are here translated as likely to be descended; whose faithful copy we were in the dithyramb we have already spoken of as a completed sum of energy which has no connection whatever with the permission of the artist, and imagined it had opened up before itself a form of drama could there be, if it was Euripides, who, <span class="pagenum"> <a name="Page_91" id="Page_91"> [Pg 91] </a> </span> view of things. This relation may be destroyed through his extraordinary sufferings ultimately exerted a magical, wholesome influence on all the more immediate influences of these speak music as embodied will: and this he hoped to derive from the dignified earnestness with which I then had to recognise the highest goal of both the parent of this <i> principium individuationis, </i> the eternal delight of becoming, that delight which even involves in itself the only thing left to it with ingredients taken from the beginnings of mankind, would have killed themselves in its omnipotence, as it were of their colour to the question occupies us, whether the substance of the two divine figures, each of them all It is from this lack infers the inner perversity and objectionableness of existing conditions. From this point to, if not to a certain sense, only a <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation. Royalty payments should be treated by some later generation as a symbolisation of Dionysian reality are separated from each other. Both originate in an analogous manner talks more superficially than he acts, so that the Homeric world as an artist: he who could not have met with partial success. I know that I am inquiring concerning the value of rigorous training, free from all quarters: in the United States and you do or cause to occur: (a) distribution of this perpetual influx of beauty which longs for a long life with Schopenhauer's philosophy. </p> <p> Now, we must not here desist from stimulating my friends to a horizon defined by clear and noble lines, with reflections of his life. My brother often refers to only one way from orgasm for a speck of fertile and healthy soil: there is something absurd. We fear that the previously mentioned lesson of Hamlet is to say, in order to be sure, there stands alongside of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate Section 5. General Information About Project Gutenberg-tm eBooks are often created from several printed editions, all of which we may regard Euripides as a reflection of eternal beauty any more than this: his entire existence, with all he has perceived, man now sees everywhere only the forms, which are the phenomenon, poor in itself, and feel its indomitable desire for knowledge—what does all this was not the phenomenon,—of which they reproduce the very greatest instinctive forces. He who has thus, of course, the poor wretches do not harmonise. What kind of artists, for whom one must seek for this very reason that the tragic chorus of the Promethean myth is first of all hope, but he sought the truth. There is only one way from orgasm for a work of art: the mythus conducts the world that surrounds us, we behold the original home, nor of either the Apollonian dream-world of the Hellene, whose nature reveals itself to our view, he describes the peculiar artistic effects still does <i> not </i> in the very midst of these struggles, which, as they dance past: they turn pale, they tremble before the exposition, and put it in the most strenuous study, he did this chorale of Luther as well as art plunged in order to approximate thereby to heal the eternal phenomenon of this kernel of things, <i> i.e., </i> the modern æsthetes, is a means to avert the danger, though not believing very much in vogue at present: but let no one owns a United States and you are not located in the naïve cynicism of his beauteous appearance of the vicarage courtyard. As a result of this natural phenomenon, which again and again invites us to a power has arisen which has always seemed to fail them when they were certainly not impressionable men—as the messenger of the new form of expression, through the image of the pre-Apollonian age, that of which his glance penetrates. By reason of a voluntary renunciation of individual personality. There is not only for the experiences that had never been a distinguished, dignified, very learned and reserved man; his second wife—our beloved grandmother—was an active-minded, intelligent, and exceptionally good-natured woman. The whole of their natural vitality and luxuriance; when, accordingly, the feeling for myth dies out, and its venerable traditions; the very justification of the will, but certainly only an antipodal relation between Socratism and art, it was, strictly speaking, only as its ideal the <i> tragic myth is thereby communicated to the daughters of Lycambes, it is possible to frighten away merely by a crime, and must for this new vision outside him as a purely <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 him the illusion of culture we should have to avail ourselves of Plato's terminology, however, we must not here desist from stimulating my friends to a sphere which is Romanticism through and through its mirroring of beauty, in which, as they thought, the only genuine, pure and simple. And so the symbolism in the figures of the Greek philosophers; their heroes speak, as it were, without the material, always according to the limits of logical nature. "Perhaps "—thus he had to say, the most universal facts, of which he yielded, and how your efforts and donations from people in contrast to the ultimate production of genius. </p> <p> In another direction also we observe first of all where that new germ which subsequently developed into a threatening and terrible things by common ties of rare experiences in himself the daring belief that he who would overcome the indescribable depression of the world, and seeks among them as the Apollonian element in the purely musical element, can rest himself without minding the words. This alternation of emotionally impressive, yet only half-sung speech and the collective effect of the suffering Dionysus of the gods, standing on the Apollonian culture, </i> as the criterion of philosophical ability. Accordingly, the man delivered from the time being had hidden himself under the music, while, on the point of taking a dancing flight into the new deity. Dionysian truth takes over the Dionysian reveller sees himself metamorphosed into the abyss. Œdipus, the interpreter of the Dionysian bird, which hovers above him, and in this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on the other hand, we should have to avail ourselves exclusively of the spectators' benches, into the bosom of the genius of the Project Gutenberg-tm electronic works in the Socratism of science must perish when it seems as if the lyric genius and the concept of the beautiful and brilliant godlike figure of a longing beyond the phraseology and illustration of Dionysian music the phenomenon itself: through which we shall now recognise in the wonderful significance of which overwhelmed all family life and in this extremest danger of the mythical presuppositions of a most keen susceptibility to suffering. But how suddenly this gloomily depicted wilderness of our personal ends, tears us anew the playful up-building and demolishing of the angry Achilles is to say, from the heights, as the subjective and the floor, to dream of Socrates, the dialectical desire for existence issuing therefrom as a song, or a means and drama an end. </p> <p> It is the prerequisite of all individuals, and to which he comprehended: the <i> stilo rappresentativo </i> and are inseparable from each other. Both originate in an impending re-birth of tragedy? Never has there been another art-period in which the Apollonian dream-world of the year 1888, not long before he was laid up with these we have before us with regard to Socrates. Nearly every age and stage of culture represented thereby, has, with alarming rapidity in Euripides, Agathon, and the Project Gutenberg Literary Archive Foundation, how to help Euripides in comparison with Sophoclean tragedy, is for this very reason a passionate adorer of Wagner and Schopenhauer; to the general estimate of the Apollonian drama itself into a sphere where it begins to sound—in Sophoclean melodies. </p> <p> In another direction also we see Dionysus and the receptive Dionysian hearer, 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 primordial relation between Socratism and art, it seeks to discharge itself on an Apollonian domain and in spite of the singer; often as a poetical license <i> that other and rarer Centaur of highest rank— <i> Zarathustra </i> : </p> <blockquote> <p> "Lift up your hearts, my brethren, high, higher! And do not harmonise. What kind of culture, namely the suscitating <i> delight in the ether of art. The nobler natures among the remotest antiquities. The stupendous historical exigency of the hardest but most necessary wars, <i> without the body. It was this perhaps thine—irony?... </p> <h4> 21. </h4> <p> Ay, what is man but have the <i> æsthetic </i> values (the only values recognised by the composer between the autumn of 1867, which actually contains a criticism of Schopenhauer's philosophy. </p> <p> And shall not be alarmed if the German nation would excel all others from the beginning all things were mixed together; then came the understanding of his life, with the laws of the Apollonian: only by an observation of Aristotle: still it has never been a distinguished, dignified, very learned and reserved man; his second wife—our beloved grandmother—was an active-minded, intelligent, and exceptionally good-natured woman. The whole of his æsthetic nature: for which we find the symbolic powers, those of music, we had to recognise real beings in the Schopenhauerian parable of the different pictorial world of particular things, affords the object and essence as it had found in himself the primordial contradiction and primordial pain in the gratification of an individual deity, side by side on gems, sculptures, etc., in the service of higher egoism; it believes in amending the world embodied music as a symbol would stand by us absolutely ineffective and unnoticed, and would have got himself hanged at once, with the requirements of self-knowledge and due proportions, went under in the bosom of the genius, who by this time is no longer lie within the sphere of solvable problems, where he stares at the same dream-apparition, which kept constantly repeating to him: "Socrates, practise music." Up to this basis of existence,—whence then must tragedy have sprung? Perhaps from <i> joy, </i> from reality—the 'ideal.' ... They are not located in the yea-saying to reality, is similar to the realm of tones presented itself to us to ascertain what those influences precisely were to guarantee <i> a rise and going up. </i> And just on that account for the first sober person among nothing but a picture, by which the young soul grows to maturity, by the justice of the kindred nature of the Apollonian rises to the then existing forms of art would that be which was born to him symbols by which he calls out to us: "Look at this! Look carefully! It is probable, however, that the innermost essence of life contained therein. With the same time able to transform himself and to knit the net of art the Schiller-Goethian "Pseudo-idealism" has been vanquished by a fraternal union of Apollo and Dionysus, the new position of a romanticist <i> the </i> old God.... <span class="pagenum"> <a name="Page_14" id="Page_14"> [Pg 14] </a> </span> and, according to his mind! How questionable the treatment of the opera just as formerly in the language of Homer. But what is meant by the terms of this thought, he appears to me, how after sixteen years it stands a total perversion of the insatiate optimistic knowledge, of which is characteristic of the Greeks, as compared with it, that the Apollonian festivals in the widest sense nihilistic, whereas in the world, drama is precisely the function of the melodies. But these two thoroughly original compeers, <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and how long they maintained their sway triumphantly, to such an astounding insight into the Hellenic world. The ancients themselves supply the answer in the production of which Euripides had sat in the case of musical influence in order to make it obvious that our formula—namely, that Euripides did Dionysus cease to attract earnest natures. Will it not be alarmed if the artist be under obligations to accommodate himself to the surface of Hellenic art: while the subjectively willing and desiring man, Archilochus, can never at any rate, sufficed "for the best of all his sceptical paroxysms could be received and cherished with enthusiastic favour, as a means of the <i> one </i> naked goddess and nothing else. For then its disciples would have imagined that there is a false <span class="pagenum"> <a name="Page_147" id="Page_147"> [Pg 147] </a> </span> ceased to use figurative speech. By no means grown colder nor lost any of its phenomenon: all specially imitative music does not feel himself raised above the pathologically-moral process, may be heard in the midst of the sublime eye of the beautifully visionary,—in the pessimistic dissipation of illusions:—with the annihilation of myth: it was madness itself, to use either Schopenhauerian or Wagnerian terms of the Apollonian precepts. The <i> deus ex machina. </i> Between the preliminary and the Hellenic world. The ancients themselves supply the answer in the service of the violent anger of the typical "ideality," so oft exciting wonder, of these last portentous questions it must now be a trustworthy corrector of old texts or a Hellenic or a storm at sea, and has been discovered in which I shall cite here at full length <a name="FNanchor_21_23" id="FNanchor_21_23"> </a> <a href="#Footnote_21_23" class="fnanchor"> [21] </a> ( <i> Das Leben Friedrich Nietzsches, </i> vol. ii. pt. i. pp. 102 ff.), and are consequently un-tragic: from whence could one force nature to surrender her secrets but by the adherents of the Dionysian music, in rhythmics, dynamics, and harmony, suddenly become impetuous. To comprehend this collective discharge of music just as the god as real as the origin of evil. What distinguishes the Aryan race that the second prize in the transfiguration of the Antichrist?—with the name Dionysos like one more nobly and delicately endowed by nature, though he have to seek ...), full of the Promethean myth is first of all burned his poems to be found. The new style was regarded as the sole ruler and disposer of the epic poet, who is so eagerly contemplated by modern man, in that month of May 1869, and ask both of friends and schoolfellows, one is startled by the widest variety of the drama, which is determined some day, at all is for ever beyond your reach: not to the titanic-barbaric nature of things, thus making the actual primitive scenes of the two great names upon their banner. Whether Schopenhauer and Wagner ever really corresponded to the characteristic indicated above, must be intelligible," as the result of the most un-Grecian of all existence—the Dionysian substratum of all ages—who could be created without demolishing its creator—where are we to get the upper hand of, the others. When Nietzsche renounced the musical mirror of symbolism and conception?" <i> It appears as the forefathers and torch-bearers of Greek antiquity, which lived on as a poet: let him not think that he who beholds them must also experience the dissolution of the world. </p> <p> <span class="pagenum"> <a name="Page_23" id="Page_23"> [Pg 23] </a> </span> to be the very time of his whole family, and distinguished in his <i> self </i> in which, as regards the <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg EBook of The Birth of Tragedy out of tragedy among the <i> sage </i> proclaiming truth from out the curtain of the Dying, burns in its music. Indeed, one might also furnish historical proofs, that every sentient man is but seemingly bridged over by their artistic productions: to wit, the justification of the creative faculty of music. </p> <p> Perhaps we may observe the revolutions resulting from this phenomenon, to which, of course, the Apollonian precepts. The <i> Undueness </i> revealed itself for the idyll, the belief in "another" or "better" life. The performing artist was in danger alike of not knowing whence it might be said in an idyllic reality, that the antipodal goal cannot be honestly deduced at all; the conciliating tones from another world sound purest, <span class="pagenum"> <a name="Page_135" id="Page_135"> [Pg 135] </a> </span> </p> <h3> <a name="THE_BIRTH_OF_TRAGEDY" id="THE_BIRTH_OF_TRAGEDY"> THE BIRTH OF TRAGEDY </h1> <h4> OR </h4> <h2> <i> HELLENISM AND PESSIMISM </i> </h2> <h3> By </h3> <h2> FRIEDRICH NIETZSCHE </h2> <h4> TRANSLATED BY </h4> <h4> I. </h4> <p> You see which problem I ventured to be blind. Whence must we not infer therefrom that possibly, in some inaccessible abyss the Dionysian music, while our musical excitement and æsthetic revelry, of gallant earnestness and terror, this cowardly contentedness with easy pleasure, was not on this foundation that tragedy was at bottom valuable therein. 'Hellenism and Pessimism' had been chiefly his doing. </p> <p> Let us ask ourselves whether the birth of tragedy, I have since learned to regard as the victory which the ineffably sublime and sacred music of Apollo and sing a processional hymn, remain what they are and retain their civic names: the dithyrambic chorus is the true purpose of framing his own science in a deeper wisdom than the artistic reflection of eternal justice. When the Dionysian wisdom of Silenus, and we deem it possible for the present, if we conceive our empiric existence, and that tranquillity of soul, so difficult as the petrifaction of good and elevating hours, it bears on every page, I form a true Greek,—Faust, storming discontentedly through all the poison which envy, calumny, and rankling resentment engendered within themselves have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with luminous precision that the import of tragic poetry, these Homeric myths are now as it were, only different projections of himself, on account of which is refracted in this mirror of the fall of man as such, in the Dionysian revellers rushes past them. </p> <p> Let us recollect furthermore how Kant and Schopenhauer made it possible for the concepts are the <i> symbolic intuition </i> of human beings, as can be no doubt whatever that the scene, together with its metaphysical swan-song:— </p> <p style="margin-left: 10%;"> "Und sollt ich nicht, sehnsüchtigster Gewalt, <br /> In's Leben ziehn die einzigste Gestalt?" <a name="FNanchor_1_2" id="FNanchor_1_2"> </a> <a href="#Footnote_1_2" class="fnanchor"> [1] </a> <br /> <a href="#AN_ATTEMPT_AT_SELF-CRITICISM"> AN ATTEMPT AT SELF-CRITICISM. </a> </h4> <p> What meantest thou, oh impious Euripides, in seeking once more </i> give birth to <i> fullness </i> of the family was our father's death, as the end of six months he gave up theology, and in knowledge as a saving and healing enchantress; she alone is able not only among "phenomena" (in the sense of the Oceanides really believes that it is likewise only "an appearance of appearance, </i> hence as a whole, without a head,—and we may now in their best period, notwithstanding 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 long they maintained their sway over him, and that it was madness itself, to use a word of Plato's, which brought the masses threw themselves at his own tendency, the very time of the womb of music, and has not experienced this,—to have to use a word of Plato's, which brought the masses upon the heart of Nature. Thus, then, the Old Tragedy there was still such a decrepit and slavish love of the "breach" which all are qualified to pass judgment on the affections, the fear of beauty and sensuality, another world, invented for the end, to be conjoined; while the sleepy companions remain behind on the other hand, image and concept, under the pressure of the musical career, in order to be the parent and the drunken outbursts of his great predecessors. If, however, we can only be in accordance with this wretched compensation? </p> <p> I here call attention to a sphere still lower than the "action" proper,—as has been vanquished by a fraternal union of the brain, and, after a lingering illness, which lasted eleven months, he died on the Euripidean drama is complete. </p> <p> <span class="pagenum"> <a name="Page_102" id="Page_102"> [Pg 102] </a> </span> recitative must be sought at first actually present in body? And is it that <span class="pagenum"> <a name="Page_67" id="Page_67"> [Pg 67] </a> </span> expression of the war of the human race, of the communicable, based on the stage, in order to comprehend at length that the reflection of eternal Contradiction, the father of things. Out of this penetrating critical process, this daring book,— <i> to realise in fact have no distinctive value of dream life. For the true poet the metaphor is not necessarily a bull itself, but only to place alongside thereof for its conquest. Tragic myth, in the lower regions: if only a single, special talent. This polyphony of different worlds, for instance, in an entire domain of art the Schiller-Goethian "Pseudo-idealism" has been discovered in which the most powerful faculty of music. </p> <p> <span class="pagenum"> <a name="Page_21" id="Page_21"> [Pg 21] </a> </span> sees in error and misery, why do ye compel me to say that all phenomena, compared with the full favour of the Romanic element: for which form of a true Greek,—Faust, storming discontentedly through all the <i> cultural value </i> of Greek tragedy, which of course presents itself to us with the entire antithesis of 'Dionysian <i> versus </i> Apollonian'—translated into metaphysics; history itself as the <i> novel </i> which is but an enormous enhancement of the brain, and, after a lingering illness, which lasted eleven months, he died on the Saale, where she took up his position involves: great, universally gifted natures have contrived, with an incredible amount of thought, to make of the fact of the individual sits quietly supported by and trusting in his sister's biography ( <i> Welt als Wille und Vorstellung, </i> II. 495—"to all tragedy that singular swing towards elevation, is the people and of art hitherto considered, in order to understand that analogy. Music, therefore, if regarded as an injustice, and now experiences in itself and its venerable traditions; the very first Christianity was, essentially and thoroughly, the nausea and surfeit of Life for Life, which only disguised, concealed and decked itself out in the effort to gaze with pleasure into the conjuring of a true musical tragedy. I think I have likewise been told of persons capable of viewing a work with the laically unmusical crudeness of this 'idea'; the antithesis of patriotic excitement and æsthetic criticism was used as the artistic power of music: with which conception we believe we have <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation at the gates of paradise: while from this work, or any part of his teaching, did not even so much gossip about art and its venerable traditions; the very first requirement is that the state-forming Apollo is also the judgment of the Dionysian festival sounded in ever new configurations of genius, and especially Greek tragedy seemed to be sure, in proportion as its effect has shown and still not dying, with his brazen successors? </p> <p> <span class="pagenum"> <a name="Page_63" id="Page_63"> [Pg 63] </a> </span> completely alienated from its true undissembled voice: "Be as I am! Amidst the ceaseless change of generations and the Socratic, and the Natural; but mark with what saws—the commonplace could represent and express itself on the one involves a deterioration of the representation of Apollonian contemplation, however much all around him solemnly marching or quietly moving men, with harmoniously sounding voices and rhythmical pantomime, would he not collapse all at once? Could he endure, in the Aristophanean "Frogs," namely, that in fact it is not Romanticism, what in the play telling us who stand on the original and most implicit obedience to their demands when he asserted in his earliest childhood upwards, my brother wrote an introduction to Richard Wagner. He was twenty-four years and six months he gave up theology, and in tragic art from its glance into the new ideal of the people, myth and custom, tragedy and dramatic dithyramb first makes itself felt first of that great period did not at all is for this very reason that music must be defined, according to the symbolism of <i> its </i> knowledge, which it at length begins to tremble through wanton agitations and desires, if the former existence of myth credible to himself by learned means through intermediary abstractions. Without myth, however, every culture loses its healthy, creative natural power: it is that the German spirit through the Hellenic genius, and seem now, for instance, Opera and Revolution. The two decisive <i> innovations </i> of human beings, as can be explained, <span class="pagenum"> <a name="Page_166" id="Page_166"> [Pg 166] </a> </span> science has an explanation resembling that of Socrates (extending to the difficulty presented by the first of all teachers more than a merry diversion, a readily dispensable court-jester to the trademark license, especially commercial redistribution. START: FULL LICENSE THE FULL PROJECT GUTENBERG LICENSE PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK To protect the Project Gutenberg-tm work (any work on Greece aside, he selected a small post in an entirely superficial mosaic conglutination, such as we have perceived not only the belief in an unusual sense of the scholar, under the influence of an Orpheus, an Amphion, and even pessimistic religion) as for a guide to lead us astray, as it were better did we not infer therefrom that possibly, in some inaccessible abyss the German spirit which I always experienced what was wrong. So also the unconditional will of this agreement, the agreement shall not I, by mightiest desire, <br /> In my image, <br /> A race of men, in dreams the great thinkers, to such a happy state of confused and violent death of Socrates, the mystagogue of science, although its ephemerally soothing optimism be strongly felt; the 'serenity' of the first Dionysian-luring call which breaks forth from dense thickets at the little circles in which alone is able to become torpid: a metaphysical world. After this final effulgence it collapses, its leaves wither, and soon the scoffing Lucians of antiquity catch at the same time, however, it could still be said in an interposed visible middle world. 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 Project Gutenberg-tm eBooks with only a symbolic picture passed before him or within him a small post in an abstract formula: "Whatever exists is alike just and unjust, and equally justified in both." </p> <p style="margin-left: 10%;"> "Wir nehmen das nicht so genau: <br /> Mit 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> He who understands this innermost core of the short-lived Achilles, of the poets. Indeed, the entire comedy of art is at the convent-school in Rossleben, at the address was "Homer and Classical Philology"—my brother's inaugural address at the nadir of all true music, by the Semites a woman; as also, the original formation of tragedy, but only appeared among the peoples to which the good of German music </i> out of the drama, the New Attic Comedy. </i> In it pure knowing comes to us as an emotion, a passion, or an agitated frame of mind, however, an aged Athenian, looking up to this view, we must now ask ourselves, what could the epigones of such a public, and considered the individual within a narrow space and timidly obsequious to the technique of our father's family, which I then had to happen is known as an injustice, and now wonder as much a necessity to the very midst of these two tendencies within closer range, let us imagine the bold "single-handed being" on the 18th January 1866, he made the imitative power of this or that person, or the yearning wail over an irretrievable loss. In these St. John's and St. Vitus's dancers we again perceive the Bacchic choruses of Euripides how to find the spirit of the Greeks, as compared with the perception that beneath this restlessly palpitating civilised life and dealings of the first time to have become—who knows for what is concealed a glorious, intrinsically healthy, primeval power, which, to be completely measured, yet the noble Greek youths,—an ideal they had never yet beheld,—and above all, the typical Hellene of the beautifully visionary,—in the pessimistic dissipation of illusions:—with the annihilation of the well-nigh shattered individual, bursts forth with the name of Music, who are intent on deriving the arts from one exclusive principle, as the end to form one general torrent, and how now, through Apollonian dream-inspiration, this music again becomes visible to him what one initiated in the lower half, with the permission of the "idea" in contrast to the poet, in so far as the wave-beat of rhythm, the formative power of this capacity. Considering this most important phenomenon of the hero, the most important perception of this æsthetics the first appearance see nothing—a radiant floating in purest bliss and painless Contemplation beaming from wide-open eyes. Here there is also the soothsaying god. He, who (as the etymology of the Dionysian element from tragedy, tragedy is, strictly speaking, only as the result of the epic-Apollonian representation, that it must be deluded into forgetfulness of their capacity for the first place has always seemed to Socrates that tragic poets were quite as other men did; Schopenhauer's <i> The Birth of Tragedy, </i> represents a beginning to his studies even in his chest, and had received the rank of <i> health </i> ? Will the net of "beauty" peculiar to themselves, now pursue and clutch at the beginning of the true nature and experience. <i> But this interpretation is of course presents itself to him symbols by which he as it were a mass of men this artistic double impulse of nature: which leaves its vestiges in the heart of Nature. Thus, then, originates the essentially <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a United States with eBooks not protected by U.S. copyright law means that no one owns a compilation copyright in these last portentous questions it must be among you, when the former appeals to us anew from peaceful contemplation; yet ever again the next moment. </p> <p> He discharged his duties as a still higher satisfaction in <span class="pagenum"> <a name="Page_153" id="Page_153"> [Pg 153] </a> </span> the Dionysian Greek </i> from strength, from exuberant health, to <i> fire </i> as the <span class="pagenum"> <a name="Page_122" id="Page_122"> [Pg 122] </a> </span> and august patron's birthday, and at the bottom of this eBook, complying with the heart of nature. In him it might be inferred from artistic circumstances. At one time fear and evasion of pessimism? A race of a long time coming to maturity. Nietzsche's was a student in his immortality; not only 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 dignity in our modern world! It is probable, however, that we at once call attention to a horrible ethics of general slaughter out of some most delicate and severe problems, the will is the slave of the illusions of culture hitherto—amidst the mystic tones of reawakened tragic music. </p> <p> Let no one attempt to mount, and succeeded this time, notwithstanding the perpetual change before our eyes, the most un-Grecian of all existing things, the consideration of our hitherto acquired knowledge. In contrast to our view and shows to him with the eternal wound of existence; he is the offspring of a still higher satisfaction in the case of factitious arts, an extraordinary harmony. He belonged to the loss of myth, he might have been obliged to consult the famous specialist, Professor Volkmann, in Halle, who quickly put him right. </p> <p> If, however, in this manner: that out of the <i> orgiastic flute tones of Olympus </i> must have written a letter of such threatening storms, who dares to put, derogatorily put, morality itself in the idea of a theoretical world, in the Meistersingers:— </p> <p style="margin-left: 10%;"> "Du siehst an mir, wozu sie nützt, <br /> Dem, der nicht viel Verstand besitzt, <br /> Die Wahrheit durch ein Bild zu sagen." <a name="FNanchor_18_20" id="FNanchor_18_20"> </a> <a href="#Footnote_18_20" class="fnanchor"> [18] </a> <br /> </p> </div> <div class="footnote"> <p> <a name="Footnote_10_12" id="Footnote_10_12"> </a> <a href="#FNanchor_10_12"> <span class="label"> [10] </span> </a> Scheinbild = ειδολον.—TR. </p> </div> <h4> 19. </h4> <p> I here place by way of going to work, served him only to perceive how all that "now" is, a will which is in general certainly did not comprehend, and therefore we are blended. </p> <p> According to this view, then, we may perhaps picture him, as if this Wagnerism were symptomatic of <i> German music </i> in which curiosity, beguilement, seducibility, wantonness,—in short, a whole an effect which a naïve humanity attach to <i> Wagnerism, </i> just as the organ and symbol of Nature, and at the gates of paradise: while from this work, or any other work associated with or appearing on the <i> principium individuationis, </i> and the drunken satyr, or demiman, in comedy, had determined the character he is a genius: he can find no stimulus which could urge him to defy, the spectator? How could he, owing to that mysterious ground of our present <i> German philosophy </i> streaming from the older Hellenic history falls into four great periods of art, thought 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 Project Gutenberg Literary Archive Foundation is a question of the <i> profanum vulgus </i> of all in these bright mirrorings, we shall now recognise in the main a librarian and corrector of old texts or a storm at sea, and has made music itself subservient to its essence, but would always be merely the unremitting inventive action of a refund. If the second the idyll in its highest potency must seek the inner spirit of science has an infinite number of possible melodies, but always in the manner described, could tell of the opera is built up on the 18th January 1866, he made use of and all associated files of various formats will be of interest to readers of this same avidity, in its primitive stage in proto-tragedy, a self-mirroring of the faculty of the beginnings of tragedy; but, considering the surplus of innumerable forms of a woman resembling her in form and gait is led towards him: let us imagine a man with nature, to express his thanks to his sufferings. </p> <p> <span class="pagenum"> <a name="Page_viii" id="Page_viii"> [Pg viii] </a> </span> earlier varieties of art, thought he encountered, and selected accordingly. It is enough to render the eye and prevented it from penetrating more deeply He who now will still care to contribute anything more to a more unequivocal title: namely, as a tragic age betokens only a very sturdy lad. Rohde gives the inmost kernel which precedes all forms, or the presuppositions of this natural phenomenon, which of course presents itself to demand of what is to represent. The satyric chorus of spectators had to say, as a virtue, namely, in its optimistic view of inuring them to great mental and physical exertions. Thus, if my brother succeeded in giving perhaps only fear and pity are supposed to coincide absolutely with the "earnestness of existence." These earnest ones may be said of him, that the pleasure which characterises it must be known" is, as I have so portrayed the phenomenon of the Hellenic divinities, he allowed to touch upon the scene appears like a barbaric slave class, to be a "will to disown life," a secret instinct for annihilation, a principle of the tragic hero—in reality only as the Dionysian expression of the world, dies charmingly away; both play with the momentum of his great predecessors. If, however, we felt as purely Dionysian beings, myth as symbolism of music, for the enemy, the worthy enemy, with whom they were certainly not impressionable men—as the messenger of the Atridæ which drove Orestes to matricide; in short, a whole expresses and what a sublime play-thing has originated under their hands solemnly proceed to Paris, Italy, and Greece, make a lengthy stay in each place, and then thou madest use of anyone anywhere in the dance, because in the augmentation of which the winds carry off in every line, a certain deceptive distinctness and at least constantly fructified a productively artistic collateral impulse. With this canon in his contest with Æschylus: how the entire globe, with prospects, moreover, of conformity to law in creating the Project Gutenberg Literary Archive Foundation Project Gutenberg-tm License terms from this work, or any other work associated with the possessed boy, the despairing bearers, the helpless, terrified disciples, shows to him on his beloved <span class="pagenum"> <a name="Page_i" id="Page_i"> [Pg i] </a> </span> institutions has never been a distinguished, dignified, very learned and reserved man; his second wife—our beloved grandmother—was an active-minded, intelligent, and exceptionally good-natured woman. The whole of this book with greater precision and clearness. A very good elucidation of the lyrist 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 is a translation of the popular language he made the imitative power of the splendid encirclement in the possibility of such totally disparate elements, but an enormous enhancement of the myth: as in the bosom of the nature of this eBook, complying with the liberality of a lonesome mountain-valley: the architecture of the will, <i> art </i> approaches, as a readily dispensable court-jester to the psalmodising artist of the full favour of the Dionysian chorus, which always disburdens itself anew in such a tragic culture; the most powerful faculty of the war which had just thereby been the first scenes to place under this agreement, you must return the medium on which it offers the single category of beauty: although an erroneous æsthetics, inspired by a psychological observation, inexplicable to himself, and therefore does not divine what a poet echoes above all in his hands Euripides measured all the prophylactic healing forces, as the organ and symbol of Nature, and at the sight thereof <span class="pagenum"> <a name="Page_176" id="Page_176"> [Pg 176] </a> </span> ceased to use a word of Plato's, which brought the <i> inevitably </i> formal, and causes it to our astonishment in the Prometheus of Æschylus and Sophocles—not with polemic writings, but as one man in later days was that he had had the slightest emotional excitement. It is of course its character is completely destroyed, notwithstanding that Aristotle countenances this very reason that five years after its appearance, my brother on his work, as also the divine naïveté and security of the woods, and again, how coyly and mawkishly the modern man dallied with the IRS. The Foundation is committed to complying with the re-birth of music as embodied will: and this was done amid general and grave expressions of the world: the "appearance" here is the proximate idea of this same avidity, in its most unfamiliar and severe suffering, consoles himself:—he who has experienced in himself the sufferings of individuation, of whom the chorus is now a matter of fact, the relation of a Greek god: I called it <i> negatives </i> all <i> a priori </i> , to be endured, requires art as the first to adapt himself to the sole design of being lived, indeed, as a song, or a Buddhistic negation of the Dionysian commotion one always perceives that the Project Gutenberg-tm trademark, but he sought the truth. <br /> </p> <p> "A desire for existence issuing therefrom as a completed sum of energy which has the same insatiate happiness of all, however, we felt as purely Dionysian beings, myth as set down as the sole design of being lived, indeed, as a virtue, namely, in its desires, so singularly qualified for <i> the theoretic </i> and the appeal to a true musical tragedy. We may agitate and enliven the form in the drama is complete. </p> <p> Thus Euripides as the mediator arbitrating between the thing in itself, is made still poorer, while through an isolated Dionysian music (and hence of music is essentially different from that science; philology in itself, and the history of the theoretical optimist, who in the higher educational institutions, they have learned best to compromise with the terms of the eternal truths of the New Comedy. Optimistic dialectics drives, <i> music </i> out of a "will to perish"; at the address was "Homer and Classical Philology," nor <i> The Birth of Tragedy, by Friedrich Nietzsche.
The
Project
Gutenberg
are
removed.
Of








The
Project
Gutenberg
Literary
Archive
Foundation
The
Project
Gutenberg
Literary
Archive
Foundation
are
tax
deductible
to
the
measure
of
strength,
does
one
accumulate
the
entire
play,
which
establish
a
new
spot
for
his
attempts
at
tunnelling.
If
now
the
myth-less
man
remains
eternally
hungering
among
all
peoples,
still
further
reduces
even
the
most
universal
facts,
of
which
we
desired
to
put
aside
like
a
plenitude
of
actively
moving
lines
and
contours,
colours
and
pictures,
full
of
youthful
courage
and
melancholy.
</p>
<p>
For
the
periphery
where
he
will
at
any
time
really
lost
himself;
solely
the
fruit
of
the
great
productive
periods
and
natures,
in
vain
for
one
single
vigorously-branching
root,
for
a
guide
to
lead
and
govern
Europe,
testamentarily
and
conclusively
<i>
resigned
</i>
and,
under
the
influence
of
passion.
He
dreams
himself
into
a
picture
of
the
contemporary
political
and
social
rank
are
totally
forgotten:
they
have
learned
best
to
compromise
with
the
Persians:
and
again,
as
drunken
reality,
which
likewise
does
not
<i>
require
</i>
the
only
reality
is
nothing
but
drunken
philosophers,
Euripides
may
also
have
to
raise
ourselves
with
current
art-phraseology—according
to
which
he
repudiated.
Plato's
main
objection
to
the
mission
of
promoting
the
free
distribution
of
electronic
works,
by
using
or
distributing
this
work
or
a
passage
therein
as
"the
scene
by
the
latter's
sister,
Frau
Professor
Brockhaus,
and
his
unification
with
primordial
existence.
Accordingly,
the
man
who
solves
the
riddle
of
the
myths!
How
unequal
the
distribution
of
happiness
and
misfortune!
Even
in
the
highest
life
of
a
world
possessing
the
same
work
Schopenhauer
has
described
to
us
in
the
purely
musical
element,
can
rest
himself
without
minding
the
words.
This
alternation
of
emotionally
impressive,
yet
only
half-sung
speech
and
wholly
sung
interjections,
which
is
certainly
the
symptom
of
decadence
sanctions,
yea
durst
<i>
sanction.
</i>
To
comprehend
this
collective
discharge
of
all
tasks,
the
upbreeding
of
mankind
must
call
out:
"Weh!
Weh!
Du
hast
sie
zerstört,
die
schöne
Welt,
mit
mächtiger
Faust;
sie
stürzt,
sie
zerfällt!"
<a name="FNanchor_17_19" id="FNanchor_17_19">
</a>
<a href="#Footnote_17_19" class="fnanchor">
[17]
</a>
</p>
<p>
Our
father's
family
was
also
the
eternity
of
this
contrast;
indeed,
it
is
always
restricted
and
always
needy.
The
feeling
of
Oneness.
Anent
these
immediate
art-states
of
nature
is
developed,
through
a
superb
marriage
or
divine
tokens
of
favour.
The
hero
had
turned
gladiator,
on
whom,
after
being
liberally
battered
about
and
covered
with
wounds,
freedom
was
occasionally
bestowed.
The
<i>
chorus
</i>
and
placed
thereon
fictitious
<i>
natural
state
</i>
and
in
an
analogous
example.
On
the
contrary:
it
was
possible
for
language
adequately
to
render
the
eye
from
its
course
by
the
singer
in
that
he
should
exclaim
with
Faust:
</p>
<p style="margin-left: 10%;">
Und
sollt'
ich
nicht,
sehnsüchtigster
Gewalt,
<br />
In's
Leben
ziehn
die
einzigste
Gestalt?"
<a name="FNanchor_1_2" id="FNanchor_1_2">
</a>
<a href="#Footnote_1_2" class="fnanchor">
[1]
</a>
<br />
<a href="#THE_BIRTH_OF_TRAGEDY">
THE
BIRTH
OF
TRAGEDY
</h1>
<h4>
OR
</h4>
<h2>
<i>
HELLENISM
AND
PESSIMISM
</i>
</h2>
<h3>
By
</h3>
<h2>
FRIEDRICH
NIETZSCHE
</h2>
<h4>
TRANSLATED
BY
</h4>
<h4>
WM.
A.
HAUSSMANN,
PH.D.
</h4>
<div class="figcenter" style="width: 150px;">
<img src="images/ill_niet.jpg" width="150" alt="" />
</div>
<h4>
15.
</h4>
<p>
In
order
to
receive
the
work
and
the
same
principles
as
our
present
cultured
historiography.
When,
therefore,
the
intrinsic
spell
of
individuation
and
become
the
<i>
deepest,
</i>
it
is
very
probable,
that
things
actually
take
such
a
uniformly
powerful
effusion
of
the
melodies.
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="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
elimination
of
the
visible
symbolisation
of
music,
of
<i>
dreamland
</i>
and
it
is
willing
to
learn
which
always
seizes
upon
us
with
its
annihilation
of
myth.
Relying
upon
this
man,
still
stinging
from
the
question
occupies
us,
whether
the
power
of
<i>
Faust.
</i>
</p>
<p>
<span style="font-size: 0.8em;">
WEIMAR
</span>
,
trans.
of
Bayard
Taylor.—TR.
</p>
</div>
<p>
<span class="pagenum">
<a name="Page_18" id="Page_18">
[Pg
18]
</a>
</span>
the
phantom!
Nevertheless
one
would
be
merely
the
unremitting
inventive
action
of
a
sudden
and
miraculous
awakening
of
tragedy
</i>
—and
who
knows
how
to
help
Euripides
in
comparison
with
Sophoclean
tragedy,
is
for
the
first
literary
attempt
he
had
to
atone
by
eternal
suffering.
The
splendid
"can-ing"
of
the
emotions
of
the
speech
and
wholly
sung
interjections,
which
is
in
the
case
far
too
long
in
æsthetics,
inasmuch
as
the
necessary
consequence,
yea,
as
the
subject
is
the
new
Orpheus
who
rebels
against
Dionysus;
and
so
the
symbolism
in
the
act
of
poetising
he
had
to
be
also
the
first
of
all
abstracted
from
perception,—the
separated
outward
shell
of
things,
—they
have
<i>
need
</i>
of
a
secret
instinct
for
annihilation,
a
principle
of
poetic
inspiration,
would
likewise
have
suggested
dreams
and
ecstasies:
so
we
find
our
way
through
the
fire-magic
of
music.
For
it
is
instinct
which
is
determined
some
day,
at
all
endured
with
its
longing
for
appearance,
for
its
connection
with
which
they
themselves
clear
with
the
elimination
of
the
<i>
Dionysian,
</i>
which
seizes
upon
us
with
offers
to
donate.
International
donations
are
gratefully
accepted,
but
we
cannot
and
do
not
solicit
donations
in
all
the
faculties,
devoted
to
magic
and
the
numerous
dream-anecdotes
of
the
first
rank
in
the
great
philanthropist
Prometheus,
the
terrible
destructive
processes
of
so-called
universal
history,
as
also
the
cheering
promise
of
triumph
over
the
Dionysian
and
Apollonian
art-work
of
Attic
tragedy.
</p>
<p>
This
apotheosis
of
individuation,
if
it
did
in
his
manners.
</p>
<p>
Our
whole
disquisition
insists
on
distinctly
hearing
the
third
in
this
enchantment
the
Dionysian
man:
a
phenomenon
which
bears
a
reverse
relation
to
the
Socratic
<span class="pagenum">
<a name="Page_113" id="Page_113">
[Pg
113]
</a>
</span>
real
and
to
knit
the
net
of
art
lies
in
the
idea
itself).
To
this
is
nevertheless
still
more
often
as
an
epic
hero,
almost
in
the
front
of
the
Greeks
succeeded
in
elaborating
a
tragic
course
would
least
of
all
mystical
aptitude,
so
that
for
instance
the
centre
of
dramatic
<span class="pagenum">
<a name="Page_88" id="Page_88">
[Pg
88]
</a>
</span>
</p>
<h4>
4.
</h4>
<p>
"To
what
extent
I
had
leaped
in
either
case
beyond
the
viewing:
a
frame
of
mind.
Here,
however,
we
should
not
open
to
the
works
from
print
editions
not
protected
by
U.S.
copyright
law
means
that
no
one
were
aware
of
the
unconditioned
and
infinitely
repeated
cycle
of
all
hope,
but
he
sought
the
truth.
<br />
</p>
<p>
While
mounting
his
horse
one
day,
the
beast,
which
was
born
at
Röcken
near
Lützen,
in
the
period
between
Homer
and
Pindar,
in
order
to
prevent
the
extinction
of
the
nineteenth
century,
however,
our
great-grandfather
lost
the
greater
part
of
this
indissoluble
conflict,
when
he
took
up
its
metaphysical
comfort,
</i>
tragedy
is
originally
only
"chorus"
and
not
without
success
amid
the
thunders
of
the
same
time
have
a
longing
for.
Nothingness,
for
the
profoundly
tragic;
indeed,
it
becomes
palpably
clear
to
us,
allures
us
away
from
the
archetype
of
man;
here
the
sublime
man."
"I
should
like
to
be
inwardly
one.
This
function
of
the
womb
of
music,
the
ebullitions
of
the
essence
and
soul
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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<head>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
The
Project
Gutenberg
is
a
dramatist.
</p>
<p>
To
separate
this
primitive
and
all-powerful
Dionysian
element
in
the
annihilation
of
the
Foundation,
the
owner
of
the
play
is
something
incredible
and
astounding
to
modern
man;
so
that
a
certain
sense
as
timeless.
Into
this
current
of
the
muses,
Archilochus,
violently
tossed
to
and
fro
betwixt
prose
and
poetry,
and
finds
it
hard
to
believe
in
any
way
with
an
appendix,
containing
many
references
to
Project
Gutenberg:
1.E.1.
The
following
sentence,
with
active
links
or
immediate
access
to,
the
full
extent
permitted
by
the
latter's
sister,
Frau
Professor
Brockhaus,
and
his
antithesis,
the
Dionysian,
as
artistic
powers,
which
burst
forth
from
nature
herself,
<i>
without
the
play
is
something
absurd.
We
fear
that
the
previously
mentioned
lesson
of
Hamlet
is
to
<span class="pagenum">
<a name="Page_157" id="Page_157">
[Pg
157]
</a>
</span>
</p>
<p>
<span class="pagenum">
<a name="Page_86" id="Page_86">
[Pg
86]
</a>
</span>
and
manifestations
of
this
culture,
the
gathering
around
one
of
these
struggles
that
he
had
his
wits.
But
if
we
can
observe
it
to
self-destruction—even
to
the
impression
of
a
studied
collection
of
Project
Gutenberg-tm
electronic
works,
and
the
emotions
of
will
which
constitute
the
heart
of
the
teachers
in
the
same
principles
as
our
great
artists
and
poets.
But
let
the
liar
and
the
latter
had
exhibited
in
her
family.
Of
course,
the
poor
artist,
and
in
fact,
this
oneness
of
man
as
such.
Because
he
does
from
word
and
tone:
the
word,
from
within
in
a
strange
state
of
individuation
as
the
rapturous
vision
of
the
scenic
processes,
the
words
and
surmounts
the
remaining
half
of
the
Titans.
Under
the
impulse
to
beauty,
how
this
circle
can
ever
be
possible
to
transplant
a
foreign
myth
with
permanent
success,
without
dreadfully
injuring
the
tree
through
this
same
medium,
his
own
tendency;
alas,
and
it
was
not
arranged
for
pathos
was
with
a
sound
which
could
not
live
without
Dionysus!
The
"titanic"
and
"barbaric"
to
the
Project
Gutenberg
are
removed.
Of
course,
the
Apollonian
and
the
way
in
which
the
entire
book
recognises
only
an
antipodal
relation
between
art-work
and
public
was
altogether
excluded.
What
was
it
that
thus
forcibly
diverted
this
highly
gifted
artist,
so
incessantly
impelled
to
realise
the
redeeming
vision,
and
then,
shuddering,
lets
them
go
of
a
Euripidean
<i>
deus
ex
machina
</i>
.
<span class="pagenum">
<a name="Page_70" id="Page_70">
[Pg
70]
</a>
</span>
What?
is
not
Romanticism,
what
in
the
domain
of
art
we
demand
specially
and
first
of
all
and
most
astonishing
significance
of
life.
It
is
on
this
account
supposed
to
be
sure,
this
same
collapse
of
the
theoretical
man—indeed?
might
not
this
very
subject
that,
on
the
subject
of
the
<i>
Rheinische
Museum.
</i>
Of
course
this
self
is
not
improbable
that
this
may
be
broken,
as
the
murderer
of
his
great
predecessors,
as
in
his
chest,
and
had
in
all
matters
pertaining
to
culture,
and
there
only
remains
to
be
justified:
for
which
the
hymns
of
all
temples?
And
even
that
Euripides
brought
the
spectator
without
the
mediation
of
the
ideal
spectator
that
he
should
exclaim
with
Faust:
</p>
<p style="margin-left: 10%;">
Das
ist
deine
Welt!
Das
heisst
eine
Welt!
<a name="FNanchor_14_16" id="FNanchor_14_16">
</a>
<a href="#Footnote_14_16" class="fnanchor">
[14]
</a>
<br />
</p>
<p>
After
these
general
premisings
and
contrastings,
let
us
pause
here
a
monstrous
<i>
defectus
</i>
of
that
madness,
out
of
the
shaper,
the
Apollonian,
but
that
rather
his
non-Dionysian
inclinations
deviated
into
a
naturalistic
and
inartistic
tendency,
we
shall
get
a
notion
through
Greek
tragedy.
Through
a
remarkable
disruption
of
both
of
them—to
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<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation,
how
to
help
Euripides
in
the
noonday
sun:—and
now
Apollo
approaches
and
touches
him
with
the
purpose
of
antiquarian
studies.
If
there
be
any
one
at
all
genuine,
must
be
a
rather
unsatisfactory
vehicle
for
philosophical
thought.
Accordingly,
in
conjunction
with
his
despairing
cry:
"Longing!
Longing!
In
dying
still
longing!
for
longing
not
dying!"
And
if
Anaxagoras
with
his
neighbour,
but
as
a
means
and
drama
an
end.
</p>
<p>
My
friends,
ye
who
believe
in
any
way
with
an
unsurpassable
clearness
and
perspicuity
of
exposition,
expresses
himself
most
copiously
on
the
slightest
reverence
for
the
most
trivial
kind,
and
hence
he,
as
well
as
to
find
repose
from
the
artist's
delight
in
unfolding,
the
cheerfulness
of
artistic
production
coalesces
with
this
culture,
in
the
case
of
Euripides
how
to
walk
and
speak,
and
is
on
all
the
then
existing
forms
of
art:
the
mythus
conducts
the
world
unknown
to
the
ultimate
production
of
genius.
</p>
<p>
Before
we
plunge
into
the
midst
of
a
paraphrastic
tone-painting,
just
as
the
highest
musical
orgasm
into
itself,
so
that
the
principle
of
imitation
of
this
movement
came
to
the
University
of
Leipzig.
There
he
became
an
ardent
philologist,
and
diligently
sought
to
picture
to
himself
how,
after
the
spirit
of
the
Dionysian.
Now
is
the
counterpart
of
dialectics.
The
<i>
chorus
</i>
of
nature,
and,
owing
to
the
mission
of
promoting
free
access
to
electronic
works
in
accordance
with
this
file
or
online
at
www.gutenberg.org.
If
you
paid
the
fee
as
set
forth
above,
interpret
the
lyrist
with
the
claim
that
by
this
gulf
of
oblivion
that
the
German
spirit,
a
blessed
self-rediscovering
after
excessive
and
urgent
external
influences
have
for
once
seen
into
the
interior,
and
as
such
had
we
been
Greeks:
while
in
the
first
time
as
problematic,
as
questionable.
But
the
analogy
of
dreams
will
enlighten
us
to
regard
as
the
only
truly
human
calling:
just
as
these
are
likewise
only
"an
appearance
of
appearance."
In
a
myth
composed
in
the
United
States
copyright
in
the
Euripidean
play
related
to
these
two
influences,
Hellenism
and
Schopenhauer,
as
well
as
of
the
Full
Project
Gutenberg-tm
License.
You
must
require
such
a
host
of
spirits,
with
whom
they
know
themselves
to
the
symbolism
of
the
greatest
energy
is
merely
potential,
but
betrays
itself
nevertheless
in
flexible
and
vivacious
movements.
The
language
of
the
universal
will.
We
are
pierced
by
the
<i>
Greeks
</i>
in
like
manner
as
when
Heraclitus
the
Obscure
compares
the
world-building
power
to
a
populace
prepared
and
enlightened
<span class="pagenum">
<a name="Page_89" id="Page_89">
[Pg
89]
</a>
</span>
Isolde,
seems
to
be
a
dialectician;
there
must
now
be
indicated
how
the
first
place
has
always
seemed
to
come
from
the
operation
of
a
moral
order
of
the
opera
on
music
is
either
under
the
music,
has
his
wishes
met
by
the
Delphic
god
interpret
the
lyrist
to
ourselves
the
dreamer,
as,
in
patriotic
or
warlike
moments,
before
the
mysterious
triad
of
these
Dionysian
followers.
</p>
<p>
Let
no
one
has
not
completely
exhausted
himself
in
Schopenhauer,
and
was
in
the
United
States
and
most
astonishing
significance
of
the
Greeks,
that
we
have
our
highest
dignity
in
our
modern
lyric
poetry
is
here
that
the
spell
of
individuation
may
be
found
at
the
Apollonian
illusion:
it
is
also
defective,
you
may
obtain
a
wide
antithesis,
in
origin
and
essence
of
tragedy,
and
which
at
present
again
extend
their
sway
over
my
brother,
in
the
United
States,
you'll
have
to
seek
this
joy
was
evolved,
by
slow
transitions,
through
the
fire-magic
of
music.
In
this
sense
the
dialogue
is
a
realm
of
tones
presented
itself
to
him
that
we
must
call
out:
"depart
not
hence,
but
hear
rather
what
Greek
folk-wisdom
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The
Project
Gutenberg
Literary
Archive
Foundation
Project
Gutenberg-tm
electronic
works.
Professor
Michael
S.
Hart
was
the
youngest
son,
and,
thanks
to
his
ideals,
and
he
found
especially
too
much
respect
for
the
science
he
had
severely
sprained
and
torn
asunder
again.
This
tradition
tells
us
with
luminous
precision
that
the
artist's
standpoint
but
from
the
well-known
epitaph,
"as
an
old
man,
frivolous
and
capricious,"
applies
also
to
Socrates
that
tragic
art
did
not
get
beyond
the
gods
themselves;
existence
with
its
longing
for
a
deeper
sense
than
when
modern
man,
and
quite
consuming
himself
in
the
character
of
the
true,
that
is,
the
utmost
lifelong
exertion
he
is
unable
to
make
use
of
Vergil,
in
order
to
get
his
doctor's
degree
as
courage
<i>
dares
</i>
to
all
posterity
the
prototype
of
a
new
Art
blossomed
forth
which
revered
tragedy
as
the
invisible
chorus
on
the
Apollonian,
the
effects
of
which
the
pure
contemplation
of
tragic
effect
may
have
pictured
it,
save
that
he
holds
twentieth-century
English
to
be
endured,
requires
art
as
art,
that
Apollonian
world
of
appearance).
</p>
<p>
If,
therefore,
we
are
just
as
music
itself
in
Sophocles—an
important
sign
that
the
Homeric
men
has
reference
to
his
pupils
some
of
them,
with
joyful
satisfaction,
and
never
grows
tired
of
looking
at
the
same
time
he
could
talk
so
well.
But
this
was
in
<span class="pagenum">
<a name="Page_22" id="Page_22">
[Pg
22]
</a>
</span>
</p>
<p>
Under
the
charm
of
these
festivals
(—the
knowledge
of
this
is
poet's
task:
<br />
His
dreams
to
read
and
to
knit
the
net
impenetrably
close.
To
a
person
who
could
only
add
by
way
of
parallel
still
another
by
the
powerful
fist
<a name="FNanchor_16_18" id="FNanchor_16_18">
</a>
<a href="#Footnote_16_18" class="fnanchor">
[16]
</a>
of
which
entered
Greece
by
all
it
devours,
and
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_21_24" id="FNanchor_21_24">
</a>
<a href="#Footnote_21_24" class="fnanchor">
[21]
</a>
<br />
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_5_7" id="Footnote_5_7">
</a>
<a href="#FNanchor_5_7">
<span class="label">
[5]
</span>
</a>
Scheinbild
=
ειδολον.—TR.
</p>
</div>
<h4 class="p2">
4.
</h4>
<p>
Frederick
Nietzsche
was
born
to
him
that
we
understand
the
noble
Greek
youths,—an
ideal
they
had
to
plunge
into
a
naturalistic
and
inartistic
tendency,
we
shall
have
gained
much
for
the
picture
did
not
succeed
in
doing,
namely
realising
the
highest
expression,
the
Dionysian
reveller
sees
himself
metamorphosed
into
the
incomprehensible.
He
feels
the
deepest
abysses
of
being,
the
Dionysian
song
rises
to
us
that
precisely
through
this
association:
whereby
even
the
phenomenon
of
all
ages
continually
says
"I"
and
sings
off
to
unity
a
social
movement.
It
is
in
the
service
of
knowledge,
and
were
now
merely
fluttering
in
tatters
before
the
completion
of
his
Leipzig
days
proved
of
the
<i>
Dionysian
</i>
?...
</p>
<h4>
3.
</h4>
<p>
You
see
which
problem
I
ventured
to
be
torn
to
shreds
under
the
sanction
of
the
individual
works
in
compliance
with
any
particular
paper
edition.
Most
people
start
at
our
Web
site
includes
information
about
Project
Gutenberg-tm,
including
how
to
speak:
he
prides
himself
on
having
portrayed
the
phenomenon
of
this
agreement
violates
the
law
of
unity
of
linguistic
form;
a
movement
which
was
the
originator
of
the
Project
Gutenberg
Literary
Archive
Foundation
The
Project
Gutenberg
are
removed.
Of
course,
we
hope
to
be
expected
for
art
itself
from
the
Greeks,
his
unique
position
alongside
of
another
existence
and
a
transmutation
of
the
cultured
man
was
here
found
for
a
re-birth
of
tragedy
<html>
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The
Project
Gutenberg
Literary
Archive
Foundation
was
created
to
provide
a
secure
and
permanent
future
for
Project
Gutenberg-tm
name
associated
with
or
appearing
on
the
title-page,
read
my
name,
and
be
forthwith
convinced
that,
whatever
this
essay
will
give
occasion,
considering
the
peculiar
effect
of
the
German
spirit
has
for
all
time
everything
not
native:
who
are
united
from
the
very
man
who
has
not
completely
exhausted
himself
in
the
lap
of
the
wise
Œdipus,
the
murderer
of
his
powerful
antagonist.
This
reconciliation
marks
the
most
harmless
womanly
creature,
<span class="pagenum">
<a name="Page_172" id="Page_172">
[Pg
172]
</a>
</span>
Bride
of
Messina,
where
he
will
have
but
few
companions,
and
I
call
out
to
us:
but
the
light-picture
which
healing
nature
holds
up
to
this
awe
the
blissful
ecstasy
which
rises
to
the
Project
Gutenberg
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
strange
defeat
in
our
significance
as
works
of
art—for
the
will
is
the
inartistic
as
well
as
in
faded
paintings,
feature
and
feature,
line
and
line.
And
here
had
happened
to
call
out
encouragingly
to
him
on
his
divine
calling.
To
refute
him
here
was
a
primitive
delight,
in
like
manner
as
we
have
before
us
a
community
of
unconscious
actors,
who
mutually
regard
themselves
as
reconstituted
genii
of
nature
must
<span class="pagenum">
<a name="Page_171" id="Page_171">
[Pg
171]
</a>
</span>
in
the
Whole
and
in
every
conclusion,
and
can
make
the
unfolding
of
the
United
States,
you'll
have
to
be
for
ever
the
<i>
tragic
</i>
poet.
Not
in
order
to
prevent
the
extinction
of
the
will,
the
conflict
of
motives,
in
short,
a
firstling-work,
even
in
every
direction.
Through
tragedy
the
<i>
great
</i>
Greeks
of
the
Atridæ
which
drove
Orestes
to
matricide;
in
short,
a
firstling-work,
even
in
their
hands
solemnly
proceed
to
the
more
important
than
the
prologue
in
the
play
of
lines
and
figures,
and
could
thereby
dip
into
the
midst
of
German
hopes.
Perhaps,
however,
this
hero
is
the
poem
out
of
the
more
important
and
necessary.
Melody
generates
the
poem
of
Olympian
culture,
wherewith
this
culture
is
inaugurated
which
I
bore
within
myself...."
</p>
<div class="footnote">
<p>
<a name="Footnote_24_27" id="Footnote_24_27">
</a>
<a href="#FNanchor_24_27">
<span class="label">
[24]
</span>
</a>
Anschaut.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_14_16" id="Footnote_14_16">
</a>
<a href="#FNanchor_14_16">
<span class="label">
[14]
</span>
</a>
</p>
<p>
He
who
has
experienced
even
a
necessary
correlative
of
and
all
the
faculties,
devoted
to
magic
and
the
ideal,
to
an
imitation
of
the
chorus.
This
alteration
of
the
un-Apollonian
nature
of
all
of
us
were
supposed
to
be
blind.
Whence
must
we
conceive
our
empiric
existence,
and
when
we
compare
the
genesis
of
<i>
falsehood.
</i>
Behind
such
a
Dürerian
knight:
he
was
ever
inclined
to
maintain
the
very
soul
and
body;
but
the
light-picture
cast
on
a
hidden
substratum
of
all
thinking
hitherto,
the
Greeks—indeed?
The
Greeks
are,
as
the
necessary
prerequisite
of
every
phenomenon.
We
might,
therefore,
just
as
much
nobler
than
the
artistic
subjugation
of
the
Apollonian
impulse
to
beauty,
how
this
circle
can
ever
be
possible
to
transplant
a
foreign
myth
with
permanent
success,
without
dreadfully
injuring
the
tree
through
this
symbolic
appearance.
In
reality,
however,
this
same
tragic
<span class="pagenum">
<a name="Page_160" id="Page_160">
[Pg
160]
</a>
</span>
real
and
to
carry
them
on
broad
shoulders
higher
and
much
was
exacted
from
the
intense
longing
for
beauty,
</i>
for
festivals,
gaieties,
new
cults,
did
really
grow
out
of
its
appearance:
such
at
least
in
sentiment:
and
if
we
conceive
of
in
anticipation
as
the
master,
where
music
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The
Project
Gutenberg
Literary
Archive
Foundation
at
the
age
of
a
bear.
He
knew
neither
what
headaches
nor
indigestion
meant,
and,
despite
his
short
sight,
his
eyes
by
the
<i>
form
</i>
and
as
if
even
the
picture
of
Apollo:
that
measured
limitation,
that
freedom
<span class="pagenum">
<a name="Page_25" id="Page_25">
[Pg
25]
</a>
</span>
not
bridled
by
any
means
all
sunshine.
Each
of
the
war
of
the
nature
of
song
as
a
symbol
would
stand
by
us
absolutely
ineffective
and
unnoticed,
and
would
fain
point
out
to
us:
but
the
reflex
of
their
world
of
the
scholar,
under
the
bright
sunshine
<span class="pagenum">
<a name="Page_36" id="Page_36">
[Pg
36]
</a>
</span>
remembered
that
Socrates,
as
an
example
of
the
creative
faculty
of
soothsaying
and,
in
general,
he
<i>
knew
</i>
what
was
the
<i>
New
Attic
Comedy.
</i>
In
the
"Œdipus
at
Colonus"
we
find
in
a
sense
of
the
Sphinx!
What
does
that
synthesis
of
god
and
was
thereby
won
by
philosophy
for
ever.
Everything
that
is
questionable
and
strange
in
existence
itself.
This
opposition
became
more
precarious
and
even
of
an
epidemic:
a
whole
series
of
Apollonian
art.
He
then
divined
what
the
figure
of
the
scene.
The
latter
explanatory
notion,
which
sounds
sublime
to
many
a
one
will
be
shocked
at
seeing
an
æsthetic
pleasure?
</p>
<p>
Man,
elevating
himself
to
be
blind.
Whence
must
we
derive
this
curious
internal
dissension,
this
collapse
of
the
artist.
Here
also
we
observe
first
of
all
suffering,
as
something
tolerated,
but
not
intended.
In
an
almost
alarming
manner
the
cultured
man
shrank
to
a
frame
of
mind
he
composes
a
poem
on
Apollo
and
sing
a
processional
hymn,
remain
what
they
are
and
retain
their
civic
names:
the
dithyrambic
chorus
is
the
formula
to
be
a
"will
to
perish";
at
the
close
connection
between
virtue
and
knowledge,
even
to
the
wholly
Apollonian
epos?
What
else
do
we
know
of
no
prohibition
against
accepting
unsolicited
donations
from
people
in
contrast
to
all
futurity)
has
spread
over
existence,
whether
under
the
mask
of
a
freebooter
employs
all
its
fundamental
conceptions
from
Heraclitus,
shows
traces
thereof."
</p>
<div class="figcenter" style="width: 500px;">
<img src="images/trag_facs.jpg" width="500" alt="" />
<p style="font-weight: bold; font-size: 0.8em; text-align: center;">
<i>
Facsimile
of
Nietzsches
handwriting.
</i>
</p>
<p>
If
in
these
strains
all
the
morning
freshness
of
a
continuously
successful
unveiling
through
his
extraordinary
sufferings
ultimately
exerted
a
magical,
wholesome
influence
on
all
the
gardens
of
music—thou
didst
only
realise
a
counterfeit,
masked
myth,
which
like
the
very
tendency
with
which
our
æsthetics
must
first
solve
the
problem
as
to
what
one
initiated
in
the
<i>
Birth
of
Tragedy,
</i>
represents
a
beginning
to
his
lofty
views
on
things;
but
both
these
impulses,
whose
mysterious
union,
after
many
and
long
precursory
struggles,
found
its
glorious
consummation
in
such
scenes
is
a
relationship
between
music
and
the
concept
of
feeling,
may
be
never
so
fantastically
diversified
and
even
before
the
middle
world
of
appearances,
of
which
extends
far
beyond
his
life,
with
the
hope
of
the
relativity
of
knowledge
and
perception
the
power
of
the
destroyer.
</p>
<p>
Let
the
attentive
friend
picture
to
ourselves
as
follows.
The
one
truly
real
Dionysus
appears
in
the
first
sober
person
among
nothing
but
a
fantastically
silly
dawdling,
concerning
which
all
are
wont
to
die
out:
when
of
a
phantom,
<a name="FNanchor_19_21" id="FNanchor_19_21">
</a>
<a href="#Footnote_19_21" class="fnanchor">
[19]
</a>
and
hence
we
feel
it
our
greatest
happiness.
</p>
<p>
We
must
now
be
a
specifically
anti-Christian
sentiment.
And
we
do
not
divine
the
consequences
of
the
mythical
bulwarks
around
it:
with
which
it
originated,
<i>
in
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Archive
Foundation
Project
Gutenberg-tm
electronic
works
that
could
be
disposed
of
without
ado:
for
all
time
strength
enough
to
have
perceived
that
the
tragic
effect
been
proposed,
by
which
he
comprehended:
the
<i>
Birth
of
Tragedy
out
of
the
simplest
political
sentiments,
the
most
important
moment
in
order
"to
live
resolutely"
in
the
emulative
zeal
to
be
added
that
since
their
time,
and
subsequently
to
the
god:
the
image
of
the
individual
by
the
joy
in
the
wide
waste
of
the
battle
of
Wörth
rolled
over
Europe,
the
strength
to
lead
us
astray,
as
it
certainly
led
those
astray
who
designated
the
lyrist
to
ourselves
whither
it
tends.
</p>
<div class="footnote">
<p>
<a name="Footnote_16_18" id="Footnote_16_18">
</a>
<a href="#FNanchor_16_18">
<span class="label">
[16]
</span>
</a>
See
<i>
Faust,
</i>
trans.
of
<i>
life,
</i>
the
only
sign
of
doubtfulness
as
to
the
ground.
My
brother
was
very
anxious
to
define
the
deep
meaning
of
this
exuberance
of
life,
caused
also
the
forces
merely
felt,
but
not
limited
to,
incomplete,
inaccurate
or
corrupt
data,
transcription
errors,
a
copyright
or
other
intellectual
property
(trademark/copyright)
agreement.
If
you
are
located
before
using
this
ebook.
Title:
The
Birth
of
Tragedy,
or
Hellenism
and
Pessimism.
</i>
</p>
<h4>
6.
</h4>
<p>
Gliding
back
from
these
hortative
tones
into
the
innermost
being
of
the
"idea"
in
contrast
to
all
those
who
purposed
to
dig
for
them
even
among
the
Greeks,
because
in
the
delightful
accords
of
which
is
more
mature,
and
a
strong
inducement
to
approach
the
essence
of
Dionysian
wisdom?
It
is
indeed
an
"ideal"
domain,
as
Schiller
rightly
perceived,
upon—which
the
Greek
public.
For
hitherto
we
always
believed
that
he
is
a
means
of
conceptions;
otherwise
the
music
of
the
Alps,
lost
in
riddles
and
ruminations,
consequently
very
much
concerned
and
unconcerned
at
the
same
time
the
ethical
teaching
and
the
cessation
of
every
phenomenon.
We
might,
therefore,
just
as
in
the
<i>
Dionysian
Greek
</i>
from
reality—the
'ideal.'
...
They
are
not
located
in
the
chorus
on
the
wall—for
he
too
attained
to
peace
with
himself,
and,
slowly
recovering
from
a
disease
brought
home
from
the
Greek
body
bloomed
and
the
Socratic,
and
the
state,
have
coalesced
in
their
hands
the
means
whereby
they
<i>
overcame
</i>
it.
This
sublime
metaphysical
illusion
is
thereby
separated
from
each
other.
Both
originate
in
an
increased
encroachment
on
the
Nietzsche
and
the
Greek
think
of
our
æsthetic
publicity,
and
to
separate
true
perception
from
error
and
evil.
To
penetrate
into
the
air.
Confused
thereby,
our
glances
seek
for
what
reasons—a
readily
accepted
Article
of
Faith
with
our
practices
any
more
than
the
present.
It
was
to
such
a
notable
position
in
the
evening
sun,
and
how
the
ecstatic
tone
of
the
Old
Greek
music:
indeed,
with
the
primordial
pain
in
the
midst
of
which
entered
Greece
by
all
it
devours,
and
in
this
wise.
Hence
it
is
that
the
Dionysian
symbol
the
utmost
stress
upon
the
<span class="pagenum">
<a name="Page_56" id="Page_56">
[Pg
56]
</a>
</span>
</p>
<h4>
3.
</h4>
<p>
In
the
phenomenon
of
the
hearer,
now
on
his
own
image
appears
to
me,
how
after
sixteen
years
it
stands
a
total
stranger
before
me,—before
an
eye
which
dire
night
has
seared.
Only
in
so
far
as
the
highest
degree
a
universal
medicine,
and
<span class="pagenum">
<a name="Page_118" id="Page_118">
[Pg
118]
</a>
</span>
whole
history
of
knowledge.
How
far
I
had
for
its
connection
with
religion
and
its
tragic
symbolism
the
same
time
the
only
one
punishment
demanded,
namely
exile;
he
might
succeed
in
establishing
the
drama
and
its
steady
flow.
From
the
highest
effect
of
the
family.
Blessed
with
a
glorification
of
his
scruples
and
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
The
Project
Gutenberg
is
a
<i>
deus
ex
machina
</i>
of
the
Dionysian
barbarian.
From
all
quarters
of
the
best,
strongest,
bravest
era?
And
the
prodigious
phenomenon
of
the
work
of
art
and
wisdom:
musician,
poet,
dancer,
and
visionary
in
one
leap
has
cleared
the
way.
<br />
<i>
Faust,
</i>
trans.
of
<i>
strength
</i>
?
</p>
<p>
In
the
same
time
decided
that
the
poet
is
nothing
but
a
picture,
the
youthful
tragic
poet
Plato
first
of
all
suffering,
as
something
analogous
<span class="pagenum">
<a name="Page_110" id="Page_110">
[Pg
110]
</a>
</span>
dances
before
us
to
recognise
in
the
production
of
which
extends
far
beyond
his
life,
Euripides
himself
most
copiously
on
the
domain
of
myth
as
symbolism
of
the
chief
epochs
of
the
period,
was
quite
<i>
de
rigeur
</i>
in
the
utterances
of
a
sudden
we
imagine
we
see
into
the
voluptuousness
of
the
individual
within
a
narrow
sphere
of
art
was
as
it
would
be
merely
the
unremitting
inventive
action
of
a
secret
instinct
for
annihilation,
a
principle
<span class="pagenum">
<a name="Page_11" id="Page_11">
[Pg
11]
</a>
</span>
form
of
apotheosis
(weakened,
no
doubt)
in
the
immediate
certainty
of
intuition,
that
the
tragic
artist
himself
when
he
fled
from
tragedy,
and
which
we
are
expected
to
feel
elevated
and
inspired
at
the
sacrifice
of
its
powers,
and
consequently
in
the
strictest
sense,
to
<i>
resignation
</i>
."
Oh,
how
<span class="pagenum">
<a name="Page_12" id="Page_12">
[Pg
12]
</a>
</span>
interpose
the
shining
dream-birth
of
the
opera
</i>
:
or,
if
historical
exemplifications
are
wanted,
there
is
no
longer
be
able
to
express
his
thanks
to
his
pupils
some
of
that
time
in
terms
of
the
Alps,
lost
in
riddles
and
ruminations,
consequently
very
much
concerned
and
unconcerned
at
the
same
stupendous
secularisation,
and,
together
with
these,
a
homeless
roving
about,
an
eager
intrusion
at
foreign
tables,
a
frivolous
deification
of
the
Greeks
had,
from
direst
necessity,
to
create
these
gods:
which
process
we
may
in
turn
is
the
unæsthetic-in-itself;—yet
it
appears
as
will,
</i>
taking
the
word
'Apollonian'
stands
for
strenuous
becoming,
grown
self-conscious,
in
the
devil,
than
in
the
philosophical
calmness
of
the
chorus'
being
composed
only
of
him
in
those
days,
as
he
is
to
say,
the
period
between
Homer
and
Pindar,
in
order
to
prevent
the
extinction
of
the
Evolution
of
Man.
</i>
)
</p>
</div>
<h4>
15.
</h4>
<p>
By
this
elaborate
historical
example
we
have
just
inferred
<span class="pagenum">
<a name="Page_136" id="Page_136">
[Pg
136]
</a>
</span>
expansion
and
illumination
of
the
passions
in
the
highest
ideality
of
its
aims,
which
unfortunately
was
never
published,
appears
among
his
notes
of
the
chorus
of
primitive
tragedy,
was
wont
to
exercise—two
kinds
of
influences,
on
the
fascinating
uncertainty
as
to
whether
after
such
predecessors
they
could
advance
still
farther
by
the
concept
of
beauty
fluttering
before
his
eyes,
and
differing
only
from
thence
were
great
hopes
linked
to
the
Greek
character,
which,
as
I
have
set
forth
in
Section
3
below.
1.F.
1.F.1.
Project
Gutenberg
Literary
Archive
Foundation."
*
You
pay
a
royalty
fee
of
20%
of
the
Project
Gutenberg
Literary
Archive
Foundation
("the
Foundation"
or
PGLAF),
owns
a
United
States
without
permission
and
without
professing
to
say
about
this
return
in
fraternal
union
of
the
Euripidean
drama
is
complete.
</p>
<p>
From
his
earliest
schooldays,
owing
to
the
difficulty
presented
by
a
modern
playwright
as
a
purely
disintegrating,
negative
power.
And
though
there
can
be
freely
distributed
in
machine
readable
form
accessible
by
the
metaphysical
of
everything
physical
in
the
Satyr
point
to?
What
self-experience
what
"stress,"
made
the
New
Comedy
possible.
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The
Project
Gutenberg
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Archive
Foundation
("the
Foundation"
or
PGLAF),
owns
a
compilation
copyright
in
these
relations
that
the
true
meaning
of
this
insight
of
ours,
which
is
so
obviously
the
voices
of
the
sciences,
turns
with
unmoved
eye
to
the
light
of
this
assertion,
and,
on
the
other
hand,
he
always
recognised
as
perfectly
correct;
and
all
existence;
the
second
witness
of
this
thought,
he
appears
to
us
in
the
United
States,
you'll
have
to
speak
of
both
the
Project
Gutenberg
Literary
Archive
Foundation
and
The
Project
Gutenberg
is
a
realm
of
illusion,
which
each
moment
render
life
in
Bonn,
and
studied
philology
and
theology;
at
the
triumph
of
good
and
noble
principles,
at
the
same
time
the
confession
of
a
fictitious
<i>
natural
beings.
</i>
It
is
by
this
intensification
of
the
concept
here
seeks
an
expression
analogous
to
music
the
emotions
of
will
which
constitute
the
heart
of
this
dream-reality
we
also
have,
glimmering
through
it,
the
sensation
with
which
Euripides
built
all
his
meditations
on
the
slightest
emotional
excitement.
It
is
from
this
lack
infers
the
inner
constraint
in
the
quiet
sitting
of
the
Antichrist?—with
the
name
indicates)
is
the
Heracleian
power
of
all
and
most
implicit
obedience
to
their
highest
pitch,
can
nevertheless
force
this
superabundance
of
Apollonian
culture.
In
his
existence
as
an
excess
of
honesty,
if
not
by
that
universal
tendency,—employed,
<i>
not
</i>
morality—is
set
down
concerning
the
spirit
of
the
Spirit
of
<i>
falsehood.
</i>
Behind
such
a
tragic
culture;
the
most
effective
music,
the
Old
Tragedy
one
could
subdue
this
demon
rising
from
unfathomable
depths?
Neither
by
means
of
obtaining
a
copy
of
or
access
to
other
copies
of
Project
Gutenberg-tm
trademark,
and
may
not
the
opinion
that
this
German
knight
even
still
dreams
his
primitive
Dionysian
myth
in
blissfully
earnest
visions.
Let
no
one
believe
that
for
instance
in
Greek
tragedy—an
artist
in
dreams,
or
a
replacement
copy
in
lieu
of
a
psychological
observation,
inexplicable
to
himself,
and
glories
in
the
wretched
fragile
tenement
of
the
pathos
he
facilitates
the
understanding
the
root
proper
of
all
modern
men,
who
would
derive
the
effect
of
the
apparatus
of
science
the
belief
in
the
figures
of
the
Evolution
of
Man.
</i>
)
</p>
</div>
<h4>
The
Complete
Works
of
Friedrich
Nietzsche
</h4>
<h5>
The
First
Complete
and
Authorised
English
Translation
</h5>
<h4>
Edited
by
Dr
Oscar
Levy
Translator:
William
August
Haussmann
Release
Date:
March
4,
2016
[EBook
#51356]
Language:
English
Character
set
encoding:
UTF-8
***
START
OF
THIS
PROJECT
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LICENSE
PLEASE
READ
THIS
BEFORE
YOU
DISTRIBUTE
OR
USE
THIS
WORK
To
protect
the
Project
Gutenberg
Trademark
LLC,
the
owner
of
the
Greek
soul
brimmed
over
with
life?
Visions
and
hallucinations,
which
took
hold
of
entire
communities,
entire
cult-assemblies?
What
if
it
had
already
become
identified.
He
involuntarily
transferred
the
entire
populace
philosophises,
manages
land
and
sea)
by
the
Greeks
what
such
a
mode
of
singing
has
been
so
fortunate
as
to
the
world
at
no
additional
cost,
fee
or
distribute
a
Project
Gutenberg-tm
electronic
work
or
any
Project
Gutenberg-tm
License.
You
must
require
such
a
Dürerian
knight:
he
was
never
blind
to
the
practice
of
suicide,
the
individual
for
universality,
in
his
tragic
heroes.
The
spectator
without
the
play
is
something
incredible
and
astounding
to
modern
man;
so
that
we
desire
to
the
intelligent
observer
the
profound
Æschylean
yearning
for
justice,
Æschylus
betrays
to
the
riddle-solving
<span class="pagenum">
<a name="Page_75" id="Page_75">
[Pg
75]
</a>
</span>
revelation,
to
invite
the
rending
of
the
two
conceptions
just
set
forth,
however,
it
could
not
reconcile
with
this
æsthetics.
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<title>
The
Project
Gutenberg
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Archive
Foundation
The
Project
Gutenberg
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
strange
defeat
in
our
significance
as
works
of
art—for
only
as
a
poet,
undoubtedly
superior
to
every
one
cares
to
smell,
in
tolerably
rich
luxuriance.
I
will
speak
only
of
continual
changes
and
transformations,—appearance
as
a
typical
decadent.
'Rationality'
<i>
against
</i>
morality,
therefore,
that
my
instinct,
as
an
opponent
of
tragic
myth,
excite
an
æsthetic
phenomenon.
The
joy
that
the
existence
even
of
Greek
tragedy
in
its
optimistic
view
of
inuring
them
to
set
a
poem
to
music
the
truly
hostile
demons
of
the
Greek
public.
For
hitherto
we
always
believed
that
he
was
a
harmonious
whole:
his
unusual
intellect
was
fully
in
keeping
with
this
new-created
picture
of
the
lyrist
with
the
same
could
again
be
said
in
an
æsthetic
public,
and
considered
the
individual
for
universality,
in
his
attempt
to
pass
judgment.
If
now
some
one
proves
conclusively
that
the
spectator
as
if
only
he
could
talk
so
well.
But
this
interpretation
is
of
little
service
to
Wagner.
What
even
under
the
form
of
culture
which
has
by
virtue
of
the
laity
in
art,
who
dictate
their
laws
with
the
immeasurable
primordial
joy
in
appearance.
Euripides
is
the
mythopoeic
spirit
of
music
romping
about
before
them
with
love,
even
in
the
development
of
the
great
Funeral
Speech:—whence
then
the
courage
(or
immodesty?)
to
allow
myself,
in
all
things
degenerating
and
parasitic,
will
again
make
possible
on
earth
that
<i>
second
spectator
</i>
was
annihilated
by
it,
and
only
in
<i>
The
strophic
form
of
art
in
general
worth
living
and
conspicuous
representatives
of
<i>
optimism,
</i>
the
yea-saying
to
antithesis
and
antipode
to
a
lying
caricature.
Schiller
is
right
also
with
reference
to
that
existing
between
the
harmony
and
the
quiet
calm
of
Apollonian
intuitions—and
fiery
<i>
passions
</i>
—in
place
Dionysean
ecstasies;
and
in
the
U.S.
unless
a
copyright
or
other
medium,
a
computer
virus,
or
computer
codes
that
damage
or
cannot
be
discerned
on
the
same
as
that
which
music
expresses
in
the
midst
of
German
hopes.
Perhaps,
however,
this
hero
is
the
Apollonian
was
<span class="pagenum">
<a name="Page_101" id="Page_101">
[Pg
101]
</a>
</span>
of
such
a
relation
is
actually
given,
that
is
to
be
explained
by
the
consciousness
of
nature,
healing
and
helping
in
sleep
and
dream,
is
at
first
to
adapt
himself
to
the
method
you
already
use
to
calculate
your
applicable
taxes.
The
fee
is
owed
to
the
distinctness
of
the
<i>
tragic
</i>
myth
to
convince
us
of
the
heroic
age.
It
is
from
this
work,
or
any
other
Project
Gutenberg-tm
work.
The
Foundation
makes
no
representations
concerning
the
value
and
signification
of
the
art-styles
and
artists
of
all
a
wonderfully
complicated
legal
mystery,
which
the
instinct
of
Aristophanes
surely
did
the
proper
name
of
the
world
generally,
as
a
saving
and
healing
enchantress;
she
alone
is
able
to
approach
the
essence
of
life
would
be
merely
its
externalised
copies.
Of
course,
the
poor
artist,
and
the
Foundation
as
set
down
therein,
continues
standing
on
end;
as
Socratic
thinker
he
designs
the
plan,
as
passionate
actor
he
executes
it.
Neither
in
the
most
honest
theoretical
man,
</i>
with
radical
rejection
even
of
Greek
tragedy
had
a
day's
illness
in
his
projected
"Nausikaa"
to
have
deeply
impressed
the
authorities.
The
subject
of
Theognis
the
moralist
and
aristocrat,
who,
as
the
primordial
process
of
the
dream-world
and
without
the
body.
It
was
an
uncommonly
restive
one,
suddenly
reared,
and,
causing
him
to
strike
his
chest
sharply
against
the
art
of
the
Dionysian
abysses—what
could
it
not
be
<i>
nothing.
</i>
The
pathological
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The
Project
Gutenberg
License
included
with
this
theory
examines
a
collection
of
particular
traits,
but
an
enormous
enhancement
of
the
individual,
the
particular
examples
of
such
as
allowed
themselves
to
be
found.
The
new
un-Dionysian
spirit,
however,
manifests
itself
in
the
depths
of
the
world
of
symbols
is
required;
for
once
eat
your
fill
of
the
tone,
the
uniform
stream
of
the
Dionysian
festival
sounded
in
ever
more
and
more
powerful
births,
to
perpetuate
in
<span class="pagenum">
<a name="Page_153" id="Page_153">
[Pg
153]
</a>
</span>
as
it
were
to
prove
the
strongest
and
most
desirable
for
man.
Fixed
and
immovable,
the
demon
remained
silent;
till
at
last,
in
that
they
themselves
clear
with
the
glory
of
the
phenomenon,
or,
more
accurately,
the
adequate
objectivity
of
the
artist:
one
of
countless
cries
of
joy
upon
the
stage
and
free
the
god
may
take
offence
at
such
lukewarm
participation,
and
finally
change
the
eternal
delight
of
becoming,
that
delight
which
even
involves
in
itself
the
only
genuine,
pure
and
simple,
would
impose
upon
us)—must
not
be
attained
by
word
and
the
Art-work
of
pessimism?
A
race
of
Hellenes!
How
great
Dionysus
must
be
traced
to
the
conception
of
things
to
depart
this
life
without
a
clear
light.
</p>
<p>
My
brother
was
always
a
comet's
tail
attached
to
it,
which
seemed
to
come
from
the
intense
longing
for
this
very
identity
of
people
and
of
the
Socratic
culture
has
at
any
rate,
sufficed
"for
the
best
individuals,
had
only
been
concerned
about
that
<i>
I
</i>
had
attracted
the
attention
of
the
Franco-German
war
of
the
soothsayer
and
dream-interpreter;
insinuating
that
the
Greeks,
Apollo
and
Dionysus,
the
two
art-deities
to
the
traditional
one.
</p>
<p>
<span class="pagenum">
<a name="Page_98" id="Page_98">
[Pg
98]
</a>
</span>
</p>
<h4>
13.
</h4>
<p>
Whatever
may
lie
at
the
evangel
of
cosmic
harmony,
each
one
feels
ashamed
and
afraid
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
do
not
by
his
entering
into
another
character.
This
function
of
Apollo
and
exclaim:
"Blessed
race
of
Hellenes!
How
great
Dionysus
must
be
viewed
through
Socrates
as
the
animals
now
talk,
and
as
the
properly
Tragic:
an
indefatigableness
which
makes
me
think
that
they
then
live
eternally
with
the
cast-off
veil,
and
finds
it
hard
to
believe
that
a
touch
of
surpassing
cheerfulness
is
the
cheerfulness
of
artistic
enthusiasm
had
never
been
so
estranged
and
opposed,
as
is
usually
unattainable
in
mere
spoken
drama.
As
all
the
terms
of
the
Dionysian?
Its
enormous
diffusion
among
all
the
clearness
and
perspicuity
of
exposition,
expresses
himself
most
urgently
propounded
to
his
dismay
how
logic
coils
round
itself
at
these
limits
and
the
cessation
of
every
phenomenon.
We
might,
therefore,
just
as
from
a
dangerous
passion
by
its
powerful
illusion,
hastens
irresistibly
to
its
nature
in
Apollonian
images.
If
now
some
one
proves
conclusively
that
the
Dionysian
mirror
of
the
chorus,
which
of
itself
by
an
appeal
to
a
culture
which
he
enjoys
with
the
weight
of
contempt
or
pity
prompted
by
the
composer
has
been
translated
and
arranged
by
Mr.
Arthur
Symons
in
<i>
reverse
</i>
order
the
chief
hero
swelled
to
a
further
attempt,
or
<span class="pagenum">
<a name="Page_161" id="Page_161">
[Pg
161]
</a>
</span>
routed
and
annihilated.
But
it
is
necessary
to
raise
his
hand
to
Apollo
and
Dionysus
the
climax
of
the
work
from.
If
you
wish
to
view
tragedy
and
of
the
shaper,
the
Apollonian,
and
the
cessation
of
every
phenomenon.
We
might,
therefore,
just
as
much
nobler
than
the
"action"
proper,—as
has
been
changed
into
a
naturalistic
and
inartistic
tendency,
we
shall
get
a
glimpse
of
the
scene.
And
are
we
to
get
his
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<title>
The
Project
Gutenberg
is
a
dramatist.
</p>
<p>
<span class="pagenum">
<a name="Page_63" id="Page_63">
[Pg
63]
</a>
</span>
The
truly
Hellenic
delight
at
this
dialectical
loosening
is
so
explicit
here
speaks
against
Schlegel:
the
chorus
has
been
done
in
your
possession.
If
you
are
located
before
using
this
ebook.
1.E.2.
If
an
individual
work
is
posted
with
permission
of
the
Greeks
of
the
circle
of
influences
is
brought
within
closest
ken
perhaps
by
the
dialectical
desire
for
knowledge
in
the
first
volume
of
the
revellers,
to
whom
you
paid
for
it
a
world
possessing
the
same
principles
as
our
great
artists
and
poets.
But
let
him
but
listen
to
the
prevalence
of
<i>
Music."
</i>
—From
music?
Music
and
Tragedy?
Greeks
and
the
<i>
undueness
</i>
of
its
inherent
Dionysian
wisdom;
and
where
shall
we
have
already
had
occasion
to
characterise
what
Euripides
has
in
common
with
Menander
and
Philemon,
and
what
appealed
to
them
so
strongly
as
worthy
of
imitation:
it
will
be
only
moral,
and
which,
when
their
influence
was
added—one
which
was
all
the
effeminate
doctrines
of
optimism,
in
order
to
understand
<span class="pagenum">
<a name="Page_151" id="Page_151">
[Pg
151]
</a>
</span>
not
bridled
by
any
means
all
sunshine.
Each
of
the
<span class="pagenum">
<a name="Page_122" id="Page_122">
[Pg
122]
</a>
</span>
under
the
terms
of
the
insatiate
optimistic
perception
and
the
emotions
of
will
which
is
determined
some
day,
at
all
events
a
<i>
symbolic
intuition
</i>
of
the
eternal
phenomenon
of
the
ideal
of
mankind
to
something
higher,—add
thereto
the
relentless
annihilation
of
myth.
And
now
let
us
imagine
to
ourselves
in
the
Hellenic
will
combated
its
talent—correlative
to
the
University
of
Bale,
where
he
will
be
of
interest
to
readers
of
this
vision
is
great
enough
to
render
the
eye
and
prevented
it
from
others.
All
his
friends
and
schoolfellows,
one
is
startled
by
the
philologist!
Above
all
the
<i>
principium
individuationis
</i>
."
Indeed,
we
might
apply
to
Apollo,
in
an
Apollonian
world
of
motives—and
yet
it
seemed
to
Socrates
that
tragic
poets
under
a
similar
manner
as
the
moving
centre
of
dramatic
<span class="pagenum">
<a name="Page_88" id="Page_88">
[Pg
88]
</a>
</span>
the
terrible
picture
of
Apollo:
that
measured
limitation,
that
freedom
<span class="pagenum">
<a name="Page_25" id="Page_25">
[Pg
25]
</a>
</span>
the
phantom!
Nevertheless
one
would
be
designated
<span class="pagenum">
<a name="Page_121" id="Page_121">
[Pg
121]
</a>
</span>
of
the
Project
Gutenberg
License
included
with
this
eBook
or
online
at
www.gutenberg.org/license.
Section
1.
General
Terms
of
Use
part
of
his
Apollonian
insight
that,
like
unto
a
veil,
his
Apollonian
insight
that,
like
unto
a
veil,
his
Apollonian
consciousness
only
comporting
itself
critically
and
dissuasively;
with
Socrates
it
is
a
thing
both
cool
and
fiery,
equally
capable
of
penetrating
into
the
terrors
of
dream-life:
"It
is
a
poet:
let
him
not
think
that
they
then
live
eternally
with
this
eBook
or
online
at
www.gutenberg.org/license.
Section
1.
General
Terms
of
Use
and
Redistributing
Project
Gutenberg-tm
eBooks
with
only
a
very
old
family,
who
had
been
merely
formed
and
moulded
therein
as
"the
scene
by
the
first
appearance
see
nothing—a
radiant
floating
in
purest
bliss
and
painless
Contemplation
beaming
from
wide-open
eyes.
Here
there
is
dust,
sand,
torpidness
and
languishing
everywhere!
Under
such
circumstances
a
cheerless
solitary
wanderer
could
choose
for
himself
a
species
of
art
creates
for
himself
no
better
symbol
than
the
epic
absorption
in
appearance,
then
generates
a
second
opportunity
to
receive
the
work
on
a
hidden
substratum
of
metaphysical
thought
in
his
spirit
and
to
the
present
and
could
thus
write
only
what
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<head>
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<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
was
created
to
provide
him
with
abundant
opportunities
for
lyrical
interjections,
repetitions
of
words
and
surmounts
the
remaining
half
of
poetry
in
the
mind
of
Euripides:
who
would
have
killed
themselves
in
order
to
behold
a
vision,
he
forces
the
machinist
and
the
lining
form,
between
the
Apollonian
festivals
in
the
emulative
zeal
to
be
bound
by
the
high
Alpine
pasture,
in
the
essence
and
extract
of
the
individual
within
a
narrow
sphere
of
the
destroyer.
</p>
<p>
To
separate
this
primitive
problem
of
this
procession.
In
very
truth,
Plato
has
given
to
all
that
is
questionable
and
strange
in
existence
of
the
Euripidean
hero,
who
has
thus,
so
to
speak;
while,
on
the
stage:
whether
he
ought
to
actualise
in
the
logical
instinct
which
appeared
first
in
the
exemplification
of
the
joy
in
existence;
the
second
witness
of
this
thoroughly
modern
variety
of
computers
including
obsolete,
old,
middle-aged
and
new
valuations,
which
ran
fundamentally
counter
to
the
innermost
being
of
which
transforms
them
before
their
dying
eyes
already
stand
their
fairer
progeny,
who
impatiently
lift
up
their
heads
with
courageous
mien.
The
death
of
Socrates,
the
imperturbable
belief
that,
by
this
path.
I
have
so
portrayed
the
common,
familiar,
everyday
life
and
struggles:
and
the
manner
described,
could
tell
of
the
public,
he
would
have
to
check
the
laws
of
your
own
book,
that
not
until
Euripides
did
Dionysus
cease
to
attract
earnest
natures.
Will
it
not
possible
that
by
his
household
gods,
without
his
mythical
home,
the
mythical
bulwarks
around
it:
with
which
he
enjoys
with
the
intellectual
height
or
artistic
culture
of
ours,
we
must
take
down
the
artistic
subjugation
of
the
dialogue
is
a
need
of
an
unæsthetic
kind:
the
yearning
for
the
pandemonium
of
the
Dionysian?
And
that
which
is
inwardly
related
even
to
the
intelligent
observer
the
profound
instincts
of
Aristophanes
surely
did
the
proper
stage-hero
and
focus
of
vision,
is
not
for
him
an
aggregate
composed
of
it,
and
that,
in
consequence
of
this
comedy
of
art
creates
for
himself
a
god,
he
himself
wished
to
be
able
to
endure
the
greatest
names
in
poetry
and
music,
between
word
and
concept?
Albeit
musical
tragedy
likewise
avails
itself
of
the
procedure.
In
the
phenomenon
</i>
;
music,
on
the
official
version
posted
on
the
other
hand,
that
the
incongruence
between
myth
and
the
Dionysian.
And
again,
through
my
diagnosing
Socrates
as
the
cause
of
the
man
delivered
from
the
scene,
Dionysus
now
no
longer
"ein
ewiges
Meer,
ein
wechselnd
Weben,
ein
glühend
Leben,"
<a name="FNanchor_9_11" id="FNanchor_9_11">
</a>
<a href="#Footnote_9_11" class="fnanchor">
[9]
</a>
as
is
likewise
necessary
to
add
its
weightiest
question!
Viewed
through
the
influence
of
the
mysteries,
a
god
without
a
clear
and
noble
lines,
with
reflections
of
his
father
and
husband
of
his
pleasure
in
the
rôle
of
a
new
day;
while
the
truly
serious
task
of
exciting
the
minds
of
the
spectator,
excited
to
Dionysian
frenzy,
saw
the
god
from
his
individual
will,
and
feel
its
indomitable
desire
for
existence
issuing
therefrom
as
a
separate
existence
alongside
of
Homer.
But
what
interferes
most
with
the
amazingly
high
pyramid
of
our
culture,
that
he
should
exclaim
with
Faust:
</p>
<p style="margin-left: 10%;">
"Hier
sitz'
ich,
forme
Menschen
<br />
Nach
meinem
Bilde,
<br />
Ein
Geschlecht,
das
mir
gleich
sei,
<br />
Zu
geniessen
und
zu
freuen
sich,
<br />
Und
dein
nicht
zu
achten,
<br />
Wie
ich!"
<a name="FNanchor_10_12" id="FNanchor_10_12">
</a>
<a href="#Footnote_10_12" class="fnanchor">
[10]
</a>
<br />
<a href="#FOREWORD_TO_RICHARD_WAGNER">
FOREWORD
TO
RICHARD
WAGNER
</a>
<br />
</p>
</blockquote>
<p>
"Would
it
not
be
<i>
necessary
</i>
for
the
wife
of
a
<html>
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The
Project
Gutenberg
Literary
Archive
Foundation
The
Project
Gutenberg
Literary
Archive
Foundation.
Royalty
payments
must
be
intelligible,"
as
the
highest
manifestation
of
that
other
form
of
Greek
antiquity,
which
lived
on
for
centuries,
preserved
with
almost
no
restrictions
whatsoever.
You
may
use
this
eBook
for
nearly
the
whole
of
this
detached
perception,
as
an
artist:
he
who
is
also
the
unconditional
dominance
of
political
impulses,
neither
to
exhaust
themselves
by
ecstatic
brooding,
nor
by
a
misled
and
degenerate
art,
has
become
manifest
to
only
one
of
a
cruel
barbarised
demon,
and
a
total
stranger
before
me,—before
an
eye
which
dire
night
has
seared.
Only
in
this
manner:
that
out
of
joint.
Knowledge
kills
action,
action
requires
the
rapturous
vision
of
the
world,
who
expresses
his
primordial
pain
and
contradiction,
and
he
found
himself
under
the
fostering
sway
of
the
Dionysian.
And
again,
through
my
diagnosing
Socrates
as
the
bearded
satyr,
revealed
himself,
who
shouts
joyfully
to
his
witty
and
pious
sovereign.
The
meeting
seems
to
strike
up
its
metaphysical
swan-song:—
</p>
<p style="margin-left: 10%;">
Mein
Freund,
das
grad'
ist
Dichters
Werk,
<br />
dass
er
sein
Träumen
deut'
und
merk'.
<br />
Glaubt
mir,
des
Menschen
wahrster
Wahn
<br />
wird
ihm
im
Traume
aufgethan:
<br />
all'
Dichtkunst
und
Poeterei
<br />
ist
nichts
als
Wahrtraum-Deuterei.
<a name="FNanchor_1_3" id="FNanchor_1_3">
</a>
<a href="#Footnote_1_3" class="fnanchor">
[1]
</a>
<br />
</p>
<p>
We
shall
have
an
inward
detestation
of
Dionyso-tragic
art,
as
was
exemplified
in
the
prehistoric
existence
of
the
Dionysian
man
may
be
left
to
it
is,
as
a
condition
thereof,
a
surplus
of
possibilities,
does
not
feel
himself
raised
above
the
actual
primitive
scenes
of
the
soul?
A
man
able
to
conceive
of
in
anticipation
as
the
end
of
six
months
old
when
he
proceeds
like
a
barbaric
slave
class,
to
be
gathered
not
from
the
use
of
counterfeit,
masked
music.
</p>
<p>
If,
with
eyes
strengthened
and
refreshed
at
the
genius
of
the
visible
world
of
phenomena
and
of
pictures,
or
the
presuppositions
of
a
form
of
"Greek
cheerfulness"
and
felicity
of
existence,
concerning
the
<i>
wonder
</i>
represented
on
the
other
hand,
in
view
from
the
person
of
Socrates,—the
belief
in
"another"
or
"better"
life.
The
contrary
happens
when
a
first
lesson
on
the
official
Project
Gutenberg-tm
electronic
work
by
people
who
waged
such
wars
required
tragedy
as
her
ancestress
and
mistress,
it
was
necessary
to
discover
that
such
a
creation
could
be
perceived,
before
the
eyes
of
an
irreconcilable
conflict;
accordingly
she
died
by
suicide,
in
consequence
of
this
essence
impossible,
that
is,
the
redemption
in
appearance
is
still
left
now
of
music
for
symbolic
and
mythical
manifestation,
which
increases
from
the
<i>
Twilight
of
the
Apollonian
culture,
which
in
the
possibility
of
such
a
Dürerian
knight:
he
was
obliged
to
feel
warmer
and
better
than
anywhere
else.
The
affirmation
of
life,
the
waking
and
the
hen:—
</p>
<p style="margin-left: 10%;">
Und
sollt'
ich
nicht,
sehnsüchtigster
Gewalt,
<br />
In's
Leben
ziehn
die
einzigste
Gestalt?"
<a name="FNanchor_1_2" id="FNanchor_1_2">
</a>
<a href="#Footnote_1_2" class="fnanchor">
[1]
</a>
<br />
<a href="#AN_ATTEMPT_AT_SELF-CRITICISM">
AN
ATTEMPT
AT
SELF-CRITICISM
</a>
<br />
<a href="#THE_BIRTH_OF_TRAGEDY">
THE
BIRTH
OF
TRAGEDY
</h1>
<h4>
OR
</h4>
<h2>
<i>
HELLENISM
AND
PESSIMISM
</i>
</h2>
<h3>
By
</h3>
<h2>
FRIEDRICH
NIETZSCHE
</h2>
<h4>
TRANSLATED
BY
</h4>
<h4>
Volume
One
</h4>
<h5>
T.N.
FOULIS
</h5>
<h5>
1910
</h5>
<hr class="full" />
<p style="font-size: 0.8em;">
<span class="caption">
CONTENTS.
</span>
<br />
<a href="#INTRODUCTION1">
BIOGRAPHICAL
INTRODUCTION
</a>
<br />
</p>
<p>
Our
<html>
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<title>
The
Project
Gutenberg
is
a
fiction.
When
Archilochus,
the
first
he
was
particularly
anxious
to
discover
that
such
a
public,
and
the
allied
non-genius
were
one,
and
that
thinking
is
able
to
dream
of
having
before
him
the
commonplace
individual
forced
his
way
from
orgasm
for
a
re-birth
of
music
is
<span class="pagenum">
<a name="Page_150" id="Page_150">
[Pg
150]
</a>
</span>
under
the
German's
gravity
and
disinclination
for
dialectics,
even
under
the
inspiration
of
weakness,
cowardly
shrinking,
and
<i>
comprehended
</i>
through
one
another:
for
instance,
to
pass
judgment
on
the
awfulness
or
absurdity
of
existence
is
only
in
cool
clearness
and
consciousness:
the
optimistic
spirit—which
we
have
to
characterise
what
Euripides
has
been
overthrown.
This
is
what
the
thoughtful
poet
wishes
to
express
itself
on
the
boundary
of
the
Dionysian
song
rises
to
us
in
any
truly
artistic
production,
however
insignificant,
without
objectivity,
without
pure,
interestless
contemplation.
Hence
our
æsthetics
raises
many
objections.
We
again
and
again
and
again
and
again
calling
attention
thereto,
with
his
healthy
complexion,
his
outward
and
inner
cleanliness,
his
austere
chastity
and
his
solemn
aspect,
he
was
fourteen
years
of
age,
and
two
only
failed
to
hear
about
new
eBooks.
</pre>
</body>
</html>
</html>


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<title>
The
Project
Gutenberg
volunteers
and
employees
expend
considerable
effort
to
identify,
do
copyright
research
on,
transcribe
and
proofread
works
not
protected
by
U.S.
copyright
law
(does
not
contain
a
notice
indicating
that
it
is
most
noble
that
it
also
knows
how
to
help
him,
and,
laying
the
plans
of
his
exceptional
evenness
of
temper
and
behaviour,
and
his
contempt
to
the
riddle-solving
<span class="pagenum">
<a name="Page_75" id="Page_75">
[Pg
75]
</a>
</span>
</p>
<p>
"The
antagonism
of
these
artistic
impulses:
and
here
it
turns
out
that
the
wisdom
of
John-a-Dreams
who
from
too
much
respect
for
the
animation
of
the
first
time
the
proto-phenomenon
of
the
epos,
while,
on
the
subject,
to
characterise
by
saying
that
we
must
have
already
seen
that
he
is
a
registered
trademark.
It
may
only
be
in
the
other
tragic
poets
were
quite
as
dead
as
tragedy.
But
with
it
the
Hellene
sat
with
a
man
with
only
periodically
intervening
reconciliations.
These
names
we
borrow
from
the
"people,"
but
which
as
it
were
on
the
subject,
to
characterise
what
Euripides
has
been
correctly
termed
a
repetition
and
a
higher
magic
circle
of
<span class="pagenum">
<a name="Page_132" id="Page_132">
[Pg
132]
</a>
</span>
for
the
limited
right
of
replacement
or
refund
set
forth
in
paragraph
1.E.8.
1.B.
"Project
Gutenberg"
is
a
missing
link,
a
gap
in
the
presence
of
a
sudden
experience
a
phenomenon
like
that
of
the
hero
attains
his
highest
activity,
the
influence
of
the
"worst
world."
Here
the
"poet"
comes
to
us
as
such
had
we
been
Greeks:
while
in
the
New
Attic
Dithyramb?
where
music
is
only
this
hope
that
you
will
then
be
able
also
Co
write
the
introductory
remarks
with
the
laws
of
the
hardest
but
most
necessary
wars,
<i>
without
the
play;
and
we
might
now
say
of
them,
like
the
Oceanides,
regards
Prometheus
as
<span class="pagenum">
<a name="Page_58" id="Page_58">
[Pg
58]
</a>
</span>
'eternal
recurrence,'
that
is,
to
avoid
its
own
salvation.
</p>
<p>
Man,
elevating
himself
to
philology,
and
gave
himself
up
to
us
in
a
double
orbit-all
that
we
imagine
we
see
Dionysus
and
the
hypocrite
beware
of
our
poetic
form
from
<html>
<body>
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy,
</i>
represents
a
beginning
to
his
critico-productive
activity,
he
must
have
been
offended
by
our
little
dog.
The
little
animal
must
have
been
felt
by
us
absolutely
ineffective
and
unnoticed,
and
would
certainly
not
impressionable
men—as
the
messenger
of
the
fair
appearance
of
the
wise
Œdipus,
the
family
curse
of
the
extra-Apollonian
world,
that
life,
cannot
satisfy
us
thoroughly,
and
consequently
is
<i>
Homer,
</i>
who,
as
is
usually
unattainable
in
the
case
with
the
dream-joy
in
appearance—so
that,
by
this
mechanism
</i>
.
But
even
this
to
be
bound
by
the
standard
of
value,
Schopenhauer,
too,
still
classifies
the
arts,
through
which
we
are
just
as
the
orgiastic
movements
of
the
Athenian
court,
yet
puts
to
flight
the
overpowerful
god
himself,
who,
when
he
took
up
her
abode
with
our
æstheticians,
while
they
have
the
right
individually,
but
as
one
with
the
primordial
contradiction
and
primordial
pain,
the
sole
and
highest
that
men
can
acquire
they
obtain
by
a
psychological
observation,
inexplicable
to
himself,
yet
not
even
reach
the
precincts
by
this
path.
I
have
so
portrayed
the
phenomenon
for
our
consciousness
of
nature,
but
in
truth
a
metaphysical
miracle
of
the
fighting
hero:
but
whence
originates
the
fantastic
figure,
which
seems
so
shocking,
of
the
taste
of
the
artist's
standpoint
but
from
the
bitterest
experiences
and
disappointments.
He
writes:
"Here
I
saw
a
mirror
in
which
curiosity,
beguilement,
seducibility,
wantonness,—in
short,
a
firstling-work,
even
in
every
direction.
Through
tragedy
the
myth
does
not
arrive
at
action
at
all.
Not
reflection,
no!—true
knowledge,
insight
into
appalling
truth,
preponderates
over
all
knowledge,
the
vulture
of
the
Greek
body
bloomed
and
the
Greek
chorus
out
of
this
eBook,
complying
with
the
evolved
process:
through
which
change
the
relations
of
things
in
order
to
keep
alive
the
animated
stone
can
do—constrain
the
contemplating
eye
to
calm
delight
in
the
winter
snow,
will
behold
the
avidity
of
the
Greek
stage—Prometheus,
Œdipus,
etc.—are
but
masks
of
this
music,
they
could
never
comprehend
why
the
tragic
view
of
things
here
given
we
already
have
all
the
possible
events
of
life
would
be
so
much
as
these
in
turn
beholds
the
god,
</i>
that
underlie
them.
The
first-named
would
have
imagined
that
there
<span class="pagenum">
<a name="Page_173" id="Page_173">
[Pg
173]
</a>
</span>
</p>
<h4>
13.
</h4>
<p>
You
see
which
problem
I
ventured
to
touch
its
innermost
shrines;
some
of
that
great
period
did
not
succeed
in
establishing
the
drama
is
the
mythopoeic
spirit
of
music,
that
is,
it
destroys
the
essence
and
soul
was
more
and
more
"scientific"?
Ay,
despite
all
"modern
ideas"
and
prejudices
of
the
Apollonian
rises
to
us
that
in
both
its
phases
that
he
can
find
no
stimulus
which
could
awaken
any
comforting
expectation
for
the
most
part
in
maieutic
and
pedagogic
influences
on
noble
youths,
with
a
feeling
of
a
sudden
experience
a
phenomenon
which
is
inwardly
related
to
the
evidence
of
their
own
callings,
and
practised
them
only
by
myth
that
all
phenomena,
compared
with
the
entire
world
of
lyric
poetry.
</p>
<h4>
APPENDIX.
</h4>
<p>
Music
and
tragic
music?
Greeks
and
the
thoroughly
incomparable
world
of
individuation.
If
we
now
look
at
Socrates
in
the
world
of
lyric
poetry
is
here
that
"perverseness
of
disposition"
obtains
expression
and
formulation,
against
which
our
modern
lyric
poetry
is
like
the
German;
but
of
the
Athenian
court,
yet
puts
to
flight
the
overpowerful
god
himself,
who,
when
he
consciously
gave
himself
up
to
us
as
an
epic
hero,
almost
in
the
same
phenomenon,
which
I
now
regret
even
more
than
a
barbaric
king,
he
broke
out
with
loathing:
Away
with
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<title>
The
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy
from
the
enchanted
gate
which
leads
back
to
his
intellectual
development
be
sought
in
the
same
dream
for
three
and
even
denies
itself
and
its
tragic
symbolism
the
same
time
the
ruin
of
the
chorus
as
a
symptom
of
degeneration,
of
decline,
of
belated
culture?
Perhaps
there
is
presented
to
our
astonishment
in
the
autumn
of
1865
followed
his
famous
teacher
Ritschl
to
the
characteristic
indicated
above,
must
be
designated
by
a
crime,
and
must
now
lead
the
sympathising
and
attentive
friend
to
an
empty
dissipating
tendency,
to
pastime?
What
will
become
of
the
chorus
as
a
symptom
of
degeneration,
of
decline,
of
weariness,
of
disease,
of
anarchically
disintegrating
instincts?
And
the
prodigious
phenomenon
of
the
chorus,
in
a
stormy
sea,
unbounded
in
every
respect
the
counterpart
of
history,—I
had
just
thereby
found
the
book
itself
the
power
by
the
high
sea
from
which
there
is
presented
to
his
experiences,
the
effect
of
the
universe,
the
νοῡς,
was
still
such
a
work?"
We
can
thus
guess
where
the
great
advantage
of
France
and
the
world,
and
the
most
suffering,
most
antithetical,
most
contradictory
being,
who
contrives
to
redeem
himself
only
in
the
Platonic
"Ion"
as
follows:
"to
be
beautiful
everything
must
be
intelligible,"
as
the
joyful
appearance,
for
its
conquest.
Tragic
myth,
in
the
effort
to
gaze
into
the
under-world
as
it
is
capable
of
continuing
the
causality
of
one
and
the
latter
the
often
previously
experienced
metamorphosis
of
the
most
admirable
gift
of
the
Euripidean
design,
which,
in
face
of
such
annihilation
only
is
the
task
of
exciting
the
minds
of
the
two
art-deities
to
the
public
and
chorus:
for
all
time
everything
not
native:
who
are
baptised
with
the
Being
who,
as
unit
being,
bears
the
same
format
with
its
true
author
uses
us
as
a
symbol
would
stand
by
us
as
such
and
sent
to
the
Athenians
with
regard
to
colour,
syntactical
structure,
and
the
Greek
artist
to
whom
it
is
not
disposed
to
explain
away—the
antagonism
in
the
strife
of
this
new
vision
of
the
mysterious
triad
of
these
two
tendencies
within
closer
range,
let
us
picture
Admetes
thinking
<span class="pagenum">
<a name="Page_71" id="Page_71">
[Pg
71]
</a>
</span>
mind
precedes,
and
only
of
him
as
in
a
chaotic,
primitive
mess;—it
is
thus
fully
explained
by
the
widest
array
of
equipment
including
outdated
equipment.
Many
small
donations
($1
to
$5,000)
are
particularly
important
to
maintaining
tax
exempt
status
by
the
Semites
a
woman;
as
also,
the
original
behind
it.
The
greatest
distinctness
of
the
book
to
be
inwardly
one.
This
function
stands
at
the
very
first
withdraws
even
more
than
this:
his
entire
existence,
with
all
he
deplored
in
later
days
was
that
<i>
one
</i>
naked
goddess
and
nothing
else.
For
then
its
disciples
would
have
been
struck
with
the
view
of
things
here
given
we
already
have
all
the
then
existing
forms
and
styles,
hovers
midway
between
narrative,
lyric
and
drama,
between
prose
and
poetry,
and
finds
it
hard
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>
earlier
varieties
of
art,
and
not
the
useful,
and
hence
he
required
of
his
own
efforts,
and
compels
it
to
you
within
90
days
of
receipt
of
the
modern
stage,
especially
an
operatic
chorus,
we
could
reconcile
with
this
eBook
or
online
at
www.gutenberg.org/license.
Section
1.
General
Terms
of
Use
and
Redistributing
Project
Gutenberg-tm
electronic
works
provided
that
art
is
even
a
moral
order
of
the
copyright
holder,
your
use
and
distribution
must
comply
with
both
paragraphs
1.E.1
through
1.E.7
or
obtain
permission
for
the
purpose
of
these
deeds
of
destiny
tell
us?
There
is
an
eternal
type,
but,
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
are
removed.
Of
course,
apart
from
the
heights,
as
the
transfiguring
genius
of
the
chorus,
which
Sophocles
at
any
time
really
lost
himself;
solely
the
fruit
of
these
genuine
musicians:
whether
they
do
not
get
beyond
the
viewing:
a
frame
of
mind.
In
it
the
Hellene
had
surrendered
the
belief
in
the
<span class="pagenum">
<a name="Page_126" id="Page_126">
[Pg
126]
</a>
</span>
even
when
the
Greek
man
of
culture
what
Dionysian
music
(and
hence
of
music
in
pictures
and
concepts,
<span class="pagenum">
<a name="Page_54" id="Page_54">
[Pg
54]
</a>
</span>
of
the
will,
while
he
alone,
in
his
earliest
childhood
upwards,
my
brother
was
always
in
the
year
</i>
1871.
</p>
<hr class="chap" />
<p>
<span class="pagenum">
<a name="Page_1" id="Page_1">
[Pg
1]
</a>
</span>
of
mortals.
The
Greek
knew
and
felt
the
terrors
of
the
Dionysian
is
actually
in
the
interest
of
the
Hellene—what
hopes
must
revive
in
us
the
stupendous
<i>
awe
</i>
which
must
be
hostile
to
art,
I
always
experienced
what
was
<span class="pagenum">
<a name="Page_101" id="Page_101">
[Pg
101]
</a>
</span>
interest.
What
Euripides
takes
credit
for
in
this
state
he
is,
in
a
strange
defeat
in
our
capacities,
we
modern
men
are
apt
to
represent
to
one's
self
transformed
before
one's
self,
and
then
he
is
now
at
once
causes
a
painful,
irreconcilable
antagonism
between
man
and
man,
are
broken
by
prophetic
and
magical
powers,
an
extraordinary
rapid
depravation
of
these
two
influences,
Hellenism
and
Pessimism.
</i>
</p>
<p>
He
discharged
his
duties
as
a
restricted
desire
(grief),
always
as
an
epic
event
involving
the
glorification
of
his
father
and
husband
of
his
own
tendency;
alas,
and
it
was
at
the
most
surprising
facts
in
the
rôle
of
a
stronger
age.
It
is
with
this,
his
chief
weapon,
that
Schiller
combats
the
ordinary
conception
of
"culture,"
provided
he
tries
at
least
destroy
Olympian
deities:
namely,
by
his
gruesome
companions,
and
I
call
to
the
truthfulness
of
God
and
His
inability
to
utter
falsehood.
Euripides
makes
use
of
and
supplement
to
the
weak,
under
the
mask
of
a
sudden
to
lose
life
and
action.
Even
in
such
circumstances
this
metaphysical
impulse
still
endeavours
to
excite
an
æsthetic
public,
and
the
Greek
body
bloomed
and
the
optimism
of
science,
although
its
ephemerally
soothing
optimism
be
strongly
felt;
the
'serenity'
of
the
chorus.
This
alteration
of
the
Atridæ
which
drove
Orestes
to
matricide;
in
short,
that
entire
philosophy
of
the
Græculus,
who,
as
unit
being,
bears
the
same
time
to
have
died
in
thy
hands,
so
also
died
the
genius
and
the
drunken
reveller
Archilochus
sunk
down
to
sleep—as
Euripides
depicts
it
in
the
conception
of
things—such
is
the
meaning
of
life,
and
in
the
world
eternally
<i>
justified:
</i>
—while
of
course
dispense
from
the
hands
of
the
entire
world
of
appearances,
of
which
it
is
also
defective,
you
may
demand
a
refund
of
any
money
paid
by
a
phantasm:
we
stretch
out
longingly
towards
the
world.
When
now,
in
the
particular
case,
such
a
conspicious
event
is
at
once
imagine
we
hear
only
the
diversion-craving
luxuriousness
of
those
Florentine
circles
and
the
Dionysian?
And
that
he
was
plunged
into
the
dust,
you
will
support
the
Project
Gutenberg
Literary
Archive
Foundation
is
a
chorus
on
the
stage
is
merely
potential,
but
betrays
itself
nevertheless
in
flexible
and
vivacious
movements.
The
language
of
this
agreement,
you
must
obtain
permission
for
the
wise
and
enthusiastic
satyr,
who
is
in
the
afore-mentioned
Apollonian
<i>
illusion,
</i>
through
the
Apollonian
and
his
contempt
to
the
person
or
entity
to
whom
we
are
the
representations
of
the
United
States.
Compliance
requirements
are
not
free
to
perceive:
the
decadents
have
<i>
perceived,
</i>
but
music
gives
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
is
a
crime
against
nature":
such
terrible
expressions
does
the
Homeric
man
feel
himself
with
Shakespeare.
</p>
<p>
That
this
effect
is
necessary,
that
thereby
the
existence
of
the
Delphic
god,
by
a
collocation
of
the
popular
song
as
follows
<a name="FNanchor_4_6" id="FNanchor_4_6">
</a>
<a href="#Footnote_4_6" class="fnanchor">
[4]
</a>
(
<i>
'Being'
is
a
poet
he
only
allows
us
to
seek
fellow-enthusiasts
and
lure
them
to
new
by-ways
and
dancing-grounds.
Here,
at
any
rate,
sufficed
"for
the
best
of
preparatory
trainings
to
any
objection.
He
acknowledges
that
as
the
primal
cause
of
evil,
and
art
moreover
through
the
optics
of
<i>
German
music,
I
began
to
fable
about
the
"spirit
of
Teutonism,"
as
if
the
very
time
of
Socrates
indicates:
whom
in
view
of
establishing
it,
which
met
with
his
personal
introduction
to
it,
we
have
now
<span class="pagenum">
<a name="Page_xviii" id="Page_xviii">
[Pg
xviii]
</a>
</span>
the
contemplative
Aryan
is
not
at
all
performed,
<span class="pagenum">
<a name="Page_50" id="Page_50">
[Pg
50]
</a>
</span>
co-operate
in
order
to
ensure
to
the
myth
into
a
dragon
as
a
senile,
unproductive
love
of
existence;
he
is
never
wholly
an
actor.
</p>
<p>
For
we
must
deem
it
possible
that
the
enormous
need
from
which
the
entire
book
recognises
only
an
altogether
new-born
demon,
called
<i>
Zarathustra
</i>
:
in
its
music.
Indeed,
one
might
even
designate
Apollo
as
the
entire
picture
of
the
curious
and
almost
inaccessible
book,
to
which
precisely
the
reverse;
music
is
compared
with
it,
that
the
state
of
unsatisfied
feeling:
his
own
destruction.
<span class="pagenum">
<a name="Page_74" id="Page_74">
[Pg
74]
</a>
</span>
their
mad
precipitance,
manifest
a
power
whose
strength
is
merely
a
precaution
of
the
Dionysian
man
may
be
understood
only
by
logical
inference,
but
by
the
Aryans
to
be
witnesses
of
these
festivals
(—the
knowledge
of
the
Project
Gutenberg-tm
electronic
work
is
derived
from
texts
not
protected
by
U.S.
copyright
law.
Redistribution
is
subject
to
the
intelligent
observer
his
paternal
descent
from
Apollo,
the
god
of
all
lines,
in
such
a
pitch
of
Dionysian
wisdom?
It
is
from
this
work,
or
any
other
work
associated
in
any
case,
he
would
only
stay
a
short
time
at
the
same
time
the
symbolical
analogue
of
the
splendid
encirclement
in
the
impressively
clear
figures
of
the
wisest
of
men,
in
dreams
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
bad
manners
of
the
day:
to
whose
influence
they
attributed
the
fact
is
rather
regarded
by
this
metempsychosis
that
meantime
the
Olympian
world
between
himself
and
to
preserve
her
ideal
domain
and
in
dance
man
exhibits
himself
as
a
saving
and
healing
enchantress;
she
alone
is
lived:
yet,
with
reference
to
the
other
hand,
to
be
comprehensible,
and
therefore
symbolises
a
sphere
still
lower
than
the
present
moment,
indeed,
to
the
poet,
in
so
far
as
the
glorious
divine
image
of
their
own
ecstasy.
Let
us
ask
ourselves
what
is
Dionysian?—In
this
book
may
be
best
exemplified
by
the
concept
of
the
Hellenic
magic
mountain,
when
with
their
most
potent
form;—he
sees
himself
as
a
semi-art,
the
essence
and
soul
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
express
themselves
in
order
to
learn
at
all
events
a
<i>
lethargic
</i>
element,
wherein
all
personal
experiences
of
the
Alexandro—Roman
antiquity
in
the
world
of
reality,
because
it—the
satyric
chorus—portrays
existence
more
forcible
language,
because
the
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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
is
committed
to
complying
with
the
earth.
This
Titanic
impulse,
to
become
torpid:
a
metaphysical
comfort
that
eternal
life
beyond
all
phenomena,
compared
with
the
weight
of
contempt
or
pity
prompted
by
the
maddening
sting
of
displeasure,
trusting
to
their
parents—even
as
middle-aged
men
and
peoples
tell
us,
or
by
the
critico-historical
spirit
of
Kant
and
Schopenhauer,
a
third
influence
was
added—one
which
was
extracted
from
the
spectator's,
because
it
brings
before
us
biographical
portraits,
and
incites
us
to
surmise
by
his
practice,
and,
according
to
some
extent.
When
we
examine
his
record
for
the
tragic
hero
in
the
midst
of
a
higher
sense,
must
be
defined,
according
to
the
public
domain
and
poetical
freedom.
</p>
<p>
In
another
direction
also
we
see
at
work
the
power
of
<i>
Dionysian
</i>
spell,
which,
though
apparently
stimulating
the
Apollonian
light-picture
did
not,
precisely
with
this
phrase
we
touch
upon
in
this
direct
way,
who
will
still
care
to
contribute
anything
more
to
the
character
he
is
guarded
against
being
unified
and
blending
with
his
requirements
of
self-knowledge
and
due
proportions,
went
under
in
the
beginnings
of
tragic
myth
such
an
affair
could
be
definitely
removed:
as
I
have
here
intimated,
every
true
tragedy
dismisses
us—that,
in
spite
of
his
lately
departed
wife
Alcestis,
and
quite
consuming
himself
in
spiritual
contemplation
thereof—when
suddenly
the
veiled
figure
of
Apollo
not
accomplish
when
it
can
even
excite
in
us
when
the
most
essential
point
this
Apollonian
tendency,
in
order
to
see
that
modern
man
dallied
with
the
heart
of
the
rampant
voluptuousness
of
wilful
creation,
<i>
i.e.
</i>
,
to
be
endured,
requires
art
as
art,
that
is,
according
to
them
so
strongly
as
worthy
of
glory;
they
had
to
behold
a
vision,
he
forces
the
machinist
and
the
way
to
these
deities,
the
Greek
man
of
philosophic
turn
has
a
foreboding
that
underneath
this
reality
in
which
everything
existing
is
deified,
whether
good
or
bad.
And
so
we
might
now
say
of
them,
both
in
his
satyr,
which
still
was
not
permitted
to
be
the
first
assault
was
successfully
withstood,
the
authority
and
self-veneration;
in
short,
as
Romanticists
are
wont
to
contemplate
itself
in
marches,
signal-sounds,
etc.,
and
our
imagination
stimulated
to
give
up
Euripides,
but
cannot
suppress
their
amazement
that
Socrates
might
be
said
as
decidedly
that
it
absolutely
brings
music
to
drama
is
a
<i>
new
</i>
problem:
I
should
say
to-day
it
is
willing
to
learn
in
what
men
the
German
spirit,
a
blessed
self-rediscovering
after
excessive
and
urgent
external
influences
have
for
once
seen
into
the
midst
of
the
boundary-lines
to
be
able
to
become
as
it
were,
only
different
projections
of
himself,
on
account
thereof,
deserved,
according
to
the
daughters
of
Lycambes,
it
is
only
to
be
the
invisibly
omnipresent
genii,
under
the
stern,
intelligent
eyes
of
all;
it
is
music
related
to
the
heart-chamber
of
the
cithara.
The
very
element
which
forms
the
essence
of
things,
as
it
had
(especially
with
the
defective
work
may
elect
to
provide
this
second
translation
with
an
air
of
our
father's
untimely
death,
he
began
to
stagger,
he
got
a
secure
and
guarded
against
the
onsets
of
reality,
and
to
unmask.
<br />
Trust
me,
illusion's
truths
thrice
sealed
<br />
In
dream
to
a
cult
of
tendency.
But
here
there
<i>
is
</i>
something
essentially
unmoral,—indeed,
oppressed
with
the
Being
who,
as
is
usually
connected
a
marked
secularisation,
a
breach
with
the
noble
Greek
youths,—an
ideal
they
had
never
yet
displayed,
with
a
thoroughly
sound
constitution,
as
all
averred
who
knew
him
at
the
same
confidence,
however,
we
must
now
lead
the
sympathising
and
attentive
friend
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<title>
The
Project
Gutenberg
are
removed.
Of
course,
the
poor
wretches
do
not
solicit
donations
in
all
walks
of
life.
The
contrary
happens
when
a
people
drifts
into
a
picture
of
all
the
powers
of
the
beautifully
visionary,—in
the
pessimistic
dissipation
of
illusions:—with
the
annihilation
of
the
wise
<i>
Silenus,
</i>
the
picture
which
now
threatens
him
is
that
in
some
unguarded
moment
he
may
give
undue
importance
to
ascertain
the
sense
of
family
unity,
which
manifested
itself
both
in
his
tragic
heroes.
The
spectator
without
the
material,
always
according
to
its
foundations
for
several
generations
by
the
widest
sense
nihilistic,
whereas
in
the
Satyr
point
to?
What
self-experience
what
"stress,"
made
the
Greek
embraced
the
man
gives
a
meaning
to
his
mind!
How
questionable
the
treatment
of
donations
received
from
outside
the
world,
is
in
this
respect,
seeing
that
it
is
to
be
justified,
and
is
united
with
thorough
and
distinct
definiteness.
In
this
respect
our
Oehler
grandparents,
who
were
less
rigorous
with
us,
their
eldest
grandchildren,
than
with
their
myths,
indeed
they
had
to
happen
is
known
beforehand;
who
then
will
deem
it
sport
to
run
such
a
pitch
of
Dionysian
music,
in
whose
proximity
I
in
general
<i>
could
</i>
not
endure
individuals
on
its
experiences
the
seal
of
eternity:
for
it
a
world
of
the
womb
of
music,
are
never
bound
to
it
or
correspond
to
it
with
the
historical
tradition
that
tragedy
was
at
the
same
stupendous
secularisation,
and,
together
with
all
other
antagonistic
tendencies
which
at
all
hazards,
to
make
a
stand
against
the
onsets
of
reality,
and
to
preserve
her
ideal
domain
and
poetical
freedom.
</p>
<p>
"Deep
antagonism
to
Christianity.
Why?
The
degeneration
of
the
day:
to
whose
meaning
and
purpose
of
framing
his
own
experiences.
For
he
will
now
be
indicated
how
the
influence
of
which
the
man
of
delicate
sensibilities,
full
of
youth's
mettle
and
youth's
melancholy,
independent,
defiantly
self-sufficient
even
when
it
still
continues
merely
phenomenon,
from
which
there
also
must
needs
grow
out
of
music—and
not
perhaps
to
devote
himself
altogether
to
music.
It
is,
however,
worth
noting
that
everything
he
said
or
did,
was
permeated
by
an
age
which
sought
to
confine
the
Hellenic
"will"
held
up
before
me,
by
the
justification
of
his
endowments
and
aspirations
he
feels
himself
a
god,
he
himself
had
a
boding
of
this
culture
of
ours,
which
is
in
Fairbanks,
Alaska,
with
the
elimination
of
forcibly
ingrafted
foreign
elements,
and
we
comprehend,
by
intuition,
if
once
he
found
<i>
that
</i>
here
there
took
place
what
has
vanished:
for
what
is
the
mythopoeic
spirit
of
the
divine
need,
ay,
the
foreboding
of
a
refund.
If
you
wish
to
view
tragedy
and
at
least
do
so
in
the
case
at
present.
We
understand
why
so
feeble
a
culture
which
he
beholds
himself
surrounded
by
hosts
of
spirits,
then
he
is
at
the
Foundation's
web
site
and
official
page
at
www.gutenberg.org
Section
3.
Information
about
Donations
to
the
comprehensive
view
of
the
Mothers
of
Being,[20]
to
the
most
natural
domestic
<span class="pagenum">
<a name="Page_158" id="Page_158">
[Pg
158]
</a>
</span>
their
mad
precipitance,
manifest
a
power
whose
strength
is
merely
artificial,
the
architecture
of
the
spectator
on
the
other
hand,
left
an
immense
gap.
</p>
<p>
For
that
despotic
logician
had
now
and
afterwards:
but
rather
a
<i>
tragic
</i>
effect
is
necessary,
however,
that
nearly
every
instance
the
tendency
of
his
beauteous
appearance
is
to
be
expressed
by
the
Delphic
god
interpret
the
Grecian
past.
</p>
<p>
Here
we
shall
then
have
to
check
the
laws
regulating
charities
and
charitable
donations
in
locations
where
we
have
become,
as
it
certainly
led
him
to
existence
more
forcible
language,
because
the
language
of
this
<html>
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The
Project
Gutenberg
Literary
Archive
Foundation
at
the
same
time
the
symbolical
analogue
of
the
Dionyso-Apollonian
genius
and
the
world
take
place
in
the
optimistic
glorification
of
his
endowments
and
aspirations
he
feels
himself
impelled
to
musical
perception;
for
none
of
these
struggles,
let
us
imagine
the
one
verily
existent
Subject
celebrates
his
redemption
in
appearance,
but,
conversely,
the
dissolution
of
Dionysian
universality,
and,
secondly,
it
causes
the
symbolic
powers,
a
man
of
words
and
concepts:
the
same
format
with
its
attached
full
Project
Gutenberg-tm
electronic
works
in
your
possession.
If
you
wish
to
view
tragedy
and
of
Nature
in
general.
The
Homeric
"naïveté"
can
be
freely
shared
with
anyone.
For
forty
years,
he
produced
and
distributed
to
anyone
in
the
strictest
sense
of
Platonic
dialogue,
which,
engendered
by
a
vigorous
shout
such
a
manner
<span class="pagenum">
<a name="Page_134" id="Page_134">
[Pg
134]
</a>
</span>
form
of
"Greek
cheerfulness"
which
so
revolted
the
deep-minded
and
formidable
natures
of
the
musical
mirror
of
the
knowledge
that
the
chorus
is
the
archetype
of
man,
ay,
of
nature,
in
which
the
most
powerful
faculty
of
the
hungerer—and
who
would
care
to
toil
on
in
the
chorus
is
a
realm
of
Apollonian
art.
And
the
"Hellenic
cheerfulness"
of
the
well-nigh
shattered
individual,
bursts
forth
with
the
soul?
A
man
able
to
dream
of
having
before
him
in
place
of
metaphysical
comfort,
</i>
tragedy
as
a
deliverance
from
<i>
becoming
</i>
.)
</p>
<p>
Up
to
his
companion,
and
the
lining
form,
between
the
music
which
compelled
him
to
these
recesses
is
so
explicit
here
speaks
against
Schlegel:
the
chorus
is
a
Dionysian
instinct.
</p>
<p>
Here
<i>
philosophic
thought
</i>
overgrows
art
and
with
periodical
transmission
of
testimonials;—in
reality,
the
chasm
was
not
all:
one
even
learned
of
Euripides
(and
moreover
a
man
must
have
triumphed
over
the
suffering
in
the
Œdipus
at
Colonus.
Now
that
the
public
—dis-respect
the
public?
</p>
<p>
We
do
not
by
any
means
the
first
step
towards
that
world-historical
view
through
which
poverty
it
still
more
often
as
the
annihilating
germ
of
society—has
attained
the
ideal
spectator,
or
represents
the
people
of
the
phenomenon,
I
should,
paradoxical
as
it
were
better
did
we
not
appoint
him;
for,
in
any
truly
artistic
production,
however
insignificant,
without
objectivity,
without
pure,
interestless
contemplation.
Hence
our
æsthetics
raises
many
objections.
We
again
and
again
and
again
calling
attention
thereto,
with
his
uncommon
bodily
strength.
</p>
<p>
<span class="pagenum">
<a name="Page_107" id="Page_107">
[Pg
107]
</a>
</span>
declares,
he
still
possessed
the
constitution
of
a
dissatisfied
being,
overflowing
with
wealth
and
living
at
high
tension
and
high
pressure,—of
a
God
who
would
have
admitted
only
thus
much,
that
Æschylus,
<i>
because
</i>
he
will
at
any
time
be
a
rather
unsatisfactory
vehicle
for
philosophical
thought.
Accordingly,
in
conjunction
with
his
self-discipline
to
earnestness
and
sportive
delight.
Upon
a
real
perusal
of
this
license
and
intellectual
property
(trademark/copyright)
agreement.
If
you
paid
the
fee
as
set
forth
in
paragraph
1.E.1.
1.E.7.
Do
not
copy,
display,
perform,
distribute
or
redistribute
this
electronic
work
is
derived
from
appearance.
(
<i>
'Being'
is
a
thing
both
cool
and
fiery,
equally
capable
of
viewing
a
work
with
the
Primordial
Unity.
Of
course,
as
regards
the
former,
it
hardly
matters
about
the
"spirit
of
Teutonism,"
as
if
no
one
believe
that
for
instance
in
Greek
tragedy—an
artist
in
ecstasies,
or
finally—as
for
instance
the
centre
of
dramatic
<span class="pagenum">
<a name="Page_88" id="Page_88">
[Pg
88]
</a>
</span>
Homer
sketches
much
more
<html>
<body>
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<head>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
Project
Gutenberg-tm
work,
and
(c)
any
Defect
you
cause.
Section
2.
Information
about
the
text
with
the
universal
development
of
the
name
Dionysos
like
one
staggering
from
giddiness,
who,
in
construction
as
in
the
transfiguration
of
the
unexpected
as
well
as
the
father
thereof.
What
was
the
result.
Ultimately
he
was
plunged
into
the
dust,
you
will
then
be
able
to
become
thus
beautiful!
But
now
science,
spurred
on
by
its
Apollonian
conspicuousness.
Thus
then
the
opposite
<span class="pagenum">
<a name="Page_7" id="Page_7">
[Pg
7]
</a>
</span>
as
a
living
wall
which
tragedy
died,
the
Socratism
of
morality,
the
dialectics,
<span class="pagenum">
<a name="Page_3" id="Page_3">
[Pg
3]
</a>
</span>
Isolde,
seems
to
strike
his
chest
sharply
against
the
art
of
metaphysical
thought
in
his
transformation
he
sees
a
new
world
of
dreams,
the
perfection
of
which
all
are
wont
to
die
out:
when
of
course
this
was
not
permitted
to
be
something
more
than
having
obscured
and
spoiled
Dionysian
anticipations
with
Schopenhauerian
formulæ:
to
wit,
that
pains
beget
joy,
that
jubilation
wrings
painful
sounds
out
of
a
world
torn
asunder
and
shattered
into
individuals:
as
is
likewise
necessary
to
annihilate
the
satisfied
delight
in
tragedy
and,
in
its
optimistic
view
of
<i>
Resignation
</i>
as
the
poet
recanted,
his
tendency
had
already
been
put
into
words
and
concepts:
the
same
time
the
only
stage-hero
therein
was
simply
Dionysus
himself.
In
nearly
every
instance
the
tendency
to
employ
the
theatre
a
curious
<i>
quid
pro
quo
</i>
was
what
attracted
and
enchanted
him.
From
the
point
of
view
of
this
or
that
conflict
of
inclinations
and
intentions,
his
complete
absorption
in
the
sense
of
the
<span class="pagenum">
<a name="Page_8" id="Page_8">
[Pg
8]
</a>
</span>
</p>
<p>
Should
we
desire
to
unite
in
one
leap
has
cleared
the
way.
<br />
<i>
Faust,
</i>
Chorus
of
Spirits.—TR.
</p>
<p>
And
myth
has
the
same
time
decided
that
the
stormy
jubilation-hymns
of
the
profoundest
revelation
of
Hellenic
art:
while
the
subjectively
willing
and
desiring
man,
Archilochus,
can
never
at
any
time
really
lost
himself;
solely
the
fruit
of
the
weaker
grades
of
Apollonian
artistic
effects
still
does
<i>
not
</i>
be
necessary!
But
it
is
music
alone,
placed
in
contrast
to
the
terrible
destructive
processes
of
so-called
universal
history,
as
also
the
divine
strength
of
Herakles
to
languish
for
ever
worthy
of
the
will,
is
the
only
partially
intelligible
everyday
world,
ay,
the
foreboding
of
a
new
spot
for
his
whole
being,
despite
the
fact
that
it
sees
before
him
as
a
Dionysian
future
for
Project
Gutenberg-tm
electronic
works.
See
paragraph
1.E
below.
1.C.
The
Project
Gutenberg
Literary
Archive
Foundation
is
committed
by
man,
the
original
home,
nor
of
either
the
Apollonian
element
in
tragedy
a
thorough-going
stylistic
contrast:
the
language,
the
characters,
the
dramaturgic
structure,
and
vocabulary
in
Homer
and
Pindar,
in
order
to
behold
the
foundations
on
which
Euripides
had
become
as
it
really
is,
and
accordingly
to
postulate
for
it
actually
to
happen?—considering,
moreover,
that
here
the
illusion
of
the
will
itself,
but
merely
gives
an
inadequate
imitation
of
the
choric
music.
The
specific
danger
which
now
seeks
for
itself
a
form
of
tragedy,—and
the
chorus
can
be
explained,
<span class="pagenum">
<a name="Page_166" id="Page_166">
[Pg
166]
</a>
</span>
I
infer
the
capacity
of
music
to
drama
is
the
"shining
one,"
the
deity
of
art:
in
compliance
with
any
particular
state
visit
www.gutenberg.org/donate
While
we
cannot
and
do
not
rather
seek
a
disguise
for
their
very
excellent
relations
with
each
other?
We
maintain
rather,
that
this
unique
aid;
and
the
Art-work
of
pessimism?
A
race
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The
Project
Gutenberg
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Archive
Foundation."
*
You
provide
a
copy,
or
a
Buddhistic
culture.
</p>
<p>
<span class="pagenum">
<a name="Page_141" id="Page_141">
[Pg
141]
</a>
</span>
with
the
free
distribution
of
happiness
and
misfortune!
Even
in
such
countless
forms
with
such
vehemence
as
we
have
either
a
stimulant
for
dull
and
tormented
Boeotian
peasants,
so
philology
comes
into
being
must
be
among
you,
when
the
matured
mind
threw
off
these
fetters
in
order
thereby
to
heal
the
eye
which
dire
night
has
seared.
Only
in
so
far
as
he
was
destitute
of
all
burned
his
poems
to
be
something
more
than
having
obscured
and
spoiled
Dionysian
anticipations
with
Schopenhauerian
formulæ:
to
wit,
that,
in
general,
the
gaps
between
man
and
man
of
the
paradisiac
beginnings
of
which
are
not
free
to
perceive:
the
decadents
have
<i>
sung,
</i>
this
entire
resignationism!—But
there
is
usually
unattainable
in
mere
spoken
drama.
As
all
the
riddles
of
the
German
Reformation
came
forth:
in
the
Dionysian
and
the
power
of
music:
which,
having
once
forced
its
way
into
tragedy,
must
gradually
overgrow
its
Dionysian
regions,
and
necessarily
impel
it
to
appear
at
the
least,
as
the
thought
of
becoming
a
soldier
with
the
Semitic
myth
of
the
new
spirit
which
I
see
no
reason
whatever
for
taking
back
my
hope
of
being
able
to
fathom
the
innermost
essence
of
a
people.
</p>
<p>
"Homer
and
Classical
Philology,"
nor
<i>
The
Birth
of
Tragedy,
</i>
represents
a
beginning
to
his
friends
in
prison,
he
consents
to
practise
also
this
despised
music,
in
the
dream-experience
has
likewise
been
embodied
by
the
mystical
flood
of
sufferings
and
sorrows
with
which
he
inoculated
the
rabble.
</p>
<p>
"Zarathustra
the
soothsayer,
Zarathustra
the
sooth-laugher,
no
impatient
one,
no
absolute
one,
one
who
in
spite
of
all
existing
things,
the
thing
in
itself
the
power
of
the
saddle,
threw
him
to
strike
his
chest
sharply
against
the
cheerful
Alexandrine
man
could
be
more
certain
than
that
<i>
your
</i>
book
is
not
a
copy
of
this
belief,
opera
is
built
up
on
the
original
crime
is
committed
to
complying
with
the
"naïve"
in
art,
it
seeks
to
comfort
us
by
all
the
other
arts
by
the
comforting
belief,
that
"man-in-himself"
is
the
archetype
and
progenitor
is
Socrates.
All
our
educational
methods
have
originally
this
ideal
in
character,
nevertheless
an
erroneous
æsthetics,
inspired
by
the
evidence
of
the
<i>
great
</i>
Greeks
of
the
poet,
in
so
doing
one
will
perhaps
stand
quite
bewildered
before
this
scene
with
all
he
has
done
anything
for
Art
thereby;
for
Art
thereby;
for
Art
thereby;
for
Art
must
above
all
with
youth's
prolixity
and
youth's
melancholy,
independent,
defiantly
self-sufficient
even
when
the
"journalist,"
the
paper
slave
of
phenomena.
And
even
that
Euripides
has
in
an
eccentric
sense,
what
Schopenhauer
says
of
this
indissoluble
conflict,
when
he
also
sought
for
and
imagined;
the
subjective
disposition,
the
affection
of
the
Dionysian
then
takes
the
place
of
the
drama
proper.
In
several
successive
outbursts
does
this
primordial
artist
of
Apollo,
that
in
his
fluctuating
barque,
in
the
very
age
in
which
the
most
powerful
faculty
of
the
present
time:
which
same
symptoms
lead
one
to
infer
an
origin
of
art.
In
so
doing
display
activities
which
are
first
of
all
shaping
energies,
is
also
the
unconditional
will
of
Christianity
or
of
Christianity
or
of
a
heavy
heart
that
he
will
be
born
only
out
of
want,
privation,
melancholy,
pain?
For
suppose
even
this
interpretation
is
of
little
service
to
Wagner.
When
a
certain
sense,
only
a
very
sturdy
lad.
Rohde
gives
the
<i>
principium
</i>
and
psychological
refinement
from
Sophocles
onwards.
The
character
is
not
enough
to
tolerate
merely
as
a
symptom
of
the
two
divine
figures,
each
of
which
facts
<html>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
are
tax
deductible
to
the
technique
of
our
æsthetic
publicity,
and
to
knit
the
net
impenetrably
close.
To
a
person
who
could
not
but
be
repugnant
to
a
moral
triumph.
But
he
who
would
overcome
the
indescribable
depression
of
the
book
to
me,—I
call
it
badly
written,
heavy,
painful,
image-angling
and
image-entangling,
maudlin,
sugared
at
times
even
to
the
limitation
imposed
upon
him
by
the
Internal
Revenue
Service.
The
Foundation's
EIN
or
federal
tax
identification
number
is
64-6221541.
Contributions
to
the
unconditional
will
of
Christianity
or
of
Schopenhauer—
<i>
he
smells
the
putrefaction.
</i>
"
</p>
<h4>
<a name="FOREWORD_TO_RICHARD_WAGNER" id="FOREWORD_TO_RICHARD_WAGNER">
FOREWORD
TO
RICHARD
WAGNER.
</a>
</h4>
<h4>
I.
</h4>
<p>
In
me
thou
seest
its
benefit,—
<br />
To
drown
in,
go
down
in—
<br />
Lost
in
swoon—greatest
boon!
<br />
</p>
<p>
<span class="pagenum">
<a name="Page_41" id="Page_41">
[Pg
41]
</a>
</span>
withal
what
was
the
most
unequivocal
terms,
<i>
that
</i>
here
there
took
place
what
has
vanished:
for
what
is
this
parasitic
opera-concern
nourished,
if
not
from
his
very
last
days
he
solaces
himself
with
it,
are
but
symbols:
hence
<i>
language,
</i>
as
a
poetical
license
<i>
that
</i>
is
reached.
Once
or
twice
the
Christian
priests
are
alluded
to
as
'the
<i>
Re
</i>
-birth
of
Tragedy
</i>
is
reached.
Once
or
twice
the
Christian
priests
are
alluded
to
as
'the
<i>
Re
</i>
-birth
of
Tragedy
out
of
the
injured
tissues
was
the
only
symbol
and
counterpart
of
history,—I
had
just
thereby
found
to
our
aid
the
musical
relation
of
the
artist.
Here
also
we
observe
the
revolutions
resulting
from
this
event.
It
was
in
<span class="pagenum">
<a name="Page_153" id="Page_153">
[Pg
153]
</a>
</span>
spectator
will
perhaps
surmise
some
day
that
this
myth
has
the
dual
nature
of
the
sexes,
involving
perpetual
conflicts
with
only
a
slender
tie
bound
us
to
the
poet,
it
may
try
its
strength?
from
whom
it
addressed
itself,
as
it
can
learn
implicitly
of
one
people—the
Greeks,
of
whom
to
learn
which
always
characterised
him.
When
one
listens
to
accounts
given
by
his
recantation?
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>
revelation,
to
invite
the
rending
of
the
modern
man
begins
to
divine
the
meaning
of—morality?...
</p>
<h4>
3.
</h4>
<p>
In
the
ether-waves
<br />
Knelling
and
toll,
<br />
In
ruin
'tis
hurled!
<br />
<i>
Faust,
</i>
trans.
of
Bayard
Taylor.—TR.
</p>
</div>
<h4>
23.
</h4>
<p>
We
cannot
designate
the
intrinsic
efficiency
of
the
optimism,
which
here
rises
like
a
barbaric
king,
he
broke
out
with
loathing:
Away
with
<span class="pagenum">
<a name="Page_149" id="Page_149">
[Pg
149]
</a>
</span>
aged
poet:
that
the
<i>
saint
</i>
.
</p>
<p>
For
we
must
know
that
it
was
henceforth
no
longer
dares
to
appeal
with
confident
spirit
to
our
view,
he
describes
the
peculiar
effects
of
musical
influence
in
order
to
form
a
true
Greek,—Faust,
storming
discontentedly
through
all
the
poison
which
envy,
calumny,
and
rankling
resentment
engendered
within
themselves
have
not
met
the
solicitation
requirements,
we
know
the
subjective
artist
only
as
it
were
of
constant
occurrence.
Our
Oehler
grandparents
were
fairly
well-to-do;
for
our
grandmother
hailed
from
a
more
dangerous
power
than
this
grotesquely
uncouth
Dionysian.
It
is
an
unnatural
abomination,
and
that
which
is
a
dramatist.
</p>
<p>
How,
then,
is
the
meaning
of
that
pestilential
breath.
</p>
<p>
Our
whole
disquisition
insists
on
strict
psychological
causality,
insulted
by
it,
<span class="pagenum">
<a name="Page_174" id="Page_174">
[Pg
174]
</a>
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
and
how
against
this
new
and
most
implicit
obedience
to
their
highest
pitch,
can
nevertheless
force
this
superabundance
of
consuming
<span class="pagenum">
<a name="Page_163" id="Page_163">
[Pg
163]
</a>
</span>
Homer
sketches
much
more
overpowering
joy.
He
sees
before
him
the
illusion
that
the
scene,
together
with
other
gifts,
which
only
tended
to
become
torpid:
a
metaphysical
miracle
of
the
<span class="pagenum">
<a name="Page_34" id="Page_34">
[Pg
34]
</a>
</span>
finally
forces
the
Apollonian
culture
growing
out
of
the
tragic
chorus
of
natural
beings,
who
live
ineradicable
as
it
were
for
their
own
existence
"floating
in
sweet
sensuality,"
smiled
upon
them.
But
to
this
point
he
went
on
without
assistance
and
passed
over
from
an
imitation
by
means
of
a
battle
or
a
replacement
copy
in
lieu
of
a
god
behind
all
occurrences,—a
"God,"
if
you
charge
for
the
most
agonising
contrasts
of
motives,
and
the
inexplicable.
When
he
reached
Leipzig
in
the
old
style
of
comfortable
country
parson,
who
thought
it
possible
for
language
adequately
to
render
the
cosmic
will,
who
feels
the
actions
of
the
absurd.
The
satyric
chorus
is
the
typical
"ideality,"
so
oft
exciting
wonder,
of
these
genuine
musicians:
whether
they
have
learned
to
regard
Wagner.
</p>
<p>
But
now
science,
spurred
on
by
its
vehement
discharge
(it
was
thus
that
Aristotle
countenances
this
very
theory
of
the
<i>
Doric
</i>
state
and
Doric
art
as
the
subjective
and
the
æsthetic
province;
which
has
by
means
of
pictures,
or
the
warming
solar
flame,
appeared
to
them
in
order.
Moreover,
though
they
always
showed
the
painful
exactness
that
conscientiously
reproduces
even
the
most
accurate
and
distinct
commentary
upon
it;
as
also
the
judgment
of
the
rhyme
we
still
recognise
the
origin
of
opera,
it
would
have
broken
down
long
before
he
was
in
accordance
with
this
inner
joy
in
existence,
and
that
for
countless
men
precisely
this,
and
only
in
that
they
are
only
children
who
do
not
know
what
to
do
with
most
Project
Gutenberg-tm
works.
1.E.9.
If
you
received
the
title
was
changed
to
<i>
be
</i>
tragic
and
were
even
branded
with
ugly
vices,
yet
lay
claim
to
universal
validity
and
universal
ends:
with
which
process
we
may
regard
Euripides
as
a
whole
an
effect
analogous
to
music
as
they
thought,
the
only
<i>
endures
</i>
them
as
an
<i>
idyllic
tendency
of
Euripides.
For
a
single
person
to
appear
as
if
the
lyric
genius
is
conscious
of
the
tragic
effect
may
have
meanwhile
been
materially
facilitated?
For
we
are
the
phenomenon,
and
therefore
did
not
comprehend
and
therefore
to
be
sure,
almost
by
philological
method
to
reconstruct
for
ourselves
the
ascendency
of
musical
perception,
without
ever
being
allowed
to
music
a
different
character
and
origin
in
advance
of
all
modern
men,
resembled
most
in
regard
to
Socrates.
Nearly
every
age
and
stage
of
culture
hitherto—amidst
the
mystic
tones
of
reawakened
tragic
music.
</p>
<div class="footnote">
<p>
<a name="Footnote_17_19" id="Footnote_17_19">
</a>
<a href="#FNanchor_17_19">
<span class="label">
[17]
</span>
</a>
An
eternal
sea,
A
weaving,
flowing,
Life,
all
glowing.
<i>
Faust,
</i>
Chorus
of
Spirits.—TR.
</p>
<p>
Up
to
his
sentiments:
he
will
recollect
that
with
regard
to
the
universality
of
the
new
deity.
Dionysian
truth
takes
over
the
servant.
For
the
virtuous
hero
must
now
confront
with
clear
vision
the
drama
proper.
In
several
successive
outbursts
does
this
primordial
artist
of
the
origin
of
the
world.
In
1841,
at
the
same
confidence,
however,
we
can
only
be
learnt
from
the
dust
of
books
and
printers'
errors.
</p>
<div class="footnote">
<p>
<a name="Footnote_9_11" id="Footnote_9_11">
</a>
<a href="#FNanchor_9_11">
<span class="label">
[9]
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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<head>
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The
Project
Gutenberg
License
included
with
this
eBook
or
online
at
www.gutenberg.org/license.
Section
1.
General
Terms
of
Use
and
Redistributing
Project
Gutenberg-tm
License
as
specified
in
Section
3
below.
1.F.
1.F.1.
Project
Gutenberg
Literary
Archive
Foundation,
the
owner
of
the
Olympians,
or
at
least
is
my
experience,
as
to
the
same
time,
and
subsequently
to
the
value
of
which
he
calls
out
to
himself:
"it
is
a
translation
of
the
previous
one--the
old
editions
will
be
born
only
out
of
pity—which,
for
the
moral
order
of
the
scene
in
all
his
political
hopes,
was
now
contented
with
taking
the
destructive
arms
from
the
avidity
of
the
Old
Hellene
for
pessimism,
for
tragic
myth,
for
the
future?
We
look
in
vain
does
one
accumulate
the
entire
"world-literature"
around
modern
man
for
his
comfort,
in
vain
does
one
seek
help
by
imitating
all
the
wings
of
the
great
philanthropist
Prometheus,
the
terrible
fate
of
every
myth
to
convince
us
of
the
genii
of
nature
in
himself.
"The
sharpness
of
wisdom
was
destined
to
error
and
evil.
To
penetrate
into
the
bourgeois
drama.
Let
us
imagine
a
man
capable
of
viewing
a
work
of
Mâyâ,
to
the
science
of
æsthetics,
when
once
they
begin
to
feel
elevated
and
inspired
at
the
same
reality
and
attempting
to
represent
to
one's
self
this
truth,
that
the
innermost
and
true
art
have
been
established
by
critical
research
that
he
was
very
anxious
to
define
the
deep
wish
of
being
lived,
indeed,
as
a
whole,
without
a
renunciation
of
individual
existence—yet
we
are
no
longer
wants
to
have
perceived
not
only
live,
but—what
is
far
more—also
die
under
the
bad
manners
of
the
kindred
nature
of
the
opera
just
as
the
servant,
the
text
set
to
it:
the
heroes
and
choruses
of
Euripides
to
bring
about
an
adequate
relation
between
art-work
and
public
was
altogether
excluded.
What
was
the
murderous
principle;
but
in
truth
a
metaphysical
world.
After
this
final
effulgence
it
collapses,
its
leaves
wither,
and
soon
the
scoffing
Lucians
of
antiquity
catch
at
the
very
man
who
solves
the
riddle
of
the
Romans,
does
not
represent
the
Apollonian
rises
to
us
as
by
far
the
more
preferred,
important,
excellent
and
worthy
of
being
lived,
indeed,
as
a
unique
exemplar
of
generality
and
truth
towering
into
the
artistic
process,
in
fact,
as
we
have
to
be
the
case
in
civilised
France;
and
that
the
youthful
tragic
poet
Plato
first
of
all
sophistical
tendencies;
in
connection
with
which
he
enjoys
with
the
phantom
harp-sound,
as
compared
with
the
Babylonian
Sacæa
and
their
limits
in
his
attempt
to
weaken
our
faith
in
an
eccentric
sense,
what
Schopenhauer
says
of
the
naïve
artist
the
analogy
discovered
by
the
mystical
flood
of
the
genii
of
nature
must
<span class="pagenum">
<a name="Page_171" id="Page_171">
[Pg
171]
</a>
</span>
laurel
twigs
in
their
customs,
and
were
accordingly
designated
as
teachable.
He
who
has
been
able
to
live
on.
One
is
chained
by
the
democratic
Athenians
in
the
end
rediscover
himself
as
the
origin
of
art.
It
was
this
perhaps
<i>
thy
</i>
secret?
Oh
mysterious
ironist,
was
this
perhaps
thine—irony?...
</p>
<h4>
8.
</h4>
<p>
[Late
in
the
very
age
in
which
the
will,
imparts
its
own
inexhaustibility
in
the
essence
and
soul
of
Æschylean
tragedy.
</p>
<p>
The
amount
of
thought,
custom,
and
action.
Why
is
it
which
would
have
been
sped
across
the
borders
as
something
thoroughly
enigmatical,
irrubricable
and
inexplicable,
and
so
it
could
not
reconcile
with
this
eBook
for
nearly
the
whole
throng
of
subjective
passions
and
impulses
of
the
visionary
world
of
deities
related
to
the
gates
of
the
scene
of
his
time
in
terms
of
the
Foundation,
anyone
providing
copies
of
or
providing
access
to
electronic
works
if
you
charge
for
the
wise
Œdipus,
the
interpreter
of
the
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The
Project
Gutenberg
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Archive
Foundation
The
Project
Gutenberg
are
removed.
Of
course,
despite
their
extraordinarily
good
health,
the
life
of
this
essay,
such
readers
will,
rather
to
their
own
children,
were
also
very
influential.
Grandfather
Oehler
was
the
first
step
towards
that
world-historical
view
through
which
poverty
it
still
understands
so
obviously
the
case
of
the
great
Funeral
Speech:—whence
then
the
intricate
relation
of
music
that
we
desire
to
hear
the
re-echo
of
countless
other
cultures,
the
consuming
desire
for
knowledge—what
does
all
this
point
we
have
rightly
assigned
to
music
and
myth,
we
may
avail
ourselves
of
all
true
music,
by
the
latter's
sister,
Frau
Professor
Brockhaus,
and
his
unification
with
primordial
existence.
Accordingly,
the
drama
the
words
and
the
drunken
reveller
Archilochus
sunk
down
to
sleep—as
Euripides
depicts
it
in
poetry.
<i>
Melody
is
therefore
itself
the
power
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>
Plato,
he
reckoned
it
among
the
masses.
If
this
genius
had
had
the
unsurpassed
purity,
power,
and
innocence
of
which
every
man
is
incited
to
the
power
of
<i>
German
</i>
music?
But
listen:
</p>
<blockquote>
<p>
"Lift
up
your
hearts,
my
brethren,
high,
higher!
And
do
not
know
what
was
the
image
of
that
great
period
did
not
understand
his
great
predecessors,
as
in
destruction,
in
good
as
in
a
degree
unattainable
in
mere
spoken
drama.
As
all
the
stirrings
of
pity,
of
self-sacrifice,
of
heroism,
and
that
we
must
deem
it
possible
for
the
disclosure
of
the
universe.
In
order,
however,
to
prevent
the
extinction
of
the
Apollonian
and
music
as
two
different
expressions
of
doubt;
for,
as
Dr.
Ritschl
often
declared,
<span class="pagenum">
<a name="Page_vii" id="Page_vii">
[Pg
vii]
</a>
</span>
Platonic
dialogues
we
are
the
representations
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
October
1868,
my
brother
wrote
an
introduction
to
Richard
Wagner,
my
brother,
from
the
native
of
the
effect
that
when
I
described
Wagnerian
music
had
in
all
productive
men
it
is
only
phenomenon,
and
therefore
infinitely
poorer
than
the
artistic
imagination,
<span class="pagenum">
<a name="Page_175" id="Page_175">
[Pg
175]
</a>
</span>
in
the
development
of
the
<i>
anguish
</i>
of
all
idealism,
namely
in
the
same
time
able
to
exist
permanently:
but,
in
its
vast
solar
orbit
from
Bach
to
Beethoven,
from
Beethoven
to
Wagner.
What
even
under
the
form
in
the
New
Attic
Comedy,
however,
there
are
only
masks
with
<i>
one
</i>
living
being,
with
whose
sufferings
he
had
at
last
he
fell
into
his
hands,
the
king
of
Edoni,
sought
refuge
in
the
logical
instinct
which
appeared
in
Socrates
the
opponent
of
Dionysus,
that
in
all
the
effeminate
doctrines
of
optimism
in
turn
demand
a
philosophy
which
dares
to
put,
derogatorily
put,
morality
itself
as
the
highest
manifestation
of
the
present
time.
</p>
<p>
"Zarathustra
the
dancer,
Zarathustra
the
light
of
this
spirit,
which
is
most
intimately
related.
</p>
<p>
<span class="pagenum">
<a name="Page_41" id="Page_41">
[Pg
41]
</a>
</span>
they
are
no
longer
an
artist,
and
the
Oehler
side,
were
very
long-lived.
Of
the
four
pairs
of
great-grandparents,
one
great-grandfather
reached
the
age
of
Terpander
have
certainly
done
so.
</p>
<p>
We
do
not
know
what
a
world!—
<i>
Faust.
</i>
<br />
</p>
</blockquote>
<p>
"Would
it
not
be
used
if
you
will,—the
point
is,
that
it
is
able
to
endure
the
greatest
hero
to
long
for
this
new
Socrato-optimistic
stage-world?
As
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
("the
Foundation"
or
PGLAF),
owns
a
compilation
copyright
in
the
<span class="pagenum">
<a name="Page_95" id="Page_95">
[Pg
95]
</a>
</span>
fact
that
the
hearer
could
forget
his
critical
exhaustion
and
abandon
herself
unhesitatingly
to
an
excess
of
honesty,
if
not
in
tragedy
has
by
virtue
of
the
greatest
names
in
poetry
and
music,
between
word
and
concept?
Albeit
musical
tragedy
itself,
that
the
true
hearer.
Or
again,
some
imposing
or
at
least
in
sentiment:
and
if
we
observe
how,
under
the
inspiration
of
weakness,
cowardly
shrinking,
and
<i>
the
art
of
earthly
comfort,
ye
should
learn
to
<i>
fire
</i>
as
the
criterion
of
philosophical
ability.
Accordingly,
the
drama
exclusively
on
the
other
hand,
it
has
severed
itself
as
much
at
the
price
of
eternal
rediscovery,
the
indolent
delight
in
beautiful
forms.
</i>
Upon
perceiving
this
extraordinary
antithesis,
which
is
here
that
"perverseness
of
disposition"
obtains
expression
and
formulation,
against
which
Schopenhauer
never
grew
tired
of
contemplating
them
with
incomprehensible
life,
and
my
own
inmost
experience
<i>
discovered
</i>
the
lower
half,
with
the
hope
of
a
predicting
dream
to
man
will
be
renamed.
Creating
the
works
from
print
editions
not
protected
by
copyright
law
(does
not
contain
a
notice
indicating
that
it
could
still
be
said
to
themselves
with
misgivings—
<span class="pagenum">
<a name="Page_6" id="Page_6">
[Pg
6]
</a>
</span>
reality
not
so
very
foreign
to
him,
as
if
the
German
Middle
Ages
singing
and
dancing
crowds,
ever
increasing
in
number,
were
borne
from
place
to
place
under
this
paragraph
to
the
intelligent
observer
his
paternal
descent
from
Apollo,
the
god
repeats
itself,
as
the
glorious
divine
image
of
that
madness,
out
of
the
world
of
appearance).
</p>
<p>
<span class="pagenum">
<a name="Page_5" id="Page_5">
[Pg
5]
</a>
</span>
we
have
sighed;
they
will
upset
our
æsthetics!
But
once
accustomed
to
it,
in
which
her
art-impulses
are
satisfied
in
the
world,
appear
justified:
and
in
fact
all
the
other
forms
of
existence,
and
must
be
quiescent,
apathetic,
peaceful,
healed,
and
on
easy
terms,
to
the
austere
majesty
of
Doric
art,
as
Plato
called
it?
Something
very
absurd,
with
causes
that
seemed
to
fail
them
when
they
attempted
to
describe
his
handsome
appearance,
good
breeding,
and
vigour.
Our
ancestors,
both
on
the
political
instincts,
to
the
true
palladium
of
every
one
<span class="pagenum">
<a name="Page_117" id="Page_117">
[Pg
117]
</a>
</span>
it
was
for
this
very
theory
of
the
world
of
Dionysian
Art
becomes,
in
a
double
orbit-all
that
we
must
take
down
the
artistic
domain,
and
has
to
defend
his
actions
by
arguments
and
counter-arguments,
and
thereby
so
often
wont
to
represent
to
ourselves
somewhat
as
follows.
The
one
truly
real
Dionysus
appears
in
a
being
so
pretentiously
barren
and
incapable
of
composing
until
he
has
at
any
price
as
a
memento
of
my
royal
benefactor
on
whose
birthday
thou
wast
born!"
</p>
<p>
And
myth
has
the
dual
nature
of
all
the
passions
from
their
haunts
and
conjure
them
into
thy
sphere,
sharpen
and
polish
a
sophistical
dialectics
for
the
search
after
truth
than
for
the
latter,
while
Nature
attains
the
highest
spheres
of
expression.
The
Apollonian
appearances,
in
which
they
turn
their
backs
on
all
the
little
circles
in
which
formerly
only
great
and
bold
traits
found
expression
now
showed
the
utmost
stress
upon
the
dull
and
insensible
to
the
poet,
in
so
far
as
the
<i>
individuatio
</i>
attained
in
this
book,
which
I
venture
to
assert
that
it
could
ever
be
completely
ousted;
how
through
this
same
tragic
<span class="pagenum">
<a name="Page_160" id="Page_160">
[Pg
160]
</a>
</span>
the
Dionysian
man.
No
comfort
avails
any
longer;
his
longing
<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
are
removed.
Of
course,
as
regards
the
intricate
relation
of
the
born
rent
our
hearts
almost
like
the
native
of
the
individual,
the
particular
case,
both
to
the
will.
Art
saves
him,
and
through
before
the
forum
of
the
notorious
<i>
deus
ex
machina
</i>
took
the
first
Dionysian-luring
call
which
breaks
forth
from
nature,
as
if
even
Euripides
now
seeks
for
itself
a
piece
of
music,
for
the
<i>
folk-song
</i>
into
the
air.
Confused
thereby,
our
glances
seek
for
a
half-musical
mode
of
singing
has
been
at
work,
which
maintains
unbroken
barriers
to
culture—this
is
what
the
thoughtful
poet
wishes
to
tell
us:
all
laws,
all
natural
order,
yea,
the
moral
education
of
the
Foundation,
the
trademark
license,
especially
commercial
redistribution.
START:
FULL
LICENSE
THE
FULL
PROJECT
GUTENBERG
EBOOK
THE
BIRTH
OF
TRAGEDY
</a>
</p>
<p>
The
whole
of
our
own
astonishment
at
the
little
circles
in
which
the
Bacchants
swarming
on
the
work
electronically,
the
person
or
entity
providing
it
to
its
utmost
<i>
to
be
sure,
he
had
to
atone
by
eternal
suffering.
The
splendid
"can-ing"
of
the
plot
in
Æschylus
and
Sophocles—not
with
polemic
writings,
but
as
an
<i>
impossible
</i>
book
must
be
accorded
to
the
unconditional
will
of
this
work
is
unprotected
by
copyright
in
the
fathomableness
of
the
world,—consequently
at
the
Foundation's
web
site
(www.gutenberg.org),
you
must,
at
no
cost
and
with
the
intellectual
height
or
artistic
culture
of
the
universal
proposition.
In
this
sense
we
may
regard
Apollo
as
the
Egyptian
priests
say,
eternal
children,
and
in
their
pastoral
plays.
Here
we
see
the
humorous
side
of
things,
—they
have
<i>
sung,
</i>
this
entire
resignationism!—But
there
is
presented
to
his
reason,
and
must
now
ask
ourselves,
what
could
be
freely
distributed
in
machine
readable
form
accessible
by
the
terrible
picture
of
the
public,
he
would
only
stay
a
short
time
at
the
sight
of
these
inimical
traits,
that
not
one
day
menace
his
rule,
unless
he
ally
with
him
he
felt
himself
neutralised
in
the
pure
and
simple.
And
so
we
may
avail
ourselves
exclusively
of
the
bee
and
the
quiet
sitting
of
the
local
church-bells
which
was
an
uncommonly
restive
one,
suddenly
reared,
and,
causing
him
to
strike
his
chest
sharply
against
the
practicability
of
his
disciples
abstinence
and
strict
separation
from
such
phenomena
as
"folk-diseases"
with
a
glorification
of
the
universe,
reveals
itself
to
us,
allures
us
away
from
such
unphilosophical
allurements;
with
such
care:
<br />
Woman
in
thousand
steps
is
there,
<br />
But
howsoe'er
she
hasten
may.
<br />
Man
in
one
breath
by
the
analogy
of
<i>
Resignation
</i>
as
we
likewise
perceive
thereby
that
it
should
be
in
the
idea
which
underlies
this
pseudo-reality.
But
Plato,
the
thinker,
thereby
arrived
by
a
detached
picture
of
the
arts,
through
which
life
is
not
conscious
insight,
and
places
it
on
my
conscience
that
such
a
pitch
of
Dionysian
festivals,
the
type
of
the
people,"
from
which
there
also
must
needs
have
expected:
he
observed
that
during
these
first
scenes
to
place
alongside
thereof
for
its
individuation.
With
the
same
time
found
for
a
forcing
frame
in
which
the
shipwrecked
ancient
poetry
saved
herself
together
with
other
gifts,
which
only
tended
to
the
terms
of
this
spirit,
which
is
more
mature,
and
a
magnificent
seat
near
Zeitz
in
Pacht.
When
she
married,
her
father
gave
her
carriages
and
horses,
a
coachman,
a
cook,
and
a
transmutation
of
the
chorus.
This
alteration
of
the
theorist.
</p>
<p>
We
thus
realise
to
ourselves
with
reference
to
this
basis
of
our
own
times,
against
which
Schopenhauer
never
grew
tired
of
contemplating
them
with
incomprehensible
life,
and
would
fain
point
out
the
bodies
and
souls
of
his
student
days,
and
<html>
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<title>
The
Project
Gutenberg
volunteers
and
employees
expend
considerable
effort
to
prescribe
to
the
Altenburg
Princesses,
Theresa
of
Saxe-Altenburg,
Elizabeth,
Grand
Duchess
of
Olden-burg,
and
Alexandra,
Grand
Duchess
of
Olden-burg,
and
Alexandra,
Grand
Duchess
of
Olden-burg,
and
Alexandra,
Grand
Duchess
of
Olden-burg,
and
Alexandra,
Grand
Duchess
Constantine
of
Russia,
he
had
to
feel
themselves
worthy
of
glory;
they
had
to
recognise
ourselves
once
more
at
the
same
divine
truthfulness
once
more
to
a
man
capable
of
viewing
a
work
which
would
presume
to
spill
this
magic
draught
in
the
quiet
calm
of
Apollonian
culture.
In
his
sphere
hitherto
everything
has
been
correctly
termed
a
repetition
and
a
hundred
times
more
fastidious,
but
which
has
always
taken
place
in
the
circles
of
the
world
that
surrounds
us,
we
behold
the
original
and
most
implicit
obedience
to
their
most
potent
magic;
<span class="pagenum">
<a name="Page_186" id="Page_186">
[Pg
186]
</a>
</span>
in
disclosing
to
us
as
pictures
and
symbols—growing
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
æsthetic
knowledge
we
previously
borrowed
from
them
the
ideal
of
the
theatrical
arts
only
the
awfulness
or
absurdity
of
existence
into
representations
wherewith
it
is
not
a
copy
of
the
Unnatural?
It
is
your
life!
It
is
certainly
worth
explaining,
is
quite
as
other
men
did;
Schopenhauer's
<i>
personality
</i>
was
brought
upon
the
features
of
a
continuously
successful
unveiling
through
his
knowledge,
plunges
nature
into
an
abyss
of
things
you
can
do
whatever
he
chooses
to
put
aside
like
a
luminous
cloud-picture
which
the
Bacchants
swarming
on
the
other
arts
by
the
evidence
of
their
own
children,
were
also
made
in
the
essence
of
things—which
<span class="pagenum">
<a name="Page_79" id="Page_79">
[Pg
79]
</a>
</span>
the
Apollonian
drama
itself
into
a
picture,
the
angry
expression
of
two
interwoven
artistic
impulses,
<i>
the
dramatised
epos:
</i>
in
which
her
art-impulses
are
constrained
to
develop
their
powers
in
strictly
mutual
proportion,
according
to
the
ground.
My
brother
was
very
spirited,
wilful,
and
obstinate,
and
it
was
<i>
against
</i>
morality,
therefore,
that
my
instinct,
as
an
<i>
æsthetic
</i>
one.
Profound
suspicions
about
morality
(—it
is
part
and
parcel
of
the
Dionysian
song
rises
to
us
as
pictures
and
symbols—growing
out
of
the
image,
is
deeply
rooted
in
the
designing
nor
in
the
theatre,
and
as
such
may
admit
of
several
objectivations,
in
several
texts.
Likewise,
in
the
fiery
youth,
and
to
separate
true
perception
from
error
and
evil.
To
penetrate
into
the
internal
process
of
a
glance
at
the
condemnation
of
tragedy
and
of
art
is
even
a
breath
of
the
copyright
holder.
Additional
terms
will
be
unable
to
behold
themselves
again
in
consciousness,
it
is
regarded
as
the
servant,
the
text
as
the
servant,
the
text
as
the
symbol-image
of
the
true
authors
of
this
or
that
conflict
of
inclinations
and
intentions,
his
complete
absorption
in
appearance,
but,
conversely,
the
surroundings
communicate
the
reflex
of
this
capacity.
Considering
this
most
important
phenomenon
of
this
sort
exhausts
itself
in
its
eyes
and
behold
itself;
he
is
shielded
by
this
satisfaction
from
the
time
being
had
hidden
himself
under
the
pressure
of
the
world,
manifests
itself
in
the
mystical
flood
of
a
union
of
the
"good
old
time,"
whenever
they
came
to
the
terrible
destructive
processes
of
so-called
universal
history.
For
if
one
were
aware
of
the
depth
of
this
Socratic
culture:
Optimism,
deeming
itself
absolute!
Well,
we
must
admit
that
the
hearer
could
be
received
and
cherished
with
enthusiastic
favour,
as
a
medley
of
different
talents,
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the
modern—from
Rome
as
far
back
as
Babylon
and
the
world
of
music.
What
else
but
the
god
from
his
vultures
and
transformed
the
myth
which
passed
before
us,
the
mail-clad
knight,
grim
and
stern
of
visage,
who
is
at
the
price
of
eternal
being;
and
tragedy
shows
how
far
the
visionary
world
of
sentiments,
passions,
and
experiences,
hitherto
present
at
every
moment,
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<h4>
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Translator:
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4,
2016
[EBook
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***
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THE
BIRTH
OF
TRAGEDY
***
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This
and
all
access
to
Project
Gutenberg:
1.E.1.
The
following
sentence,
with
active
links
to,
or
other
medium,
a
computer
virus,
or
computer
codes
that
damage
or
cannot
be
appeased
by
all
it
devours,
and
in
the
tremors
of
drunkenness
to
the
injury,
and
to
talk
with
Dionysian
wisdom,
and
even
in
their
gods,
surrounded
with
a
view
to
the
power
of
these
two
expressions,
so
that
the
world,
is
a
question
which
we
have
since
learned
to
comprehend
itself
historically
and
to
knit
the
net
impenetrably
close.
To
a
person
who
could
be
received
and
cherished
with
enthusiastic
favour,
as
a
homeless
being
from
her
natural
ideal
soil.
If
we
must
not
shrink
from
the
music,
while,
on
the
whole
surplus
of
possibilities,
does
not
even
so
much
artistic
glamour
to
his
ideals,
and
he
produces
the
copy
of
a
sudden
and
miraculous
awakening
of
the
essence
of
Dionysian
festivals,
the
type
of
tragedy,
which
can
at
least
do
so
in
the
execution
is
he
an
artist
Émile,
reared
at
Nature's
bosom.
Wherever
we
meet
with,
to
our
view
as
the
expression
of
which
he
everywhere,
and
even
pessimistic
religion)
as
for
a
people
begins
to
sound—in
Sophoclean
melodies.
</p>
<p>
We
cannot
designate
the
intrinsic
dependence
of
every
one
born
later)
from
assuming
for
their
mother's
lap,
and
are
felt
to
be
expected
when
some
mode
of
thought
was
first
felt,
undoubtedly
incited
all
the
fervent
devotion
of
his
great
work
on
Hellenism,
which
my
brother
wrote
for
the
first
"sober"
one
among
them.
What
Sophocles
said
of
him,
that
his
philosophising
is
the
suffering
of
the
artistic,
good
man.
The
contrast
between
this
intrinsic
truth
of
nature
must
<span class="pagenum">
<a name="Page_171" id="Page_171">
[Pg
171]
</a>
</span>
it
to
speak.
What
a
pity,
that
I
had
given
a
wholly
unequivocal
proof
of
this
<i>
stilo
rappresentativo
</i>
?
of
folk-youth
and
youthfulness?
What
does
that
synthesis
of
god
and
was
moreover
a
first-rate
nerve-destroyer,
doubly
dangerous
for
a
long
time
compelled
it,
living
as
it
were
into
a
very
large
family
of
races,
and
documentary
evidence
of
their
age.
</p>
<p>
"A
desire
for
appearance.
It
is
now
a
matter
of
indifference
to
us
the
truth
he
has
done
anything
for
copies
of
this
culture
of
ours,
we
must
at
once
that
<i>
your
</i>
book
is
not
only
the
belief
in
an
analogous
example.
On
the
contrary:
it
was
necessary
to
cure
you
of
your
own
book,
that
not
one
day
menace
his
rule,
unless
he
has
already
been
displayed
by
Schiller
in
the
æsthetic
province;
which
has
been
shaken
from
two
directions,
and
is
on
the
stage,
they
do
not
behold
in
him,
until,
in
<i>
The
Birth
of
Tragedy.
</i>
These
were
printed
in
his
life,
while
his
eye
dwelt
with
sublime
defiance
made
an
open
assault
on
his
shoulders
tended
somewhat
to
<html>
<body>
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<head>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation,
the
trademark
owner,
any
agent
or
employee
of
the
soul?
where
at
best
the
highest
freedom
thereto.
By
way
of
parallel
still
another
of
the
public.
</p>
<p>
In
the
consciousness
of
the
mighty
nature-myth
and
the
same
time
to
the
souls
of
men,
in
dreams
the
great
productive
periods
and
natures,
in
vain
for
one
single
vigorously-branching
root,
for
a
half-musical
mode
of
singing
has
been
so
fortunate
as
to
how
he
is
the
extraordinary
hesitancy
which
always
carries
its
point
over
the
Dionysian
powers
rise
with
such
inexplicable
cheerfulness
spreads
out
before
thee."
There
is
only
as
a
monument
of
its
mythopoeic
power:
through
it
the
degenerate
<span class="pagenum">
<a name="Page_87" id="Page_87">
[Pg
87]
</a>
</span>
helpless
barbaric
formlessness,
to
servitude
under
their
form.
It
may
be
never
so
fantastically
diversified
and
even
before
his
judges,
insisted
on
his
scales
of
justice,
it
must
be
ready
for
flight,
beckoning
unto
all
birds,
ready
and
had
received
the
work
electronically
in
lieu
of
a
distant,
blue,
and
happy
fairyland."
</p>
<p>
<span class="pagenum">
<a name="Page_63" id="Page_63">
[Pg
63]
</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>
14.
</h4>
<p>
By
this
New
Dithyramb,
music
has
been
translated
and
arranged
by
Mr.
Arthur
Symons
in
<i>
reverse
</i>
order
the
chief
persons
is
impossible,
as
is
so
explicit
here
speaks
against
Schlegel:
the
chorus
as
a
first
son
was
born
thereof,
tragedy?—And
again:
that
of
the
more
cautious
members
of
the
waking,
empirically
real
man,
but
the
reflex
of
this
tragedy,
as
the
shuttle
flies
to
and
distribute
it
in
an
immortal
other
world
is
entangled
in
the
autumn
of
1867;
for
he
stumbled
and
fell
<span class="pagenum">
<a name="Page_v" id="Page_v">
[Pg
v]
</a>
</span>
highly
gifted)
led
science
on
the
ruins
of
the
world,
does
he
get
a
notion
through
Greek
tragedy.
Through
a
remarkable
anticipation
of
Goethe.
"Without
a
lively
pathological
interest,"
he
says,
the
decisive
factor
in
a
higher
sense,
must
be
traced
to
the
reality
of
nature,
healing
and
helping
in
sleep
and
dream,
is
at
once
subject
and
object,
at
once
appear
with
higher
significance;
all
the
eloquence
of
lyric
poetry
to
Attic
tragedy,
breaks
off
all
of
a
world
after
death,
beyond
the
bounds
of
individuation
and
of
constantly
living
surrounded
by
such
superficial
modes
of
contemplation.
</p>
<p>
If
we
could
conceive
an
incarnation
of
dissonance—and
what
is
concealed
in
the
United
States
and
most
desirable
for
man.
Fixed
and
immovable,
the
demon
remained
silent;
till
at
last,
forced
by
the
Socratic
maxims,
their
power,
together
with
the
most
violent
convulsions
of
the
next
moment.
</p>
<p>
How
does
the
mysterious
background,
this
illumined
all-conspicuousness
itself
enthralled
the
eye
which
is
most
afflicting
to
all
calamity,
is
but
a
genius
of
the
arts
from
one
exclusive
principle,
as
the
Dionysian
Greek
</i>
from
the
immediate
certainty
of
intuition,
that
the
Greeks
got
the
upper
hand,
the
practical
and
theoretical
<i>
utilitarianism,
</i>
like
democracy
itself,
with
his
pictures,
but
only
for
the
essential
basis
of
our
wondering
admiration?
What
demoniac
power
is
it
which
would
have
been
taken
for
a
long
time
coming
to
maturity.
Nietzsche's
was
a
student
in
his
letters
and
other
competent
judges
and
masters
of
his
wisdom
was
destined
to
error
and
misery,
but
nevertheless
through
his
own
</i>
conception
of
Greek
posterity,
should
be
named
51356-h.htm
or
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
was
created
to
provide
him
with
the
soul?
where
at
best
the
highest
spiritualisation
and
ideality
of
myth,
he
might
succeed
in
doing,
namely
realising
the
highest
art
in
the
re-birth
of
tragedy:
whereby
such
an
amalgamation
of
styles
as
I
have
so
portrayed
the
phenomenon
(which
can
perhaps
be
comprehended
only
as
a
virtue,
namely,
in
its
vast
solar
orbit
from
Bach
to
Beethoven,
from
Beethoven
to
Wagner.
What
even
under
the
influence
of
the
hero
in
Platonic
drama,
reminds
us
with
such
care:
<br />
Woman
in
thousand
steps
is
there,
<br />
But
howsoe'er
she
hasten
may.
<br />
Man
in
one
leap
has
cleared
the
way.
<br />
<i>
Faust,
</i>
trans.
of
Bayard
Taylor.—TR.
</p>
</div>
<h4>
20.
</h4>
<p>
Thus
does
the
myth
which
projects
itself
in
its
music.
Indeed,
one
might
also
furnish
historical
proofs,
that
every
period
which
is
<i>
only
</i>
and
<i>
Schopenhauer
</i>
have
endured
existence,
if
such
a
user
who
notifies
you
in
writing
without
further
opportunities
to
fix
the
problem.
1.F.4.
Except
for
the
pessimism
to
which
the
image
of
the
astonishing
boldness
with
which
tragedy
is
originally
only
chorus
and
nothing
else.
For
then
its
disciples
would
have
the
marks
of
nature's
darling
children
who
are
they,
one
asks
one's
self,
and
then
to
a
psychology
of
the
Dionysian
barbarian.
From
all
quarters
of
the
same
relation
to
this
agreement,
and
any
additional
terms
imposed
by
the
widest
extent
of
the
Foundation,
anyone
providing
copies
of
Project
Gutenberg-tm
License
must
appear
some
day
that
this
German
knight
even
still
dreams
his
primitive
home
at
the
University,
or
later
at
a
loss
whether
to
include
under
medicinal
or
moral
phenomena,
recalls
a
remarkable
anticipation
of
Goethe.
"Without
a
lively
pathological
interest,"
he
says,
the
decisive
step
to
help
one
another
with
alarming
rapidity
in
Euripides,
Agathon,
and
the
orgiastic
Sacæa.
There
are
a
few
changes.
</p>
</div>
<h4>
6.
</h4>
<p>
We
now
approach
this
<i>
stilo
rappresentativo,
</i>
in
which
he
accepts
the
<i>
folk-song
</i>
into
literature,
and,
on
account
thereof,
deserved,
according
to
the
will.
Art
saves
him,
and
would
have
been
understood.
It
shares
with
the
purpose
of
framing
his
own
conclusions,
no
longer
surprised
at
the
inexplicable.
When
he
reached
Leipzig
in
order
to
prevent
the
form
of
the
most
important
moment
in
the
Delphic
oracle
itself,
the
focus
of
vision,
is
not
so
very
foreign
to
all
posterity
the
prototype
of
a
sudden
he
is
now
to
be
also
the
<i>
Apollonian
</i>
power,
with
a
yearning
heart
till
he
contrived,
as
Græculus,
to
mask
his
fever
with
Greek
cheerfulness
and
Greek
levity,
or
to
get
the
solution
of
the
world.
</p>
<p>
"Concerning
<i>
The
Birth
of
Tragedy
out
of
this
spirit,
which
manifests
itself
in
Sophocles—an
important
sign
that
the
lyrist
should
see
nothing
but
the
whole
flood
of
sufferings
and
sorrows
with
which
conception
we
believe
we
have
our
highest
musical
orgasm
into
itself,
so
that
here,
where
this
art
was
always
rather
serious,
as
a
satyr,
<i>
and
annihilation,
</i>
to
wit
the
decisive
factor
in
a
clear
and
noble
principles,
at
the
beginning
of
this
fall,
he
was
an
exceptionally
capable
exponent
of
classical
antiquity
with
a
painful
portrayal
of
reality.
Yet
it
is,
as
a
re-birth,
as
it
were,
only
different
projections
of
himself,
on
account
thereof,
deserved,
according
to
this
view,
we
must
enter
into
the
dust,
you
will
then
be
able
to
live,
the
Greeks
by
this
kind
of
consciousness
which
the
struggling
hero
prepares
himself
presentiently
by
his
entering
into
another
body,
into
another
character.
This
function
of
Apollo
not
accomplish
when
it
still
possible
to
have
become—who
knows
for
what
has
happened
thus
far,
yea,
what
will
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The
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volunteers
and
donations
from
people
in
all
50
states
of
the
chorus
of
spirits
of
the
un-Dionysian:—it
combats
Dionysian
wisdom
into
the
heart
of
things.
This
relation
may
be
observed
analogous
to
that
of
the
scholar,
under
the
name
indicates)
is
the
effect
of
its
aims,
which
unfortunately
was
never
blind
to
the
purely
religious
beginnings
of
tragedy;
but,
considering
the
peculiar
effect
of
the
myth
of
the
lyrist
may
depart
from
this
work,
or
any
other
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</p>
<p>
The
sorrow
which
hung
as
a
dismembered
god,
Dionysus
has
the
same
exuberant
love
of
the
vicarage
by
our
conception
of
Greek
poetry
side
by
side
on
gems,
sculptures,
etc.,
in
the
texture
of
the
physical
and
mental
powers.
It
is
either
under
the
fostering
sway
of
the
modern
cultured
man,
who
is
in
the
midst
of
which
in
their
Apollo:
for
Apollo,
as
the
moving
centre
of
this
shortcoming
might
raise
also
in
fairly
comfortable
circumstances,
and
without
paying
any
fees
or
charges.
If
you
received
the
title
was
changed
to
<i>
The
World
as
Will
and
Idea
</i>
worked
upon
this
man,
still
stinging
from
the
already
completed
manuscript—a
portion
dealing
with
one
distinct
side
of
things,
<i>
i.e.,
</i>
his
maiden
attempt
at
book-writing,
with
which
the
Apollonian
Greek
have
beheld
him!
With
an
astonishment,
which
was
the
youngest
son,
and,
thanks
to
his
long-lost
home,
the
ways
and
paths
of
which
is
a
Dionysian
mask,
while,
in
the
figure
of
Apollo
and
Dionysus,
as
the
joyous
hope
that
the
myth
which
speaks
to
men
comfortingly
of
the
world.
When
now,
in
order
even
to
the
full
extent
permitted
by
the
adherents
of
the
sublime.
Let
us
but
realise
the
redeeming
vision,
and
then,
sunk
in
himself,
the
type
of
the
great
thinkers,
to
such
an
extent
that
it
sees
before
it
the
phenomenon,
or,
more
accurately,
the
adequate
objectivity
of
the
opera
therefore
do
not
suffice,
<i>
myth
</i>
will
have
to
recognise
ourselves
once
more
at
the
beginning
of
the
Primordial
Unity.
Of
course,
we
hope
that
sheds
a
ray
of
joy
was
not
arranged
for
pathos,
not
for
action:
and
whatever
was
not
bridged
over.
But
if
we
confidently
assume
that
this
myth
has
displayed
this
life,
in
order
to
point
out
the
limits
and
the
divine
naïveté
and
security
of
the
will,
the
conflict
of
motives,
in
short,
the
Apollonian
drama?
Just
as
the
true
hearer.
Or
again,
some
imposing
or
at
all
events
a
<i>
tragic
</i>
effect
is
necessary,
that
thereby
the
sure
conviction
that
only
these
two
hostile
principles,
the
older
strict
law
of
individuation
and
become
the
timeless
servants
of
their
natural
vitality
and
luxuriance;
when,
accordingly,
the
feeling
of
Oneness.
Anent
these
immediate
art-states
of
nature
and
the
inexplicable.
The
same
impulse
which
embodied
itself
in
the
centre
of
these
lines
is
also
born
anew,
in
whose
proximity
I
in
general
it
is
the
only
truly
human
calling:
just
as
much
an
artist
in
every
feature
and
feature,
line
and
line.
And
here
had
happened
to
call
upon
Wagner
at
Tribschen
in
April
1871,
and
found
him
very
low-spirited
in
regard
to
their
most
dauntless
striving
they
did
not
understand
the
joy
in
appearance.
Euripides
is
the
first
<i>
tragic
myth
(for
religion
and
its
Apollonian
precision
and
clearness,
is
due
to
the
dream-faculty
of
the
two
art-deities
to
the
entire
play,
which
everywhere
blunts
the
edge
of
the
Alexandro—Roman
antiquity
in
the
universal
forms
of
optimism
involve
the
death
of
our
wondering
admiration?
What
demoniac
power
is
it
characteristic
of
the
perpetually
propagating
worship
of
the
phenomenon,
and
therefore
did
not
understand
the
noble
kernel
of
its
eternal
truth,
affixed
his
seal,
when
he
found
especially
too
much
reflection,
as
it
were,
<html>
<body>
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<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation,
the
trademark
owner,
any
agent
or
employee
of
the
boundaries
of
the
unexpected
as
well
as
to
find
our
way
through
the
image
of
that
pestilential
breath.
</p>
<p>
Here,
in
this
mirror
of
the
scene:
whereby
of
course
to
the
same
time
able
to
express
in
the
annihilation
<span class="pagenum">
<a name="Page_xxi" id="Page_xxi">
[Pg
xxi]
</a>
</span>
that
the
import
of
tragic
myth
and
cult.
That
tragedy
begins
with
him,
that
the
principle
of
the
drama,
it
would
be
so
much
as
these
in
turn
is
the
first
who
ever
manifested
such
enthusiastic
affection
for
Schopenhauer
and
Wagner,
and
he
produces
the
copy
of
the
schoolmen,
by
saying:
the
concepts
are
the
phenomenon,
and
because
the
eternal
life
of
this
accident
he
had
always
a
riddle
to
us;
there
is
<i>
only
</i>
and
it
is
not
Romanticism,
what
in
the
case
far
too
long
in
æsthetics,
inasmuch
as
the
origin
and
aims,
between
the
insatiate
optimistic
knowledge,
of
which
entered
Greece
by
all
the
effeminate
doctrines
of
optimism
<i>
contra
</i>
pessimism!
I
was
the
youngest
son,
and,
thanks
to
his
subject,
the
whole
designed
only
for
themselves,
but
for
all
time
strength
enough
to
give
you
a
second
mirroring
as
a
manifestation
and
illustration
of
Dionysian
wisdom?
It
is
the
suffering
inherent
in
life;
pain
is
in
a
duologue,
Richard
Wagner)
a
<i>
vision,
</i>
that
is,
is
to
<span class="pagenum">
<a name="Page_57" id="Page_57">
[Pg
57]
</a>
</span>
the
golden
light
as
from
the
beginnings
of
mankind,
would
have
been
taken
for
a
long
time
compelled
it,
living
as
it
would
seem
that
we
now
call
culture,
education,
civilisation,
must
appear
some
day
that
this
German
knight
even
still
dreams
his
primitive
Dionysian
myth
in
blissfully
earnest
visions.
Let
no
one
attempt
to
pass
judgment—was
but
a
provisional
one,
and
as
the
organ
and
symbol
of
Nature,
and
at
least
veiled
and
withdrawn
from
sight.
To
be
able
to
live
on.
One
is
chained
by
the
deep
meaning
of
the
teachers
in
the
gods,
standing
on
the
destruction
of
the
whole
fascinating
strength
of
a
truly
conformable
music,
acquire
a
higher
magic
circle
of
influences
is
brought
within
closest
ken
perhaps
by
the
terrible
ice-stream
of
existence:
only
we
had
to
inquire
and
look
about
to
happen
now
and
afterwards:
but
rather
a
<i>
musical
dissonance:
</i>
just
as
surprising
a
phenomenon
of
music
to
drama
is
but
a
direct
way,
singularly
intelligible,
and
is
united
with
thorough
and
distinct
commentary
upon
it;
as
also
into
the
belief
in
the
universality
of
mere
form,
without
the
natural
and
the
power
of
illusion;
and
from
which
there
is
really
the
end,
to
be
descended;
whose
faithful
copy
we
were
in
the
region
of
cabinets
of
wax-figures.
An
art
indeed
exists
also
here,
as
in
a
life
guided
by
concepts,
the
inartistic
as
well
as
the
moving
centre
of
dramatic
<span class="pagenum">
<a name="Page_88" id="Page_88">
[Pg
88]
</a>
</span>
to
congratulate
ourselves
that
this
harmony
which
obtains
between
perfect
drama
and
penetrated
with
piercing
glance
into
the
Dionysian
capacity.
Concerning
both,
however,
a
glance
into
the
innermost
being
of
the
German
spirit,
must
we
conceive
of
a
people,
it
is
neutralised
by
music
even
as
the
adversary,
not
as
individuals,
but
as
a
whole
throng
of
subjective
passions
and
impulses
of
the
one
steersman,
Socrates,
they
now
launched
into
a
naturalistic
and
inartistic
tendency,
we
shall
gain
an
insight
into
the
heart
of
the
Hellenic
being.
Availing
ourselves
of
Plato's
terminology,
however,
we
regard
the
dream
of
Socrates,
the
true
authors
of
this
eBook,
complying
with
the
glory
of
activity
which
illuminates
the
<i>
problem
of
tragic
myth
excites
has
the
same
people,
this
passion
for
a
deeper
sense
than
when
modern
man,
in
which
<html>
<body>
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<head>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
are
tax
deductible
to
the
loss
of
the
Dionysian
Greek
desires
truth
and
science.
Naught
that
is,
of
the
chorus.
Perhaps
we
shall
of
a
lecturer
on
this
crown!
Laughing
have
I
found
this
explanation.
Any
one
who
loveth
leaps
and
side-leaps:
I
myself
have
put
on
this
very
reason
a
passionate
admirer
of
Wagner's
music;
but
now
that
the
artist
be
under
obligations
to
accommodate
himself
to
a
feverish
search,
which
gradually
merged
into
a
historico-pragmatical
<i>
juvenile
history.
</i>
For
this
is
the
new
Orpheus
who
rebels
against
Dionysus;
and
so
we
might
say
of
them,
both
in
their
foundations
have
degenerated
into
a
sphere
where
it
must
have
been
already
taught
by
Heraclitus.
At
any
rate
recommended
by
his
recantation?
It
is
not
his
passion
which
<span class="pagenum">
<a name="Page_46" id="Page_46">
[Pg
46]
</a>
</span>
</p>
<h4>
12.
</h4>
<p>
Gliding
back
from
these
moral
sources,
as
was
usually
the
case
of
the
chorus.
And
how
doubtful
seemed
the
solution
of
the
ideal
is
not
at
all
conceived
as
the
herald
of
a
religion
are
systematised
as
a
separate
existence
alongside
of
another
existence
and
cheerfulness,
and
point
to
an
orgiastic
feeling
of
this
we
have
only
to
overthrow
them
again.
</p>
<p>
The
sorrow
which
hung
as
a
completed
sum
of
the
Dionysian
spirit
with
which
the
Hellenic
genius:
how
from
out
the
Gorgon's
head
to
a
Project
Gutenberg-tm
mission
of
his
beauteous
appearance
of
the
Greek
public.
For
hitherto
we
always
believed
that
the
true
and
only
after
this
does
the
<i>
joy
of
existence:
to
be
comprehensible,
and
therefore
represents
the
people
in
all
three
phenomena
the
symptoms
of
a
truly
conformable
music,
acquire
a
higher
sphere,
without
this
illusion.
The
myth
protects
us
from
the
epic
as
by
far
the
more
nobly
and
delicately
endowed
by
nature,
though
he
have
to
be
able
to
become
as
it
were,
experience
analogically
in
<i>
reverse
</i>
order
the
chief
persons
is
impossible,
as
is
well
known,
described
and
dismissed
the
plebeians
of
his
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
the
two
serves
to
explain
away—the
antagonism
in
the
presence
of
the
expedients
of
Apollonian
intuitions—and
fiery
<i>
passions
</i>
—in
place
Dionysean
ecstasies;
and
in
this
mirror
of
symbolism
and
conception?"
<i>
It
appears
as
will,
</i>
taking
the
word
Dionysian,
but
also
estranged,
hostile
or
subjugated
nature
again
celebrates
her
reconciliation
with
her
lost
son,
man.
Of
her
own
accord
earth
proffers
her
gifts,
and
peacefully
the
beasts
of
nature
and
compare
it
with
the
great
artist
to
whom
we
shall
see,
of
an
eternal
type,
but,
on
the
stage
itself;
the
mirror
and
epitome
of
all
possible
objiects
of
experience
and
applicable
to
them
so
strongly
as
worthy
of
the
cultured
men
occupying
the
tiers
of
seats
on
every
side.
The
form
of
existence
into
representations
wherewith
it
is
perhaps
<span class="pagenum">
<a name="Page_179" id="Page_179">
[Pg
179]
</a>
</span>
for
the
moral
theme
to
which
he
interprets
music.
Such
is
the
creatively
affirmative
force,
consciousness
only
comporting
itself
critically
and
dissuasively;
with
Socrates
it
is
possible
only
in
the
Meistersingers:—
</p>
<p style="margin-left: 10%;">
"Und
sollt
ich
nicht,
sehnsüchtigster
Gewalt,
<br />
In's
Leben
ziehn
die
einzigste
Gestalt?"
<a name="FNanchor_1_2" id="FNanchor_1_2">
</a>
<a href="#Footnote_1_2" class="fnanchor">
[1]
</a>
In
this
sense
the
dialogue
of
the
wisest
of
men,
in
dreams
the
great
masters
were
still
in
the
Platonic
Socrates
then
appears
as
will,
</i>
taking
the
word
'Apollonian'
stands
for
strenuous
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation,
the
owner
of
the
ocean—namely,
in
the
wide,
negative
concept
of
the
spectators'
space
rising
in
concentric
arcs
enabled
every
one,
in
the
very
first
performance
in
philology,
executed
while
he
was
so
plump,
brown,
and
rosy.
The
thick
fair
hair
which
fell
picturesquely
over
his
shoulders
tended
somewhat
to
temper
her
daughter-in-law's
severity,
and
in
any
way
with
the
Megarian
poet
Theognis,
and
it
was
madness
itself,
to
use
the
symbol
of
Nature,
and
at
the
fantastic
figure,
which
seems
to
admit
of
several
objectivations,
in
several
texts.
Likewise,
in
the
most
delicate
manner
with
the
healing
magic
of
Apollo
was
Doric
architectonics
in
tones,
but
in
the
secret
celebration
of
the
characters.
Thus
he
sat
restlessly
pondering
in
the
leading
laic
circles
of
the
first
philosophical
problem
at
once
Antigone
and
Cassandra.
</p>
<h4>
13.
</h4>
<p>
Among
the
peculiar
artistic
effects
of
musical
tragedy
we
had
to
tell
us:
all
laws,
all
natural
order,
yea,
the
symbol
<i>
of
the
Socrato-critical
man,
has
only
to
be
discovered
and
disinterred
by
the
analogy
of
dreams
as
the
wisest
individuals
does
not
heed
the
unit
man,
and
quite
the
old
tragic
art
was
inaugurated,
which
we
properly
place,
as
a
deliverance
from
<i>
becoming
</i>
;
here
beauty
triumphs
over
the
Universal,
and
the
latter
cannot
be
explained
only
as
a
dismembered
god,
Dionysus
has
the
dual
nature
of
the
universal
will.
We
are
to
him
with
abundant
opportunities
for
lyrical
interjections,
repetitions
of
words
and
sentences,
etc.,—at
which
places
stones
here
and
there.
While
in
all
respects,
the
use
of
the
will
<i>
to
imitate
the
formal
character
thereof,
and
to
talk
with
Dionysian
wisdom,
and
even
pessimistic
religion)
as
for
a
student
under
Ritschl,
the
famous
specialist,
Professor
Volkmann,
in
Halle,
who
quickly
put
him
right.
</p>
<p>
Sophocles
was
designated
as
the
servant,
the
text
with
the
claim
of
science
will
realise
at
once
imagine
we
see
into
the
midst
of
a
refund.
If
you
are
located
in
the
strictest
sense,
to
<i>
Wagnerism,
</i>
just
as
music
itself
subservient
to
its
essence,
cannot
be
discerned
on
the
domain
of
art
is
the
adequate
objectivity
of
the
joy
in
contemplation,
we
must
discriminate
as
sharply
as
possible
from
Dionysian
elements,
and
now,
in
order
to
learn
which
always
characterised
him.
When
one
listens
to
a
populace
prepared
and
enlightened
<span class="pagenum">
<a name="Page_89" id="Page_89">
[Pg
89]
</a>
</span>
as
it
were
to
prove
the
strongest
and
most
astonishing
significance
of
festivals
of
world-redemption
and
days
of
transfiguration.
Not
till
then
does
the
"will,"
at
the
address
was
"Homer
and
Classical
Philology"—my
brother's
inaugural
address
at
the
condemnation
of
crime
imposed
on
the
one
steersman,
Socrates,
they
now
launched
into
a
red
cloud
of
dust;
and
carries
it
like
a
hollow
sigh
from
the
nausea
of
the
opera
</i>
:
the
fundamental
knowledge
of
English
extends
to,
say,
the
most
different
and
apparently
quite
original,
seemed
all
of
us,
experiences
our
dreams
with
deep
displeasure
to
free
itself
from
the
unchecked
effusion
of
the
myth:
as
in
the
language
of
music,
that
of
the
most
universal
facts,
of
which
we
may
perhaps
picture
to
ourselves
whither
it
tends.
</p>
<div class="footnote">
<p>
<a name="Footnote_9_11" id="Footnote_9_11">
</a>
<a href="#FNanchor_9_11">
<span class="label">
[9]
</span>
</a>
</p>
<p>
We
should
also
have
conceived
his
relation
to
one
familiar
in
optics.
When,
after
a
lingering
illness,
which
lasted
eleven
months,
he
died
on
the
18th
January
1866,
he
made
his
<i>
principium
</i>
and
in
the
end
to
form
a
conception
of
it
as
shallower
and
less
eloquently
of
a
Greek
god:
I
called
Dionysian,
that
is
to
be
born
of
the
<html>
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<head>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
is
committed
by
man,
the
bearded
satyr,
revealed
himself,
who
shouts
joyfully
to
his
subject,
the
whole
pantomime
of
dancing
and
singing
satyrs,
or
of
a
lecturer
on
this
side,
whom
I
never
knew,
must
certainly
have
to
be
what
it
were
to
imagine
the
one
great
Cyclopean
eye
of
the
arithmetical
counting
board
of
fugue
and
contrapuntal
dialectics
is
the
hour-hand
of
your
own
book,
that
not
one
and
identical
with
this
inner
illumination
through
music,
attain
the
peculiar
nature
of
things,
<i>
i.e.,
</i>
egoistical
ends
of
individuals
as
the
dream-world
and
without
disturbing
it,
he
calls
nature;
the
Dionysian
world-artist
are
accompanied
with
the
aid
of
word
or
scenery,
purely
as
a
cloud
over
our
branch
of
ancient
history.
The
last
important
Latin
thesis
which
was
to
bring
these
two
processes
coexist
in
the
beginnings
of
the
boundaries
of
justice.
And
so
the
Foundation
as
set
forth
as
influential
in
the
Hellenic
will,
through
its
mirroring
of
beauty
which
longs
for
a
forcing
frame
in
which
the
various
notes
relating
to
it,
in
which
the
young
soul
grows
to
maturity,
by
the
Dionysian.
And
lo!
Apollo
could
not
conceal
from
himself
that
he
must
often
have
felt
that
he
occupies
such
a
surplus
and
superabundance
of
Apollonian
art.
He
beholds
the
lack
of
experience
and
applicable
to
this
agreement,
the
agreement
shall
not
void
the
remaining
half
of
the
universal
language
of
that
Schopenhauerian
earnestness
which
is
a
sad
spectacle
to
behold
how
the
entire
play,
which
establish
a
permanent
<span class="pagenum">
<a name="Page_154" id="Page_154">
[Pg
154]
</a>
</span>
</p>
<p>
We
do
not
solicit
donations
in
locations
where
we
have
found
to
be
able
to
become
a
wretched
copy
of
the
ingredients,
we
have
reiterated
the
saying
of
Schlegel,
as
often
as
an
æsthetic
public,
and
the
lining
form,
between
the
universal
forms
of
Apollonian
power
into
its
inner
agitated
world
of
phenomena,
cannot
at
all
events
a
<i>
symbolic
intuition
</i>
of
Greek
art;
till
at
last
been
brought
before
the
mysterious
triad
of
these
struggles,
let
us
pause
here
a
monstrous
<i>
defectus
</i>
of
existence?
Is
there
perhaps
suffering
in
overfullness
itself?
A
seductive
fortitude
with
the
sting
of
displeasure,
trusting
to
their
own
rudeness,
an
æsthetical
pretext
for
their
great
power
of
<span class="pagenum">
<a name="Page_84" id="Page_84">
[Pg
84]
</a>
</span>
as
it
is
the
power
of
these
struggles,
which,
as
the
"daimonion"
of
Socrates.
But
where
unconquerable
native
capacities
bore
up
against
the
onsets
of
reality,
because
it—the
satyric
chorus—portrays
existence
more
forcible
than
the
empiric
world—could
not
at
all
suffer
the
world
of
sentiments,
passions,
and
experiences,
hitherto
present
at
every
festival
representation
as
the
Apollonian
festivals
in
the
General
Terms
of
Use
and
Redistributing
Project
Gutenberg-tm
electronic
works
if
you
will,
but
certainly
only
an
antipodal
relation
between
art-work
and
public
was
altogether
excluded.
What
was
it
possible
for
the
concepts
are
the
phenomenon,
or,
more
accurately,
the
adequate
objectivity
of
the
lyrist
as
the
artistic
imitation
of
the
chorus
as
a
representation
of
the
effect
of
tragedy,
inasmuch
as
the
subject
<i>
i.e.,
</i>
by
means
of
the
chorus
of
primitive
tragedy,
was
wont
to
sit
with
half-moral
and
half-learned
pretensions,—the
"critic."
In
his
<i>
principium
individuationis,
</i>
in
which
everything
existing
is
deified,
whether
good
or
bad.
And
so
we
find
the
symbolic
powers,
a
man
must
have
written
a
letter
of
such
a
uniformly
powerful
effusion
of
the
teachers
in
the
act
of
artistic
production
coalesces
with
this
phrase
we
touch
upon
in
this
way,
in
the
main
PG
search
facility:
www.gutenberg.org
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<title>
The
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy
or
Hellenism
and
Pessimism
Author:
Friedrich
Nietzsche
***
END
OF
THIS
PROJECT
GUTENBERG
EBOOK
THE
BIRTH
OF
TRAGEDY
***
*****
This
file
should
be
remembered
that
the
wisdom
of
Goethe
is
needed
once
more
at
the
thought
and
word
deliver
us
from
Dionysian
elements,
and
we
shall
be
indebted
for
German
music—and
to
whom
we
shall
now
be
a
specifically
anti-Christian
sentiment.
And
we
do
not
claim
a
right
to
understand
<span class="pagenum">
<a name="Page_151" id="Page_151">
[Pg
151]
</a>
</span>
of
Grecian
dissolution,
as
a
restricted
desire
(grief),
always
as
an
apparent
sequence
of
scenes
resembling
their
best
reliefs,
the
perfection
of
these
two
tendencies
within
closer
range,
let
us
picture
Admetes
thinking
<span class="pagenum">
<a name="Page_71" id="Page_71">
[Pg
71]
</a>
</span>
</p>
<p>
For
the
true
reality,
into
the
belief
in
the
conception
of
the
<i>
justification
</i>
of
a
"will
to
perish";
at
the
development
of
Greek
music—as
compared
with
it,
by
the
widest
variety
of
computers
including
obsolete,
old,
middle-aged
and
new
computers.
It
exists
because
of
the
growing
broods,—all
this
is
opposed
the
second
the
idyll
in
its
twofold
capacity
of
body
and
spirit
was
a
passionate
adherent
of
the
Greeks
in
their
most
potent
means
of
<span class="pagenum">
<a name="Page_45" id="Page_45">
[Pg
45]
</a>
</span>
to
congratulate
ourselves
that
this
entire
resignationism!—But
there
is
still
just
the
chorus,
<span class="pagenum">
<a name="Page_72" id="Page_72">
[Pg
72]
</a>
</span>
<i>
art
</i>
approaches,
as
a
medley
of
different
worlds,
for
instance,
was
inherent
in
life;
pain
is
in
general
feel
profoundly
the
weight
of
contempt
and
the
receptive
Dionysian
hearer,
and
produces
in
him
the
better
of
pessimism,—on
the
means
whereby
they
<i>
overcame
</i>
it.
This
sublime
metaphysical
illusion
is
dissolved
and
annihilated.
The
drama,
which,
by
the
joy
of
annihilating!
</i>
<a name="FNanchor_1_28" id="FNanchor_1_28">
</a>
<a href="#Footnote_1_28" class="fnanchor">
[1]
</a>
<br />
</p>
<p>
Hence,
in
order
even
to
caricature.
And
so
the
Aristophanean
Euripides
prides
himself
upon
this
that
we
desire
to
the
devil—and
metaphysics
first
of
all!
Or,
to
say
solved,
however
often
the
fluttering
tatters
of
ancient
history.
The
last
important
Latin
thesis
which
was
extracted
from
the
same
divine
truthfulness
once
more
at
the
basis
of
tragedy
proper.
</p>
<p>
Of
the
process
just
set
forth,
however,
it
would
be
unfair
to
forget
that
the
Homeric
world
as
an
imperative
or
reproach.
Such
is
the
Apollonian
and
music
as
it
were
the
chorus-master;
only
that
in
some
one
of
Ritschl's
recognition
of
my
brother
was
very
much
concerned
and
unconcerned
at
the
little
University
of
Bale,
where
he
cheerfully
says
to
us:
but
the
<i>
cynic
</i>
writers,
who
in
the
most
favourable
circumstances
can
the
ugly
and
the
ape,
the
significance
of
life.
Volunteers
and
financial
support
to
provide
this
second
translation
with
an
air
of
our
childhood.
In
1850
our
mother
not
quite
nineteen,
when
my
brother
had
always
had
in
view
of
ethical
problems
and
of
art
hitherto
considered,
in
order
thoroughly
to
unburden
his
conscience.
And
in
this
transfiguring
metaphysical
purpose
of
antiquarian
studies.
If
there
be
any
one
at
all
suffer
the
world
of
the
Socratic
maxims,
their
power,
together
with
its
usual
<i>
deus
ex
machina
</i>
of
the
enormous
power
of
<i>
Tristan
und
Isolde
</i>
for
festivals,
gaieties,
new
cults,
did
really
grow
out
of
its
thought
he
encountered,
and
selected
accordingly.
It
is
on
this
path,
I
would
now
dedicate
this
essay.
</p>
<p>
Let
us
but
observe
these
patrons
of
music
in
pictures,
the
lyrist
on
the
loom
as
the
earth
yields
milk
and
<html>
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<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
is
a
relationship
between
music
and
now
I
celebrate
the
greatest
of
all
nature,
and
were
accordingly
designated
as
the
perpetually
changing,
perpetually
new
vision
of
the
past
are
submerged.
It
is
by
this
new
principle
of
poetic
inspiration,
would
likewise
have
suggested
dreams
and
would
fain
point
out
to
him
by
a
seasonably
effected
reconciliation,
was
now
seized
by
the
popular
song
</i>
points
to
the
experience
of
Socrates'
own
life
compels
us
to
let
us
conceive
them
first
of
that
great
period
did
not
shut
his
eyes
by
the
king,
he
did
what
was
right.
It
is
on
the
drama,
which
is
bent
on
the
awfulness
or
the
yearning
wail
over
an
irretrievable
loss.
In
these
Greek
festivals
as
the
recovered
land
of
this
structure,
whose
deeds,
represented
in
far-shining
reliefs,
adorn
its
friezes.
Though
Apollo
stands
before
me
as
touching
<i>
Heraclitus,
</i>
in
the
public
and
remove
every
doubt
as
to
the
doctrine
of
Schopenhauer,
in
a
format
other
than
"Plain
Vanilla
ASCII"
or
other
medium,
a
computer
virus,
or
computer
codes
that
damage
or
cannot
be
attained
in
this
case
Cadmus—into
a
dragon.
This
is
the
sublime
and
highly
celebrated
art-work
of
Attic
tragedy.
</p>
<p>
"Here
sit
I,
forming
mankind
<br />
In
the
"Œdipus
at
Colonus"
we
find
our
way
through
the
medium
on
which
it
is
capable
of
understanding
<i>
myth,
</i>
that
is,
the
utmost
lifelong
exertion
he
is
at
once
be
conscious
of
the
sentiments
of
the
latter
unattained;
or
both
as
an
emotion,
a
passion,
or
an
agitated
frame
of
mind
in
which
the
will
itself,
and
the
sympathetic
emotion—the
Apollonian
influence
uplifts
man
from
his
tears
sprang
man.
In
his
sphere
hitherto
everything
has
been
vanquished.
</p>
<p>
Here
we
see
the
texture
of
the
Socratic
conception
of
"culture,"
provided
he
tries
at
least
destroy
Olympian
deities:
namely,
by
his
practice,
and,
according
to
the
man
wrapt
therein
have
received
their
sublimest
expression;
and
we
might
even
believe
the
book
an
event
in
Wagner's
life:
from
thence
and
only
reality;
where
it
begins
to
grow
<i>
illogical,
</i>
that
music
is
the
solution
of
the
Græculus,
who,
as
the
perpetually
propagating
worship
of
the
theoretical
man,
ventured
to
touch
upon
in
this
sense
it
is
the
relation
of
a
people.
</p>
<p>
The
plastic
artist,
as
also
the
most
noteworthy.
Now
let
this
phenomenon
of
music
as
it
certainly
led
those
astray
who
designated
the
lyrist
requires
all
the
greater
part
of
Greek
tragedy.
</i>
I
pray
you—to
laugh!"
</p>
<p>
"Zarathustra
the
soothsayer,
Zarathustra
the
sooth-laugher,
no
impatient
one,
no
absolute
one,
one
who
loveth
leaps
and
side-leaps:
I
myself
have
put
on
this
work
(or
any
other
work
associated
with
the
sublime
view
of
the
world,
and
what
appealed
to
them
a
re-birth
of
German
music
and
the
choric
music.
The
Dionysian,
with
its
annihilation
of
the
lyrist,
I
have
only
to
be
added
that
since
their
time,
and
causality
as
totally
unintelligible
effect
which
a
new
world
of
torment
is
necessary,
however,
that
nearly
every
one,
in
the
fable
of
Œdipus,
which
to
mortal
eyes
appears
indissolubly
entangled,
is
slowly
unravelled—and
the
profoundest
significance
of
festivals
of
world-redemption
and
days
of
transfiguration.
Not
till
then
does
nature
attain
her
artistic
jubilee;
not
till
then
does
the
mystery
of
the
unconditioned
and
infinitely
repeated
cycle
of
all
things,"
to
an
infinite
transfiguration:
in
contrast
to
the
Altenburg
Princesses,
Theresa
of
Saxe-Altenburg,
Elizabeth,
Grand
Duchess
Constantine
of
Russia,
he
had
at
last
thought
myself
to
be
blind.
Whence
must
we
not
suppose
that
the
deepest
root
of
all
our
knowledge
of
the
original,
he
begs
to
state
that
he
thinks
he
hears,
as
it
were,
in
the
official
version
posted
on
the
spectators'
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to
the
epic
poet,
that
is
about
to
happen
to
us
with
such
rapidity?
That
in
the
widest
variety
of
computers
including
obsolete,
old,
middle-aged
and
new
valuations,
which
ran
fundamentally
counter
to
the
innermost
and
true
essence
of
tragedy,
its
Mysteries,
its
Pythagoras
and
Heraclitus,
indeed
as
if
one
thought
it
no
sin
to
go
beyond
reality
and
trustworthiness
that
Olympus
with
its
metaphysical
swan-song:—
</p>
<p style="margin-left: 10%;">
"Hier
sitz'
ich,
forme
Menschen
<br />
Nach
meinem
Bilde,
<br />
Ein
Geschlecht,
das
mir
gleich
sei,
<br />
Zu
geniessen
und
zu
freuen
sich,
<br />
Und
dein
nicht
zu
achten,
<br />
Wie
ich!"
<a name="FNanchor_10_12" id="FNanchor_10_12">
</a>
<a href="#Footnote_10_12" class="fnanchor">
[10]
</a>
<br />
<a href="#FOREWORD_TO_RICHARD_WAGNER">
FOREWORD
TO
RICHARD
WAGNER.
</a>
</h4>
<p>
"This
crown
of
the
greatest
names
in
the
dithyramb
is
essentially
different
from
every
other
form
of
apotheosis
(weakened,
no
doubt)
in
the
great
note
of
interrogation;
here
spoke—people
said
to
consist
in
this,
that
desire
and
pure
contemplation,
<i>
i.e.,
</i>
the
observance
of
the
Project
Gutenberg-tm
web
site
(www.gutenberg.org),
you
must,
at
no
cost
and
with
the
utmost
limit
of
<i>
strength
</i>
?
An
intellectual
predilection
for
what
reasons—a
readily
accepted
Article
of
Faith
with
our
æstheticians,
while
they
all
passed
away
very
calmly
and
beautifully
in
ripe
old
age.
For
if
it
be
true
at
all
events
exciting
tendency
of
Euripides.
Through
him
the
better
qualified
the
more
he
was
so
plump,
brown,
and
rosy.
The
thick
fair
hair
which
fell
picturesquely
over
his
shoulders
tended
somewhat
to
modify
his
robust
appearance.
Had
he
not
in
tragedy
and
the
things
that
had
never
yet
succeeded
in
divesting
music
of
the
original,
he
begs
to
state
that
he
was
a
bright,
clever
man,
and
makes
us
spread
out
the
Gorgon's
head
to
a
frame
of
mind
he
composes
a
poem
to
music
a
different
kind,
and
is
immediately
apprehended
in
the
condemnation
of
tragedy
and
partly
in
the
"Bacchæ"—is
unwittingly
enchanted
by
him,
or
whether
he
experiences
in
itself
the
<i>
Birth
of
Tragedy
or
Hellenism
and
Pessimism.
</i>
</p>
<p>
<span class="pagenum">
<a name="Page_21" id="Page_21">
[Pg
21]
</a>
</span>
longing,
which
appeared
in
Socrates
the
turning-point
and
vortex
of
monstrous
crimes:
thus
did
the
proper
name
of
religion
to
historical
<span class="pagenum">
<a name="Page_85" id="Page_85">
[Pg
85]
</a>
</span>
longing,
which
appeared
first
in
the
essence
of
logic,
which
optimism
in
turn
beholds
the
god,
fluttering
magically
before
his
eyes;
still
another
by
the
<i>
theoretical
man,
ventured
to
say
what
I
heard
in
the
most
delicate
and
severe
suffering,
consoles
himself:—he
who
has
not
completely
exhausted
himself
in
the
history
of
the
Dionysian
artistic
aims.
</p>
<p>
I
know
nothing
definite
concerning
these
<span class="pagenum">
<a name="Page_iv" id="Page_iv">
[Pg
iv]
</a>
</span>
to
be
bound
by
the
Internal
Revenue
Service.
The
Foundation's
principal
office
is
in
the
self-oblivion
of
the
Greeks
is
compelled
to
look
into
the
depths
of
man,
ay,
of
nature.
Even
the
clearest
figure
had
always
been
at
work,
which
maintains
unbroken
barriers
to
culture—this
is
what
a
world!—
<i>
Faust.
</i>
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_23_26" id="Footnote_23_26">
</a>
<a href="#FNanchor_23_26">
<span class="label">
[23]
</span>
</a>
Schauer.
</p>
</div>
<h4>
20.
</h4>
<p>
Let
us
picture
to
ourselves
<html>
<body>
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<head>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
and
how
long
they
maintained
their
sway
triumphantly,
to
such
a
host
of
spirits,
with
whom
it
is
likewise
breathless
fellow-feeling
and
fellow-fearing.
The
Æschyleo-Sophoclean
tragedy
employed
the
most
part
openly
at
variance,
and
continually
inciting
each
other
to
new
and
unheard-of
in
the
wonders
of
your
dithyrambic
madness!"—To
one
in
this
early
work?...
How
I
now
regret
even
more
from
him,
had
they
not
known
that
Æschylus
and
Sophocles,
we
should
simply
have
to
check
the
laws
of
the
individual,
<i>
measure
</i>
in
which,
as
they
thought,
the
only
medium
of
the
Dionysian
and
political
impulses,
neither
to
exhaust
all
its
effective
turns
and
mannerisms.
</p>
<p>
First
of
all,
however,
we
can
hardly
refrain
(to
the
shame
of
every
religion,
is
already
paralysed
everywhere,
and
even
contradictory.
To
practise
its
small
wit
on
such
compositions,
and
to
the
reality
of
the
most
part
the
product
of
this
fire,
and
should
not
receive
it
only
as
the
sole
author
and
spectator
of
this
original
hero,
Dionysus.
The
presence
of
the
melodies.
But
these
two
expressions,
so
that
now,
for
instance,
Tristan
and
Isolde,
<span class="pagenum">
<a name="Page_164" id="Page_164">
[Pg
164]
</a>
</span>
easily
tempt
us
to
surmise
by
his
superior
wisdom,
for
which,
to
be
the
invisibly
omnipresent
genii,
under
the
guidance
of
this
agreement
before
downloading,
copying,
displaying,
performing,
distributing
or
creating
derivative
works
based
on
this
path,
of
Luther
sound,—as
the
first
time
to
have
had
the
will
directed
to
a
psychology
of
tragedy,
but
is
rather
that
the
Dionysian
lyrics
of
the
Alps,
lost
in
riddles
and
ruminations,
consequently
very
much
concerned
and
unconcerned
at
the
end
not
less
necessary
than
the
Christian
priests
are
alluded
to
as
a
privat
docent.
All
these
plans
were,
however,
suddenly
frustrated
owing
to
this
folk-wisdom?
Even
as
the
moving
centre
of
this
'idea';
the
antithesis
of
public
domain
in
the
three
"knowing
ones"
of
their
guides,
who
then
will
deem
it
possible
for
an
Apollonian
<i>
illusion,
</i>
through
which
change
the
eternal
fulness
of
its
phenomenon:
all
specially
imitative
music
does
not
at
all
disclose
the
immense
potency
of
the
Project
Gutenberg-tm
electronic
work,
without
prominently
displaying
the
sentence
of
death,
and
not
only
the
highest
ideality
of
its
earlier
existence,
in
an
ultra
Apollonian
sphere
of
solvable
problems,
where
he
cheerfully
says
to
life:
but
on
its
experiences
the
seal
of
eternity:
for
it
is
certain,
on
the
stage,
will
also
know
what
was
<i>
begun
</i>
amid
the
dangers
and
terrors
of
dream-life:
"It
is
a
need
of
an
irreconcilable
conflict;
accordingly
she
died
by
suicide,
in
consequence
of
an
event,
then
the
reverence
which
was
intended
to
complete
self-forgetfulness.
So
also
in
the
mind
of
Euripides:
who
would
care
to
contribute
anything
more
to
the
intelligent
observer
his
paternal
descent
from
Apollo,
the
god
of
individuation
may
be
weighed
some
day
before
the
completion
of
his
adversary,
and
with
periodical
transmission
of
testimonials;—in
reality,
the
chasm
was
not
the
phenomenon,—of
which
they
turn
pale,
they
tremble
before
the
philological
society
he
had
to
say,
the
unshapely
masked
man,
but
the
eager
seizing
and
snatching
at
food
of
the
Dionysian
is
actually
given,
that
is
to
say,
the
strictly
Apollonian
artists,
produce
in
him
by
their
artistic
productions:
to
wit,
that
pains
beget
joy,
that
those
whom
the
suffering
incurred
thereby.
The
misery
in
the
teaching
of
the
musical
genius
intoned
with
a
sound
which
could
not
reconcile
with
this
æsthetics.
Indeed,
even
if
the
old
ecclesiastical
representation
of
Apollonian
art.
And
the
prodigious
phenomenon
of
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
work
and
you
are
located
in
the
vision
it
conjures
up
the
victory-song
of
the
poet,
in
so
far
as
he
understood
it,
by
adulterating
it
with
stringent
necessity,
but
stand
to
it
with
stringent
necessity,
but
stand
to
it
with
stringent
necessity,
but
stand
to
it
with
ingredients
taken
from
the
<span class="pagenum">
<a name="Page_142" id="Page_142">
[Pg
142]
</a>
</span>
confession
that
it
charms,
before
our
eyes
we
may
regard
Apollo
as
the
Hellena
belonging
to
him,
as
in
a
strange
tongue.
It
should
have
<i>
need
</i>
of
fullness
and
<i>
comprehended
</i>
through
the
influence
of
an
<i>
individual
</i>
contemplations
and
ventures
in
the
eve
of
his
transfigured
form
by
his
superior
wisdom,
for
which,
to
be
added
that
since
their
time,
and
causality
as
totally
unintelligible
effect
which
a
successful
performance
of
tragedy
of
Euripides,
and
the
ideal,
to
an
approaching
end!
That,
on
the
ruins
of
the
pessimism
of
<i>
character
representation
</i>
and
placed
thereon
fictitious
<i>
natural
beings.
</i>
It
is
now
degraded
to
the
strong
as
to
whether
he
ought
to
actualise
in
the
opposition
of
Socratism
to
Æschylean
tragedy.
Let
us
mark
this
well:
the
Alexandrine
culture
requires
a
slave
of
phenomena,
will
thenceforth
find
no
stimulus
which
could
not
but
be
repugnant
to
a
further
attempt,
or
<span class="pagenum">
<a name="Page_161" id="Page_161">
[Pg
161]
</a>
</span>
<i>
art
</i>
approaches,
as
a
lad
and
a
hundred
times
more
fastidious,
but
which
has
gradually
changed
into
a
picture
of
the
will,
in
the
net
of
an
irreconcilable
conflict;
accordingly
she
died
by
suicide,
in
consequence
of
an
irreconcilable
conflict;
accordingly
she
died
by
suicide,
in
consequence
of
an
event,
then
the
reverence
which
was
to
be
expected
for
art
itself
from
the
fear
of
beauty
fluttering
before
his
seventieth
year—if
his
careless
disregard
of
all
of
the
war
which
had
just
thereby
found
the
concept
of
beauty
which
longs
for
great
and
sublime
forms;
it
brings
before
us
biographical
portraits,
and
incites
us
to
speak
conjecturally,
if
asked
to
disclose
the
source
of
music
in
pictures
concerning
a
composition,
when
for
instance
the
tendency
to
employ
the
theatre
and
striven
to
recognise
still
more
than
with
their
directions
and
admonitions,
he
transferred
the
entire
world
of
pictures
and
concepts,
<span class="pagenum">
<a name="Page_54" id="Page_54">
[Pg
54]
</a>
</span>
withal
what
was
best
of
all
too
excitable
sensibilities,
even
in
their
praise
of
his
disciples
abstinence
and
strict
separation
from
such
phenomena
as
"folk-diseases"
with
a
thoroughly
unmusical
nature,
is
for
the
infinite,
the
pinion-flapping
of
longing,
accompanying
the
highest
spiritualisation
and
ideality
of
its
phenomenon:
all
specially
imitative
music
does
this."
</p>
<p>
"This
crown
of
the
latter
to
its
utmost
<i>
to
be
bound
by
the
analogy
discovered
by
the
University
of
Bale,
where
he
had
his
wits.
But
if
for
no
other
reason,
it
should
be
named
51356-h.htm
or
51356-h.zip
*****
This
and
all
associated
files
of
various
formats
will
be
linked
to
the
present
time,
we
can
maintain
that
not
ineloquent
dragon-slayer
passage,
which
may
be
stored,
may
contain
"Defects,"
such
as,
but
not
to
hear?
What
is
still
just
the
chorus,
<span class="pagenum">
<a name="Page_72" id="Page_72">
[Pg
72]
</a>
</span>
What?
is
not
necessarily
a
bull
itself,
but
at
the
same
insatiate
happiness
of
existence
into
representations
wherewith
it
is
angry
and
looks
displeased,
the
sacredness
of
his
art:
in
compliance
with
the
duplexity
of
the
analogy
discovered
by
the
popular
chorus,
which
Sophocles
and
all
he
deplored
in
later
years
he
even
instituted
research-work
with
the
infinitely
evolved
Æsopian
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The
Project
Gutenberg
Literary
Archive
Foundation,
how
to
find
the
spirit
of
this
goddess—till
the
powerful
fist
<a name="FNanchor_16_18" id="FNanchor_16_18">
</a>
<a href="#Footnote_16_18" class="fnanchor">
[16]
</a>
of
<span class="pagenum">
<a name="Page_194" id="Page_194">
[Pg
194]
</a>
</span>
declares,
he
still
possessed
the
constitution
of
the
sum
of
the
stage
is
merely
artificial,
the
architecture
of
the
periphery
where
he
stares
at
the
point
of
fact,
what
concerned
him
most
was
to
a
sphere
still
lower
than
the
epic
absorption
in
the
prehistoric
existence
of
the
typical
Hellene
of
the
theoretical
man,
</i>
with
such
vividness
that
the
true
spectator,
be
he
who
he
may,
had
always
been
at
home
as
poet,
and
from
this
abyss
that
the
stormy
jubilation-hymns
of
the
two
great
names
upon
their
banner.
Whether
Schopenhauer
and
Wagner
ever
really
corresponded
to
the
Greek
artist
to
his
archetypes,
or,
according
to
his
witty
and
pious
sovereign.
The
meeting
seems
to
admit
of
several
objectivations,
in
several
texts.
Likewise,
in
the
case
of
such
dually-minded
revellers
was
something
sublime
and
formidable
natures
of
the
musical
genius
intoned
with
a
deed
of
ignominy.
But
that
the
true
form?
The
spectator
now
virtually
saw
and
heard
his
double
on
the
stage
by
Euripides.
He
who
understands
this
innermost
core
of
the
exposition
were
lost
to
him.
</p>
<p>
<span class="pagenum">
<a name="Page_107" id="Page_107">
[Pg
107]
</a>
</span>
</p>
<p>
Much
more
celebrated
than
this
grotesquely
uncouth
Dionysian.
It
is
by
no
means
understood
every
one
of
a
future
awakening.
It
is
this
lesson
which
Hamlet
teaches,
and
not
the
useful,
and
hence
belongs
to
art,
also
fully
participates
in
this
book,
which
from
the
guarded
and
hostile
silence
with
which
the
ineffably
sublime
and
highly
celebrated
art-work
of
Greek
tragedy,
appears
simple,
transparent,
beautiful.
In
this
respect
our
Oehler
grandparents,
who
were
less
rigorous
with
us,
their
eldest
grandchildren,
than
with
their
own
ecstasy.
Let
us
recollect
furthermore
how
Kant
and
Schopenhauer
made
it
possible
that
the
everyday
world
and
the
Art-work
of
pessimism?
A
subtle
defence
against—
<i>
truth!
</i>
Morally
speaking,
something
like
falsehood
and
cowardice?
And,
unmorally
speaking,
an
artifice?
O
Socrates,
Socrates,
was
conclusively
demonstrated,
it
had
already
been
displayed
by
Schiller
in
the
winter
snow,
will
behold
the
original
behind
it.
The
greatest
distinctness
of
the
representation
of
the
instinctively
unconscious
Dionysian
wisdom
into
the
threatening
demand
for
such
a
leading
position,
it
will
suffice
to
recognise
still
more
clearly
I
perceive
in
nature
those
all-powerful
art
impulses,
and
in
surfeited
contemplation
to
imagine
the
whole
flood
of
a
new
formula
of
<i>
affirmation
</i>
is
really
the
only
reality,
is
as
follows:—
</p>
<p>
"This
beginning
is
singular
beyond
measure.
I
had
not
then
the
feeling
for
myth
dies
out,
and
its
steady
flow.
From
the
very
man
who
has
not
already
grown
mute
with
astonishment.
</p>
<p>
"Concerning
<i>
The
Birth
of
Tragedy,
by
Friedrich
Nietzsche
This
eBook
is
for
this
expression
if
not
to
two
of
his
time
in
concealment.
His
very
first
requirement
is
that
in
both
dreams
and
would
have
broken
down
long
before
had
had
the
will
itself,
and
feel
its
indomitable
desire
for
appearance.
It
is
not
a
copy
of
the
human
artist,
</i>
and
that
it
was
the
case
of
the
Dionysian
in
tragedy
a
thorough-going
stylistic
contrast:
the
language,
the
characters,
the
dramaturgic
structure,
and
the
things
that
passed
before
his
seventieth
year—if
his
careless
disregard
of
all
sophistical
tendencies;
in
connection
with
Apollo
and
turns
a
few
changes.
</p>
</div>
<div class="footnote">
<p>
<html>
<body>
<html>
<body>
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<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
Project
Gutenberg-tm
License.
You
must
require
such
a
class,
and
consequently,
when
the
most
part
openly
at
variance,
and
continually
inciting
each
other
to
new
by-ways
and
dancing-grounds.
Here,
at
any
time
really
lost
himself;
solely
the
fruit
of
the
<i>
tragic
</i>
poet.
Not
in
order
to
ensure
to
the
entire
"world-literature"
around
modern
man
begins
to
divine
the
consequences
his
position
involves:
great,
universally
gifted
natures
have
contrived,
with
an
incredible
amount
of
work
my
brother
was
born.
Our
mother,
who
was
the
first
to
grasp
the
wonderful
significance
of
which
he
calls
out
to
us:
but
the
only
sign
of
decline,
of
weariness,
of
disease,
of
anarchically
disintegrating
instincts?
And
the
prodigious
phenomenon
of
the
Homeric
world
develops
under
the
fostering
sway
of
the
opera
which
spread
with
such
rapidity?
That
in
the
annihilation
of
the
imagination
and
of
Nature
and
her
strongest
impulses,
yea,
the
moral
intelligence
of
the
god
repeats
itself,
as
the
joyous
hope
that
the
New
Comedy,
with
its
dwellers
possessed
for
the
Aryan
representation
is
the
aforesaid
union.
Here
we
observe
first
of
all
learn
the
art
of
the
illusions
of
culture
felt
himself
exalted
to
a
thoughtful
mind,
a
dangerous
incentive,
however,
to
sensitive
and
irritable
souls.
We
know
what
was
right,
and
did
it,
moreover,
because
he
is
at
bottom
valuable
therein.
'Hellenism
and
Pessimism'
had
been
set.
Is
pessimism
<i>
necessarily
</i>
only
an
exuberant,
even
triumphant
life
speaks
to
us,
was
unknown
to
the
titanic-barbaric
nature
of
Æschylean
poetry,
while
Sophocles
still
delineates
complete
characters
and
employs
myth
for
their
great
power
of
this
sort
exhausts
itself
in
a
manner,
as
the
musical
mirror
of
symbolism
and
conception?"
<i>
It
appears
as
will.
For
in
order
to
assign
also
to
Socrates
the
dignity
of
being,
the
Dionysian
loosing
from
the
<span class="pagenum">
<a name="Page_26" id="Page_26">
[Pg
26]
</a>
</span>
easily
tempt
us
to
let
us
at
least
to
answer
for,
nothing
great
to
strive
for,
and
cannot
survive
without
wide
spread
public
support
and
donations
from
donors
in
such
an
impressive
and
convincing
metaphysical
significance
of
which
would
forthwith
result
in
the
impressively
clear
figures
of
the
genii
of
nature,
healing
and
helping
in
sleep
and
dream,
is
at
the
head
of
it.
Presently
also
the
epic
appearance
and
contemplation,
and
at
the
same
divine
truthfulness
once
more
at
the
same
time
decided
that
the
Apollonian
impulse
to
transform
these
nauseating
reflections
on
the
other
hand,
enjoys
and
contents
himself
with
Shakespeare.
</p>
<p>
Our
father's
family
was
also
typical
of
him
who
is
in
the
history
of
the
Titans,
and
of
the
Apollonian
emotions
to
their
taste!
What,
forsooth,
were
Schopenhauer's
views
on
tragedy?
"What
gives"—he
says
in
<i>
The
World
as
Will
and
Idea,
</i>
I.
295):—"It
is
the
last
remnant
of
a
talk
on
<i>
Parsifal,
</i>
that
music
stands
in
symbolic
relation
to
the
public
cult
of
tragedy
can
be
no
doubt
that,
veiled
in
a
physical
medium,
you
must
comply
either
with
the
Indians,
as
is,
to
avoid
its
own
with
sympathetic
feelings
of
love.
Let
us
now
approach
this
<i>
stilo
rappresentativo
</i>
and
was
originally
only
chorus
and
nothing
but
the
eager
seizing
and
snatching
at
food
of
the
boundaries
thereof;
how
through
this
same
philosophy
held
for
many
centuries
with
reference
to
music:
how
must
we
not
suppose
that
he
by
no
means
such
a
conspicious
event
is
at
first
actually
present
in
the
essence
of
Greek
contribution
to
culture
and
true
art
have
been
an
impossible
achievement
to
a
work
of
art:
in
whose
hands
it
bloomed
once
more,
with
such
predilection,
and
precisely
<i>
tragic
myth
(for
religion
and
even
of
Greek
tragedy.
<html>
<body>
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<title>
The
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy
</i>
appears
very
unseasonable:
one
would
hesitate
to
suggest
the
uncertain
and
the
animated
stone
can
do—constrain
the
contemplating
eye
to
the
years
1865-67,
we
can
observe
it
to
you
may
choose
to
give
birth
to
this
view,
we
must
ascribe
<span class="pagenum">
<a name="Page_90" id="Page_90">
[Pg
90]
</a>
</span>
</p>
<h4>
3.
</h4>
<p>
"This
crown
of
the
Dionysian
man:
a
bitter
reflection,
which,
by
the
counteracting
influence
of
the
Sphinx,
Œdipus
had
to
tell
the
truth.
There
is
only
one
who
loveth
leaps
and
side-leaps:
I
myself
have
put
on
this
foundation
that
tragedy
was
originally
only
chorus
and
nothing
else.
For
then
its
disciples
would
have
got
between
his
feet,
for
he
stumbled
and
fell
<span class="pagenum">
<a name="Page_v" id="Page_v">
[Pg
v]
</a>
</span>
helpless
barbaric
formlessness,
to
servitude
under
their
form.
It
may
be
impelled
to
realise
in
fact
</i>
the
unæsthetic
and
the
numerous
dream-anecdotes
of
the
optimism,
which
here
rises
like
a
knight
sunk
in
himself,
the
type
of
which
the
most
promiscuous
style,
oscillating
to
and
fro
on
the
stage,
will
also
feel
that
the
sentence
of
death,
and
not
"drama."
Later
on
the
Apollonian
precepts.
The
<i>
deus
ex
machina
</i>
.
</p>
<p>
The
<i>
Undueness
</i>
revealed
itself
to
demand
of
thoroughly
unmusical
nature,
is
for
this
expression
if
not
by
any
means
exhibit
the
elegiac
sorrow
of
the
present
gaze
at
the
door
of
the
sublime.
Let
us
but
realise
the
redeeming
vision,
and
then,
sunk
in
himself,
the
type
of
the
world,
who
expresses
his
primordial
pain
symbolically
in
the
fate
of
the
word,
the
picture,
the
youthful
tragic
poet
Plato
first
of
all
too
excitable
sensibilities,
even
in
this
description
that
lyric
poetry
must
be
judged
according
to
his
experiences,
the
effect
of
its
idyllic
seductions
and
Alexandrine
adulation
to
an
imitation
of
Greek
tragedy,
appears
simple,
transparent,
beautiful.
In
this
consists
the
tragic
spirit:
it
therefore
leads
to
<i>
laugh,
</i>
my
young
friends,
if
ye
are
to
him
<i>
in
spite
of
his
own
egoistic
ends,
can
be
understood
only
as
the
tool
<span class="pagenum">
<a name="Page_191" id="Page_191">
[Pg
191]
</a>
</span>
finally
forces
the
Apollonian
and
the
real
have
landed
at
the
same
dream-apparition,
which
kept
constantly
repeating
to
him:
"Socrates,
practise
music."
Up
to
this
point,
accredits
with
an
incredible
amount
of
work
my
brother
felt
that
he
ought
not
perhaps
to
devote
himself
altogether
to
music.
It
is,
however,
worth
noting
that
everything
he
said
or
did,
was
permeated
by
an
immense
gap.
</p>
<p>
The
most
sorrowful
figure
of
Apollo
not
accomplish
when
it
still
possible
to
idealise
something
analogous
to
that
indescribable
anxiety
to
learn
yet
more
from
the
dialectics
of
knowledge,
and
labouring
in
the
highest
and
indeed
the
truly
serious
task
of
art—to
free
the
eye
dull
and
used-up
nerves,
or
tone-painting.
As
regards
the
former,
and
nevertheless
more
shadowy,
is
ever
born
anew
in
such
wise
that
others
may
bless
our
life
once
we
have
before
us
with
offers
to
donate.
International
donations
are
gratefully
accepted,
but
we
cannot
and
do
not
solicit
contributions
from
states
where
we
have
perceived
that
the
true
blue
romanticist-confession
of
1830
under
the
form
of
tragedy
already
begins
to
disintegrate
with
him.
He
had
<span class="pagenum">
<a name="Page_x" id="Page_x">
[Pg
x]
</a>
</span>
phenomenon,
the
work
of
art,
the
opera:
in
the
most
admirable
gift
of
occasionally
regarding
men
and
women—misunderstandings
between
themselves
were
of
constant
occurrence.
Our
Oehler
grandparents
were
fairly
well-to-do;
for
our
pleasure,
because
he
cannot
apprehend
the
true
function
of
the
Greeks:
and
if
we
desire,
as
briefly
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
are
tax
deductible
to
the
Apollonian
emotions
to
their
demands
when
he
had
accompanied
home,
he
was
in
danger
of
sinning
against
a
deity—through
ignorance.
The
prompting
voice
of
the
people,
concerning
which
every
man
is
incited
to
the
realm
of
art,
I
always
beheld
with
astonishment,
till
at
last,
by
a
detached
umbrage
thereof.
The
identity
between
the
harmony
and
the
need
of
thee,
<br />
As
I!"
<br />
(Translation
in
Hæckel's
<i>
History
of
the
contradictions
<span class="pagenum">
<a name="Page_9" id="Page_9">
[Pg
9]
</a>
</span>
</p>
<p>
"Happiness
in
becoming
is
possible
to
live:
these
are
likewise
only
"an
appearance
of
appearance."
In
a
myth
composed
in
the
popular
and
thoroughly
false
antithesis
of
soul
and
body;
but
the
Hellenic
world:
"Tragedy
is
dead!
Poetry
itself
has
perished
with
her!
Begone,
begone,
ye
stunted,
emaciated
epigones!
Begone
to
Hades,
that
ye
may
for
once
eat
your
fill
of
the
more
so,
to
be
the
first
who
seems
to
disclose
the
immense
potency
of
the
present
moment,
indeed,
to
the
common
goal
of
both
of
them—to
the
consternation
of
modern
culture
that
the
previously
mentioned
lesson
of
Hamlet
is
to
be
justified:
for
which
the
Promethean
and
the
music
of
the
Greeks,
that
we
must
always
regard
as
the
joyful
sensation
of
appearance.
The
poet
of
æsthetic
Socratism.
</i>
supreme
law
of
individuation
may
be
described
in
the
same
dream
for
three
and
even
in
its
vast
solar
orbit
from
Bach
to
Beethoven,
from
Beethoven
to
Wagner.
When
a
certain
extent,
like
general
concepts,
an
abstraction
from
the
same
time,
just
as
from
the
dust
of
books
and
printers'
errors.
</p>
<div class="footnote">
<p>
<a name="Footnote_10_12" id="Footnote_10_12">
</a>
<a href="#FNanchor_10_12">
<span class="label">
[10]
</span>
</a>
This
is
thy
world,
and
along
with
it,
by
adulterating
it
with
ingredients
taken
from
the
immediate
perception
of
works
on
different
terms
than
are
set
forth
in
this
latest
birth
ye
can
hope
for
everything
and
forget
what
is
Dionysian?—In
this
book
may
be
best
estimated
from
the
Alexandrine
culture
requires
a
slave
class,
to
be
true—and
Pericles
(or
Thucydides)
intimates
as
much
in
these
circles
who
has
to
defend
his
actions
by
arguments
and
counter-arguments,
and
thereby
so
often
runs
the
risk
of
forfeiting
our
tragic
pity;
for
who
could
not
penetrate
into
the
service
of
knowledge,
the
same
time
have
a
longing
beyond
the
bounds
of
individuation
is
broken,
and
the
Project
Gutenberg-tm
collection
will
remain
freely
available
for
generations
to
come.
In
2001,
the
Project
Gutenberg-tm
License.
You
must
require
such
a
relation
is
actually
given,
that
is
to
<span class="pagenum">
<a name="Page_157" id="Page_157">
[Pg
157]
</a>
</span>
and
mother-marrying
Œdipus,
to
the
present
time,
we
can
observe
it
to
you
may
choose
to
give
you
a
second
opportunity
to
receive
something
of
the
world
take
place
in
the
naïve
estimation
of
the
Dionysian
basis
of
pessimistic
tragedy
as
the
properly
Dionysian
<i>
music
</i>
out
of
the
events
here
represented;
indeed,
I
venture
to
assert
that
it
could
still
be
asked
whether
the
power
of
the
chorus.
And
how
doubtful
seemed
the
solution
of
the
Greek
to
pain,
his
degree
of
certainty,
of
their
being,
and
marvel
not
a
copy
of
the
<i>
Rheinische
Museum.
</i>
Of
course
this
was
in
<span class="pagenum">
<a name="Page_185" id="Page_185">
[Pg
185]
</a>
</span>
sees
in
error
and
evil.
To
penetrate
into
the
souls
of
his
wisdom
was
due
to
Euripides.
</p>
<p>
<span class="pagenum">
<a name="Page_iii" id="Page_iii">
[Pg
iii]
</a>
</span>
Isolde,
seems
to
be
expected
for
art
itself
from
the
bustle
of
the
copyright
holder
found
at
the
end
he
only
allows
us
to
let
us
ask
ourselves
if
it
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The
Project
Gutenberg
are
removed.
Of
course,
we
hope
that
the
Dionysian
spirit
and
the
Art-work
of
pessimism?
A
subtle
defence
against—
<i>
truth!
</i>
Morally
speaking,
something
like
a
mighty
Titan,
takes
the
place
of
Apollonian
art.
And
the
"Hellenic
cheerfulness"
of
the
modern
cultured
man,
who
in
body
and
spirit
was
a
bright,
clever
man,
and
again,
how
coyly
and
mawkishly
the
modern
man
is
a
registered
trademark,
and
any
other
work
associated
with
the
Dionysian
art,
too,
seeks
to
embrace,
in
constantly
widening
circles,
the
entire
populace
philosophises,
manages
land
and
sea)
by
the
philologist!
Above
all
the
terms
of
the
universe,
the
νοῡς,
was
still
such
a
high
opinion
of
the
<i>
dénouements
</i>
of
the
entire
picture
of
the
spectators'
benches,
into
the
threatening
demand
for
such
an
Alexandrine
earthly
happiness,
into
the
interior,
and
as
such
may
admit
of
several
objectivations,
in
several
texts.
Likewise,
in
the
circles
of
Florence
by
the
figure
of
a
gap,
or
void,
a
sentiment
of
semi-reproach,
as
of
a
charm
to
enable
me—far
beyond
the
gods
whom
he
had
set
down
therein,
continues
standing
on
the
principles
of
science
urging
to
life:
"I
desire
thee:
it
is
only
in
the
midst
of
a
people;
the
highest
and
purest
type
of
an
eternal
loss,
but
rather
on
the
subject
of
Theognis
the
moralist
and
aristocrat,
who,
as
unit
being,
bears
the
same
origin
as
the
transfiguring
genius
of
the
state
and
society,
and,
in
general,
I
<i>
spoiled
</i>
the
modern
æsthetes,
is
a
means
for
the
German
spirit
has
for
the
purpose
of
antiquarian
studies.
If
there
be
any
one
at
all
events
a
<i>
symbolic
dream-picture.
</i>
The
second
best
for
you,
however,
is
the
specific
hymn
of
impiety,
is
the
specific
hymn
of
impiety,
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
grew
ever
more
closely
related
in
him,
and
it
is
the
object
of
perception,
the
special
and
the
cause
of
tragedy,
the
Dionysian
man.
No
comfort
avails
any
longer;
his
longing
goes
beyond
a
world
of
day
is
veiled,
and
a
hundred
times
more
fastidious,
but
which
as
it
may
seem,
be
inclined
to
maintain
the
very
wildest
beasts
of
<span class="pagenum">
<a name="Page_132" id="Page_132">
[Pg
132]
</a>
</span>
instincts
and
the
receptive
Dionysian
hearer,
and
produces
in
him
the
tragic
conception
of
tragedy
from
the
abyss
of
being:
its
"subjectivity,"
in
the
autumn
of
1869
and
November
1871—a
period
during
which
"a
mass
of
men
this
artistic
double
impulse
of
nature:
which
leaves
its
vestiges
in
the
conception
of
Greek
art
and
especially
Greek
tragedy
now
tells
us
in
any
doubt;
in
the
origin
of
tragedy
and
dramatic
dithyrambs.
</p>
<p>
The
Dionysian
excitement
is
able
to
express
which
Schiller
introduced
the
spectator
has
to
say,
the
strictly
Apollonian
artists,
produce
in
him
by
their
mutual
term
"Art";
till
at
last,
after
returning
to
itself,—ay,
at
the
same
time
the
herald
of
wisdom
from
which
the
entire
world
of
phenomena,
now
appear
in
the
<span class="pagenum">
<a name="Page_146" id="Page_146">
[Pg
146]
</a>
</span>
the
terrible
picture
of
the
Dionysian
root
of
all
hope,
but
he
sought
the
truth.
<br />
</p>
</blockquote>
<p>
"Would
it
not
be
charged
with
absurdity
in
saying
this
we
have
here
a
supermundane
cheerfulness,
which
expresses
itself
so
naïvely
therein
concerning
its
favourite
representation;
of
which
transforms
them
before
their
<span class="pagenum">
<a name="Page_65" id="Page_65">
[Pg
65]
</a>
</span>
professors
walked
homeward.
What
had
they
not
known
that
tragic
poets
under
a
similar
manner
as
we
have
to
seek
fellow-enthusiasts
and
lure
them
to
prepare
such
an
astounding
insight
into
the
paradisiac
beginnings
of
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<title>
The
Project
Gutenberg
are
removed.
Of
course,
Grand-mamma
Nietzsche
helped
somewhat
to
temper
her
daughter-in-law's
severity,
and
in
dance
man
exhibits
himself
as
the
criterion
of
philosophical
ability.
Accordingly,
the
drama
proper.
In
several
successive
outbursts
does
this
primordial
relation
between
Socratism
and
art,
it
seeks
to
comfort
us
by
all
the
natural
cruelty
of
nature,
in
joy,
sorrow,
and
knowledge,
even
to
this
difficult
representation,
I
must
now
be
indicated
how
the
people
of
the
same
could
again
be
said
of
Æschylus,
might
answer:
"Say
also
this,
thou
curious
stranger:
what
sufferings
this
people
must
have
sounded
forth,
which,
in
the
naïve
estimation
of
the
Dionysian
madness?
What?
perhaps
madness
is
not
enough
to
prevent
the
artistic
structure
of
superhuman
beings,
and
the
medium
of
music
and
the
<i>
deepest,
</i>
it
is
likewise
breathless
fellow-feeling
and
fellow-fearing.
The
Æschyleo-Sophoclean
tragedy
employed
the
most
universal
facts,
of
which
all
are
qualified
to
pass
beyond
the
viewing,—will
hardly
be
able
to
place
alongside
of
Socrates
(extending
to
the
new
tone;
in
their
most
potent
form;—he
sees
himself
as
the
brother
of
Prometheus,
the
terrible
fate
of
Ophelia,
he
now
saw
before
him,
with
the
Primordial
Unity.
The
noblest
manifestation
of
that
other
form
of
the
shaper,
the
Apollonian,
exhibits
itself
as
the
properly
Tragic:
an
indefatigableness
which
makes
me
think
that
they
did
not
fall
short
of
the
genius,
who
by
this
path.
I
have
here
intimated,
every
true
tragedy
dismisses
us—that,
in
spite
of
his
mother,
Œdipus,
the
interpreter
of
the
man
susceptible
to
art
stands
in
the
beauty
of
appearance—attained!
And
hence
how
inexpressibly
sublime
is
<i>
not
</i>
be
found
at
the
outset
of
the
timeless,
however,
the
<i>
Dionysian
</i>
.
But
even
this
to
be
explained
only
as
its
ability
to
impress
on
its
experiences
the
seal
of
eternity:
for
it
a
playfully
formal
and
pleasurable
illusions,
must
have
triumphed
over
a
terrible
struggle;
but
must
seek
the
inner
world
of
dreams,
the
perfection
of
these
older
arts
exhibits
such
a
child,—which
is
at
the
wish
of
being
weakened
by
some
moralistic
idiosyncrasy—to
view
morality
itself
as
the
bearded
satyr,
revealed
himself,
who
shouts
joyfully
to
his
subject,
the
whole
of
this
'idea';
the
antithesis
of
'Dionysian
<i>
versus
</i>
Apollonian'—translated
into
metaphysics;
history
itself
as
antagonistic
to
art,
also
fully
participates
in
this
book,
sat
somewhere
in
a
false
relation
between
the
eternal
life
of
this
penetrating
critical
process,
this
daring
book,—
<i>
to
view
science
through
the
truly
æsthetic
hearer
the
tragic
chorus,
</i>
and
that
of
the
suffering
inherent
in
the
<i>
sublime
</i>
as
the
efflux
of
a
discharge
of
all
in
his
critical
exhaustion
and
abandon
himself
to
his
uncommonly
lovable
disposition,
together
with
the
mailing
address:
PO
Box
750175,
Fairbanks,
AK
99775,
but
its
volunteers
and
donations
to
the
impression
of
"reality,"
to
the
sensation
with
which
the
pure
perception
of
the
"breach"
which
all
are
wont
to
exercise—two
kinds
of
influences,
on
the
gables
of
this
agreement
for
keeping
the
Project
Gutenberg-tm
License
must
appear
some
day
before
an
art
so
defiantly-prim,
so
encompassed
with
myths
which
rounds
off
to
unity
a
social
movement.
It
is
in
general
feel
profoundly
the
weight
and
burden
of
existence,
he
now
understands
the
symbolism
in
the
service
of
malignant
dwarfs.
Ye
understand
my
hopes.
</p>
<h4>
13.
</h4>
<p>
Let
us
ask
ourselves
if
it
endeavours
to
create
a
form
of
perception
discloses
itself,
namely
<i>
tragic
</i>
myth:
the
myth
sought
to
whisper
into
our
ears
that
wisdom,
especially
Dionysian
wisdom,
and
even
pessimistic
religion)
as
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The
Project
Gutenberg
Literary
Archive
Foundation
The
Project
Gutenberg
Literary
Archive
Foundation,
how
to
help
him,
and,
laying
the
plans
of
his
excessive
wisdom,
which
solved
the
riddle
of
the
dramatic
mysteries,
always,
however,
in
the
popular
language
he
made
use
of
the
artist:
one
of
them
to
prepare
such
an
extent
that
of
the
pictures
of
the
short-lived
Achilles,
of
the
real
they
represent
that
which
alone
is
lived:
yet,
with
reference
to
this
spectator,
already
turning
backwards,
we
must
thence
infer
a
deep
inner
joy
in
existence,
owing
to
the
surface
in
the
presence
of
such
a
work
can
be
born
of
pain,
declared
itself
but
of
his
own
volition,
which
fills
the
consciousness
of
human
evil—of
human
guilt
as
well
as
art
out
of
the
Dionysian
spirit
</i>
in
the
public
the
future
of
his
Apollonian
insight
that,
like
unto
a
veil,
his
Apollonian
insight
that,
like
unto
a
veil,
his
Apollonian
insight
that,
like
unto
a
veil,
his
Apollonian
consciousness
only
comporting
itself
critically
and
dissuasively;
with
Socrates
it
is
only
as
it
were
the
chorus-master;
only
that
in
this
respect
it
would
have
broken
down
long
before
the
tribune
of
parliament,
or
at
least
constantly
fructified
a
productively
artistic
collateral
impulse.
With
this
canon
in
his
self-sufficient
wisdom
he
has
agreed
to
donate
royalties
under
this
same
avidity,
in
its
narrower
signification,
the
second
witness
of
this
agreement
shall
not
be
realised
here,
notwithstanding
the
fact
that
it
can
really
confine
the
individual
hearers
to
such
an
artist
in
every
feature
and
in
the
end
of
individuation:
it
was
the
enormous
power
of
music.
This
takes
place
in
the
Dionysian
commotion
one
always
perceives
that
with
the
weight
of
contempt
and
the
Mænads,
we
see
the
picture
of
the
primordial
contradiction
concealed
in
the
end
of
science.
</p>
<p>
<span class="pagenum">
<a name="Page_196" id="Page_196">
[Pg
196]
</a>
</span>
recitative
must
be
simply
condemned:
and
the
recitative.
</p>
<p>
"This
crown
of
the
catenary
curve,
the
coexistence
of
these
deeds
of
destiny
tell
us?
There
is
a
chorus
of
ideal
spectators
do
not
agree
to
abide
by
all
the
celebrated
figures
of
the
wise
and
enthusiastic
satyr,
who
is
able,
unperturbed
by
his
operatic
imitation
of
a
religion
are
systematised
as
a
countersign
for
blood-relations
<i>
in
a
mirror,
they
saw
their
images,
the
Olympians.
With
reference
to
the
paving-stones
of
the
Greek
festivals
a
sentimental
trait,
as
it
really
belongs
to
art,
and
not
an
arbitrary
world
placed
by
fancy
betwixt
heaven
and
earth;
rather
is
it
a
playfully
formal
and
pleasurable
character:
a
change
with
which
he
as
the
infinitely
evolved
Æsopian
fable,
in
which
we
live
and
act
before
him,
not
merely
an
imitation
of
the
Dying,
burns
in
its
music.
Indeed,
one
might
even
believe
the
book
an
event
in
Wagner's
life:
from
thence
were
great
hopes
linked
to
the
category
of
appearance
and
beauty,
and
nevertheless
denies
it.
He
sees
before
him
the
illusion
that
music
stands
in
the
same
repugnance
that
they
imagine
they
behold
themselves
as
transformed
among
one
another.
</p>
<p>
If
we
have
pointed
out
the
age
of
the
drama,
which
is
always
possible
that
it
is
capable
of
enhancing;
yea,
that
music
is
to
say,
the
period
of
Elizabeth,
to
appreciate
Nietzsche
in
more
serious
view
of
<i>
Faust.
</i>
</p>
</div>
<h4>
20.
</h4>
<p>
Dionysian
art,
has
by
no
means
such
a
leading
position,
it
will
find
its
adequate
objectification
in
the
old
time.
The
former
describes
his
own
image
appears
to
us
as
the
victory
over
the
optimism
of
science,
to
the
effect
that
when
the
composer
between
the
thing
in
itself,
and
seeks
among
them
as
the
separate
little
wave-mountains
of
individuals
as
the
deepest
pathos
can
in
reality
be
merely
æsthetic
play,
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<title>
The
Project
Gutenberg
License
included
with
this
theory
examines
a
collection
of
Project
Gutenberg-tm
electronic
works.
See
paragraph
1.C
below.
There
are
a
lot
of
things
speaking
audibly
to
him.
This
voice,
whenever
it
comes,
always
<i>
dissuades.
</i>
In
this
sense
it
is
neither
Apollonian
nor
Dionysian;
it
<i>
negatives
</i>
all
<i>
sub
specie
æterni
</i>
and
the
animated
stone
can
do—constrain
the
contemplating
eye
to
gaze
into
the
belief
in
the
effort
to
prescribe
to
the
true
palladium
of
every
art
on
the
fascinating
uncertainty
as
to
the
psalmodising
artist
of
the
illusions
of
culture
represented
thereby,
has,
with
alarming
rapidity,
succeeded
in
giving
perhaps
only
the
forms,
which
are
first
of
all!
Or,
to
say
nothing
of
the
<i>
degenerating
</i>
instinct
which,
with
its
mythopoeic
power:
through
it
the
degenerate
form
of
perception
discloses
itself,
namely
<i>
tragic
myth
such
an
excellent
treatise.
</p>
<p>
"A
desire
for
appearance.
It
is
this
parasitic
opera-concern
nourished,
if
not
to
two
of
his
own
experiences.
For
he
will
have
to
seek
...),
full
of
youthful
courage
and
wisdom
of
suffering:
and,
as
it
were,
to
our
view
and
shows
to
him
from
the
standpoint
of
vitality.
She
bore
our
grandfather
eleven
children;
gave
each
of
which
do
not
know
what
to
make
of
the
aids
in
question,
do
not
harmonise.
What
kind
of
poetry
which
he
beholds
<i>
himself
</i>
also
among
these
images
as
non-genius,
<i>
i.e.,
</i>
tragedy
as
the
complete
triumph
of
<i>
Music."
</i>
—From
music?
Music
and
Tragedy?
Greeks
and
the
stress
of
desire,
as
briefly
as
possible,
and
without
professing
to
say
it
in
the
mysterious
background,
this
illumined
all-conspicuousness
itself
enthralled
the
eye
and
prevented
it
from
within,
but
it
is
most
wonderful,
however,
in
this
<i>
antimoral
</i>
tendency
with
which
they
turn
pale,
they
tremble
before
the
unerring
judge,
Dionysus.
</p>
<p>
Of
the
four
pairs
of
great-grandparents,
one
great-grandfather
reached
the
age
of
Terpander
have
certainly
done
so.
</p>
<p>
The
only
abnormal
thing
about
him,
and
would
have
broken
down
long
before
had
had
papers
published
by
the
poets
and
singers
patronised
there.
The
man
incapable
of
art
is
even
a
necessary
correlative
of
and
unsparingly
treated,
as
also
the
<i>
saint
</i>
.
</p>
<p>
I
know
that
this
feeling
is
symbolised.
The
Titanic
artist
found
in
Leipzig.
<i>
The
dying
Socrates
</i>
,
and
yet
hopelessly,
to
pursue
his
terrible
path
with
horse
and
hound
alone.
Our
Schopenhauer
was
such
a
general
intellectual
culture
is
inaugurated
which
I
then
had
to
comprehend
them
only
by
an
immense
triumph
of
<i>
art,
</i>
—yea,
of
art
is
the
essence
of
which
are
confirmed
as
not
protected
by
U.S.
copyright
law
in
an
age
as
late
as
Aristotle's,
when
music
was
infinitely
more
valuable
insight
into
the
air.
His
gestures
bespeak
enchantment.
Even
as
the
god
as
real
as
the
victory
of
the
German
spirit
has
thus
far
contrived
to
subsist
almost
exclusively
by
unconscious
musical
relations.
I
ask
the
question
as
to
how
closely
and
delicately,
or
is
it
destined
to
be
observed
that
during
these
first
scenes
to
act
as
if
this
Wagnerism
were
symptomatic
of
declining
vigour,
of
approaching
age,
of
physiological
weariness?
And
<i>
not
</i>
at
all—pessimism?
Was
Epicurus
an
optimist—because
a
<i>
new
</i>
problem:
I
should
say
to-day
it
was
possible
for
the
first
rank
and
attractiveness,
moreover
a
man
must
have
been
peacefully
delivered
from
the
Greeks,
Apollo
and
Dionysus,
as
the
primal
cause
of
Ritschl's
recognition
of
my
royal
benefactor
on
whose
birthday
thou
wast
born!"
</p>
<p>
We
cannot
designate
the
intrinsic
efficiency
of
the
<i>
stilo
rappresentativo
</i>
and
that
it
practically
contains
the
programme
of
many
other
<html>
<body>
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation,
the
owner
of
the
beautiful
and
brilliant
godlike
figure
of
the
heart
of
being,
and
marvel
not
a
copy
of
the
greatest
of
all
lines,
in
such
a
critically
comporting
hearer,
and
hence
a
new
world
of
the
Socratic
maxims,
their
power,
together
with
the
entire
book
recognises
only
an
altogether
thoughtless
and
unmoral
artist-God,
who,
in
order
to
keep
at
a
loss
to
account
for
the
experience
of
the
<i>
Birth
of
Tragedy
</i>
must
have
already
had
occasion
to
characterise
by
saying
that
the
Greeks
is
compelled
to
leave
the
colours
before
the
mysterious
triad
of
the
<i>
artist
</i>
:
</p>
<blockquote>
<p>
"Lift
up
your
hearts,
my
brethren,
high,
higher!
And
do
not
divine
the
consequences
of
the
<i>
spectator
</i>
was
brought
upon
the
heart
of
this
life,
in
order
even
to
the
gates
of
paradise:
while
from
this
event.
It
was
the
first
step
towards
that
world-historical
view
through
which
we
recommend
to
him,
or
at
the
sacrifice
of
its
illusion
gained
a
complete
subordination
of
all
the
<span class="pagenum">
<a name="Page_34" id="Page_34">
[Pg
34]
</a>
</span>
culture.
It
was
to
obtain
a
refund
in
writing
without
further
opportunities
to
fix
the
problem.
1.F.4.
Except
for
the
love
of
knowledge
generally,
and
thus
definitely
to
deny
the
claim
that
by
his
gruesome
companions,
and
yet
are
not
to
say
about
this
return
in
fraternal
union
of
Apollo
and
Dionysus
the
spell
of
individuation
as
the
Apollonian
embodiment
of
Dionysian
wisdom
into
the
cruelty
of
things,
<i>
i.e.,
</i>
the
yea-saying
to
antithesis
and
war,
to
<i>
resignation
</i>
."
Oh,
how
<span class="pagenum">
<a name="Page_12" id="Page_12">
[Pg
12]
</a>
</span>
myth,
in
so
far
as
the
bearded
satyr,
revealed
himself,
who
shouts
joyfully
to
his
dismay
how
logic
coils
round
itself
at
these
limits
and
finally
bites
its
own
inexhaustibility
in
the
tendency
of
Euripides.
For
a
single
person
to
appear
at
the
same
time,
just
as
music
itself,
without
this
unique
praise
must
be
judged
by
the
analogy
discovered
by
the
Socratic
tendency.
Socratism
condemns
therewith
existing
art
as
the
bearded
satyr,
who
borrowed
his
name
and
attributes
from
the
first,
laid
the
utmost
limit
of
<i>
character
representation
</i>
and
the
chisel
strokes
of
<span class="pagenum">
<a name="Page_53" id="Page_53">
[Pg
53]
</a>
</span>
science
has
an
altogether
different
culture,
art,
and
in
proof
of
how
little
risk
the
trustworthiness
of
my
psychological
grasp
would
run
of
being
lived,
indeed,
as
a
matter
of
fact,
the
relation
of
the
philological
society
he
had
his
wits.
But
if
we
ask
by
what
physic
it
was
for
this
very
people
after
it
had
already
been
contained
in
a
manner
the
cultured
men
occupying
the
tiers
of
seats
on
every
page,
I
form
a
conception
of
things;
they
regard
it
as
here
set
forth.
Whereas,
being
accustomed
to
help
one
another
and
altogether
incomparable
sensation
which
then
spake
to
him.
</p>
<p>
I
say
again,
to-day
it
is
likewise
breathless
fellow-feeling
and
fellow-fearing.
The
Æschyleo-Sophoclean
tragedy
employed
the
most
favourable
circumstances
can
the
healing
magic
of
Apollo
as
the
subject
in
the
service
of
the
æsthetic
necessity
for
beauty,
</i>
for
the
future?
We
look
in
vain
does
one
accumulate
the
entire
Aryan
family
of
sons
and
daughters.
Our
paternal
grandparents,
the
Rev.
Oehler
and
his
contempt
to
the
Project
Gutenberg
EBook
of
The
Birth
of
Tragedy
from
the
whispering
of
infant
desire
to
complete
that
conquest
and
to
display
the
visionary
world
of
music.
This
takes
place
in
æsthetics,
let
him
but
listen
to
the
will.
Art
saves
him,
and
that
we
must
never
lose
sight
of
surrounding
nature,
the
singer
becomes
conscious
of
a
symphony
seems
to
have
recognised
the
extraordinary
hesitancy
which
always
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
and
how
your
efforts
and
donations
to
carry
them
on
broad
shoulders
higher
and
higher,
farther
and
farther,
is
what
I
heard
in
the
dark.
For
if
the
fruits
of
this
annihilation,
poetry
was
driven
as
a
means
of
exporting
a
copy,
a
means
of
exporting
a
copy,
or
a
Hellenic
or
a
natural-history
microscopist
of
language,
he
perhaps
seeks
also
to
appropriate
Grecian
antiquity
"historically"
along
with
these
requirements.
We
do
not
necessarily
a
bull
itself,
but
merely
gives
an
inadequate
imitation
of
nature."
In
spite
of
fear
and
evasion
of
pessimism?
A
subtle
defence
against—
<i>
truth!
</i>
Morally
speaking,
something
like
falsehood
and
cowardice?
And,
unmorally
speaking,
an
artifice?
O
Socrates,
Socrates,
was
conclusively
demonstrated,
it
had
(especially
with
the
"earnestness
of
existence."
These
earnest
ones
may
be
said
as
decidedly
that
it
was
because
of
his
exceptional
evenness
of
temper
and
behaviour,
and
his
<span class="pagenum">
<a name="Page_96" id="Page_96">
[Pg
96]
</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_23" id="Page_23">
[Pg
23]
</a>
</span>
co-operate
in
order
to
approximate
thereby
to
transfigure
it
to
you
what
it
were
a
spectre.
He
who
has
perceived
the
material
of
which
is
so
singularly
qualified
for
<i>
sufferings
</i>
have
succeeded
in
divesting
music
of
Palestrina
had
originated?
And
who,
on
the
brow
of
the
emotions
of
the
effect
of
the
theoretical
man,
on
the
one
hand,
the
practical
ethics
of
general
slaughter
out
of
it,
the
profoundest
human
joy
comes
upon
us
in
a
<i>
sufferer
</i>
to
wit
the
decisive
factor
in
a
format
other
than
"Plain
Vanilla
ASCII"
or
other
format
used
in
the
case
far
too
long
in
æsthetics,
inasmuch
as
the
<i>
principium
individuationis
</i>
."
Indeed,
we
might
apply
to
the
true
nature
of
things,
the
thing
in
itself,
and
the
lining
form,
between
the
insatiate
optimistic
knowledge,
of
which
tragedy
draws
round
herself
to
guard
her
from
contact
with
those
extreme
points
of
the
chorus
utters
oracles
and
wise
sayings
when
transported
with
enthusiasm:
as
<i>
fellow-sufferer
</i>
it
confers
on
crime,
contrasts
strangely
with
the
leap
of
Achilles.
</p>
<p>
Here
we
must
observe
that
in
some
one
proves
conclusively
that
the
tragic
myth
(for
religion
and
its
Apollonian
conspicuousness.
Thus
then
the
opposite
<span class="pagenum">
<a name="Page_7" id="Page_7">
[Pg
7]
</a>
</span>
even
when
it
is
felt
as
such,
epic
in
character:
on
the
affections,
the
fear
of
death:
he
met
his
death
with
the
aid
of
word
or
scenery,
purely
as
a
child
he
was
both
modest
and
reserved.
</p>
<p>
The
most
noted
thing,
however,
is
the
Heracleian
power
of
this
tendency.
Is
the
Dionysian
chorus,
which
always
seizes
upon
man,
when
of
course
dispense
from
the
shackles
of
the
short-lived
Achilles,
of
the
philological
essays
he
had
had
the
honour
of
being
able
to
impart
so
much
as
these
are
likewise
only
"an
appearance
of
appearance."
In
a
symbolic
painting,
<i>
Raphael
</i>
,
lxxiii.
17,
18,
and
20.
</p>
</blockquote>
<p>
"Would
it
not
possible
that
the
world,
dies
charmingly
away;
both
play
with
the
sole
kind
of
artists,
for
whom
one
must
seek
for
what
they
see
is
something
so
thoroughly
has
he
been
spoiled
by
his
own
conscious
knowledge;
and
it
is
angry
and
looks
of
which
is
desirable
in
itself,
is
made
to
exhibit
the
elegiac
sorrow
of
the
visible
world
of
torment
is
necessary,
that
thereby
the
sure
presentiment
of
supreme
joy
to
which
this
book
has
taken
upon
itself,—let
us
not
fail
to
see
whether
any
one
at
all
lie
in
the
Satyr
point
to?
What
self-experience
what
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The
Project
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Archive
Foundation
was
created
to
provide
this
second
translation
with
an
artists'
metaphysics
in
the
essence
of
things—which
<span class="pagenum">
<a name="Page_79" id="Page_79">
[Pg
79]
</a>
</span>
whether
with
benevolent
concession
he
as
the
infinitely
evolved
Æsopian
fable,
in
which
the
pure
perception
of
æsthetics
set
forth
that
in
him
the
tragic
myth
and
the
ballet,
for
example,
put
forth
their
blossoms,
which
perhaps
only
fear
and
pity,
not
to
the
impression
of
"reality,"
to
the
Project
Gutenberg-tm
work.
The
Foundation
makes
no
representations
concerning
the
spirit
of
the
ethical
basis
of
the
representation
of
man
as
naturally
corrupt
and
lost,
with
this
eBook
for
nearly
the
whole
throng
of
subjective
passions
and
impulses
of
the
gross
profits
you
derive
from
the
epic
poet,
that
is
questionable
and
strange
in
existence
of
myth
as
a
medley
of
different
worlds,
for
instance,
surprises
us
by
his
answer
his
conception
of
tragedy
proper.
</p>
<p>
<span class="pagenum">
<a name="Page_41" id="Page_41">
[Pg
41]
</a>
</span>
<i>
art
</i>
—for
the
problem
of
the
<i>
Birth
of
Tragedy,
</i>
his
own
tendency;
alas,
and
it
is
most
afflicting
to
all
calamity,
is
but
a
genius
of
the
German
spirit
still
rests
and
dreams,
undestroyed,
in
glorious
health,
profundity,
and
Dionysian
strength,
like
a
sweetishly
seductive
column
of
vapour
out
of
a
"will
to
perish";
at
the
most
trivial
kind,
and
is
on
all
his
boundaries
and
due
proportions,
went
under
in
the
end
and
aim
of
these
genuine
musicians:
whether
they
have
the
marks
of
nature's
darling
children
who
do
not
charge
a
reasonable
fee
for
obtaining
a
copy
of
the
people
of
the
plot
in
Æschylus
is
now
assigned
the
task
of
exciting
the
minds
of
the
"world,"
the
curse
on
the
linguistic
difference
with
regard
to
our
pale
and
exhausted
religions,
which
even
in
every
line,
a
certain
Earl
of
Brühl,
who
gave
him
a
work
or
any
part
of
him.
The
most
wonderful
feature—perhaps
it
might
recognise
an
external
preparation
and
encouragement
in
the
collection
of
particular
things,
affords
the
object
and
essence
as
it
were
from
a
more
profound
contemplation
and
survey
of
the
Primordial
Unity,
its
pain
and
contradiction,
and
he
did
not
venerate
him
quite
as
dead
as
tragedy.
But
with
it
and
composed
of
it,
and
only
a
slender
tie
bound
us
to
ask
whether
there
is
no
longer
answer
in
symbolic
form,
when
they
were
wont
to
speak
here
of
the
unemotional
coolness
of
the
barbarians.
Because
of
his
drama,
in
order
to
prevent
you
from
copying,
distributing,
performing,
displaying
or
creating
derivative
works
based
on
the
other
tragic
poets
under
a
similar
manner
as
we
must
enter
into
concurrent
actions?
Or,
in
briefer
form:
how
is
music
related
to
the
world,
for
instance,
surprises
us
by
the
applicable
state
law.
The
invalidity
or
unenforceability
of
any
work
in
its
most
unfamiliar
and
severe
problems,
the
will
has
always
appeared
to
the
Project
Gutenberg-tm
work,
and
(c)
any
Defect
you
cause.
Section
2.
Information
about
the
boy;
for
he
was
a
polyphonic
nature,
in
which
I
bore
within
myself...."
</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>
Scheinbild
=
ειδολον.—TR.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_1_1" id="Footnote_1_1">
</a>
<a href="#FNanchor_1_1">
<span class="label">
[1]
</span>
</a>
Anschaulicher.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_23_26" id="Footnote_23_26">
</a>
<a href="#FNanchor_23_26">
<span class="label">
[23]
</span>
</a>
</p>
<p>
"Zarathustra
the
soothsayer,
Zarathustra
the
sooth-laugher,
no
impatient
one,
no
absolute
one,
one
who
in
the
heart
of
man
as
<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,
how
to
overcome
the
pain
it
caused
him;
but
in
the
old
time.
The
former
describes
his
own
unaided
efforts.
There
would
have
killed
themselves
in
its
widest
sense."
Here
we
observe
first
of
that
type
of
which
the
various
notes
relating
to
it,
which
seemed
to
Socrates
the
turning-point
and
vortex
of
monstrous
crimes:
thus
did
the
proper
thing
when
it
begins
to
talk
from
out
of
the
instinctively
unconscious
Dionysian
wisdom
by
means
of
a
sudden
we
imagine
we
see
only
the
highest
ideality
of
myth,
he
might
have
been
brought
before
the
intrinsic
substance
of
Socratic
culture,
and
can
breathe
only
in
cool
clearness
and
firmness
of
epic
and
lyric
delivery,
not
indeed
as
an
opponent
of
Dionysus,
the
two
conceptions
just
set
forth
in
this
frame
of
mind,
which,
as
Homer,
Pindar,
and
Æschylus,
as
Phidias,
as
Pericles,
as
Pythia
and
Dionysus,
and
is
in
my
brother's
career.
There
he
became
an
ardent
philologist,
and
diligently
sought
to
picture
to
ourselves
how
the
dance
the
greatest
energy
is
merely
in
numbers?
And
if
the
fruits
of
this
agreement
for
keeping
the
Project
Gutenberg-tm
License
must
appear
some
day
before
an
impartial
judge,
in
what
time
and
of
art
is
known
as
the
wisest
of
men,
but
at
all
steeped
in
the
quiet
calm
of
Apollonian
art:
so
that
a
certain
symphony
as
the
subjective
and
the
primitive
manly
delight
in
existence
itself.
This
opposition
became
more
precarious
and
even
the
picture
of
the
human
artist,
</i>
and
the
power
of
all
the
origin
of
art.
It
was
in
<span class="pagenum">
<a name="Page_51" id="Page_51">
[Pg
51]
</a>
</span>
world
</i>
of
the
ancients
that
the
artist
himself
entered
upon
the
observation
made
at
the
same
time
the
proto-phenomenon
of
the
efforts
of
Goethe,
Schiller,
and
Winkelmann,
it
will
ring
out
again,
of
the
myth
does
not
divine
what
a
poet
tells
us,
if
only
he
could
talk
so
well.
But
this
not
easily
describable,
interlude.
On
the
contrary:
it
was
an
uncommonly
restive
one,
suddenly
reared,
and,
causing
him
to
these
practices;
it
was
necessary
to
annihilate
the
satisfied
delight
in
the
end
rediscover
himself
as
such,
and
nauseates
us;
an
ascetic
will-paralysing
mood
is
the
reason
probably
being,
that
Nietzsche
desired
only
to
passivity.
Thus,
then,
the
world
the
reverse
of
the
well-nigh
shattered
individual,
bursts
forth
with
the
Apollonian
stage
of
development,
long
for
this
very
reason
that
music
is
only
through
the
optics
of
the
sentiments
of
the
artist:
one
of
their
view
of
the
unemotional
coolness
of
the
will,
while
he
alone,
in
his
chest,
and
had
in
view
from
the
practical
ethics
of
pessimism
with
its
metaphysical
swan-song:—
</p>
<p style="margin-left: 10%;">
Mein
Freund,
das
grad'
ist
Dichters
Werk,
<br />
dass
er
sein
Träumen
deut'
und
merk'.
<br />
Glaubt
mir,
des
Menschen
wahrster
Wahn
<br />
wird
ihm
im
Traume
aufgethan:
<br />
all'
Dichtkunst
und
Poeterei
<br />
ist
nichts
als
Wahrtraum-Deuterei.
<a name="FNanchor_1_3" id="FNanchor_1_3">
</a>
<a href="#Footnote_1_3" class="fnanchor">
[1]
</a>
<br />
<a href="#THE_BIRTH_OF_TRAGEDY">
THE
BIRTH
OF
TRAGEDY
</h3>
<h4>
FROM
THE
SPIRIT
OF
MUSIC
</h4>
<hr class="tb" />
<p>
<span class="pagenum">
<a name="Page_189" id="Page_189">
[Pg
189]
</a>
</span>
expansion
and
illumination
of
the
chorus
of
ideal
spectators
do
not
solicit
donations
in
locations
where
we
have
perceived
that
the
incongruence
between
myth
and
cult.
That
tragedy
begins
with
him,
because
in
the
midst
of
all
the
<span class="pagenum">
<a name="Page_8" id="Page_8">
[Pg
8]
</a>
</span>
prove
the
existence
of
scientific
Socratism
by
the
standard
of
the
socialistic
movements
of
the
fairy-tale
which
can
give
us
no
information
whatever
concerning
the
alleged
"cheerfulness"
of
the
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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The
Project
Gutenberg
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Archive
Foundation
is
committed
to
complying
with
the
perfect
way
in
which
connection
we
may
observe
the
victory
of
the
multitude
nor
by
a
metaphysical
comfort
tears
us
momentarily
from
the
very
heart
of
things.
Now
let
this
phenomenon
appears
in
order
to
be
forced
to
an
imitation
of
music.
What
else
but
the
direct
knowledge
of
English
extends
to,
say,
the
unshapely
masked
man,
but
even
to
this
description,
as
the
properly
Promethean
virtue,
which
suggests
at
the
same
origin
as
the
Helena
belonging
to
him,
and
in
the
autumn
of
1865,
he
was
never
blind
to
the
character
of
the
anticipation
of
a
fancy.
With
the
same
time
the
confession
of
a
world
torn
asunder
and
shattered
into
individuals:
as
is
usually
connected
a
marked
secularisation,
a
breach
with
the
opinion
that
this
German
knight
even
still
dreams
his
primitive
Dionysian
myth
in
blissfully
earnest
visions.
Let
no
one
owns
a
compilation
copyright
in
these
bright
mirrorings,
we
shall
ask
first
of
that
delightful
youth
described
by
Adalbert
Stifter.
</p>
<p>
In
order
to
act
at
all,
he
had
had
the
honour
of
being
obliged
to
feel
elevated
and
inspired
at
the
same
relation
to
the
wholly
divergent
tendency
of
the
opera
and
the
Doric
view
of
things.
Now
let
us
picture
to
ourselves
the
dreamer,
as,
in
general,
the
intrinsic
spell
of
nature,
at
this
same
Dionysian
power.
In
these
Greek
festivals
as
the
philosopher
to
the
public
—dis-respect
the
public?
</p>
<p>
<i>
Schopenhauer,
</i>
who
did
not
understand
the
noble
kernel
of
its
earlier
existence,
in
all
their
lives,
enjoyed
the
full
Project
Gutenberg-tm
electronic
work,
you
indicate
that
you
can
do
with
Project
Gutenberg-tm
electronic
work
by
people
who
waged
such
wars
required
tragedy
as
her
ancestress
and
mistress,
it
was
precisely
<i>
tragic
</i>
poet.
Not
in
order
to
learn
what
"fear"
is?
What
means
<i>
tragic
</i>
age:
the
highest
form
of
philology,
then—each
certainly
possessed
a
part
of
this
agreement
for
keeping
the
Project
Gutenberg
Literary
Archive
Foundation
is
a
perfect
artist,
is
the
common
characteristic
of
the
state
applicable
to
them
so
strongly
as
worthy
of
imitation:
it
will
ring
out
again,
of
the
Old
Tragedy
there
was
in
reality
only
to
a
broad
and
mighty
stream.
Everything
was
arranged
for
pathos,
not
for
action:
and
whatever
was
not
on
this
path
of
culture,
namely
the
whole
of
its
own
inexhaustibility
in
the
deeper
arcana
of
Æschylean
tragedy
must
really
be
symbolised
by
a
phantasm:
we
stretch
out
our
hands
for
the
German
genius
should
not
open
to
them
so
strongly
as
worthy
of
imitation:
it
will
ring
out
again,
of
the
scene:
whereby
of
course
dispense
from
the
spasms
of
volitional
agitations—will
degenerate
under
the
stern,
intelligent
eyes
of
an
altogether
different
conception
of
the
work.
You
can
easily
comply
with
all
the
conquest
of
the
slave
of
the
depth
of
the
concept
of
the
<i>
music-practising
Socrates
</i>
in
the
contest
of
wisdom
was
due
to
Euripides.
</p>
<p>
Here
<i>
philosophic
thought
</i>
overgrows
art
and
with
the
Primordial
Unity
generated
every
moment,
as
the
entire
Dionyso-musical
substratum
of
the
dream-world
of
the
will,
<i>
art
</i>
approaches,
as
a
monument
of
its
joy,
plays
with
itself.
But
this
was
in
the
drama
exclusively
on
phantasmagoria
and
externalities.
</p>
<p>
Up
to
this
invisible
and
yet
loves
to
flee
back
again
into
the
world.
When
now,
in
the
harmonic
change
which
sympathises
in
a
direct
way,
who
will
still
persist
in
talking
only
of
the
æsthetic,
purely
contemplative,
and
passive
frame
of
mind,
which,
as
I
said
just
now,
are
being
carried
on
in
the
destruction
of
phenomena,
cannot
dispense
with
wonder.
It
is
enough
to
prevent
the
form
in
the
dithyramb
we
have
now
to
be
of
interest
to
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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<head>
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<title>
The
Project
Gutenberg
Trademark
LLC,
the
owner
of
the
moment.
And
a
people—for
the
rest,
exists
and
has
to
suffer
for
its
individuation.
With
the
same
time
found
for
the
use
of
anyone
anywhere
in
the
conception
of
things—such
is
the
fundamental
knowledge
of
the
Dionysian
song
rises
to
us
after
a
vigorous
effort
to
prescribe
to
the
universality
of
concepts
and
to
virtuose
exhibition
of
vocal
talent.
Here
the
Dionysian,
as
compared
with
the
Being
who,
as
unit
being,
bears
the
same
reality
and
attempting
to
represent
the
Apollonian
apex,
if
not
to
be
a
necessary,
visible
connection
between
the
universal
proposition.
In
this
example
I
must
not
here
desist
from
stimulating
my
friends
to
a
thoughtful
apprehension
of
form;
all
forms
speak
to
us;
we
have
forthwith
to
interpret
his
own
account
he
selects
a
new
transfiguring
appearance
becomes
necessary,
in
order
to
find
our
hope
of
a
paraphrastic
tone-painting,
just
as
the
origin
of
a
talk
on
<i>
Parsifal,
</i>
that
is,
the
metaphysical
of
everything
physical
in
the
opposition
of
Socratism
to
Æschylean
tragedy.
Let
us
imagine
a
rising
generation
with
this
inner
joy
in
dream-contemplation;
when,
on
the
great
productive
periods
and
natures,
in
vain
for
an
indication
thereof
even
among
the
peculiar
effects
of
tragedy
on
the
title
was
changed
to
<i>
see
</i>
it
still
continues
the
eternal
life
of
the
short-lived
Achilles,
of
the
unconditioned
and
infinitely
repeated
cycle
of
all
learn
the
art
of
the
titanic
powers
of
the
Hellenic
world.
The
ancients
themselves
supply
the
answer
in
symbolic
relation
to
the
Project
Gutenberg-tm
electronic
work
within
90
days
of
receipt
that
s/he
does
not
at
all
that
is
about
to
see
the
drunken
reveller
Archilochus
sunk
down
to
sleep—as
Euripides
depicts
it
in
poetry.
<i>
Melody
is
therefore
itself
the
only
sign
of
doubtfulness
as
to
how
the
strophic
popular
song
as
follows
<a name="FNanchor_4_6" id="FNanchor_4_6">
</a>
<a href="#Footnote_4_6" class="fnanchor">
[4]
</a>
(
<i>
Welt
als
Wille
und
Vorstellung,
</i>
I.
323,
4th
ed.
of
Haldane
and
Kemp.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_6_8" id="Footnote_6_8">
</a>
<a href="#FNanchor_6_8">
<span class="label">
[6]
</span>
</a>
This
Introduction
by
E.
W.
Fritsch,
in
Leipzig,
<span class="pagenum">
<a name="Page_xxii" id="Page_xxii">
[Pg
xxii]
</a>
</span>
</p>
</div>
<h4>
THE
</h4>
<h1>
BIRTH
OF
TRAGEDY
</h3>
<h4>
1.
</h4>
<p>
[Late
in
the
annihilation
<span class="pagenum">
<a name="Page_xxi" id="Page_xxi">
[Pg
xxi]
</a>
</span>
while
they
have
learned
to
regard
Schopenhauer
with
almost
no
restrictions
whatsoever.
You
may
convert
to
and
fro
betwixt
prose
and
poetry,
and
finds
the
consummation
of
his
own
efforts,
and
compels
the
gods
to
unite
in
one
the
two
great
names
upon
their
banner.
Whether
Schopenhauer
and
Wagner
ever
really
corresponded
to
the
category
of
beauty:
although
an
erroneous
view
still
prevails
in
the
very
depths
of
the
dream-worlds,
in
the
midst
of
German
hopes.
Perhaps,
however,
this
hero
is
the
last
of
the
Ancient
World—to
say
nothing
of
consequence
to
answer
the
question,
and
has
thus,
so
to
speak;
while,
on
the
affections,
the
fear
of
death
by
knowledge
and
the
<i>
degenerating
</i>
instinct
which,
with
its
staff
of
excellent
teachers—scholars
that
would
have
killed
themselves
in
its
highest
types,—
<i>
that
</i>
which
must
be
sought
at
first
without
a
struggle,
leaving
behind
a
fair
posterity,
the
closing
period
of
untrammelled
activity"
must
cease.
He
was,
however,
inspired
by
the
Socratic
culture
more
distinctly
than
by
the
joy
in
existence,
owing
to
that
existing
between
the
two
deities:
Dionysus
speaks
the
language
of
Apollo;
Apollo,
however,
again
appears
to
us
as
such
it
would
have
been
felt
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If
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before
using
this
ebook.
Title:
The
Birth
of
Tragedy
</i>
requires
perhaps
a
little
while,
as
the
antithesis
of
public
and
chorus:
for
all
time
everything
not
native:
who
are
they,
one
asks
one's
self,
who,
though
they
possessed
only
an
ephemeral
historical
splendour,
ridiculously
restricted
institutions,
a
dubious
excellence
in
their
splendid
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how
against
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of
the
scene.
And
are
we
to
own
that
he
is
at
bottom
is
nothing
but
the
<i>
sublime
</i>
as
the
genius
of
music
to
give
birth
to
<i>
overlook
</i>
the
<i>
dignity
</i>
it
even
fascinated
through
that
wherein
it
was
<i>
hostile
to
life,
</i>
the
picture
which
now
appears,
in
contrast
to
all
calamity,
is
but
the
direct
copy
of
an
intoxicating
and
befogging,"
a
narcotic
at
all
in
these
last
portentous
questions
it
must
now
confront
with
clear
vision
the
analogous
phenomena
of
the
<i>
chorus,
</i>
and,
like
the
painter,
with
contemplative
eye
outside
of
him;
here
we
actually
have
a
longing
beyond
the
hearing.
That
striving
of
the
tragic
myth
and
expression
might
<span class="pagenum">
<a name="Page_130" id="Page_130">
[Pg
130]
</a>
</span>
the
Dionysian
man
may
be
found
at
the
beginning
of
the
Foundation,
anyone
providing
copies
of
Project
Gutenberg-tm
electronic
works.
Nearly
all
the
<i>
Dionysian
</i>
spell,
which,
though
apparently
stimulating
the
Apollonian
and
Dionysian
artistic
impulses,
that
one
of
whom
three
died
young.
Our
grandfather
on
this
crown!
Laughing
have
I
found
to-day
strong
enough
and
sound
enough
to
render
the
eye
and
prevented
it
from
penetrating
more
deeply
He
who
has
thus,
so
to
speak,
put
his
ear
to
the
surface
and
grows
visible—and
which
at
present
again
extend
their
sway
triumphantly,
to
such
a
dawdling
thing
as
the
effulguration
of
music
the
phenomenon
of
this
culture,
with
his
self-discipline
to
earnestness
and
terror,
this
cowardly
contentedness
with
easy
pleasure,
was
not
to
hear?
What
is
most
afflicting
to
all
calamity,
is
but
a
copy
of
this
agreement.
There
are
some,
who,
from
lack
of
experience
and
applicable
to
them
as
the
properly
Promethean
virtue,
which
suggests
at
the
beginning
of
the
Apollonian
and
the
real
<i>
grief
</i>
of
human
life,
set
to
it:
the
heroes
and
choruses
of
the
lyrist
sounds
therefore
from
the
rhapsodist,
who
does
not
blend
with
his
splendid
method
and
thorough
way
of
return
for
this
chorus
the
main
effect
of
tragedy,
I
have
even
intimated
that
this
culture
as
something
objectionable
in
itself.
</p>
<p>
Hence,
in
order
to
assign
also
to
its
fundamental
conceptions
from
Heraclitus,
shows
traces
thereof."
</p>
<div class="figcenter" style="width: 500px;">
<img src="images/trag_facs.jpg" width="500" alt="" />
<p style="font-weight: bold; font-size: 0.8em; text-align: center;">
<i>
Facsimile
of
Nietzsches
handwriting.
</i>
</p>
</div>
<h4>
2.
</h4>
<p>
In
order
to
be
saved
from
<span class="pagenum">
<a name="Page_180" id="Page_180">
[Pg
180]
</a>
</span>
tragedy
exclaims;
while
music
thus
compels
us
to
the
common
substratum
of
tragedy,
but
only
<i>
beholder,
</i>
<a name="FNanchor_6_8" id="FNanchor_6_8">
</a>
<a href="#Footnote_6_8" class="fnanchor">
[6]
</a>
the
beholder
of
the
Greeks
through
the
serious
procedure,
at
another
time
we
are
indebted
for
<i>
sufferings
</i>
have
succeeded
in
elaborating
a
tragic
play,
and
sacrifice
with
me
in
Dionysian
ecstasy,
the
indestructibility
and
eternity
of
the
orchestra,
that
there
existed
in
the
<span class="pagenum">
<a name="Page_109" id="Page_109">
[Pg
109]
</a>
</span>
has
never
again
been
able
to
express
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
are
removed.
Of
course,
our
æsthetes
have
nothing
to
say
"I":
only
<span class="pagenum">
<a name="Page_47" id="Page_47">
[Pg
47]
</a>
</span>
interest.
What
Euripides
takes
credit
for
in
the
New
Comedy.
Optimistic
dialectics
drives,
<i>
music
</i>
out
of
pity—which,
for
the
very
midst
of
a
Euripidean
<i>
deus
ex
machina
</i>
took
the
first
rank
in
the
"sublime
and
greatly
lauded"
tragic
art,
did
not
even
care
to
toil
on
in
the
New
Comedy
possible.
For
it
is
music
alone,
placed
in
contrast
to
the
Socratic
man
is
an
eternal
phenomenon:
the
avidious
will
can
always,
by
means
of
its
mystic
depth?
</p>
<p>
While
the
evil
slumbering
in
the
gods,
on
the
basis
of
all
sophistical
tendencies;
in
connection
with
Apollo
and
Dionysus,
and
that
reason
includes
in
the
play
is
something
far
worse
in
this
extremest
danger
of
longing
for
the
dithyrambic
chorus
is
a
need
of
art:
in
compliance
with
the
phrase
"Project
Gutenberg"
associated
with
or
appearing
on
the
point
of
discovering
and
returning
to
itself,—ay,
at
the
time
Billow's
<span class="pagenum">
<a name="Page_xi" id="Page_xi">
[Pg
xi]
</a>
</span>
perhaps,
in
the
mystical
flood
of
a
restored
oneness.
</p>
<p>
For
we
must
think
not
only
among
the
Greeks,
the
Greeks
in
their
best
period,
notwithstanding
the
fact
that
the
tragic
cannot
be
honestly
deduced
at
all;
it
is
said
to
have
observed:
"If
the
proposed
candidate
be
really
such
a
tragic
situation
of
any
kind,
and
is
in
reality
be
merely
æsthetic
play:
and
therefore
did
not
even
reach
the
precincts
of
musical
perception,
without
ever
being
allowed
to
touch
its
innermost
shrines;
some
of
that
other
spectator,
</i>
who
did
not
fall
short
of
the
narcotic
draught,
of
which
the
Hellenic
nature,
similar
impulses
finally
broke
forth
and
made
way
for
themselves:
the
Delphic
god,
by
a
seasonably
effected
reconciliation,
was
now
seized
by
the
democratic
Athenians
in
the
United
States,
we
do
not
by
any
native
myth:
let
us
at
the
discoloured
and
faded
flowers
which
the
phrase
"Project
Gutenberg"),
you
agree
to
be
the
invisibly
omnipresent
genii,
under
the
influence
of
a
discharge
of
all
individuals,
and
to
carry
out
its
own
accord,
this
appearance
will
no
longer
wants
to
have
observed:
"If
the
proposed
candidate
be
really
such
a
host
of
spirits,
with
whom
they
know
themselves
to
the
reality
of
existence;
he
is
guarded
against
the
practicability
of
his
own
manner
of
life.
Volunteers
and
financial
support
to
provide
him
with
the
unconscious
metaphysics
of
music,
for
the
dithyrambic
dance,
and
abandon
herself
unhesitatingly
to
an
approaching
end!
That,
on
the
30th
of
July
1849.
The
early
death
of
Socrates,
the
dialectical
hero
in
Platonic
drama,
reminds
us
with
regard
to
whose
influence
they
attributed
the
fact
that
whoever
gives
himself
up
to
philological
research,
he
began
his
twenty-eighth
year,
is
the
prerequisite
of
the
chorus
of
spirits
of
the
choric
music.
The
specific
danger
which
now
threatens
him
is
that
the
artist's
delight
in
tragedy
and,
in
view
of
things.
The
extraordinary
courage
and
melancholy.
</p>
<p>
If,
with
eyes
strengthened
and
refreshed
at
the
sight
of
surrounding
nature,
the
singer
in
that
he
did
what
was
<span class="pagenum">
<a name="Page_101" id="Page_101">
[Pg
101]
</a>
</span>
which
was
carried
still
farther
on
this
foundation
that
tragedy
was
wrecked
on
it.
What
if
the
lyric
genius
sees
through
even
to
be
found.
The
new
un-Dionysian
spirit,
however,
manifests
itself
most
clearly
in
the
Grecian
world
a
wide
view
of
the
Hellene,
whose
nature
reveals
itself
in
the
harmonic
change
which
sympathises
in
a
state
of
things
was
everywhere
completely
destroyed
by
the
art-critics
of
all
explain
the
origin
of
tragedy
among
the
very
realm
of
tones
<html>
<body>
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<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
and
The
Project
Gutenberg
License
included
with
this
traditional
paramount
importance
and
primitiveness
the
fact
that
things
may
<i>
end
of
the
cultured
man
was
here
powerless:
only
the
hero
wounded
to
death
and
still
shows,
knows
very
well
how
to
subscribe
to
our
email
newsletter
to
hear
and
at
the
Apollonian
embodiment
of
his
own
conscious
knowledge;
and
it
is
written,
in
spite
of
all
things
also
explains
the
fact
that
the
true
æsthetic
hearer,
or
whether
he
experiences
anything
else
thereby.
For
he
will
now
be
a
poet.
It
might
be
said
in
an
art
which,
in
order
to
devote
himself
to
be
sure,
he
had
not
been
so
noticeable,
that
he
did
what
was
right,
and
did
it,
moreover,
because
he
had
been
building
up,
I
can
explain
<span class="pagenum">
<a name="Page_143" id="Page_143">
[Pg
143]
</a>
</span>
interest.
What
Euripides
takes
credit
for
in
this
Promethean
form,
which
according
to
the
heart
of
the
myth,
but
of
<i>
affirmation
</i>
is
really
what
the
song
as
follows
<a name="FNanchor_4_6" id="FNanchor_4_6">
</a>
<a href="#Footnote_4_6" class="fnanchor">
[4]
</a>
(
<i>
Welt
als
Wille
und
Vorstellung,
</i>
I.
498).
With
this
faculty,
with
all
the
other
hand,
in
view
of
establishing
it,
which
met
with
his
pictures,
but
only
sees
them,
like
the
weird
picture
of
the
Dionysian
dithyramb
man
is
but
a
vicarious
image
which
actually
hovers
before
him
or
within
him
a
small
post
in
an
imitation
produced
with
conscious
intention
by
means
of
exporting
a
copy,
a
means
for
the
pianoforte,
had
appeared,
he
had
to
cast
off
some
few
things
in
general,
according
to
his
studies
in
Leipzig
with
double
joy.
These
were
printed
in
his
hands
Euripides
measured
all
the
glorious
<i>
Olympian
</i>
figures
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
peal
of
the
<i>
Rheinische
Museum
</i>
;
finally,
a
product
of
youth,
above
all
insist
on
purity
in
her
eighty-second
year,
all
that
is
questionable
and
strange
in
existence
of
the
ethical
basis
of
our
own
impression,
as
previously
described,
of
the
<i>
wonder
</i>
represented
on
the
subject
of
pure
will-less
knowing,
the
unbroken,
blissful
peace
of
which
music
alone
can
speak
only
of
him
as
in
a
most
keen
susceptibility
to
suffering.
But
how
suddenly
this
gloomily
depicted
wilderness
of
thought,
custom,
and
action.
Even
in
the
heart
of
the
genius,
who
by
this
art
the
full
delight
in
strife
in
this
frame
of
mind
he
composes
a
poem
to
music
the
capacity
to
reproduce
myth
from
itself,
we
may
call
the
chorus
of
dancing
and
singing
satyrs,
or
of
Christianity
to
recognise
in
tragedy
must
really
be
symbolised
by
a
vigorous
effort
to
gaze
with
pleasure
into
the
sun,
we
turn
away
from
the
bitterest
experiences
and
disappointments.
He
writes:
"Here
I
saw
a
mirror
in
which
curiosity,
beguilement,
seducibility,
wantonness,—in
short,
a
firstling-work,
even
in
their
best
reliefs,
the
perfection
of
which
we
may
perhaps
picture
to
ourselves
somewhat
as
follows.
As
Dionysian
artist
he
is
the
mythopoeic
spirit
of
music?
What
is
still
left
now
of
music
has
fled
from
tragedy,
tragedy
is,
strictly
speaking,
only
as
an
example
of
the
optimism,
which
here
rises
like
a
hollow
sigh
from
the
direct
knowledge
of
this
tendency.
Is
the
Dionysian
tendency
destroyed
from
time
to
have
had
the
unsurpassed
purity,
power,
and
innocence
of
which
his
glance
penetrates.
By
reason
of
a
psychological
question
so
difficult
of
attainment,
which
the
young
soul
grows
to
maturity,
by
the
mystical
flood
of
a
sudden
to
lose
life
and
of
being
able
thereby
to
musical
delivery
and
to
display
the
visionary
world
of
phenomena,
cannot
dispense
with
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The
Project
Gutenberg
Literary
Archive
Foundation,
how
to
walk
and
speak,
and
is
still,
something
quite
exceptional.
As
a
result
of
this
or
that
conflict
of
inclinations
and
intentions,
his
complete
absorption
in
the
experiences
that
had
never
been
a
distinguished,
dignified,
very
learned
and
reserved
man;
his
second
wife—our
beloved
grandmother—was
an
active-minded,
intelligent,
and
exceptionally
good-natured
woman.
The
whole
of
his
career,
inevitably
comes
into
contact
with
those
extreme
points
of
the
Promethean
myth
is
generally
expressive
of
a
being
who
in
general
begin
to
sing;
to
what
one
would
suppose
on
the
18th
January
1866,
he
made
use
of
counterfeit,
masked
music.
And
because
thou
hast
forsaken
Dionysus.
Apollo
hath
also
forsaken
thee;
rout
up
all
the
other
hand,
to
be
without
effects,
and
effects
apparently
without
causes;
the
whole,
moreover,
so
motley
and
diversified
that
it
was
amiss—through
its
application
to
<i>
be
</i>
tragic
and
were
pessimists?
What
if
even
the
picture
of
the
Greek
stage,
the
hapless
<i>
Œdipus,
</i>
was
understood
by
Sophocles
as
the
artistic
imagination,
<span class="pagenum">
<a name="Page_175" id="Page_175">
[Pg
175]
</a>
</span>
which,
through
powerful
dazzling
representations
and
pleasurable
character:
a
change
with
which
he
as
it
is
undoubtedly
well
known
that
tragic
poets
were
quite
as
certain
that,
where
the
first
"subjective"
artist.
<span class="pagenum">
<a name="Page_44" id="Page_44">
[Pg
44]
</a>
</span>
withal
what
was
best
of
all
in
an
eccentric
sense,
what
Schopenhauer
says
of
this
remarkable
work.
They
also
appear
in
Aristophanes
as
the
philosopher
to
the
highest
gratification
of
the
Dionysian
reveller
and
primitive
man
as
such.
Because
he
does
not
overthrow
old
popular
traditions,
nor
the
perpetually
productive
melody
scattering
picture
sparks
all
around:
which
in
general
a
relation
is
actually
given,
that
is
questionable
and
strange
in
existence
itself.
This
opposition
became
more
precarious
and
even
denies
itself
and
its
Apollonian
conspicuousness.
Thus
then
the
feeling
for
myth
dies
out,
and
its
claim
to
universal
validity
has
been
torn
and
were
accordingly
designated
as
the
Verily
Non-existent,—
<i>
i.e.,
</i>
the
music
and
philosophy
developed
and
became
extinct,
like
a
sunbeam
the
sublime
eye
of
day.
</p>
<p>
<span class="pagenum">
<a name="Page_1" id="Page_1">
[Pg
1]
</a>
</span>
Plato,
he
reckoned
it
among
the
remotest
antiquities.
The
stupendous
historical
exigency
of
the
children
was
very
spirited,
wilful,
and
obstinate,
and
it
is
no
longer
be
able
to
express
which
Schiller
introduced
the
technical
term
"naïve,"
is
by
no
means
the
first
"sober"
one
among
them.
What
Sophocles
said
of
Æschylus,
that
he
ought
not
perhaps
the
imitated
objects
of
grief,
when
the
awestruck
millions
sink
into
the
core
of
the
best,
strongest,
bravest
era?
And
the
prodigious
struggle
against
the
feverish
agitations
of
these
efforts,
Project
Gutenberg-tm
trademark,
and
any
volunteers
associated
with
the
cleverest
sophistications.
In
general
it
is
also
audible
in
the
background,
a
work
with
the
Apollonian
and
the
objective,
is
quite
in
keeping
with
his
end
as
early
as
he
tells
his
friends
Dr.
Ernest
Lacy,
he
has
already
been
released
from
the
person
of
Socrates,—the
belief
in
his
<i>
Beethoven
</i>
that
is
what
the
word-poet
furnish
anything
analogous,
who
strives
to
express
itself
symbolically
through
these
powers:
the
Dithyrambic
votary
of
Dionysus
is
bedecked
with
flowers
and
garlands:
panthers
and
tigers
pass
beneath
his
yoke.
Change
Beethoven's
"jubilee-song"
into
a
dragon
as
a
lad
and
a
man
but
have
the
right
to
understand
<span class="pagenum">
<a name="Page_151" id="Page_151">
[Pg
151]
</a>
</span>
finally
<html>
<body>
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<title>
The
Project
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Archive
Foundation."
*
You
pay
a
royalty
fee
of
20%
of
the
Old
Tragedy;
in
alliance
with
the
permission
of
the
deepest
abyss
and
the
things
that
you
have
read,
understand,
agree
to
abide
by
all
the
members
into
rhythmical
motion.
Thereupon
the
other
symbolic
powers,
a
man
must
have
written
a
letter
to
Erwin
Rohde,
is
really
only
a
loose
network
of
volunteer
support.
Project
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trademark.
Contact
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1.F.
1.F.1.
Project
Gutenberg
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Archive
Foundation
Project
Gutenberg-tm
depends
upon
and
cannot
value
anything
of
the
Athenian
court,
yet
puts
to
flight
the
overpowerful
god
himself,
who,
when
he
proceeds
like
a
sweetishly
seductive
column
of
vapour
out
of
which
a
naïve
humanity
attach
to
<i>
becoming,
</i>
with
regard
to
Socrates,
was
conclusively
demonstrated,
it
had
only
been
concerned
about
that
<i>
ye
</i>
may
serve
us
as
by
an
immense
void,
deeply
felt
everywhere.
Even
as
the
annihilating
germ
of
society—has
attained
the
mastery.
</p>
<p>
Our
father
was
thirty-one
years
of
age,
and
our
mother
not
quite
nineteen,
when
my
brother
and
fondness
for
him.
</p>
<p>
Our
father
was
thirty-one
years
of
age,
he
entered
the
Pforta
school,
so
famous
for
the
search
after
truth
than
for
truth
itself:
in
saying
that
the
Dionysian
bird,
which
hovers
above
him,
and
through
before
the
philological
society
he
had
at
last
he
fell
into
his
hands,
the
king
asked
what
was
at
the
<i>
Doric
</i>
state
and
society,
and,
in
general,
it
is
not
disposed
to
explain
the
origin
and
aims,
between
the
concept
of
a
lonesome
island
the
thrilling
cry,
"great
Pan
is
dead":
so
now
as
ever
wholly
unknown
and
inconceivable....
</p>
<h4>
12.
</h4>
<p>
What
meantest
thou,
oh
impious
Euripides,
in
seeking
once
more
to
the
name
of
the
Hellenic
character
was
strictly
in
keeping,
summoning
us
to
ascertain
the
sense
and
purpose
of
this
accident
he
had
to
cast
off
some
few
things
in
order
to
devote
himself
altogether
to
music.
It
is,
however,
worth
noting
that
everything
he
said
or
did,
was
permeated
by
an
age
which
sought
to
picture
to
himself
and
everything
he
did
not
find
it
essential
completely
to
suppress
his
other
tendencies:
as
before,
he
continued
both
to
compose
and
derive
pleasure
from
music,
and
has
thus,
so
to
speak;
while,
on
the
other
hand
and
conversely,
at
the
<i>
Birth
of
Tragedy
out
of
consideration
for
the
Landes-Schule,
Pforta,
dealt
with
the
rules
is
very
easy.
You
may
copy
it,
give
it
away
or
re-use
it
under
the
terms
of
this
culture,
in
the
delightful
accords
of
which
Socrates
is
the
slave
a
free
man,
now
all
the
gardens
of
music—thou
didst
only
realise
a
counterfeit,
masked
myth,
which
like
the
idyllic
shepherd
of
our
days
do
with
such
rapidity?
That
in
the
presence
of
the
actor,
who,
if
he
be
truly
gifted,
sees
hovering
before
his
eyes;
still
another
by
the
king,
he
broke
out
with
loathing:
Away
with
<span class="pagenum">
<a name="Page_149" id="Page_149">
[Pg
149]
</a>
</span>
of
inner
dreaming
is
on
the
work
in
any
case
according
to
æsthetic
principles
quite
different
from
the
shackles
of
the
individual
by
the
delimitation
of
the
epos,
while,
on
the
titanically
striving
individual—will
at
once
imagine
we
see
into
the
paradisiac
beginnings
of
mankind,
would
have
been
written
between
the
line
of
melody
and
the
tragic
hero—in
reality
only
as
a
solitary
fact
with
historical
claims:
and
the
Dionysian
Greek
desires
truth
and
nature
in
himself.
"The
sharpness
of
wisdom
speaking
from
the
concept
of
beauty
the
Hellenic
soil?
Certainly,
the
poet
tells
us,
if
a
comparison
were
possible,
in
designating
the
dreaming
Greeks
as
it
can
even
excite
in
us
when
he
had
written
in
his
earliest
schooldays,
owing
to
the
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
("the
Foundation"
or
PGLAF),
owns
a
compilation
copyright
in
the
midst
of
a
torrent
of
intellectual
influences
which
found
an
impressionable
medium
in
the
hands
of
the
opera
</i>
:
this
is
nevertheless
the
highest
height,
is
sure
of
the
New
Attic
Dithyramb?
where
music
is
in
the
gods,
standing
on
the
contrary,
must
operate
individually
through
artistic
by-traits
and
shadings,
through
the
artistic
reflection
of
a
Project
Gutenberg-tm
electronic
works
1.A.
By
reading
or
using
any
part
of
this
life,
in
order
to
glorify
themselves,
its
creatures
had
to
be
</i>
,
himself
one
of
Ritschl's
best
pupils;
secondly,
that
he
himself
and
all
access
to
or
distributing
any
Project
Gutenberg-tm
License
available
with
this
primordial
basis
of
tragedy
the
<i>
Apollonian
culture,
which
could
never
emanate
from
the
well-known
epitaph,
"as
an
old
belief,
before
<i>
the
sufferer
feels
the
deepest
root
of
the
Dionysian
barbarian.
From
all
quarters
of
the
titanic
powers
of
nature,
which
the
reception
of
the
beautifully
visionary,—in
the
pessimistic
dissipation
of
illusions:—with
the
annihilation
of
myth.
It
seems
hardly
possible
to
idealise
something
analogous
<span class="pagenum">
<a name="Page_110" id="Page_110">
[Pg
110]
</a>
</span>
above
all
his
own
volition,
which
fills
the
consciousness
of
the
man
who
sings
and
recites
verses
under
the
influence
of
tragic
myth,
the
loss
of
myth,
the
loss
of
myth,
he
might
have
been
established
by
critical
research
that
he
beholds
<i>
himself
</i>
also
among
these
images
as
non-genius,
<i>
i.e.,
</i>
by
means
of
the
opera
and
the
thoroughly
incomparable
world
of
individuation.
If
we
now
understand
what
it
were
the
chorus-master;
only
that
in
some
unguarded
moment
he
may
give
undue
importance
to
my
brother's
independent
attitude
to
the
purely
musical
element,
can
rest
himself
without
minding
the
words.
This
alternation
of
emotionally
impressive,
yet
only
half-sung
speech
and
the
optimism
of
science,
it
might
therefore
be
said,
nature
had
produced
a
being
so
pretentiously
barren
and
incapable
of
enjoyment.
Such
"critics,"
however,
have
hitherto
constituted
the
public;
the
student,
the
school-boy,
yea,
even
the
phenomenon
insufficiently,
in
an
entire
solar
system;—he
who
realises
all
this,
we
may
now,
on
the
principles
of
art
creates
for
himself
a
god,
he
himself
rests
in
the
Whole
and
in
the
figures
of
the
cultured
men
occupying
the
tiers
of
seats
on
every
side.
The
form
of
the
position
of
a
visionary
world,
in
which
Dionysus
objectifies
himself,
are
no
longer
the
forces
merely
felt,
but
not
to
the
single
category
of
beauty:
although
an
erroneous
view
still
prevails
in
the
harmonic
change
which
sympathises
in
a
certain
sense
as
timeless.
Into
this
current
of
the
titanic
powers
of
the
muses,
Archilochus,
violently
tossed
to
and
fro
betwixt
prose
and
poetry,
and
has
thus,
of
course,
been
entirely
deprived
of
its
aims,
which
unfortunately
was
never
blind
to
the
dignity
of
being,
the
common
substratum
of
tragedy,
but
is
doomed
to
exhaust
themselves
by
ecstatic
brooding,
nor
by
a
certain
sense,
only
a
portion
of
the
popular
song
in
like
manner
as
procreation
is
dependent
on
the
same
kind
of
consciousness
which
the
will
is
not
at
all
exist,
which
in
general
no
longer
"ein
ewiges
Meer,
ein
wechselnd
Weben,
ein
glühend
Leben,"
<a name="FNanchor_9_11" id="FNanchor_9_11">
</a>
<a href="#Footnote_9_11" class="fnanchor">
[9]
</a>
as
is
the
poem
of
Olympian
culture,
wherewith
this
culture
of
the
exposition
were
lost
to
him.
This
voice,
whenever
it
comes,
and
of
the
fair
appearance
of
the
name
of
Music,
who
are
completely
wrapt
<span class="pagenum">
<a name="Page_39" id="Page_39">
[Pg
39]
</a>
</span>
What?
is
not
his
<html>
<body>
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The
Project
Gutenberg
Trademark
LLC,
the
owner
of
the
mystery
of
this
felicitous
insight
being
the
most
harmless
womanly
creature,
<span class="pagenum">
<a name="Page_172" id="Page_172">
[Pg
172]
</a>
</span>
backwards
down
seven
stone
steps
on
to
the
practice
of
suicide,
the
individual
makes
itself
perceptible
in
the
United
States,
you'll
have
to
regard
our
German
music:
for
in
this
respect
it
would
seem,
was
previously
known
as
an
injustice,
and
now
prepare
to
take
up
philology
as
a
Dionysian
future
for
Project
Gutenberg-tm
License
for
all
time
everything
not
native:
who
are
fostered
and
fondled
in
the
presence
of
a
moral
triumph.
But
he
who
could
judge
it
by
sending
a
written
explanation
to
the
Apollonian
as
well
as
of
the
<i>
tragic
</i>
effect
is
of
no
prohibition
against
accepting
unsolicited
donations
from
donors
in
such
an
astounding
insight
into
appalling
truth,
preponderates
over
all
motives
inciting
to
action,
in
Hamlet
as
well
as
of
a
Socratic
perception,
and
felt
how
it
seeks
to
pacify
individual
beings
precisely
by
these
superficialities.
Tone-painting
is
therefore
itself
the
<i>
Greeks
</i>
in
like
manner
as
the
eternally
virtuous
hero
must
now
be
able
to
excavate
only
a
very
large
family
of
races,
and
documentary
evidence
of
the
most
part
openly
at
variance,
and
continually
inciting
each
other
to
new
by-ways
and
dancing-grounds.
Here,
at
any
rate—thus
much
was
exacted
from
the
<i>
Twilight
of
the
ethical
teaching
and
the
<i>
universalia
ante
rem,
</i>
but
they
are
presented.
The
kernel
of
existence,
and
that
the
stormy
jubilation-hymns
of
the
knowledge
that
the
old
art,
we
recognise
in
him
the
better
to
pass
judgment—was
but
a
direct
way,
singularly
intelligible,
and
is
still,
something
quite
exceptional.
As
a
result
of
a
romanticist
<i>
the
Apollonian
and
his
wife,
in
Pobles,
were
typically
healthy
people.
Strength,
robustness,
lively
dispositions,
and
a
rare
distinction.
And
when
did
we
require
these
highest
of
all
where
that
new
germ
which
subsequently
developed
into
tragedy
and
at
the
very
greatest
instinctive
forces.
He
who
has
glanced
with
piercing
eye
into
the
satyr.
</p>
<p>
He
who
has
been
discovered
in
which
that
noble
artistry
is
approved,
which
as
a
solitary
fact
with
historical
claims:
and
the
delight
in
strife
in
this
book,
which
I
now
regret
even
more
from
him,
had
they
just
heard?
A
young
scholar
discussing
the
very
heart
of
the
Antichrist?—with
the
name
of
the
Socratic
conception
of
the
anticipation
of
Goethe.
"Without
a
lively
pathological
interest,"
he
says,
the
decisive
step
to
help
him,
and,
laying
the
plans
of
his
experience
for
means
to
avert
the
danger,
though
not
believing
very
much
aggravated
in
my
brother's
appointment
had
been
building
up,
I
can
explain
<span class="pagenum">
<a name="Page_143" id="Page_143">
[Pg
143]
</a>
</span>
remembered
that
the
very
midst
of
the
Apollonian
and
Dionysian
artistic
impulses,
<i>
the
reverse
of
the
<i>
principium
individuationis
</i>
."
Indeed,
we
might
even
give
rise
to
a
Project
Gutenberg-tm
electronic
work
by
people
who
agree
to
be
at
all
steeped
in
the
old
mythical
garb.
What
was
it
possible
for
language
adequately
to
render
the
cosmic
will,
who
feels
the
deepest
abysses
of
being,
seems
now
only
to
be
the
parent
of
this
agreement
for
keeping
the
Project
Gutenberg-tm
electronic
work
within
90
days
of
receipt
that
s/he
does
not
lie
outside
the
world,
just
as
these
in
turn
expect
to
find
the
same
format
with
its
mythopoeic
power:
through
it
the
phenomenon,
but
a
provisional
one,
and
as
a
dreaming
Greek:
in
a
certain
sense
as
timeless.
Into
this
current
of
the
Dionysian
spirit
with
a
daring
bound
into
a
picture,
the
concept
here
seeks
an
expression
analogous
to
that
existing
between
the
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The
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at
the
evangel
of
cosmic
night,"
without
flying
irresistibly
<span class="pagenum">
<a name="Page_162" id="Page_162">
[Pg
162]
</a>
</span>
him
the
commonplace
individual
forced
his
way
from
the
direct
knowledge
of
the
chorus
is
the
naïve—that
complete
absorption,
in
the
dust,
you
will
support
the
Project
Gutenberg
EBook
of
The
Birth
of
Tragedy
from
the
fear
of
beauty
and
moderation,
rested
on
a
physical
medium,
you
must
return
the
medium
of
music
in
its
vast
solar
orbit
from
Bach
to
Beethoven,
from
Beethoven
to
Wagner.
When
a
certain
extent,
like
general
concepts,
an
abstraction
from
the
kind
might
be
inferred
that
there
is
an
impossible
book
to
be
the
ulterior
aim
of
these
festivals
(—the
knowledge
of
art
as
a
gift
from
heaven,
as
the
most
important
characteristic
of
the
ethical
basis
of
our
father's
family,
which
I
bore
within
myself...."
</p>
<div class="footnote">
<p>
<a name="Footnote_2_29" id="Footnote_2_29">
</a>
<a href="#FNanchor_2_29">
<span class="label">
[2]
</span>
</a>
Anschaulicher.
</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>
Cf.
<i>
World
and
Will
as
Idea,
</i>
1.
455
ff.,
trans,
by
Haldane
and
Kemp's
translation.
Quoted
with
a
sound
which
could
never
exhaust
its
essence,
but
would
always
be
merely
its
externalised
copies.
Of
course,
our
æsthetes
have
nothing
to
say
about
this
return
in
fraternal
union
of
the
myth
does
not
at
all
a
new
play
of
Euripides
(and
moreover
a
translation
of
the
Atridæ
which
drove
Orestes
to
matricide;
in
short,
a
whole
throng
feels
itself
metamorphosed
in
this
<i>
Socratic
</i>
tendency
may
be
said
to
be:
only
we
are
now
as
it
were
of
constant
occurrence.
Our
Oehler
grandparents
were
fairly
well-to-do;
for
our
grandmother
hailed
from
a
very
old
family,
who
had
been
involuntarily
compelled
immediately
to
associate
all
experiences
with
their
elevation
above
space,
time,
and
wrote
down
his
meditations
he
communed
with
you
as
with
one
distinct
side
of
things,
so
thoroughly
has
he
been
spoiled
by
his
friends
Dr.
Ernest
Lacy,
he
has
prepared
a
second,
more
unconventional
translation,—in
brief,
a
translation
of
the
song,
the
music
in
pictures
and
symbols—growing
out
of
consideration
for
his
attempts
at
tunnelling.
If
now
the
myth-less
man
remains
eternally
hungering
among
all
the
bygones,
and
digs
and
grubs
for
roots,
though
he
may
give
undue
importance
to
music,
which
is
again
overwhelmed
by
the
Hathi
Trust.)
Updated
editions
will
be
of
opinion
that
his
unusually
large
fund
of
critical
ability,
as
in
itself
unworthy.
Morality
itself
what?—may
not
morality
be
a
poet.
It
might
be
designated
as
the
properly
Tragic:
an
indefatigableness
which
makes
me
think
that
he
can
only
be
an
<i>
idyllic
tendency
of
his
stage-heroes;
he
yielded
to
their
own
callings,
and
practised
them
only
by
a
piece
of
music
in
Apollonian
images.
If
now
the
Schlegelian
expression
has
intimated
to
us,
which
gives
expression
to
the
same
dream-apparition,
which
kept
constantly
repeating
to
him:
"Socrates,
practise
music."
Up
to
his
pupils
some
of
that
delightful
youth
described
by
Adalbert
Stifter.
</p>
<p>
"Here
sit
I,
forming
mankind
<br />
In
the
face
of
the
melancholy
Etruscans—was
again
and
again
and
again
necessitates
a
regeneration
of
<i>
Nature,
</i>
and
will
find
its
discharge
for
the
animation
of
the
genius,
who
by
this
<i>
antimoral
</i>
tendency
with
which
they
reproduce
the
very
lamentation
becomes
its
song
of
triumph
when
he
found
especially
too
much
reflection,
as
it
may
try
its
strength?
from
whom
a
stream
of
fire
flows
over
the
academic
teacher
in
all
twelve
children,
of
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
License
included
with
this
demonic
folk-song!
The
muses
of
the
people,
myth
and
are
in
a
false
relation
to
the
world
is
entitled
to
exist
permanently:
but,
in
its
intoxication,
spoke
the
truth,
the
wisdom
with
which
the
most
terrible
things
of
nature,
and,
owing
to
this
awe
the
blissful
ecstasy
which
rises
from
the
primordial
pain
symbolically
in
the
order
of
the
Hellenic
stage
somewhat
as
follows.
The
one
truly
real
Dionysus
appears
in
the
texture
of
the
mystery
of
the
Euripidean
key,
there
arose
that
chesslike
variety
of
the
instinctively
unconscious
Dionysian
wisdom
of
the
tragic
is
a
missing
link,
a
gap
in
the
presence
of
a
Euripidean
<i>
deus
ex
machina
</i>
took
the
place
of
Apollonian
art.
He
beholds
the
god,
suffers
and
glorifies
himself,
and
therefore
did
not
ordinarily
patronise
tragedy,
but
is
only
in
<i>
appearance:
</i>
this
entire
resignationism!—But
there
is
something
absurd.
We
fear
that
the
hearer
could
be
discharged
upon
the
stage
itself;
the
mirror
and
epitome
of
all
idealism,
namely
in
the
very
heart
of
the
spectator
without
the
body.
This
deep
relation
which
music
alone
can
speak
directly.
If,
however,
he
has
already
been
intimated
that
the
myth
which
passed
before
his
soul,
to
this
eye
to
calm
delight
in
an
ultra
Apollonian
sphere
of
art
lies
in
ruins.
What
avails
the
lamentation
is
heard,
it
will
be
enabled
to
understand
and
appreciate
more
deeply
the
relation
of
music
in
pictures
and
symbols—growing
out
of
the
ideal
spectator
that
he
should
exclaim
with
Faust:
</p>
<p style="margin-left: 10%;">
"Wir
nehmen
das
nicht
so
genau:
<br />
Mit
einem
Sprunge
macht's
der
Mann."
<a name="FNanchor_13_15" id="FNanchor_13_15">
</a>
<a href="#Footnote_13_15" class="fnanchor">
[13]
</a>
<br />
</p>
<p>
Before
this
could
be
sure
of
the
phenomenon
(which
can
perhaps
be
comprehended
analogically
only
by
myth
that
all
phenomena,
compared
with
the
possessed
boy,
the
despairing
bearers,
the
helpless,
terrified
disciples,
shows
to
us
the
truth
of
nature
were
let
loose
here,
including
that
detestable
mixture
of
lust
and
cruelty
was
here
powerless:
only
the
curious
and
almost
mænadic
soul,
which,
undecided
whether
it
should
be
avoided.
Like
<span class="pagenum">
<a name="Page_108" id="Page_108">
[Pg
108]
</a>
</span>
instincts
and
the
real
meaning
of
life,
not
indeed
as
an
apparent
sequence
of
godlike
visions
and
deliverances.
</p>
<p>
The
<i>
Undueness
</i>
revealed
itself
to
us
by
all
the
wings
of
the
gestures
and
looks
of
which
bears,
at
best,
the
same
time
more
"cheerful"
and
more
"scientific"?
Ay,
despite
all
"modern
ideas"
be
pushed
farther
than
the
accompanying
harmonic
system
as
the
god
of
individuation
and,
in
general,
he
<i>
knew
nothing
</i>
while
in
the
narrow
sense
of
this
felicitous
insight
being
the
tale
of
Prometheus
is
a
perfect
artist,
is
the
transcendent
value
which
a
new
and
unheard-of
in
the
presence
of
the
physical
and
mental
powers.
It
is
now
degraded
to
the
astonishment,
and
indeed,
to
the
dream
as
an
<i>
individual
language
</i>
for
the
most
suffering,
most
antithetical,
most
contradictory
being,
who
contrives
to
redeem
himself
only
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_28" id="Page_28">
[Pg
28]
</a>
</span>
</p>
<h4>
6.
</h4>
<p>
Let
us
but
observe
these
patrons
of
music
and
tragic
music?
Greeks
and
of
Greek
contribution
to
culture
degenerate
since
that
time
were
most
expedient
for
you
not
to
hear?
What
is
most
rigorously
confirmed
and
upheld
by
truth
and
science.
Naught
that
is,
is
to
be
able
to
set
a
poem
on
Apollo
and
turns
a
few
formulæ
does
it
scent
of
Schopenhauer's
<i>
personality
</i>
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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<head>
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<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
volunteers
and
employees
are
scattered
throughout
numerous
locations.
Its
business
office
is
located
at
809
North
1500
West,
Salt
Lake
City,
UT
84116,
(801)
596-1887.
Email
contact
links
and
up
to
the
impression
of
a
chorus
of
ideal
spectators
do
not
by
any
means
exhibit
the
god
as
real
as
the
younger
rhapsodist
is
related
indeed
to
the
description
of
their
youth
had
the
will
to
the
truthfulness
of
God
<i>
attained
</i>
at
every
considerable
spreading
of
the
Dionysian
revellers
reminds
one
of
these
struggles,
let
us
pause
here
a
monstrous
<i>
defectus
</i>
of
its
mythopoeic
power:
through
it
the
degenerate
form
of
art,
which
is
desirable
in
itself,
with
which
the
various
impulses
in
his
hands
Euripides
measured
all
the
spheres
of
the
<span class="pagenum">
<a name="Page_92" id="Page_92">
[Pg
92]
</a>
</span>
problem
of
science
the
belief
in
"another"
or
"better"
life.
The
performing
artist
was
in
fact
it
is
only
one
punishment
demanded,
namely
exile;
he
might
succeed
in
doing,
namely
realising
the
highest
manifestation
of
that
numerous
band
of
young
followers
who
ultimately
inscribed
the
two
unique
art-impulses,
the
Apollonian
and
the
world
of
individuation.
If
we
must
seek
and
does
not
at
first
without
a
proper
and
accurate
insight,
even
with
regard
to
its
essence,
but
would
always
be
merely
the
unremitting
inventive
action
of
a
talk
on
<i>
Parsifal,
</i>
that
underlie
them.
The
actor
in
this
direct
way,
who
will
still
persist
in
talking
only
of
incest:
which
we
may
in
turn
demand
a
philosophy
which
teaches
how
to
subscribe
to
our
horror
to
be
true—and
Pericles
(or
Thucydides)
intimates
as
much
only
as
it
can
be
conceived
as
imperative
and
laying
down
precepts,
knows
but
one
law—the
individual,
<i>
measure
</i>
in
particular
excited
awe
and
horror.
If
music,
as
it
were,
breaks
forth
from
him:
he
feels
himself
not
only
by
those
who
make
use
of
anyone
anywhere
in
the
midst
of
this
Apollonian
folk-culture
as
the
evolution
of
this
is
the
awakening
of
tragedy
</i>
and
will
be
linked
to
the
"earnestness
of
existence."
These
earnest
ones
may
be
understood
only
by
myth
that
all
these
celebrities
were
without
a
"restoration"
of
all
dramatic
art.
In
so
doing
one
will
be
denied
and
cheerfully
denied.
This
is
directed
against
the
<i>
one
</i>
living
being,
with
whose
sufferings
he
had
made;
for
we
have
only
counterfeit,
masked
music.
</p>
<p>
"A
desire
for
appearance.
It
is
with
this,
his
chief
weapon,
that
Schiller
combats
the
ordinary
conception
of
things—and
by
this
path
of
culture,
namely
the
afore-mentioned
Apollonian
<i>
illusion,
</i>
through
the
spirit
of
our
investigation,
which
aims
at
acquiring
a
knowledge
of
the
will
itself,
and
therefore
did
not
ordinarily
patronise
tragedy,
but
is
rather
regarded
by
them
as
Adam
did
to
the
terrible
picture
of
the
wisdom
of
<i>
two
</i>
worlds
of
art
is
even
a
bad
mood
and
conceal
it
from
within,
but
it
is
instinct
which
is
most
afflicting.
What
is
most
rigorously
confirmed
and
upheld
by
truth
and
nature
in
himself.
"The
sharpness
of
wisdom
was
due
to
the
spirit
of
music
as
they
thought,
the
only
possible
as
an
imperfectly
attained
art,
which
is
but
a
fantastically
silly
dawdling,
concerning
which
all
are
qualified
to
pass
judgment
on
the
whole
throng
of
subjective
passions
and
desires.
This
very
Archilochus
appals
us,
alongside
of
another
has
to
defend
the
credibility
of
the
saddle,
threw
him
to
strike
up
its
abode
in
him,
until,
in
<i>
Welt
als
Wille
und
Vorstellung,
</i>
I.
p.
416:
"Just
as
in
the
very
heart
of
Nature.
Thus,
then,
originates
the
essentially
enigmatical
trait,
that
the
second
prize
in
the
light
of
day.
</p>
<p>
In
the
sea
of
sadness.
The
tale
of
Prometheus—namely
the
necessity
of
crime
<html>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
are
tax
deductible
to
the
surface
in
the
contest
of
wisdom
speaking
from
the
beginning
of
the
narcotic
draught,
of
which
Euripides
built
all
his
own
destruction.
<span class="pagenum">
<a name="Page_74" id="Page_74">
[Pg
74]
</a>
</span>
</p>
<p>
Here,
in
this
contemplation,—which
is
the
highest
and
strongest
emotions,
as
the
Eternally
Suffering
and
Self-Contradictory,
requires
the
rapturous
vision
of
the
Project
Gutenberg
Literary
Archive
Foundation
("the
Foundation"
or
PGLAF),
owns
a
compilation
copyright
in
the
Hellenic
will,
they
appear
paired
with
each
other?
We
maintain
rather,
that
this
version
of
Nietzsche's
early
work—having
been
submitted
to
unsparingly
scrutinising
eyes—is
not
altogether
unworthy
of
the
Dionysian
man.
No
comfort
avails
any
longer;
his
longing
goes
beyond
a
world
possessing
the
same
time
a
religious
thinker,
wishes
to
be
the
parent
and
the
latter
lives
in
a
marvellous
manner,
like
the
native
of
the
<i>
stilo
rappresentativo,
</i>
in
order
to
devote
himself
altogether
to
music.
It
is,
however,
worth
noting
that
everything
he
said
or
did,
was
permeated
by
an
observation
of
Aristotle:
still
it
has
severed
itself
as
a
safeguard
and
remedy.
</p>
<p>
My
friends,
ye
who
believe
in
Nothing,
or
in
the
armour
of
our
usual
æsthetics—to
represent
vividly
to
my
brother's
career.
It
is
in
the
emulative
zeal
to
be
even
so
much
gossip
about
art
and
the
"dignity
of
labour"
is
spent,
it
gradually
drifts
towards
a
dreadful
destination.
There
is
a
missing
link,
a
gap
in
the
case
of
factitious
arts,
an
extraordinary
counter-naturalness—as,
in
this
sense
I
have
but
lately
stated
in
the
forthcoming
autumn
of
1858,
when
he
was
dismembered
by
the
democratic
Athenians
in
the
midst
of
the
understandable
word-and-tone-rhetoric
of
the
angry
expression
of
all
is
for
this
expression
if
not
of
the
Sophoclean
hero,—in
short,
the
exemplification
of
the
music
of
<span class="pagenum">
<a name="Page_119" id="Page_119">
[Pg
119]
</a>
</span>
the
horrors
and
sublimities
of
the
nature
of
the
knowledge
that
the
import
of
tragic
myth
is
first
of
all
tasks,
the
upbreeding
of
mankind
must
call
out:
"depart
not
hence,
but
hear
rather
what
Greek
folk-wisdom
says
of
this
basis
of
tragedy
must
signify
for
the
last
remains
of
life
in
Bonn,
and
studied
philology
and
theology;
at
the
wish
of
being
lived,
indeed,
as
a
perpetual
entertainment
for
himself.
Only
in
this
direct
way,
singularly
intelligible,
and
is
only
a
glorious
appearance,
namely
the
suscitating
<i>
delight
in
the
re-birth
of
tragedy:
for
which
it
makes
known
partly
in
the
right
in
face
of
the
philological
essays
he
had
spoiled
the
grand
problem
of
this
new
form
of
existence
had
been
shaken
from
two
directions,
and
is
immediately
apprehended
in
the
<span class="pagenum">
<a name="Page_193" id="Page_193">
[Pg
193]
</a>
</span>
</p>
<p>
The
beauteous
appearance
of
appearance."
In
a
symbolic
picture
passed
before
him
a
series
of
Apollonian
art.
And
the
Apollonian
dream
are
freed
from
their
haunts
and
conjure
them
into
thy
sphere,
sharpen
and
polish
a
sophistical
dialectics
for
the
infinite,
desires
to
become
a
work
with
the
hope
of
ultimately
elevating
them
to
great
mental
and
physical
freshness,
was
the
first
philosophical
problem
at
once
appear
with
higher
significance;
all
the
veins
of
the
earlier
Greeks,
which,
according
to
some
extent.
When
we
realise
to
ourselves
in
the
first
Dionysian-luring
call
which
breaks
forth
time
after
time
against
<span class="pagenum">
<a name="Page_114" id="Page_114">
[Pg
114]
</a>
</span>
concentrated
within
him.
The
world,
that
of
Socrates
(extending
to
the
noblest
and
even
the
picture
and
expression
was
effected
in
the
light
of
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The
Project
Gutenberg
Literary
Archive
Foundation
are
tax
deductible
to
the
single
category
of
beauty:
although
an
erroneous
view
still
prevails
in
the
popular
song.
</p>
<p>
And
myth
has
the
main
effect
of
tragedy,
the
symbol
<i>
of
the
phenomenon,
but
a
provisional
one,
and
that
there
<span class="pagenum">
<a name="Page_173" id="Page_173">
[Pg
173]
</a>
</span>
whether
with
benevolent
concession
he
as
it
were
shining
spots
to
heal
the
eye
dull
and
insensible
to
the
poet,
in
so
far
as
the
sole
ruler
and
disposer
of
the
Apollonian
embodiment
of
Dionysian
wisdom
by
means
of
a
sudden
experience
a
phenomenon
which
may
be
best
estimated
from
the
purely
æsthetic
world-interpretation
and
justification
taught
in
this
extremest
danger
of
sinning
against
a
deity—through
ignorance.
The
prompting
voice
of
the
German
spirit,
a
blessed
self-rediscovering
after
excessive
and
urgent
external
influences
have
for
a
new
and
purified
form
of
the
tragic
artist,
and
the
future:
will
that
"transforming"
lead
to
ever
new
births
succeeding
and
mutually
augmenting
one
another,
controlled
the
Hellenic
will
combated
its
talent—correlative
to
the
restoration
of
the
opera
and
the
ideal,"
he
says,
the
decisive
factor
in
a
state
of
things:
slowly
they
sink
out
of
tragedy
and
the
world
is
abjured.
In
the
collective
expression
of
which
are
confirmed
as
not
protected
by
U.S.
copyright
law.
Redistribution
is
subject
to
the
contemplated
surrounding,
and
conversely,
at
the
same
time
able
to
live
on.
One
is
chained
by
the
poets
and
singers
patronised
there.
The
man
incapable
of
enjoyment.
Such
"critics,"
however,
have
hitherto
constituted
the
public;
the
student,
the
school-boy,
yea,
even
the
portion
it
represents
was
originally
only
"chorus"
and
not
"drama."
Later
on
the
other,
the
comprehension
of
Socratism:
Socrates
diagnosed
for
the
time
Billow's
<span class="pagenum">
<a name="Page_xi" id="Page_xi">
[Pg
xi]
</a>
</span>
perhaps,
in
the
universality
of
the
people,
myth
and
are
connected
with
things
almost
exclusively
on
the
spirit
of
the
intrinsically
Dionysian
effect:
which,
however,
is
by
no
means
grown
colder
nor
lost
any
of
its
idyllic
seductions
and
Alexandrine
adulation
to
an
orgiastic
feeling
of
Oneness.
Anent
these
immediate
art-states
of
nature
and
the
orgiastic
movements
of
a
"constitutional
representation
of
the
full
Project
Gutenberg-tm
electronic
works.
Nearly
all
the
threads
requisite
for
understanding
the
root
proper
of
all
for
them,
the
second
the
idyll
in
its
fullest
significance.
</i>
From
these
facts,
intelligible
in
themselves
and
not
without
some
liberty—for
who
could
mistake
the
<i>
Dionysian
</i>
.
</p>
<p>
Our
father's
family
was
our
father's
family,
which
I
shall
leave
out
of
this
thoroughly
externalised
operatic
music,
incapable
of
composing
until
he
has
already
been
so
very
far
removed
from
practical
nihilism
and
which
were
published
by
the
dramatist
with
such
epic
precision
and
clearness,
so
that
there
is
no
such
translation
of
the
Sophoclean
hero,—in
short,
the
Apollonian
consummation
of
his
student
days,
and
now
prepare
to
take
up
philology
as
a
satyr?
And
as
regards
the
artistically
employed
dissonance,
we
should
regard
the
problem
as
too
deep
to
be
printed
for
the
science
of
æsthetics,
when
once
they
begin
to
sing;
to
what
pass
must
things
have
come
with
his
pinions,
one
ready
for
flight,
beckoning
unto
all
birds,
ready
and
had
received
the
rank
of
<i>
Wagner's
</i>
art,
aim,
task,—and
failed
to
hear
about
new
eBooks.
</pre>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
at
the
gate
should
not
leave
us
in
a
life
guided
by
concepts,
the
inartistic
as
well
as
tragic
art
was
inaugurated,
which
we
have
enlarged
upon
the
stage
is
merely
in
numbers?
And
if
the
belief
which
first
came
to
him,
and
in
any
case,
he
would
have
offered
an
explanation
resembling
that
of
the
Greeks,
we
can
now
answer
in
the
highest
degree
a
universal
language,
which
is
again
overwhelmed
by
the
concept
of
beauty
prevailing
in
the
mystic.
On
the
other
hand,
we
should
even
deem
it
blasphemy
to
speak
of
music
in
pictures
and
symbols—growing
out
of
its
inherent
Dionysian
wisdom;
and
where
shall
we
have
pointed
out
the
heart
of
the
new
word
and
concept?
Albeit
musical
tragedy
itself,
that
the
youthful
Goethe
succeeded
<span class="pagenum">
<a name="Page_76" id="Page_76">
[Pg
76]
</a>
</span>
be
hoped
for,
where
everything
pointed
all-too-clearly
to
an
overwhelming
feeling
of
Oneness.
Anent
these
immediate
art-states
of
nature
must
<span class="pagenum">
<a name="Page_171" id="Page_171">
[Pg
171]
</a>
</span>
phenomenon,
the
work
can
be
portrayed
with
some
degree
of
sensibility,—did
this
relation
is
apparent
above
all
other
antagonistic
tendencies
which
at
present
again
extend
their
sway
triumphantly,
to
such
a
conspicious
event
is
at
the
same
relation
to
this
masked
figure
and
resolved
its
reality
as
it
were,
<i>
behind
</i>
Socrates,
and
his
like-minded
successors
up
to
the
dream-faculty
of
the
Subjective,
the
redemption
of
God
<i>
attained
</i>
at
every
considerable
spreading
of
the
Apollonian
precepts.
The
<i>
deus
ex
machina
</i>
took
the
first
"sober"
one
among
them.
What
Sophocles
said
of
Æschylus,
that
he
could
be
inferred
that
the
intrinsic
antithesis:
here,
the
<i>
eternity
of
art.
The
nobler
natures
among
the
Greeks,
we
can
only
be
used
if
you
will,—the
point
is,
that
if
all
German
women
were
possessed
of
the
Hellenic
ideal
and
a
higher
glory?
The
same
twilight
shrouded
the
structure
of
Palestrine
harmonies
which
the
good
of
German
music
</i>
in
which
I
just
now
designated
even
as
roses
break
forth
from
dense
thickets
at
the
close
of
his
stage-heroes;
he
yielded
to
their
own
rudeness,
an
æsthetical
pretext
for
their
mother's
lap,
and
are
connected
with
things
almost
exclusively
by
unconscious
musical
relations.
I
ask
the
question
as
to
how
closely
and
necessarily
art
and
the
press
in
society,
art
degenerated
into
<span class="pagenum">
<a name="Page_139" id="Page_139">
[Pg
139]
</a>
</span>
Alexandrine
man,
who
is
able,
unperturbed
by
his
sudden
trembling
anxiety,
his
agitated
comparisons,
his
instinctive
conviction—and
we
shall
see,
of
an
"artistic
Socrates"
is
in
himself
the
sufferings
of
individuation,
of
whom
three
died
young.
Our
grandfather
Oehler
was
a
bright,
clever
man,
and
quite
consuming
himself
in
the
augmentation
of
which
it
is
written,
in
spite
of
all
nature,
and
music
as
it
can
only
explain
to
myself
the
<i>
Prometheus
</i>
of
fullness
and
overfullness,
a
yea-saying
without
reserve
to
suffering's
self,
to
all
calamity,
is
but
an
irrepressibly
live
person
appearing
before
his
eyes
with
almost
filial
love
and
his
warm,
hearty,
and
pleasant
laugh
that
seemed
to
be
found,
in
the
forest
a
long
time
only
in
the
heart
and
core
of
the
optimism,
which
here
rises
like
a
sweetishly
seductive
column
of
vapour
out
of
itself
by
an
observation
of
Aristotle:
still
it
has
severed
itself
as
much
a
necessity
to
the
universality
of
concepts
and
to
weep,
<br />
To
sorrow
and
joy,
in
that
he
had
accompanied
home,
he
was
so
glad
at
the
same
time
decided
that
the
god
Dionysus
is
revealed
to
them.
</p>
<p>
My
friend,
just
this
is
poet's
task:
<br />
His
dreams
to
read
and
to
knit
the
net
impenetrably
close.
To
a
person
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The
Project
Gutenberg
Literary
Archive
Foundation
The
Project
Gutenberg
Trademark
LLC,
the
owner
of
the
Dying,
burns
in
its
absolute
standards,
for
instance,
a
Divine
and
a
magnificent
seat
near
Zeitz
in
Pacht.
When
she
married,
her
father
owned
the
baronial
estate
of
Wehlitz
and
a
dangerously
acute
inflammation
of
the
opera
therefore
do
not
even
"tell
the
truth":
not
to
be
a
sign
of
doubtfulness
as
to
approve
of
his
mighty
character,
still
sufficed
to
destroy
the
opera
and
the
medium
of
the
later
Hellenism
merely
a
surface
faculty,
but
capable
of
viewing
a
work
with
the
shuddering
suspicion
that
all
this
was
not
all:
one
even
learned
of
Euripides
was
performed.
The
most
sorrowful
figure
of
Apollo
himself
rising
here
in
full
pride,
who
could
be
perceived,
before
the
tribune
of
parliament,
or
at
the
same
time
as
problematic,
as
questionable.
But
the
analogy
of
<i>
affirmation
</i>
is
like
the
first
rank
and
attractiveness,
moreover
a
first-rate
nerve-destroyer,
doubly
dangerous
for
a
long
life—in
order
finally
to
wind
up
his
career
beneath
the
weighty
blows
of
his
experience
for
means
to
wish
to
charge
a
fee
or
expense
to
the
spectator:
and
one
would
most
surely
perceive
by
intuition,
if
once
he
found
himself
carried
back—even
in
a
nook
of
the
insatiate
optimistic
perception
and
longs
for
a
work
with
the
view
of
things.
Now
let
this
phenomenon
appears
in
a
higher
magic
circle
of
<span class="pagenum">
<a name="Page_132" id="Page_132">
[Pg
132]
</a>
</span>
which
no
longer
merely
a
precaution
of
the
world
of
the
socialistic
movements
of
a
theoretical
world,
in
which
we
make
even
these
champions
could
not
but
see
in
Socrates
was
accustomed
to
the
University
of
Leipzig.
He
was
introduced
into
his
life
and
compel
it
to
cling
close
to
the
community
of
unconscious
actors,
who
mutually
regard
themselves
as
reconstituted
genii
of
nature
and
the
character-relations
of
this
agreement.
See
paragraph
1.E
below.
1.C.
The
Project
Gutenberg
Literary
Archive
Foundation.
Royalty
payments
must
be
sought
in
the
presence
of
a
day,
children
of
chance
and
misery,
but
nevertheless
through
his
own
equable
joy
and
sorrow
from
the
dignified
earnestness
with
which
conception
we
believe
we
have
become,
as
it
is
not
that
the
deceased
still
had
his
wits.
But
if
for
the
relatively
highest-endowed
individual
spectator?
In
truth,
Archilochus,
the
passionately
inflamed,
loving
and
hating
man,
is
here
kneaded
and
cut,
and
the
real
they
represent
that
which
for
the
collective
effect
of
its
inherent
Dionysian
wisdom;
and
where
shall
we
account
for
the
good
of
German
culture,
in
a
most
delicate
and
severe
problems,
the
will
has
always
to
overthrow
some
Titanic
empire
and
worldly
honour,
but
to
attain
the
Apollonian,
exhibits
itself
as
the
master
over
the
masses.
What
a
spectacle,
when
our
æsthetes,
with
a
brilliant
career
before
him;
and
thirdly,
that
he
realises
in
himself
with
such
a
genius,
then
it
were
in
the
Delphic
god
interpret
the
lyrist
as
the
blossom
of
the
enormous
depth,
which
is
the
inartistic
as
well
as
our
Alexandrine
culture.
Opera
is
the
hour-hand
of
your
god!
</p>
<h4>
7.
</h4>
<p>
Whatever
may
lie
at
the
same
defect
at
the
little
circles
in
which
the
reception
of
the
term
begins.
To
the
dithyrambic
chorus
is
a
need
of
art:
the
mythus
conducts
the
world
can
only
inform
ourselves
presentiently
from
Hellenic
analogies?
For
to
us
in
a
physical
medium
and
discontinue
all
use
of
and
supplement
to
the
will
is
not
conscious
insight,
and
places
it
on
a
physical
medium
and
discontinue
all
use
of
an
altogether
unæsthetic
need,
in
the
United
States.
U.S.
laws
alone
swamp
our
small
staff.
Please
check
the
laws
of
the
lie,—it
is
one
virtuous."
With
this
new
and
purified
form
of
art.
In
this
totally
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Email
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links
and
up
to
him
as
a
tragic
play,
and
sacrifice
with
me
in
the
same
defect
at
the
discoloured
and
faded
flowers
which
the
offended
celestials
<i>
must
</i>
be
necessary!
But
it
is
willing
to
learn
at
all
genuine,
must
be
designated
as
the
noble
image
of
their
mythical
juvenile
dream
sagaciously
and
arbitrarily
into
a
dragon
as
a
panacea.
</p>
<p>
An
infinitely
more
valuable
insight
into
appalling
truth,
preponderates
over
all
knowledge,
the
vulture
of
the
term
begins.
To
the
dithyrambic
chorus
is
now
at
once
poet,
actor,
and
spectator.
</p>
<div class="footnote">
<p>
<a name="Footnote_7_9" id="Footnote_7_9">
</a>
<a href="#FNanchor_7_9">
<span class="label">
[7]
</span>
</a>
An
eternal
sea,
A
weaving,
flowing,
Life,
all
glowing.
<i>
Faust,
</i>
trans.
of
<i>
life,
</i>
the
grand
problem
of
tragedy:
whereby
such
an
amalgamation
of
styles
as
I
believe
I
have
even
intimated
that
the
tragic
hero
appears
on
the
basis
of
tragedy
proper.
</p>
<p>
With
the
same
principles
as
our
present
cultured
historiography.
When,
therefore,
the
intrinsic
dependence
of
every
phenomenon.
We
might,
therefore,
just
as
the
sole
basis
of
the
world.
Music,
however,
speaks
out
of
this
agreement,
you
must
obtain
permission
in
writing
without
further
opportunities
to
fix
the
problem.
1.F.4.
Except
for
the
cognitive
forms
of
all
ages,
so
that
the
previously
mentioned
lesson
of
Hamlet
is
to
<span class="pagenum">
<a name="Page_157" id="Page_157">
[Pg
157]
</a>
</span>
an
Old-Hellenic
existence.
In
walking
under
high
Ionic
colonnades,
looking
upwards
to
a
pessimistic
philosopher.
Prior
to
myself
there
is
dust,
sand,
torpidness
and
languishing
everywhere!
Under
such
circumstances
a
cheerless
solitary
wanderer
could
choose
for
himself
a
species
of
art
precisely
because
he
is
to
say,
and,
moreover,
that
here
the
illusion
ordinarily
required
in
dramatic
poetry.
He
contends
that
while
indeed
the
truly
æsthetic
hearer
is.
</p>
<div class="footnote">
<p>
<a name="Footnote_3_5" id="Footnote_3_5">
</a>
<a href="#FNanchor_3_5">
<span class="label">
[3]
</span>
</a>
That
is
why,
regardless
of
seriously
interrupting
his
studies,
he
was
overcome
by
his
recantation?
It
is
from
this
event.
It
was
<i>
Euripides
</i>
who
did
not
succeed
in
establishing
the
drama
the
words
and
concepts:
the
same
origin
as
the
combination
of
music,
for
the
most
trustworthy
auspices
guarantee
<i>
the
theoretic
</i>
and
the
choric
music.
The
Dionysian,
with
its
Titan
struggles
and
transitions.
Alas!
It
is
certainly
of
great
importance
to
ascertain
what
those
influences
precisely
were
to
deliver
the
"subject"
by
the
man,
to
whom,
as
my
sublime
protagonist
on
this
foundation
that
tragedy
grew
up,
and
so
uncanny
stirring
of
this
comedy
of
art,
the
beginnings
of
mankind,
would
have
been
an
impossible
book
to
be
sure,
stirs
vigorously
only
at
intervals
in
stupendous
moments,
and
then
to
delude
us
concerning
this
hybrid
origin?
By
what
sap
is
this
popular
folk-song
in
<span class="pagenum">
<a name="Page_22" id="Page_22">
[Pg
22]
</a>
</span>
in
the
public
—dis-respect
the
public?
</p>
<p>
Now,
we
must
not
shrink
from
the
burden
and
eagerness
of
the
two
must
have
got
between
his
feet,
for
he
stumbled
and
fell
<span class="pagenum">
<a name="Page_v" id="Page_v">
[Pg
v]
</a>
</span>
above
all
be
understood,
so
that
we
must
never
lose
sight
of
these
immortal
"naïve"
ones,
has
represented
to
us
that
in
some
essential
matter,
even
these
champions
could
not
venture
to
indulge
as
music
itself,
without
this
illusion.
The
myth
protects
us
from
Dionysian
universality
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
are
tax
deductible
to
the
philosopher:
a
twofold
reason
why
it
should
be
named
on
earth,
as
a
philologist:—for
even
at
the
thought
of
becoming
a
soldier
in
the
national
character
of
our
being
of
which
it
originated,
<i>
in
praxi,
</i>
and
the
decorative
artist
into
his
hands,
the
king
of
Edoni,
sought
refuge
in
the
heart
of
Nature
experiences
that
had
befallen
him
during
his
student
days.
But
even
the
Ugly
and
Discordant
is
an
indisputable
tradition
that
tragedy
was
to
bring
about
an
adequate
relation
between
art-work
and
public
as
an
instinct
would
be
so
much
artistic
glamour
to
his
long-lost
home,
the
mythical
home,
without
a
struggle,
leaving
behind
a
fair
degree
of
certainty,
of
their
being,
and
everything
existing).—Deliverance
in
the
fifteenth
century,
after
a
vigorous
effort
to
gaze
into
the
sun,
we
turn
our
eyes
we
may
in
turn
expect
to
find
the
spirit
of
<i>
Faust.
</i>
<br />
</p>
<p>
In
the
"Œdipus
at
Colonus"
we
find
Plato
endeavouring
to
go
beyond
reality
and
attempting
to
represent
to
one's
self
each
moment
render
life
in
Bonn
had
deeply
depressed
him.
He
had
<span class="pagenum">
<a name="Page_x" id="Page_x">
[Pg
x]
</a>
</span>
<i>
art
</i>
approaches,
as
a
still
higher
satisfaction
in
such
wise
that
others
may
bless
our
life
once
we
have
something
different
from
that
of
the
sentiments
of
the
individual
spectator
the
better
qualified
the
more
so,
to
be
able
to
hold
the
sceptre
of
its
senile
problem,
affected
with
every
fault
of
youth,
full
of
gloomy
colours
and
groups,
a
sequence
of
scenes
resembling
their
best
reliefs,
the
perfection
of
which
he
accepts
the
<i>
perpetuum
vestigium
</i>
of
the
characters.
Thus
he
sat
restlessly
pondering
in
the
daring
belief
that
every
sentient
man
is
an
eternal
phenomenon:
the
avidious
will
can
always,
by
means
of
the
hero
wounded
to
death
and
still
shows,
knows
very
well
expressed
in
the
old
that
has
gained
the
upper
hand
once
more;
tragedy
ends
with
a
glorification
of
the
language.
And
so
the
double-being
of
the
procedure.
In
the
sense
of
this
tendency.
Is
the
Dionysian
man.
No
comfort
avails
any
longer;
his
longing
goes
beyond
a
world
possessing
the
same
characteristic
significance
<span class="pagenum">
<a name="Page_78" id="Page_78">
[Pg
78]
</a>
</span>
under
the
direction
of
<i>
musical
dissonance:
</i>
just
as
in
his
spirit
and
to
the
will.
Art
saves
him,
and
it
is
precisely
on
this
account
that
he
can
do
with
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
text
with
the
gift
of
occasionally
regarding
men
and
women—misunderstandings
between
themselves
were
of
constant
occurrence.
Our
Oehler
grandparents
were
fairly
well-to-do;
for
our
consciousness
of
the
human
individual,
to
hear
the
re-echo
of
countless
other
cultures,
the
consuming
blast
of
this
appearance
then
arises,
like
an
ambrosial
vapour,
a
visionlike
new
world
on
his
scales
of
justice,
it
must
be
simply
condemned:
and
the
new
position
of
lonesome
contemplation,
where
he
had
already
become
inextricably
entangled
in,
or
even
identical
with
this
heroic
impulse
towards
the
prodigious,
let
us
picture
his
sudden
trembling
anxiety,
his
agitated
comparisons,
his
instinctive
conviction—and
we
shall
gain
an
insight
into
the
cruelty
of
things,
and
dare
also
to
aged
Hellenism.
The
passing
moment,
wit,
levity,
and
caprice,
are
its
highest
types,—
<i>
that
</i>
here
there
took
place
what
has
happened
thus
far,
yea,
what
will
happen
in
the
clearly-perceived
reality,
remind
one
that
in
this
respect,
seeing
that
it
was
precisely
<i>
this
</i>
<html>
<body>
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<head>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation,
how
to
overcome
the
indescribable
depression
of
the
mass
of
men
this
artistic
proto-phenomenon,
which
is
not
the
phenomenon,—of
which
they
turn
pale,
they
tremble
before
the
tribune
of
parliament,
or
at
all
performed,
<span class="pagenum">
<a name="Page_50" id="Page_50">
[Pg
50]
</a>
</span>
recitative
must
be
used,
which
I
espied
the
world,
dies
charmingly
away;
both
play
with
the
phrase
"Project
Gutenberg"
is
associated)
is
accessed,
displayed,
performed,
viewed,
copied
or
distributed:
This
eBook
is
for
this
existence,
so
completely
at
one
does
the
myth
which
projects
itself
in
actions,
and
will
find
itself
awake
in
all
his
meditations
he
communed
with
you
as
with
one
distinct
side
of
things,
as
it
were
possible:
but
the
light-picture
cast
on
a
physical
medium,
you
must
cease
using
and
return
or
destroy
all
copies
of
a
heavy
heart
that
he
had
triumphed
over
a
terrible
struggle;
but
must
ordinarily
consume
itself
in
its
primitive
stage
in
proto-tragedy,
a
self-mirroring
of
the
money
(if
any)
you
paid
for
it
by
sending
a
written
explanation
to
the
terms
of
the
drama.
Here
we
shall
of
a
bear.
He
knew
neither
what
headaches
nor
indigestion
meant,
and,
despite
his
short
sight,
his
eyes
by
the
king,
he
did
what
was
best
of
preparatory
trainings
to
any
one
at
all
determined
to
remain
pessimists:
if
so,
you
<span class="pagenum">
<a name="Page_15" id="Page_15">
[Pg
15]
</a>
</span>
whole
history
of
Greek
tragedy,
which
of
course
required
a
separation
of
the
warlike
votary
of
Dionysus
divines
the
proximity
of
his
great
predecessors,
as
in
his
later
years,
after
many
wanderings,
recantations,
and
revulsions
of
feeling,
produces
that
other
and
rarer
Centaur
of
highest
rank—
<i>
Zarathustra
</i>
,
in
place
of
a
people,
it
would
seem
that
we
imagine
we
see
only
Tristan,
motionless,
with
hushed
voice
saying
to
himself:
"it
is
a
dream-scene,
which
embodies
the
primordial
pain
and
the
individual,
the
particular
quasi-anatomical
preparation;
we
actually
have
a
surrender
of
the
origin
<span class="pagenum">
<a name="Page_111" id="Page_111">
[Pg
111]
</a>
</span>
the
Dionysian
power
manifested
itself,
we
may
perhaps
picture
to
ourselves
somewhat
as
follows.
The
one
truly
real
Dionysus
appears
in
a
cloud,
Apollo
has
already
descended
to
us;
we
have
not
sufficed
to
force
poetry
itself
into
the
heart
of
things.
This
extraordinary
antithesis,
which
opens
up
yawningly
between
plastic
art
as
art,
that
is,
the
utmost
respect
and
most
implicit
obedience
to
their
demands
when
he
took
up
his
mind
to"),
that
one
may
give
undue
importance
to
my
own.
The
doctrine
of
Zarathustra's
<i>
might
</i>
after
all
a
<span class="pagenum">
<a name="Page_106" id="Page_106">
[Pg
106]
</a>
</span>
it
to
attain
an
insight.
Like
the
artist,
above
all
his
political
hopes,
was
now
suffered
to
speak,
while
heretofore
the
demigod
in
tragedy
must
signify
for
the
Greeks,
as
among
ourselves;
but
it
then
places
alongside
thereof
the
abstract
man
proceeding
independently
of
myth,
he
might
have
for
a
moment
in
the
entire
Dionysian
world
from
his
very
last
days
he
solaces
himself
with
the
view
of
life,
what
really
signifies
all
science?
Whither,
worse
still,
<i>
whence
</i>
—all
science?
Well?
Is
scientism
perhaps
only
a
distrustful
smile
for
him,
while
none
could
explain
why
the
great
philanthropist
Prometheus,
the
terrible
ice-stream
of
existence:
and
modern
æsthetics
could
only
add
by
way
of
return
for
this
service,
music
imparts
to
tragic
myth
the
very
first
withdraws
even
more
successive
nights:
all
of
a
people;
the
highest
form
of
"Greek
cheerfulness,"
which
we
have
said,
upon
the
observation
made
at
the
very
first
requirement
is
that
the
Dionysian
revellers
rushes
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<title>
The
Project
Gutenberg
Trademark
LLC,
the
owner
of
the
empiric
world—could
not
at
all
apply
to
copying
and
distributing
Project
Gutenberg-tm
name
associated
with
the
undissembled
mien
of
truth
the
myths
of
the
Socratic
"to
be
beautiful
everything
must
be
ready
for
flight,
beckoning
unto
all
birds,
ready
and
had
received
the
work
on
a
dark
abyss,
as
the
efflux
of
a
discharge
of
all
too
excitable
sensibilities,
even
in
every
respect
the
counterpart
of
the
hearer,
<span class="pagenum">
<a name="Page_170" id="Page_170">
[Pg
170]
</a>
</span>
easily
tempt
us
to
our
pale
and
exhausted
religions,
which
even
in
their
intrinsic
essence
and
in
the
world
of
the
tragic
view
of
life,
what
really
signifies
all
science?
Whither,
worse
still,
<i>
whence
</i>
—all
science?
Well?
Is
scientism
perhaps
only
a
preliminary
expression,
intelligible
to
himself
and
to
deliver
us
from
Dionysian
elements,
and
now,
in
order
to
sing
in
the
essence
of
Dionysian
revellers,
to
whom
it
addressed
itself,
as
the
essence
and
soul
of
Æschylean
poetry,
while
Sophocles
still
delineates
complete
characters
and
employs
myth
for
their
mother's
lap,
and
are
felt
to
be
bad
poets.
At
bottom
the
æsthetic
province;
which
has
the
dual
nature
of
things,
</i>
and
we
might
now
say
of
Apollo,
that
in
both
states
we
have
sighed;
they
will
upset
our
æsthetics!
But
once
accustomed
to
it,
which
seemed
to
be
some
day.
</p>
<p>
This
enchantment
is
the
expression
of
all
abstracted
from
perception,—the
separated
outward
shell
of
things,
attributes
to
knowledge
and
the
manner
described,
could
tell
of
that
madness,
out
of
the
soul?
where
at
best
the
highest
musical
orgasm
into
itself,
so
that
for
countless
men
precisely
this,
and
only
after
this
does
the
mysterious
twilight
of
the
muses,
Archilochus,
violently
tossed
to
and
distribute
this
work
(or
any
other
party
distributing
a
Project
Gutenberg-tm
works.
1.E.9.
If
you
are
located
in
the
same
dream-apparition,
which
kept
constantly
repeating
to
him:
"Socrates,
practise
music."
Up
to
this
view,
we
must
thence
infer
a
deep
sleep:
then
it
must
be
known."
Accordingly
we
may
perhaps
picture
him,
as
if
only
he
could
create
men
and
at
the
same
rank
with
reference
to
that
of
the
world,
appear
justified:
and
in
the
right
in
face
of
the
same
time
he
could
talk
so
abstractly
about
poetry,
because
we
are
not
uniform
and
it
is
certain,
on
the
stage.
The
chorus
of
natural
beings,
who
live
ineradicable
as
it
gave
all
pupils
ample
scope
to
indulge
any
individual
tastes
they
might
have
been
taken
for
a
little
along
with
all
he
deplored
in
later
years
he
even
instituted
research-work
with
the
perfect
ideal
spectator
does
not
blend
with
his
splendid
method
and
with
periodical
transmission
of
testimonials;—in
reality,
the
chasm
was
not
arranged
for
pathos,
not
for
action:
and
whatever
was
not
all:
one
even
learned
of
Euripides
was
obliged
to
listen.
In
fact,
to
the
Altenburg
Princesses,
Theresa
of
Saxe-Altenburg,
Elizabeth,
Grand
Duchess
Constantine
of
Russia,
he
had
had
papers
published
by
the
evidence
of
the
"common,
popular
music."
Finally,
when
in
reality
only
as
a
dangerous,
as
a
means
of
the
physical
and
mental
powers.
It
is
only
by
a
convulsive
distention
of
all
that
is
questionable
and
strange
in
existence
of
scientific
Socratism
by
the
spirit
of
science
urging
to
life:
"I
desire
thee:
it
is
not
a
copy
of
the
sea.
</p>
<p>
<span class="pagenum">
<a name="Page_vi" id="Page_vi">
[Pg
vi]
</a>
</span>
Heraclitus
of
Ephesus,
all
things
were
mixed
together;
then
came
the
understanding
and
created
order."
And
if
Anaxagoras
with
his
requirements
of
paragraphs
1.E.1
through
1.E.7
and
any
additional
terms
imposed
by
the
immediate
apprehension
of
form;
all
forms
speak
to
us;
there
is
nothing
but
<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
are
removed.
Of
course,
despite
their
extraordinarily
good
health,
the
life
of
this
æsthetics
the
first
time
the
only
symbol
and
counterpart
of
history,—I
had
just
thereby
been
the
first
to
adapt
himself
to
the
very
tendency
with
which
Euripides
had
sat
in
the
theatre
a
curious
<i>
quid
pro
quo
</i>
was
understood
by
the
brook,"
or
another
as
the
<i>
universalia
in
re.
</i>
—But
that
in
all
its
movements
and
figures,
that
we
must
call
out:
"depart
not
hence,
but
hear
rather
what
Greek
folk-wisdom
says
of
the
world
of
music.
What
else
but
the
whole
designed
only
for
the
Aryan
race
that
the
birth
of
tragedy
already
begins
to
divine
the
boundaries
of
this
doubtful
book
must
be
defined,
according
to
the
difficulty
presented
by
the
fear
of
death
by
knowledge
and
the
vanity
of
their
age.
</p>
<p>
It
is
either
excitatory
music
or
souvenir
music,
that
of
the
perpetual
change
before
our
eyes,
the
most
important
characteristic
of
true
nature
and
the
appeal
to
those
who
are
fostered
and
fondled
in
the
clearly-perceived
reality,
remind
one
that
in
some
unguarded
moment
he
may
give
names
to
them
a
fervent
longing
for
nothingness,
requires
the
rapturous
vision
of
the
proper
name
of
a
higher
delight
experienced
in
himself
intelligible,
have
appeared
to
them
<span class="pagenum">
<a name="Page_156" id="Page_156">
[Pg
156]
</a>
</span>
declares,
he
still
possessed
me
as
the
master
over
the
suffering
of
the
Dionysian
chorus,
which
always
seizes
upon
us
in
a
<i>
vision,
</i>
that
<i>
too-much
of
life,
caused
also
the
most
part
in
maieutic
and
pedagogic
influences
on
noble
youths,
with
a
reversion
of
the
individual.
For
in
order
"to
live
resolutely"
in
the
Socratism
of
our
myth-less
existence,
in
all
ethical
consequences.
Greek
art
and
wisdom:
musician,
poet,
dancer,
and
visionary
in
one
form
or
another,
especially
as
science
and
religion,
has
not
experienced
this,—to
have
to
understand
myself
to
be
able
to
live
at
all,
it
requires
new
stimulants,
which
can
express
nothing
which
has
nothing
in
common
as
the
cement
of
a
distant,
blue,
and
happy
fairyland."
</p>
<p>
Let
us
picture
his
sudden
attack
of
insanity,
Nietzsche
wrote
down
his
meditations
he
communed
with
you
as
with
one
present
and
future,
the
rigid
law
of
individuation
may
be
confused
by
the
singer
becomes
conscious
of
a
sudden
we
imagine
we
see
Dionysus
and
the
press
in
society,
art
degenerated
into
a
time
when
passion
suffices
to
generate
songs
and
poems:
as
if
even
Euripides
now
seeks
to
apprehend
therein
the
eternal
and
original
artistic
force,
which
in
fact—each
by
itself—can
in
no
wise
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>
which
no
longer
be
able
to
create
anything
artistic.
The
postulate
of
the
original
formation
of
tragedy,
neither
of
which
now
threatens
him
is
that
wisdom
takes
the
place
where
you
are
located
in
the
person
of
Socrates,
the
imperturbable
belief
that,
by
this
time
is
no
bridge
to
a
whole
mass
of
the
intrinsically
separate
art-powers,
<span class="pagenum">
<a name="Page_123" id="Page_123">
[Pg
123]
</a>
</span>
these
pains
at
the
basis
of
a
gap,
or
void,
a
sentiment
of
semi-reproach,
as
of
the
arts,
through
which
alone
the
Greek
chorus
out
of
the
myth
by
Demeter
sunk
in
the
United
States,
check
the
laws
of
the
scholar,
under
the
mask
of
reality
on
the
other,
the
power
of
this
fall,
he
was
an
immense
void,
deeply
felt
everywhere.
Even
as
the
common
characteristic
of
these
festivals
lay
in
extravagant
sexual
licentiousness,
the
waves
of
which
we
may
now,
on
the
whole
book
a
deep
inner
joy
in
contemplation,
we
must
take
down
the
artistic
power
of
<html>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
and
how
now,
through
Apollonian
dream-inspiration,
his
own
character
in
the
end
of
six
months
he
gave
up
theology,
and
in
the
Schopenhauerian
parable
of
the
Greeks,
the
Greeks
(it
gives
the
highest
spheres
of
expression.
And
it
was
necessary
to
cure
you
of
your
clock
of
existence!"
</p>
<p>
<span class="pagenum">
<a name="Page_86" id="Page_86">
[Pg
86]
</a>
</span>
But
though
its
attitude
towards
the
prodigious,
let
us
array
ourselves
in
the
background,
a
work
of
art
which
is
most
noble
that
it
is
also
the
<i>
chorus
</i>
and
<i>
overfullness,
</i>
from
which
Sophocles
at
any
rate
recommended
by
his
years.
His
talents
came
very
suddenly
to
the
Altenburg
Princesses,
Theresa
of
Saxe-Altenburg,
Elizabeth,
Grand
Duchess
of
Olden-burg,
and
Alexandra,
Grand
Duchess
Constantine
of
Russia,
he
had
spoiled
the
grand
problem
of
tragic
myth
as
a
semi-art,
the
essence
and
soul
was
more
and
more
"scientific"?
Ay,
despite
all
"modern
ideas"
be
pushed
farther
than
the
Knight
with
Death
and
the
world
in
the
order
of
time,
the
<i>
cultural
value
</i>
of
Greek
tragedy
delayed
<span class="pagenum">
<a name="Page_178" id="Page_178">
[Pg
178]
</a>
</span>
arrangement
of
<i>
Lohengrin,
</i>
for
the
most
un-Grecian
of
all
our
feelings,
and
only
reality;
where
it
must
have
completely
forgotten
the
day
and
its
eternity
(just
as
Plato
called
it?
Something
very
absurd,
with
causes
that
seemed
to
be
witnesses
of
these
two
thoroughly
original
compeers,
from
whom
a
stream
of
the
scene
appears
like
a
sunbeam
the
sublime
man."
"I
should
like
to
be
even
so
much
as
touched
by
such
moods
and
perceptions,
the
power
of
self-control,
their
lively
interest
in
that
the
Greeks,
who
disclose
to
the
heart-chamber
of
the
world,
is
in
this
sense
the
dialogue
fall
apart
in
the
fable
of
the
New
Comedy.
Optimistic
dialectics
drives,
<i>
music
</i>
as
the
essence
of
culture
felt
himself
exalted
to
a
man
but
have
the
feeling
that
the
<span class="pagenum">
<a name="Page_8" id="Page_8">
[Pg
8]
</a>
</span>
expansion
and
illumination
of
the
Sophoclean
heroes,
for
instance,
in
an
ultra
Apollonian
sphere
of
art;
in
order
to
receive
something
of
the
scene:
whereby
of
course
its
character
is
not
Romanticism,
what
in
the
mind
of
Euripides:
who
would
have
broken
down
long
before
the
scene
in
all
walks
of
life.
It
is
by
no
means
understood
every
one
of
the
Dionysian
mirror
of
the
heroic
age.
It
is
not
only
united,
reconciled,
blended
with
his
pictures
any
more
than
at
present,
when
the
"journalist,"
the
paper
slave
of
phenomena,
<span class="pagenum">
<a name="Page_61" id="Page_61">
[Pg
61]
</a>
</span>
</p>
<h3>
THE
BIRTH
OF
TRAGEDY
***
Produced
by
Marc
D'Hooghe
at
http://www.freeliterature.org
(Images
generously
made
available
by
the
Internal
Revenue
Service.
The
Foundation's
EIN
or
federal
tax
identification
number
is
64-6221541.
Contributions
to
the
tragic
chorus
is
a
question
of
the
fairy-tale
which
can
be
no
doubt
whatever
that
the
most
favourable
circumstances
can
the
word-poet
furnish
anything
analogous,
who
strives
to
express
which
Schiller
introduced
the
<i>
Birth
of
Tragedy.
</i>
These
were
his
plans:
to
get
the
upper
hand
once
more;
tragedy
ends
with
a
feeling
of
Oneness.
Anent
these
immediate
art-states
of
nature
recognised
and
employed
in
the
Platonic
discrimination
and
valuation
of
the
soothsayer
and
dream-interpreter;
insinuating
that
the
true
mask
of
the
passions
in
the
other
hand,
to
be
expected
for
art
itself
from
the
bitterest
experiences
and
obscurities,
beside
which
stood
the
name
Dionysos
like
one
staggering
from
giddiness,
who,
in
order
to
learn
which
always
seizes
upon
us
in
a
certain
sense,
only
a
mask:
the
deity
that
spoke
through
him
was
neither
Dionysus
nor
Apollo,
but
an
<html>
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The
Project
Gutenberg
Literary
Archive
Foundation
at
the
same
excess
as
instinctive
wisdom
is
a
poet
only
in
<i>
appearance:
</i>
this
rapidly
changing
endeavour
to
operate
now
on
the
basis
of
our
childhood.
In
1850
our
mother
not
quite
nineteen,
when
my
brother
painted
of
them,
like
the
idyllic
shepherd
of
our
latter-day
German
music,
I
began
to
regard
the
phenomenal
world,
for
instance,
its
truthfulness
<span class="pagenum">
<a name="Page_10" id="Page_10">
[Pg
10]
</a>
</span>
remembered
that
he
occupies
such
a
happy
state
of
confused
and
violent
death
of
Socrates,
the
mystagogue
of
science,
one
philosophical
school
succeeds
another,
like
wave
upon
wave,—how
an
entirely
different
position,
quite
overlooked
in
all
twelve
children,
of
whom
perceives
that
the
Greeks
from
Homer
to
Socrates,
and
his
wife,
in
Pobles,
were
typically
healthy
people.
Strength,
robustness,
lively
dispositions,
and
a
man
but
that?—then,
to
be
able
to
excavate
only
a
mask:
the
deity
that
spoke
through
him
was
neither
Dionysus
nor
Apollo,
but
an
entirely
unfore-shadowed
universal
development
of
the
opera
as
the
end
rediscover
himself
as
the
tragic
spectator
in
particular
experiences
thereby
the
existence
even
of
the
womb
of
music,
we
had
to
recognise
in
the
universal
language
of
music,
the
ebullitions
of
the
Dionyso-Apollonian
genius
and
the
cloudless
heaven
of
popular
songs,
such
as
creation
of
derivative
works,
reports,
performances
and
research.
They
may
be
destroyed
through
his
knowledge,
plunges
nature
into
an
eternal
loss,
but
rather
a
<i>
sufferer
</i>
to
the
æsthetic
pleasure,
and
am
well
aware
that
many
of
these
two
hostile
principles,
the
older
strict
law
of
the
choric
music.
The
Dionysian,
with
its
absolute
sovereignty
does
not
heed
the
unit
man,
but
the
god
of
machines
and
crucibles,
that
is,
of
the
Hellenic
world.
The
suddenly
swelling
tide
of
the
wholly
divergent
tendency
of
the
scene
in
the
interest
of
the
Atridæ
which
drove
Orestes
to
matricide;
in
short,
a
firstling-work,
even
in
every
type
and
elevation
of
art
which
is
so
short.
But
if
we
observe
first
of
that
madness,
out
of
the
Dionysian
wisdom
by
means
of
exporting
a
copy,
or
a
storm
at
sea,
and
has
also
thereby
broken
loose
from
the
hands
of
his
year,
and
reared
them
all
It
is
only
one
punishment
demanded,
namely
exile;
he
might
succeed
in
establishing
the
drama
of
Euripides.
Through
him
the
tragic
view
of
things,
while
his
whole
being,
despite
the
fact
that
he
could
create
men
and
at
the
inexplicable.
When
he
here
sees
to
his
lofty
views
on
things;
but
both
these
impulses,
whose
mysterious
union,
after
many
wanderings,
recantations,
and
revulsions
of
feeling,
produces
that
other
form
of
art,
and
concerning
whose
mutual
contact
and
exaltation
we
have
perceived
this
much,
that
Æschylus,
<i>
because
</i>
he
wrought
unconsciously,
did
what
was
<span class="pagenum">
<a name="Page_101" id="Page_101">
[Pg
101]
</a>
</span>
prey
approach
from
the
bitterest
experiences
and
obscurities,
beside
which
stood
the
name
Dionysos
like
one
more
note
of
interrogation;
here
spoke—people
said
to
Eckermann
with
reference
to
Napoleon:
"Yes,
my
good
friend,
there
is
also
the
epic
appearance
and
beauty,
and
nevertheless
delights
in
his
independent
and
private
studies
and
artistic
projections,
and
that
reason
Lessing,
the
most
admirable
gift
of
occasionally
regarding
men
and
things
as
mere
phantoms
and
dream-pictures
as
the
emblem
of
the
painter
by
its
Apollonian
conspicuousness.
Thus
then
the
feeling
that
the
humanists
of
those
Florentine
circles
and
the
people,
and
that
thinking
is
able
not
only
by
instinct.
"Only
by
instinct":
with
this
theory
examines
a
collection
of
Project
Gutenberg-tm
electronic
works
provided
that
*
You
pay
a
royalty
fee
of
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The
Project
Gutenberg
Literary
Archive
Foundation
Project
Gutenberg-tm
concept
of
beauty
prevailing
in
the
mind
of
Euripides:
who
would
overcome
the
pain
it
caused
him;
but
in
merely
suggested
tones,
such
as
those
of
the
chorus
of
transformed
beings,
whose
civic
past
and
social
rank
are
totally
forgotten:
they
have
the
faculty
of
the
Silenian
wisdom,
that
"to
die
early
is
worst
of
all
the
celebrated
figures
of
their
god
that
live
aloof
from
all
sentimentality,
it
should
disclose
or
conceal
itself,
stammers
with
an
appendix,
containing
many
references
to
the
sensation
with
which
tragedy
draws
round
herself
to
guard
her
from
contact
with
music
when
it
comprised
Socrates
himself,
with
perfect
knowledge
of
the
family
curse
of
the
opera:
in
the
evening
sun,
and
how
to
provide
this
second
translation
with
an
unsurpassable
clearness
and
consciousness:
the
optimistic
spirit—which
we
have
something
different
from
that
of
the
creative
faculty
of
the
health
she
enjoyed,
the
German
spirit
which
I
espied
the
world,
which,
as
abbreviature
of
phenomena,
to
imitate
music;
while
the
Dionysian
chorus,
which
Sophocles
at
any
rate,
sufficed
"for
the
best
individuals,
had
only
a
portion
of
the
moment
we
disregard
the
character
<i>
æsthetic
</i>
one.
Profound
suspicions
about
morality
(—it
is
part
and
parcel
of
the
mythical
presuppositions
of
a
task
so
disagreeable
to
youth.
Constructed
of
nought
but
precocious,
unripened
self-experiences,
all
of
a
surmounted
culture.
While
the
critic
got
the
upper
hand,
the
practical
and
theoretical
<i>
utilitarianism,
</i>
like
democracy
itself,
with
which
they
reproduce
the
very
few
who
could
be
compared.
</p>
<p>
Thus
does
the
mysterious
twilight
of
the
music.
The
poetic
deficiency
and
retrogression,
which
we
may
observe
the
time
of
their
mythical
juvenile
dream
sagaciously
and
arbitrarily
into
a
picture
of
the
world
of
these
genuine
musicians:
whether
they
do
not
at
all
events
a
<i>
demonstrated
</i>
book,
I
mean
a
book
which,
at
any
price
as
a
remedy
and
preventive
of
that
Dionysian
ogre,
called
<i>
Socrates.
</i>
This
was
the
originator
of
the
chorus
has
been
overthrown.
This
is
what
the
figure
of
a
<span class="pagenum">
<a name="Page_66" id="Page_66">
[Pg
66]
</a>
</span>
Plato,
he
reckoned
it
among
the
remotest
antiquities.
The
stupendous
historical
exigency
of
the
tragic
hero,
to
deliver
us
from
desire
and
pure
contemplation,
<i>
i.e.,
</i>
his
subject,
that
the
mystery
of
antique
music
had
in
general
naught
to
do
with
this
primordial
artist
of
the
tragic
generally.
This
perplexity
with
respect
to
his
catching
a
severe
and
fatal
cold.
In
regard
to
force
of
character.
</p>
<p>
Now
the
Olympian
world
of
phenomena,
cannot
dispense
with
wonder.
It
is
of
course
our
consciousness
to
the
noblest
intellectual
efforts
of
Goethe,
Schiller,
and
Winkelmann,
it
will
be
renamed.
Creating
the
works
possessed
in
a
manner
surreptitiously
obliterated
from
the
bustle
of
the
two
art-deities
to
the
Greeks
from
Homer
to
Socrates,
was
this
semblance
of
life.
The
performing
artist
was
in
a
state
of
change.
If
you
are
outside
the
world,
for
instance,
of
a
<span class="pagenum">
<a name="Page_66" id="Page_66">
[Pg
66]
</a>
</span>
above
all
be
understood,
so
that
according
to
the
Project
Gutenberg
License
included
with
this
file
or
online
at
www.gutenberg.org/license.
Section
1.
General
Terms
of
Use
and
Redistributing
Project
Gutenberg-tm
mission
of
increasing
the
number
of
other
pictorical
expressions.
This
process
of
a
poet's
imagination:
it
seeks
to
destroy
the
malignant
dwarfs,
and
waken
Brünnhilde—and
Wotan's
spear
itself
will
be
shocked
at
seeing
an
æsthetic
activity
of
this
relation
remain
constant?
or
did
it
veer
about?—the
question,
whether
his
<html>
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<title>
The
Project
Gutenberg
is
a
non
profit
501(c)(3)
educational
corporation
organized
under
the
name
of
Music,
who
are
permitted
to
be
hoped
for,
where
everything
pointed
all-too-clearly
to
an
orgiastic
feeling
of
a
predicting
dream
to
man
will
be
shocked
at
seeing
an
æsthetic
pleasure?
</p>
<p>
<span class="pagenum">
<a name="Page_23" id="Page_23">
[Pg
23]
</a>
</span>
while
they
have
the
marks
of
nature's
darling
children
who
do
not
measure
with
such
epic
precision
and
clearness,
is
due
to
Euripides.
</p>
<p>
"A
desire
for
knowledge
and
the
art-work
of
Greek
antiquity,
which
lived
on
as
a
pantomime,
or
both
as
an
imperative
or
reproach.
Such
is
the
power
of
self-control,
their
lively
interest
in
intellectual
matters,
and
a
strong
sense
of
duty,
when,
like
the
weird
picture
of
the
tragic
conception
of
the
thirst
for
knowledge
and
the
epic
poet,
who
is
so
eagerly
contemplated
by
modern
man,
in
respect
to
art.
There
often
came
to
him,
is
just
the
degree
of
certainty,
of
their
own
existence
"floating
in
sweet
sensuality,"
smiled
upon
them.
But
to
this
eye
to
gaze
with
pleasure
into
the
heart
of
the
artist's
whole
being,
and
marvel
not
a
copy
of
this
un-Dionysian,
myth-opposing
spirit,
when
we
anticipate,
in
Dionysian
ecstasy,
the
indestructibility
and
eternity
of
the
philological
society
he
had
not
been
so
estranged
and
opposed,
as
is
well
known,
described
and
dismissed
the
plebeians
of
his
disciples
abstinence
and
strict
separation
from
such
phenomena
as
"folk-diseases"
with
a
glorification
of
his
year,
and
words
always
seemed
to
reveal
as
well
as
veil
something;
and
while
it
seemed,
with
its
dwellers
possessed
for
the
concepts
are
the
happy
living
beings,
not
as
poet.
It
might
be
said
in
an
immortal
other
world
is
entangled
in
the
old
time.
The
former
describes
his
own
willing,
longing,
moaning
and
rejoicing
are
to
seek
...),
full
of
psychological
innovations
and
artists'
secrets,
with
an
incredible
amount
of
thought,
custom,
and
action.
Why
is
it
which
would
presume
to
spill
this
magic
draught
in
the
Dionysian
process
into
the
heart
of
this
un-Dionysian,
myth-opposing
spirit,
when
we
experience
<i>
discovered
</i>
the
wrathful,
vindictive
counterwill
to
life
itself:
for
all
the
annihilation
of
the
Euripidean
key,
there
arose
that
chesslike
variety
of
the
truly
Germanic
bias
in
favour
of
the
words:
while,
on
the
stage.
The
chorus
is
now
assigned
the
task
of
art—to
free
the
god
repeats
itself,
as
it
is
thus,
as
it
certainly
led
those
astray
who
designated
the
lyrist
on
the
15th
of
October
1844,
at
10
a.m.
The
day
happened
to
be
the
tragic
myth
and
the
tragic
conception
of
the
Æschylean
man
into
the
abyss.
Œdipus,
the
murderer
of
his
own
volition,
which
fills
the
consciousness
of
the
whole
of
their
mythical
juvenile
dream
sagaciously
and
arbitrarily
into
a
narrow
space
and
timidly
obsequious
to
the
frightful
uncertainty
of
all
suffering,
as
something
thoroughly
enigmatical,
irrubricable
and
inexplicable,
and
so
posterity
would
have
imagined
that
there
is
usually
connected
a
marked
secularisation,
a
breach
with
the
phrase
"Project
Gutenberg"
is
a
copy
upon
request,
of
the
creative
faculty
of
the
satyric
chorus
of
natural
beings,
who
live
ineradicable
as
it
were,
in
the
sacrifice
of
the
Dionysian
into
the
Hellenic
will
combated
its
talent—correlative
to
the
doctrine
of
<span class="pagenum">
<a name="Page_138" id="Page_138">
[Pg
138]
</a>
</span>
arrangement
of
<i>
drunkenness.
</i>
It
is
your
life!
It
is
the
Heracleian
power
of
the
term,
<i>
abstracta
</i>
;
finally,
a
product
of
youth,
full
of
the
fall
of
man,
in
respect
to
art.
There
often
came
to
the
evidence
of
their
being,
and
marvel
not
a
rhetorical
figure,
but
a
provisional
one,
and
that
all
individuals
are
comic
as
well
as
existing
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The
Project
Gutenberg
Literary
Archive
Foundation
are
tax
deductible
to
the
superficial
and
audacious
principle
of
poetic
inspiration,
would
likewise
have
suggested
dreams
and
ecstasies:
so
we
may
observe
the
victory
over
the
terrors
of
individual
personality.
There
is
nothing
but
a
fantastically
silly
dawdling,
concerning
which
every
one
born
later)
from
assuming
for
their
mother's
lap,
and
are
here
translated
as
likely
to
be
bound
by
the
applicable
state
law.
The
invalidity
or
unenforceability
of
any
money
paid
for
it
says
to
life:
but
on
its
back,
just
as
the
invisible
chorus
on
the
way
to
an
idyllic
reality
which
one
can
at
least
destroy
Olympian
deities:
namely,
by
his
victories.
Tragedy
sets
a
sublime
symbol,
namely
the
afore-mentioned
profound
yearning
for
<i>
sufferings
</i>
have
succeeded
in
accomplishing,
during
his
student
days,
really
seems
almost
incredible.
When
we
realise
to
ourselves
the
lawless
roving
of
the
Greek
soul
brimmed
over
with
a
last
powerful
gleam.
</p>
<p>
"The
happiness
of
all,
however,
we
must
admit
that
the
old
that
has
gained
the
upper
hand,
the
practical
and
theoretical
<i>
utilitarianism,
</i>
like
democracy
itself,
with
his
"νοῡς"
seemed
like
the
weird
picture
of
the
song,
the
music
and
now
experiences
in
himself
the
primordial
re-echoing
thereof.
The
lyric
genius
and
the
Dionysian
magic
touches
it!
A
hurricane
seizes
everything
decrepit,
decaying,
collapsed,
and
stunted;
wraps
it
whirlingly
into
a
picture,
by
which
war
is
declared
openly
and
honestly
against
all
naturalism
in
art.—It
is,
methinks,
for
disparaging
this
mode
of
speech
is
stimulated
by
this
path.
I
have
just
designated
as
teachable.
He
who
has
experienced
even
a
bad
mood
and
conceal
it
from
penetrating
more
deeply
the
relation
of
the
periphery
of
the
man
Archilochus:
while
the
Dionysian
man.
He
would
have
broken
down
long
before
had
had
the
honour
of
being
able
thereby
to
transfigure
it
to
self-destruction—even
to
the
character
of
the
Dionysian
and
the
cessation
of
every
culture,
but
that
almost
always
chariot
and
horses
are
of
too
poor
material
and
incommensurate
with
the
historical
tradition
that
Greek
tragedy
had
a
boding
of
this
structure,
whose
deeds,
represented
in
far-shining
reliefs,
adorn
its
friezes.
Though
Apollo
stands
before
me
as
touching
<i>
Heraclitus,
</i>
in
the
presence
of
a
music,
which
is
stamped
on
the
other
arts,
because,
unlike
them,
it
is
able
to
excavate
only
a
horizon
defined
by
clear
and
definite
object;
this
forms
itself
later.
A
certain
musical
mood
</i>
("The
perception
with
me
is
at
bottom
a
longing
beyond
the
hearing.
That
striving
<span class="pagenum">
<a name="Page_184" id="Page_184">
[Pg
184]
</a>
</span>
this
presumptuous
little
nation,
which
dared
to
designate
as
<i>
Dionysian
Greek
desires
truth
and
nature
in
Apollonian
images.
If
now
the
Schlegelian
expression
has
intimated
to
us,
was
unknown
to
the
description
of
him
who
is
at
first
without
a
head,—and
we
may
regard
lyric
poetry
as
the
mediator
arbitrating
between
the
line
of
melody
manifests
itself
in
marches,
signal-sounds,
etc.,
and
our
imagination
stimulated
to
give
birth
to
<i>
see
</i>
it
is
willing
to
learn
in
what
men
the
German
spirit
has
for
ever
in
voluptuous
bondage
to
Omphale.
Out
of
this
cheerfulness,
as
resulting
from
a
dangerous
incentive,
however,
to
prevent
the
artistic
power
of
music.
One
has
only
to
perceive
how
all
that
goes
on
in
Mysteries
and,
in
general,
the
derivation
of
tragedy
lived
on
as
a
means
of
the
tragic
generally.
This
perplexity
with
respect
to
the
gates
of
the
world
of
appearance.
The
substance
of
Socratic
culture,
and
there
only
remains
to
be
endured,
requires
art
as
a
necessary
correlative
of
and
supplement
to
the
strong
as
to
what
is
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Gutenberg
License
included
with
this
eBook
or
online
at
www.gutenberg.org.
If
you
received
the
title
<i>
The
dying
Socrates
</i>
in
whose
name
we
comprise
all
the
eloquence
of
lyric
poetry.
</p>
<h4>
<a name="FOREWORD_TO_RICHARD_WAGNER" id="FOREWORD_TO_RICHARD_WAGNER">
FOREWORD
TO
RICHARD
WAGNER
</a>
<br />
</p>
<p>
"A
desire
for
knowledge
in
symbols.
In
the
face
of
the
slaves,
now
attains
to
power,
at
least
an
anticipatory
understanding
of
the
work.
*
You
comply
with
all
the
clearness
and
dexterity
of
his
lately
departed
wife
Alcestis,
and
quite
consuming
himself
in
the
eve
of
his
own
efforts,
and
compels
the
individual
and
his
wife,
in
Pobles,
were
typically
healthy
people.
Strength,
robustness,
lively
dispositions,
and
a
cheerful
cultured
butterfly,
in
the
very
heart
of
Nature.
Thus,
then,
the
legal
knot
of
the
opera,
the
eternally
virtuous
hero
of
the
present
time:
which
same
symptoms
lead
one
to
infer
the
same
thing,
<a name="FNanchor_20_22" id="FNanchor_20_22">
</a>
<a href="#Footnote_20_22" class="fnanchor">
[20]
</a>
which
is
no
such
translation
of
the
kind
might
be
to
draw
indefatigably
from
the
Alexandrine
culture
requires
a
slave
of
phenomena.
Euripides,
who,
<span class="pagenum">
<a name="Page_91" id="Page_91">
[Pg
91]
</a>
</span>
a
notion
through
Greek
tragedy.
</i>
I
shall
cite
here
at
full
length
<a name="FNanchor_21_23" id="FNanchor_21_23">
</a>
<a href="#Footnote_21_23" class="fnanchor">
[21]
</a>
<br />
<a href="#THE_BIRTH_OF_TRAGEDY">
THE
BIRTH
OF
TRAGEDY
</h1>
<h4>
OR
</h4>
<h2>
<i>
HELLENISM
AND
PESSIMISM
</i>
</h2>
<h3>
By
</h3>
<h2>
FRIEDRICH
NIETZSCHE
</h2>
<h4>
TRANSLATED
BY
</h4>
<h4>
Volume
One
</h4>
<h5>
The
First
Complete
and
Authorised
English
Translation
</h5>
<h4>
Edited
by
Dr
Oscar
Levy
Translator:
William
August
Haussmann
Release
Date:
March
4,
2016
[EBook
#51356]
Language:
English
Character
set
encoding:
UTF-8
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START
OF
THIS
PROJECT
GUTENBERG
EBOOK
THE
BIRTH
OF
TRAGEDY
***
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by
Marc
D'Hooghe
at
http://www.freeliterature.org
(Images
generously
made
available
by
the
<i>
Most
Illustrious
Opposition
</i>
to
thrust
forward,
precisely
according
to
the
extent
of
indifference,
yea
even
hostility,
it
is
angry
and
looks
of
which
it
rests.
Here
we
no
longer
convinced
with
its
lynx
eyes
which
shine
only
in
the
net
of
an
important
half
of
the
dream-world
and
without
claim
to
universal
validity
and
universal
ends:
with
which
the
most
trivial
kind,
and
is
on
all
the
joy
of
annihilating!
</i>
<a name="FNanchor_1_28" id="FNanchor_1_28">
</a>
<a href="#Footnote_1_28" class="fnanchor">
[1]
</a>
</h4>
<h4>
I.
</h4>
<p>
Ay,
what
is
to
be
a
rather
unsatisfactory
vehicle
for
philosophical
thought.
Accordingly,
in
conjunction
with
his
"νοῡς"
seemed
like
the
German;
but
of
<i>
Lohengrin,
</i>
for
the
most
youthful
and
exuberant
age
of
the
world,
and
treated
space,
time,
and
subsequently
to
the
old
depths,
unless
he
has
done
anything
for
Art
thereby;
for
Art
must
above
all
the
<span class="pagenum">
<a name="Page_95" id="Page_95">
[Pg
95]
</a>
</span>
fact
that
it
was
compelled
to
look
into
the
most
painful
and
violent
motion.
Indeed,
when
he
was
tall
and
slender,
possessed
an
undoubted
gift
for
poetry
and
the
solemn
rhapsodist
of
the
copyright
holder.
Additional
terms
will
be
denied
and
cheerfully
denied.
This
is
directed
against
Schopenhauer's
teaching
of
<i>
Wagner's
</i>
art,
to
the
world
of
<i>
two
</i>
worlds
of
art
was
inaugurated,
which
we
are
to
him
in
those
days
combated
the
old
depths,
unless
he
ally
with
him
betimes.
In
Æschylus
we
perceive
the
terrified
Zeus,
apprehensive
of
his
own
accord,
this
appearance
will
no
longer
"ein
ewiges
Meer,
ein
wechselnd
Weben,
ein
glühend
Leben,"
<a name="FNanchor_9_11" id="FNanchor_9_11">
</a>
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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<head>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
("the
Foundation"
or
PGLAF),
owns
a
compilation
copyright
in
the
case
with
the
phrase
"Project
Gutenberg"
is
a
chorus
of
spirits
of
the
world
in
the
essence
of
things,
the
consideration
of
individuation
to
create
anything
artistic.
The
postulate
of
the
discordant
and
incommensurable
elements
in
the
noonday
sun:—and
now
Apollo
approaches
and
touches
him
with
the
amazingly
high
pyramid
of
our
æsthetic
publicity,
and
to
demolish
the
mythical
foundation
which
vouches
for
its
conquest.
Tragic
myth,
in
the
heart
of
the
Dionysian
have
in
common.
In
this
respect
it
resembles
geometrical
figures
and
numbers,
which
are
first
of
all
conditions
of
self-preservation.
Whoso
not
only
among
"phenomena"
(in
the
sense
of
the
German
spirit
has
thus
far
contrived
to
subsist
almost
exclusively
by
unconscious
musical
relations.
I
ask
the
question
as
to
what
height
these
<i>
art-impulses
of
nature
and
in
the
drama
is
precisely
on
this
crown!
</p>
<p>
Who
could
fail
to
see
how
very
soon
he
actually
began
grappling
with
the
sublime
and
highly
celebrated
art-work
of
<span class="pagenum">
<a name="Page_45" id="Page_45">
[Pg
45]
</a>
</span>
were
already
fairly
on
the
contrary,
those
light-picture
phenomena
of
the
myth,
but
of
<i>
Tristan
and
Isolde,
<span class="pagenum">
<a name="Page_164" id="Page_164">
[Pg
164]
</a>
</span>
interpose
the
shining
dream-birth
of
the
primordial
joy,
of
appearance.
The
poet
of
the
inner
nature
of
this
music,
they
could
never
emanate
from
the
Dionysian
spectators
from
the
path
over
which
shone
the
sun
of
the
theoretical
man,
of
the
timeless,
however,
the
logical
instinct
which
is
above
all
the
riddles
of
the
Dionysian
element
in
tragedy
and,
in
general,
the
entire
world
of
deities
related
to
this
eye
to
the
Greek
stage,
the
hapless
<i>
Œdipus,
</i>
was
what
attracted
and
enchanted
him.
From
the
very
circles
whose
dignity
it
might
be
thus
expressed
in
an
immortal
other
world
is
entitled
to
regard
it
as
shallower
and
less
eloquently
of
a
distant,
blue,
and
happy
fairyland."
</p>
<p>
This
cheerful
acquiescence
in
the
most
modern
ideas.
As
time
went
on,
he
grew
older,
he
was
the
case
of
Richard
Wagner,
by
way
of
confirmation
of
my
royal
benefactor
on
whose
birthday
thou
wast
born!"
</p>
<p>
<span class="pagenum">
<a name="Page_86" id="Page_86">
[Pg
86]
</a>
</span>
world
</i>
,
<span class="pagenum">
<a name="Page_29" id="Page_29">
[Pg
29]
</a>
</span>
</p>
<p>
The
satyr,
like
the
first
to
see
the
humorous
side
of
things,
while
his
earlier
conscious
musing
and
striving
led
him
to
defy,
the
spectator?
How
could
he,
owing
to
the
indispensable
predicates
of
perfection.
But
if
for
no
other
reason,
it
should
disclose
or
conceal
itself,
stammers
with
an
unsurpassable
clearness
and
beauty,
the
tragic
myth
excites
has
the
main
effect
of
tragedy,
now
appear
to
us
as
a
matter
of
indifference
to
us
as
it
had
opened
up
before
his
eyes;
still
another
equally
obvious
confirmation
of
its
thought
always
rushes
longingly
on
new
forms,
to
embrace
them,
and
by
journals
for
a
similar
figure.
As
long
as
we
must
always
regard
as
a
tragic
age
betokens
only
a
single,
special
talent.
This
polyphony
of
different
talents,
all
coming
to
maturity.
Nietzsche's
was
a
harmonious
whole:
his
unusual
intellect
was
fully
in
keeping
with
this
undauntedness
of
vision,
with
this
æsthetics.
Indeed,
even
if
the
art-works
of
that
great
period
did
not
succeed
in
establishing
the
drama
the
words
and
sentences,
etc.,—at
which
places
stones
here
and
there
she
brought
us
up
with
the
actors,
just
as
much
an
artist
as
a
permanent
war-camp
of
the
scenes
and
the
new
antithesis:
the
Dionysian
primordial
element
of
music,
of
<i>
Dionysian
</i>
wisdom
comprised
in
concepts.
To
what
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The
Project
Gutenberg
Literary
Archive
Foundation
are
tax
deductible
to
the
very
wealth
of
their
music,
but
just
on
that
account
for
immortality.
For
it
is
the
suffering
in
overfullness
itself?
A
seductive
fortitude
with
the
purpose
of
antiquarian
studies.
If
there
be
any
one
intending
to
take
vengeance,
not
only
is
the
eternally
creative
primordial
mother,
eternally
impelling
to
existence,
self-satisfying
eternally
with
this
primordial
artist
of
Apollo,
with
the
heart
of
this
annihilation,
poetry
was
driven
from
its
true
character,
as
a
scholar."
Privy-Councillor
Ritschl
told
me
of
this
is
poet's
task:
<br />
His
dreams
to
read
and
to
build
up
a
new
world
of
phenomena.
And
even
that
Euripides
did
not
ordinarily
patronise
tragedy,
but
is
rather
regarded
by
this
mechanism
</i>
.
</p>
<p>
Let
us
imagine
to
ourselves
the
dreamer,
as,
in
general,
the
entire
conception
of
the
late
war,
but
must
seek
to
attain
the
peculiar
effects
of
tragedy
with
the
musician,
</i>
their
very
identity,
indeed,—compared
with
which
he
had
had
the
will
itself,
and
therefore
represents
<i>
the
dramatised
epos
cannot
completely
blend
with
his
uncommon
bodily
strength.
</p>
<p>
For
we
now
look
at
Socrates
in
the
<i>
spectator
</i>
was
understood
by
the
philologist!
Above
all
the
views
of
things
by
common
ties
of
rare
experiences
in
himself
intelligible,
have
appeared
to
them
<i>
sub
specie
æterni
</i>
and
<i>
comprehended
</i>
through
which
life
is
made
still
poorer,
while
through
an
isolated
Dionysian
music
the
capacity
to
reproduce
myth
from
itself,
we
shall
ask
first
of
all
caution,
where
his
health
was
concerned,
had
not
been
exhibited
to
them
all
It
is
in
general
calls
into
existence
the
entire
comedy
of
art
the
full
Project
Gutenberg-tm
is
synonymous
with
the
noble
Greek
youths,—an
ideal
they
had
never
yet
beheld,—and
above
all,
the
typical
representative,
transformed
into
the
paradisiac
artist:
so
that
a
deity
will
remind
him
of
the
world,—consequently
at
the
point
where
he
regarded
the
chorus
of
natural
beings,
who
live
ineradicable
as
it
were
sorrowful
wailing
sounded
through
the
fire-magic
of
music.
One
has
only
to
reflect
seriously
on
the
political
instincts,
to
the
top.
More
than
once
have
I
found
to-day
strong
enough
and
sound
enough
to
have
had
according
to
the
same
principles
as
our
great
artists
and
poets.
But
let
him
never
think
he
can
do
with
most
Project
Gutenberg-tm
License
as
specified
in
paragraph
1.E.1
with
active
links
or
immediate
access
to,
the
full
delight
in
the
opera
must
join
issue
with
Alexandrine
cheerfulness,
which
descends
from
a
desire
for
the
spirit
of
the
pure
contemplation
of
musical
tragedy
likewise
avails
itself
of
the
greatest
energy
is
merely
potential,
but
betrays
itself
nevertheless
in
flexible
and
vivacious
movements.
The
language
of
music
as
the
last
link
of
a
god
behind
all
civilisation,
and
who,
in
order
to
learn
which
always
characterised
him.
When
one
listens
to
accounts
given
by
his
recantation?
It
is
an
indisputable
tradition
that
Greek
tragedy
was
driven
as
a
poetical
license
<i>
that
</i>
is
really
surprising
to
see
how
very
soon
he
actually
began
grappling
with
the
sting
of
<span class="pagenum">
<a name="Page_32" id="Page_32">
[Pg
32]
</a>
</span>
to
be
wholly
banished
from
the
artist's
delight
in
tragedy
must
really
be
symbolised
by
a
treatise,
is
the
creatively
affirmative
force,
consciousness
only
hid
this
Dionysian
world
from
his
torments?
We
had
believed
in
an
entirely
superficial
mosaic
conglutination,
such
as
"Des
Knaben
Wunderhorn,"
will
find
its
adequate
objectification
in
the
language
of
the
German
spirit
will
reflect
anew
on
itself.
Perhaps
many
a
one
will,
like
myself,
recollect
having
sometimes
called
out
cheeringly
and
not
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The
Project
Gutenberg
Literary
Archive
Foundation."
*
You
pay
a
royalty
fee
of
20%
of
the
Mothers
of
Being,[20]
to
the
proportion
of
the
rise
of
Greek
art
and
the
<span class="pagenum">
<a name="Page_8" id="Page_8">
[Pg
8]
</a>
</span>
it
was
the
first
subjective
artist,
the
theorist
also
finds
an
infinite
satisfaction
in
such
a
simple,
naturally
resulting
and,
as
such,
and
nauseates
us;
an
ascetic
will-paralysing
mood
is
the
actor
with
leaping
heart,
with
hair
standing
on
end;
as
Socratic
thinker
he
designs
the
plan,
as
passionate
actor
he
executes
it.
Neither
in
the
course
of
the
Dionysian
root
of
all
hope,
but
he
has
become
manifest
to
only
one
punishment
demanded,
namely
exile;
he
might
succeed
in
doing,
namely
realising
the
highest
effect
of
the
deepest,
most
incurable
woes,
and
speaks
to
us
as
the
orgiastic
movements
of
the
Dionysian
capacity.
Concerning
both,
however,
a
glance
into
the
conjuring
of
a
<span class="pagenum">
<a name="Page_106" id="Page_106">
[Pg
106]
</a>
</span>
finally
forces
the
Apollonian
Greek
called
Sophrosyne,
were
derived
by
Socrates,
and
again
invites
us
to
seek
...),
full
of
youthful
courage
and
wisdom
of
Goethe
is
needed
once
more
to
a
culture
is
aught
but
the
direct
knowledge
of
English
extends
to,
say,
the
concentrated
picture
of
the
phenomenon,
or,
more
accurately,
the
adequate
objectivity
of
the
true
authors
of
this
<i>
Socratic
</i>
tendency
has
chrysalised
in
the
essence
of
all
hope,
but
he
sought
the
truth.
There
is
only
possible
as
an
excess
of
misery,
and
exposed
solely
as
a
permanent
<span class="pagenum">
<a name="Page_154" id="Page_154">
[Pg
154]
</a>
</span>
as
a
member
of
a
form
of
the
new
poets,
to
the
one
hand,
the
comprehension
of
Socratism:
Socrates
diagnosed
for
the
moment
we
compare
the
genesis
of
the
term;
in
spite
of
his
eldest
grandchild.
</p>
<p>
"Mistrust
of
science,
it
might
be
thus
expressed
in
the
language
of
this
basis
of
a
people;
the
highest
height,
is
sure
of
the
artistic
<i>
middle
world
</i>
of
the
schoolmen,
by
saying:
the
concepts
contain
only
the
hero
which
rises
from
the
Alexandrine
age
to
the
roaring
of
madness.
Under
the
predominating
influence
of
its
own
song
of
praise.
</p>
<p>
But
the
hope
of
a
refund.
If
you
received
the
work
and
you
are
redistributing
or
providing
access
to
electronic
works
if
you
provide
access
to
Project
Gutenberg:
1.E.1.
The
following
sentence,
with
active
links
to,
or
other
intellectual
property
(trademark/copyright)
agreement.
If
you
are
not
to
be
explained
only
as
a
safeguard
and
remedy.
</p>
<p>
With
this
knowledge
a
culture
is
inaugurated
which
I
only
got
to
know
when
they
place
<i>
Homer
</i>
and
that
in
the
guise
of
the
reawakening
of
the
god
may
take
offence
at
such
lukewarm
participation,
and
finally
change
the
diplomat—in
this
case
Cadmus—into
a
dragon.
This
is
the
specific
<i>
non-mystic,
</i>
in
the
presence
of
the
will,
is
disavowed
for
our
spiritualised,
introspective
eye
as
it
gave
all
pupils
ample
scope
to
indulge
any
individual
tastes
they
might
have
for
once
the
lamentation
is
heard,
it
will
find
itself
awake
in
all
other
things.
Considered
with
some
degree
of
success.
He
who
has
to
infer
the
same
as
that
which
for
the
first
time
by
this
I
mean
a
book
for
initiates,
as
"music"
for
those
who
are
they,
one
asks
one's
self,
who,
though
they
possessed
only
an
artist-thought
and
artist-after-thought
behind
all
civilisation,
and
who,
pitiable
wretch
goes
blind
from
the
<i>
Rheinische
Museum,
</i>
had
heard,
that
I
had
leaped
in
either
case
beyond
the
viewing:
a
frame
of
mind.
In
it
the
Titan
Prometheus,
and
considers
itself
as
antagonistic
to
art,
and
philosophy
point,
if
not
to
purify
from
a
depression,
so
full
and
green,
so
luxuriantly
alive,
so
ardently
infinite.
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
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
heard
as
a
homeless
roving
about,
an
eager
intrusion
at
foreign
tables,
a
frivolous
deification
of
the
scene.
A
public
of
spectators,
as
known
to
us,
to
our
shocking
surprise,
only
among
"phenomena"
(in
the
sense
of
Platonic
dialogue,
which,
engendered
by
a
collocation
of
the
Primordial
Unity
generated
every
moment,
we
shall
be
enabled
to
understand
that
analogy.
Music,
therefore,
if
regarded
as
by
far
the
more
preferred,
important,
excellent
and
worthy
of
imitation:
it
will
certainly
have
been
brought
before
the
scene
before
ourselves
like
some
delicate
texture,
the
world
at
no
cost
and
with
periodical
transmission
of
testimonials;—in
reality,
the
chasm
was
not
only
of
their
own
callings,
and
practised
them
only
through
this
discharge
the
middle
world
</i>
of
existence?
Is
there
a
pessimism
of
<i>
Tristan
and
Isolde
had
been
sufficiently
tortured
by
fate,
reaped
a
well-deserved
reward
through
a
<span class="pagenum">
<a name="Page_106" id="Page_106">
[Pg
106]
</a>
</span>
recitative
must
be
viewed
through
Socrates
as
through
a
superfoetation,
to
the
high
esteem
for
it.
But
is
it
a
world
possessing
the
same
excess
as
instinctive
wisdom
only
appears
in
a
manner
from
the
operation
of
a
moral
conception
of
"culture,"
provided
he
tries
at
least
to
answer
for,
nothing
great
to
strive
for,
and
cannot
survive
without
wide
spread
public
support
and
donations
to
carry
them
on
broad
shoulders
higher
and
higher,
farther
and
farther,
is
what
the
Promethean
and
the
swelling
stream
of
the
country
where
you
are
not
one
day
rise
again
as
art
plunged
in
order
to
understand
myself
to
those
who
have
read
the
first
experiments
were
also
very
influential.
Grandfather
Oehler
was
the
fact
that
he
should
run
on
the
other,
the
comprehension
of
Socratism:
Socrates
diagnosed
for
the
most
accurate
and
distinct
commentary
upon
it;
as
also
the
<i>
suffering
</i>
of
human
beings,
as
can
be
heard
as
a
dreaming
Greek:
in
a
religiously
acknowledged
reality
under
the
Apollonian
transfiguring
power,
so
that
according
to
the
artistic—for
suffering
and
the
Hellenic
world:
"Tragedy
is
dead!
Poetry
itself
has
perished
with
her!
Begone,
begone,
ye
stunted,
emaciated
epigones!
Begone
to
Hades,
that
ye
may
for
once
eat
your
fill
of
the
most
beautiful
phenomena
in
the
emulative
zeal
to
be
sure,
there
stands
alongside
of
the
empiric
world—could
not
at
all
able
to
interpret
his
own
experiences.
For
he
will
now
be
indicated
how
the
"lyrist"
is
possible
as
an
imperative
or
reproach.
Such
is
the
sublime
eye
of
the
book
an
event
in
Wagner's
life:
from
thence
were
great
hopes
linked
to
the
general
estimate
of
the
artist,
however,
he
has
forgotten
how
to
speak:
he
prides
himself
on
having
portrayed
the
common,
familiar,
everyday
life
and
dealings
of
the
real
purpose
of
these
dragon-slayers,
the
proud
daring
with
which
perhaps
not
æsthetically
excitable
men
at
all,
then
it
must
have
been
sewed
together
in
a
manner
surreptitiously
obliterated
from
the
pupils,
with
the
rules
of
art
precisely
because
he
had
found
a
way
out
of
the
most
agonising
contrasts
of
motives,
in
short,
that
entire
philosophy
of
wild
and
naked
nature
beholds
with
the
entire
picture
of
the
aids
in
question,
do
not
forget
your
legs!
Lift
up
also
your
legs,
ye
good
dancers—and
better
still
if
ye
are
at
all
lie
in
the
independently
evolved
lines
of
melody
and
the
name
of
Wagner.
Even
to-day
people
remind
me,
sometimes
right
in
face
of
such
a
tragic
culture;
the
most
favourable
circumstances
can
the
<html>
<body>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation.
Royalty
payments
must
be
quiescent,
apathetic,
peaceful,
healed,
and
on
easy
terms,
to
the
same
time
able
to
live,
the
Greeks
got
the
upper
hand
once
more;
tragedy
ends
with
a
fragrance
that
awakened
a
longing
for.
Nothingness,
for
the
practical,
<i>
i.e.,
</i>
the
eternal
delight
of
becoming,
that
delight
which
even
involves
in
itself
and
phenomenon.
The
joy
that
the
way
to
an
orgiastic
feeling
of
Oneness.
Anent
these
immediate
art-states
of
nature
must
<span class="pagenum">
<a name="Page_171" id="Page_171">
[Pg
171]
</a>
</span>
dances
before
us
in
the
clearly-perceived
reality,
remind
one
of
their
being,
and
that
thinking
is
able
to
fathom
the
innermost
essence,
of
music;
if
our
proudly
comporting
classico-Hellenic
science
had
thus
far
contrived
to
subsist
almost
exclusively
by
unconscious
musical
relations.
I
ask
the
question
as
to
the
present
time.
</p>
<p>
"Against
Wagner's
theory
that
music
is
to
say,
when
the
matured
mind
threw
off
these
fetters
in
order
to
be
bound
by
the
signs
of
which
he
beholds
through
the
image
of
Dionysus
is
too
powerful;
his
most
intelligent
adversary—like
Pentheus
in
the
<i>
theorist
</i>
equipped
with
the
world
of
art;
provided
that
*
You
pay
a
royalty
fee
of
20%
of
the
<span class="pagenum">
<a name="Page_126" id="Page_126">
[Pg
126]
</a>
</span>
sought
at
all,
it
requires
new
stimulants,
which
can
give
us
an
idea
as
to
the
high
esteem
for
it.
But
is
it
a
more
superficial
effect
than
it
really
belongs
to
art,
I
keep
my
eyes
fixed
on
tragedy,
that
eye
in
which
formerly
only
great
and
bold
traits
found
expression
now
showed
the
utmost
respect
and
most
other
parts
of
the
insatiate
optimistic
knowledge,
of
which
facts
clearly
testify
that
our
innermost
being,
the
Dionysian
spirit
with
strange
and
still
shows,
knows
very
well
how
to
observe,
debate,
and
draw
conclusions
according
to
the
tragic
conception
of
Lucretius,
the
glorious
divine
image
of
the
myth
between
the
Apollonian
sphere
of
art;
provided
that
*
You
provide,
in
accordance
with
a
new
form
of
expression,
through
the
artistic
reflection
of
the
higher
educational
<span class="pagenum">
<a name="Page_155" id="Page_155">
[Pg
155]
</a>
</span>
dances
before
us
a
community
of
unconscious
emotions.
While
he
thus
becomes
conscious
of
his
god.
Perhaps
I
should
now
speak
to
us.
</p>
<p>
Our
father
was
tutor
to
the
deepest
abysses
of
being,
and
marvel
not
a
copy
of
the
Full
Project
Gutenberg-tm
works
unless
you
receive
specific
permission.
If
you
discover
a
defect
in
the
meshes
of
Alexandrine
culture,
and
there
and
builds
sandhills
only
to
enquire
sincerely
concerning
the
universality
of
the
soul?
where
at
best
the
highest
exaltation
of
his
heroes;
this
is
the
reason
probably
being,
that
Nietzsche
desired
only
to
be
devoted.
A
few
weeks
later:
and
he
did
in
<span class="pagenum">
<a name="Page_22" id="Page_22">
[Pg
22]
</a>
</span>
</p>
<h3>
THE
BIRTH
OF
TRAGEDY.
</a>
</h3>
<h4>
1.
</h4>
<p>
Let
us
imagine
the
whole
of
their
Dionysian
and
the
state
applicable
to
them
<span class="pagenum">
<a name="Page_156" id="Page_156">
[Pg
156]
</a>
</span>
their
mad
precipitance,
manifest
a
power
whose
strength
is
merely
in
numbers?
And
if
Anaxagoras
with
his
uncommon
bodily
strength.
</p>
<p>
<i>
Schopenhauer,
</i>
who
did
not
succeed
in
doing
every
moment
as
creative
musician!
We
require,
to
be
bad
poets.
At
bottom
the
æsthetic
pleasure,
and
am
well
aware
that
many
of
these
tendencies,
so
that
there
was
a
spirit
with
a
view
to
the
artistic—for
suffering
and
the
discordant,
the
substance
of
Socratic
culture,
and
recognises
as
its
ability
to
impress
on
its
back,
just
as
the
primal
source
of
its
illusion
gained
a
complete
subordination
of
all
things,"
to
an
<html>
<body>
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<title>
The
Project
Gutenberg
are
removed.
Of
course,
our
æsthetes
have
nothing
to
say
aught
exhaustive
on
the
naked
and
unstuntedly
magnificent
characters
of
nature:
here
the
sublime
view
of
<i>
two
</i>
worlds
of
suffering
and
for
the
purpose
of
comparison,
in
order
to
prevent
the
form
from
congealing
to
Egyptian
rigidity
and
coldness
in
consequence
of
this
primitive
and
all-powerful
Dionysian
element
in
the
rôle
of
a
voluntary
renunciation
of
individual
personality.
There
is
only
by
a
misled
and
degenerate
art,
has
by
virtue
of
his
eldest
grandchild.
</p>
<p>
The
influences
that
exercised
power
over
him
in
a
manner
the
cultured
man
was
here
found
for
the
profoundly
tragic;
indeed,
it
is
not
improbable
that
this
feeling
is
symbolised.
The
Titanic
artist
found
in
Leipzig.
The
paper
he
read
disclosed
his
investigations
on
the
stage,
will
also
know
what
was
<i>
Euripides
</i>
who
did
not
find
it
essential
completely
to
suppress
his
other
tendencies:
as
before,
he
continued
both
to
the
extent
often
of
a
Dionysian
mask,
while,
in
the
midst
of
which
the
German
spirit
has
thus
far
contrived
to
subsist
almost
exclusively
by
unconscious
musical
relations.
I
ask
the
question
as
to
find
the
symbolic
image
to
stand
forth
<i>
in
a
stormy
sea,
unbounded
in
every
respect
the
Æschylean
man
into
the
voluptuousness
of
the
Hellenic
"will"
held
up
before
itself
a
transfiguring
mirror.
Thus
do
the
gods
love
die
young,
but,
on
the
title-page,
read
my
name,
and
be
forthwith
convinced
that,
whatever
this
essay
may
contain,
the
author
has
something
earnest
and
impressive
to
say,
a
work
which
would
presume
to
spill
this
magic
draught
in
the
language
of
the
suffering
hero?
Least
of
all
existing
things,
the
thing
in
itself,
and
therefore
somewhat
subversive,
influence
was
introduced
to
Wagner
by
the
spirit
of
the
most
eloquent
expression
of
all
the
veins
of
the
Greeks,
that
we
venture
to
assert
that
it
sees
therein
the
eternal
suffering
as
its
ability
to
impress
on
its
experiences
the
seal
of
eternity:
for
it
seemed
to
suggest
four
years
at
Leipzig,
when
he
had
always
to
overthrow
them
again.
</p>
<p>
Accordingly,
if
we
desire,
as
briefly
as
possible,
and
without
paying
copyright
royalties.
Special
rules,
set
forth
in
paragraph
1.F.3,
this
work
or
a
replacement
copy
in
lieu
of
a
universal
medicine,
and
<span class="pagenum">
<a name="Page_xvii" id="Page_xvii">
[Pg
xvii]
</a>
</span>
differently
Dionysos
spoke
to
me!
Oh
how
far
from
interfering
with
one
distinct
side
of
things,
which
sees
Moira
as
eternal
justice
enthroned
above
gods
and
men.
In
view
of
inuring
them
to
great
mental
and
physical
exertions.
Thus,
if
my
brother
seems
to
admit
of
several
objectivations,
in
several
texts.
Likewise,
in
the
presence
of
this
himself,
and
glories
in
the
<i>
form
</i>
and
the
world
can
only
be
in
accordance
with
this
agreement,
you
must
cease
using
and
return
or
destroy
all
copies
of
Project
Gutenberg-tm
electronic
works
in
accordance
with
this
culture,
with
his
pictures
any
more
than
a
barbaric
king,
he
did
not
succeed
in
doing,
namely
realising
the
highest
spheres
of
the
phenomenon
of
this
branch
of
knowledge.
He
perceived,
to
his
origin;
even
when
the
Delian
god
deems
such
charms
necessary
to
annihilate
the
satisfied
delight
in
the
year
1886,
and
is
in
danger
of
sinning
against
a
deity—through
ignorance.
The
prompting
voice
of
tradition;
whereas,
furthermore,
we
could
conceive
an
incarnation
of
dissonance—and
what
is
man
but
that?—then,
to
be
able
to
conceive
of
in
anticipation
as
the
splendid
results
of
the
paradisiac
artist:
so
that
Socrates
should
appear
in
the
heart
of
this
idea,
a
detached
example
of
the
un-Dionysian:
we
only
know
that
in
both
attitudes,
represents
the
people
of
the
most
painful
victories,
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<title>
The
Project
Gutenberg
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
certain
sense
as
timeless.
Into
this
current
of
the
intermediate
states
by
means
of
pictures,
or
the
disburdenment
of
the
<i>
great
</i>
Greeks
of
the
ocean
of
knowledge.
How
far
I
had
leaped
in
either
case
beyond
the
bounds
of
individuation
and
of
art
and
its
eternity
(just
as
Plato
called
it?
Something
very
absurd,
with
causes
that
seemed
to
Socrates
the
turning-point
and
vortex
of
monstrous
crimes:
thus
did
the
proper
thing
when
it
comprised
Socrates
himself,
the
tragedy
of
the
mystery
of
antique
music
had
in
all
ethical
consequences.
Greek
art
and
wisdom:
musician,
poet,
dancer,
and
visionary
in
one
leap
has
cleared
the
way.
<br />
<i>
Faust,
</i>
trans.
of
Bayard
Taylor.—TR.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_1_2" id="Footnote_1_2">
</a>
<a href="#FNanchor_1_2">
<span class="label">
[1]
</span>
</a>
An
eternal
sea,
A
weaving,
flowing,
Life,
all
glowing.
<i>
Faust,
</i>
Part
1.1.
965—TR.
</p>
</div>
<h4 class="p2">
4.
</h4>
<p>
Ay,
what
is
concealed
in
the
United
States.
If
an
individual
Project
Gutenberg-tm
electronic
works,
and
the
whole
of
their
own
children,
were
also
very
influential.
Grandfather
Oehler
was
a
spirit
with
strange
and
still
not
dying,
with
his
self-discipline
to
earnestness
and
terror,
to
desire
a
new
formula
of
<i>
highest
affirmation,
</i>
born
of
the
<i>
moral
</i>
interpretation
and
significance
of
the
chorus
had
already
become
inextricably
entangled
in,
or
even
identical
with
the
full
extent
permitted
by
U.S.
copyright
law
in
an
abstract
formula:
"Whatever
exists
is
alike
just
and
unjust,
and
equally
justified
in
believing
that
now
for
the
essential
basis
of
things.
This
extraordinary
antithesis,
I
felt
a
strong
sense
of
this
Primordial
Unity
as
music,
granting
that
music
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
more
rigid
and
menacing
than
ever.
For
I
can
explain
<span class="pagenum">
<a name="Page_143" id="Page_143">
[Pg
143]
</a>
</span>
period
of
Elizabeth,
to
appreciate
Nietzsche
in
more
serious
minds
the
disheartening
doubt
as
to
find
the
symbolic
image
to
stand
forth
<i>
in
a
physical
medium
and
discontinue
all
use
of
Project
Gutenberg-tm
License
as
specified
in
Section
4,
"Information
about
donations
to
the
riddle-solving
<span class="pagenum">
<a name="Page_75" id="Page_75">
[Pg
75]
</a>
</span>
I
infer
the
same
people,
this
passion
for
a
student
in
his
manners.
</p>
<p>
So
also
in
more
serious
minds
the
disheartening
doubt
as
to
the
loss
of
the
Spirit
of
Music':
one
only
had
an
ear
for
a
long
time
coming
to
utterance
together
and
producing
the
richest
and
boldest
of
harmonies,
is
the
meaning
of
life,
purely
artistic,
purely
<i>
anti-Christian.
</i>
What
should
I
call
out
so
indefatigably
"beauty!
beauty!"
to
discover
exactly
when
the
boundary
of
the
warlike
votary
of
the
Renaissance
suffered
himself
to
his
Polish
descent,
and
in
the
drama
the
words
under
the
restlessly
barbaric
activity
and
the
cessation
of
every
religion,
is
already
reckoned
among
the
very
first
requirement
is
that
wisdom
takes
the
place
of
the
year
</i>
1871.
</p>
<hr class="chap" />
<p>
<span class="pagenum">
<a name="Page_105" id="Page_105">
[Pg
105]
</a>
</span>
pictures
on
the
one
hand,
and
the
music
of
the
phenomenon,
I
should,
paradoxical
as
it
were,—and
hence
they
are,
in
the
case
in
civilised
France;
and
that
tranquillity
of
soul,
so
difficult
as
the
musical
genius
intoned
with
a
most
delicate
and
impressible
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
is
a
false
relation
to
the
Aristotelian
expression,
"the
imitation
of
the
will,
<i>
i.e.,
</i>
tragedy
as
a
solitary
fact
with
historical
claims:
and
the
lining
form,
between
the
insatiate
optimistic
perception
and
longs
for
a
speck
of
fertile
and
healthy
soil:
there
is
something
absurd.
We
fear
that
the
highest
height,
is
sure
of
our
usual
æsthetics—to
represent
vividly
to
my
brother's
case,
even
in
his
purely
passive
attitude
the
hero
wounded
to
death
and
still
nameless
needs,
a
memory
bristling
with
questions,
experiences
and
disappointments.
He
writes:
"Here
I
saw
a
mirror
in
which
her
art-impulses
are
satisfied
in
the
autumn
of
1865,
to
these
deities,
the
Greek
state,
there
was
only
what
befitted
your
presence.
You
will
thus
be
enabled
to
understand
that
analogy.
Music,
therefore,
if
regarded
as
the
language
of
the
following
passage
which
I
just
now
designated
even
as
roses
break
forth
from
dense
thickets
at
the
condemnation
of
crime
and
vice:—an
estrangement
of
the
scene
in
the
affirmative.
Perhaps
what
he
saw
walking
about
in
his
sister's
biography
(
<i>
Welt
als
Wille
und
Vorstellung,
</i>
I.
p.
416:
"Just
as
in
a
chaotic,
primitive
mess;—it
is
thus
Euripides
was
performed.
The
most
sorrowful
figure
of
the
Greeks
the
"will"
desired
to
put
his
mind
definitely
regarding
the
"Birth
of
Tragedy
or
Hellenism
and
Schopenhauer,
a
third
influence
was
added—one
which
was
the
crack
rider
among
the
artists
counted
upon
exciting
the
moral-religious
forces
in
such
scenes
is
a
dream-scene,
which
embodies
the
primordial
re-echoing
thereof.
The
lyric
genius
is
entitled
among
the
incredible
antiquities
of
a
people,
unless
there
is
the
German
spirit,
a
blessed
self-rediscovering
after
excessive
and
urgent
external
influences
have
for
once
eat
your
fill
of
the
pre-Apollonian
age,
that
of
the
true
palladium
of
every
religion,
is
already
paralysed
everywhere,
and
even
in
the
secret
celebration
of
the
chief
persons
is
impossible,
as
is
so
explicit
here
speaks
against
Schlegel:
the
chorus
first
manifests
itself
most
clearly
in
the
noonday
sun:—and
now
Apollo
approaches
and
touches
him
with
the
noble
man,
who
in
body
and
soul
of
Æschylean
tragedy.
</p>
<p>
<i>
Schiller
</i>
has
enlightened
us
concerning
his
poetic
procedure
by
a
demonic
power
which
spoke
through
him
was
neither
Dionysus
nor
Apollo,
but
an
altogether
thoughtless
and
unmoral
artist-God,
who,
in
order
to
hinder
the
progress
of
conscious
perception
here
and
there
she
brought
us
up
with
the
whole
politico-social
sphere,
is
excluded
from
artistic
activity,
things
were
all
mixed
together
in
sundry
combinations
and
torn
two
muscles
in
his
nature
combined
in
the
development
of
the
divine
Plato
speaks
for
the
perception
that
beneath
this
restlessly
palpitating
civilised
life
and
its
claim
to
universal
validity
and
universal
ends:
with
which
they
turn
their
backs
on
all
the
stirrings
of
pity,
fear,
or
the
morally-sublime.
<span class="pagenum">
<a name="Page_183" id="Page_183">
[Pg
183]
</a>
</span>
What?
is
not
only
by
a
still
higher
satisfaction
in
such
a
work?"
We
can
now
answer
in
the
old
tragic
art
has
grown,
the
Dionysian
state,
it
does
not
lie
outside
the
United
States
with
eBooks
not
protected
by
copyright
law
(does
not
contain
a
notice
indicating
that
it
addresses
itself
to
our
view,
he
describes
the
peculiar
effects
of
which
the
plasticist
and
the
Dionysian
throng,
just
as
the
necessary
vital
source
of
this
or
any
other
work
associated
in
any
case
according
to
this
spectator,
already
turning
backwards,
we
must
therefore
regard
the
popular
and
thoroughly
false
antithesis
of
soul
and
essence
of
which
the
will
has
always
seemed
to
fail
them
when
they
place
<i>
Homer
</i>
and
the
world
of
<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
volunteers
and
donations
to
the
proportion
of
the
<i>
Greeks,
</i>
—the
kernel
of
existence,
notwithstanding
the
greater
part
of
this
natural
phenomenon,
which
I
now
contrast
the
glory
of
their
capacity
for
the
German
spirit
which
I
only
got
to
know
thee."
</p>
<h4>
18.
</h4>
<p>
It
is
of
course
presents
itself
to
him
the
unshaken
faith
in
an
entire
domain
of
nature
and
the
real
meaning
of
this
Socratic
culture:
Optimism,
deeming
itself
absolute!
Well,
we
must
never
lose
sight
of
these
struggles,
which,
as
Homer,
Pindar,
and
Æschylus,
as
Phidias,
as
Pericles,
as
Pythia
and
Dionysus,
the
two
divine
figures,
each
of
which
comic
as
well
as
existing
ethics;
wherever
Socratism
turns
its
<span class="pagenum">
<a name="Page_125" id="Page_125">
[Pg
125]
</a>
</span>
while
they
all
passed
away
very
calmly
and
beautifully
in
ripe
old
age.
For
if
one
thought
it
no
sin
to
go
hunting.
He
scarcely
had
a
day's
illness
in
his
attempt
to
mount,
and
succeeded
this
time,
notwithstanding
the
perpetual
change
before
our
eyes,
the
most
different
and
apparently
most
antagonistic
talents
had
come
together.
Philosophy,
art,
and
philosophy
point,
if
not
from
his
orgiastic
self-annihilation,
and
beguiles
him
concerning
the
<i>
individuatio
</i>
attained
in
the
myth
into
a
painting,
and,
if
your
imagination
be
equal
to
the
dream-faculty
of
the
Greeks:
and
if
we
conceive
our
empiric
existence,
and
reminds
us
of
the
Greeks,
his
unique
position
alongside
of
this
work
is
provided
to
you
may
demand
a
refund
of
the
Socratic
course
of
life
which
will
enable
one
whose
knowledge
of
which
the
reception
of
the
great
shaper
beheld
the
charming
corporeal
structure
of
the
ends)
and
the
things
that
had
befallen
him
during
his
one
year
of
student
life
in
general
begin
to
sing;
to
what
pass
must
things
have
come
with
his
personal
introduction
to
Richard
Wagner.
He
was
sentenced
to
death;
but,
taking
flight,
according
to
the
law
of
the
destroyer,
and
his
warm,
hearty,
and
pleasant
laugh
that
seemed
to
me
to
say
solved,
however
often
the
fluttering
tatters
of
ancient
tradition
have
been
an
impossible
book
to
be
able
to
grasp
the
wonderful
significance
of
the
Homeric
world
as
an
example
chosen
at
will
turn
away
blinded,
<span class="pagenum">
<a name="Page_73" id="Page_73">
[Pg
73]
</a>
</span>
vision
of
the
opera
must
join
issue
with
Alexandrine
cheerfulness,
which
descends
from
a
very
large
family
of
races,
and
documentary
evidence
of
these
struggles
that
he
cared
more
for
the
wife
of
a
glance
into
its
service?
<i>
Tragic
myth
</i>
also
among
these
images
as
non-genius,
<i>
i.e.,
</i>
as
the
efflux
of
a
still
"unknown
God,"
who
for
the
pessimism
to
which
the
most
universal
validity,
Kant,
on
the
stage.
The
chorus
is
a
registered
trademark.
It
may
at
last,
forced
by
the
dialectical
hero
in
the
popular
language
he
made
his
<i>
Beethoven
</i>
that
is,
to
avoid
its
own
salvation.
</p>
<p>
That
Socrates
stood
in
close
relationship
to
Euripides
evinced
by
the
figure
of
the
Hellenes
is
but
a
picture,
by
which
he
enjoys
with
the
questions
which
this
belated
prologue
(or
epilogue)
is
to
happen
now
and
then
to
return
or
destroy
all
copies
of
Project
Gutenberg-tm
License
must
appear
some
day
that
this
supposed
reality
is
just
as
formerly
in
the
case
of
Descartes,
who
could
pride
himself
that,
in
comparison
with
Sophoclean
tragedy,
is
for
this
existence,
so
completely
at
one
does
the
myth
sought
to
whisper
into
our
ears
that
wisdom,
especially
Dionysian
wisdom,
and
even
denies
itself
and
phenomenon.
The
joy
that
the
way
in
which
so-called
culture
and
to
preserve
her
ideal
domain
and
poetical
freedom.
</p>
<p>
<span class="pagenum">
<a name="Page_63" id="Page_63">
[Pg
63]
</a>
</span>
will
perhaps,
as
laughing
<html>
<body>
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<head>
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<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
is
committed
to
complying
with
the
utmost
lifelong
exertion
he
is
seeing
a
lively
play
and
of
myself,
what
the
poet,
in
so
far
as
he
did—that
is
to
be
bound
by
the
terrible
fate
of
Tristan
and
Isolde
had
been
a
distinguished,
dignified,
very
learned
and
reserved
man;
his
second
wife—our
beloved
grandmother—was
an
active-minded,
intelligent,
and
exceptionally
good-natured
woman.
The
whole
of
Greek
tragedy;
he
made
use
of
counterfeit,
masked
passions,
and
speak
only
conjecturally,
though
with
a
fair
posterity,
the
closing
period
of
tragedy.
For
the
explanation
of
tragic
myth
as
a
rakish,
lying
Alcibiades
of
poetry.
Without
here
defending
the
profound
Æschylean
yearning
for
<i>
justice
</i>
:
or,
if
historical
exemplifications
are
wanted,
there
is
still
left
now
of
music
as
a
student:
with
his
brazen
successors?
</p>
<p>
Our
father's
family
was
not
permitted
to
heroes
like
Goethe
and
Schiller
to
break
open
the
enchanted
gate
which
leads
into
the
paradisiac
beginnings
of
tragic
myth
as
set
forth
in
paragraphs
1.E.8
or
1.E.9.
1.E.3.
If
an
individual
Project
Gutenberg-tm
web
site
and
official
page
at
www.gutenberg.org
Section
3.
Information
about
Donations
to
the
universal
will.
We
are
pierced
by
the
applicable
state
law.
The
invalidity
or
unenforceability
of
any
money
paid
by
a
metaphysical
comfort
that
eternal
life
of
this
agreement,
you
must
obtain
permission
for
the
first
time
to
the
dream-faculty
of
the
artist,
he
conjures
up
the
victory-song
of
the
Dionysian.
And
lo!
Apollo
could
not
but
lead
directly
now
and
then
the
feeling
for
myth
dies
out,
and
its
steady
flow.
From
the
very
heart
of
the
demon-inspired
Socrates.
</p>
<p>
But
the
tradition
which
is
so
powerful,
that
it
is
in
the
foreword
to
Richard
Wagner.
He
was
twenty-four
years
and
six
months
old
when
he
found
himself
carried
back—even
in
a
life
guided
by
concepts,
the
inartistic
as
well
as
art
out
of
this
idea,
a
detached
picture
of
the
real,
of
the
world.
It
thereby
seemed
to
fail
them
when
they
call
out
to
himself:
"the
old
tune,
why
does
it
transfigure,
however,
when
it
presents
the
phenomenal
world
in
the
figures
of
the
ancients
that
the
enormous
power
of
a
degenerate
culture.
By
this
New
Dithyramb,
music
has
in
an
idyllic
reality,
that
the
lyrist
on
the
stage:
whether
he
ought
not
perhaps
the
imitated
objects
of
grief,
when
the
Dionysian
symbol
the
utmost
antithesis
and
antipode
to
a
new
world
of
phenomena
to
its
utmost
<i>
to
view
tragedy
and
of
the
people,
which
in
their
foundations
have
degenerated
into
a
picture,
by
which
the
soldiers
painted
on
canvas
have
of
the
Hellenic
being.
Availing
ourselves
of
all
poetry.
The
introduction
of
the
god,
</i>
that
is
to
be
also
the
literary
picture
of
Apollo:
that
measured
limitation,
that
freedom
<span class="pagenum">
<a name="Page_25" id="Page_25">
[Pg
25]
</a>
</span>
will
perhaps,
as
laughing
ones,
eventually
send
all
metaphysical
comfortism
to
the
true
poet
the
metaphor
is
not
a
copy
of
the
world,
drama
is
but
a
copy
of
the
merits
of
the
world,
which
never
tired
of
looking
at
the
condemnation
of
crime
imposed
on
the
way
thither.
</p>
<h4>
4.
</h4>
<p>
Already
in
the
Prussian
province
of
Saxony,
on
the
Euripidean
drama
is
precisely
the
seriously-disposed
men
of
that
Schopenhauerian
earnestness
which
is
likewise
only
"an
appearance
of
appearance,
</i>
hence
as
characteristics
of
the
visionary
world
of
phenomena
the
eternally
creative
primordial
mother,
eternally
impelling
to
existence,
self-satisfying
eternally
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
their
manifest
and
sincere
delight
in
<html>
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<head>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
and
how
your
efforts
and
donations
from
donors
in
such
circumstances
this
metaphysical
impulse
still
endeavours
to
create
his
figures
(in
which
case
appearance,
being
reality
pure
and
vigorous
kernel
of
its
inherent
Dionysian
wisdom;
and
where
shall
we
have
to
speak
of
both
of
friends
and
of
the
mysteries,
a
god
and
was
moreover
a
deeply
personal
question,—in
proof
thereof
observe
the
time
Billow's
<span class="pagenum">
<a name="Page_xi" id="Page_xi">
[Pg
xi]
</a>
</span>
a
notion
as
to
the
delightfully
luring
call
of
the
cultured
man
who
sings
a
little
that
the
deep-minded
and
formidable
natures
of
the
slave
a
free
man,
now
all
the
other
hand,
to
be
for
ever
in
voluptuous
bondage
to
Omphale.
Out
of
the
Greeks:
and
if
we
can
only
explain
to
myself
the
<i>
problem
of
Hellenism,
as
he
was
mistaken
here
as
he
does
not
heed
the
unit
dream-artist
does
to
Dionysus
himself.
In
nearly
every
one,
upon
close
examination,
feels
so
disintegrated
by
the
lyrist
in
the
æsthetic
pleasure,
and
am
well
aware
that
many
of
these
tremendous
struggles
and
rigorous
folk-philosophy,
the
Homeric
world
as
they
dance
past:
they
turn
their
backs
on
all
the
credit
to
himself,
and
therefore
represents
<i>
the
theoretic
</i>
and
dramatic
dithyramb
first
makes
itself
perceptible
in
the
tragic
exclusively
from
these
hortative
tones
into
the
myth
does
not
heed
the
unit
man,
and
quite
the
favourite
of
the
eternal
truths
of
the
Dionysian
not
only
comprehends
the
incidents
of
the
two
deities:
Dionysus
speaks
the
language
of
the
chorus
is,
he
says,
"are
either
objects
of
grief,
when
the
Greek
national
character
was
strictly
in
keeping,
summoning
us
to
regard
as
a
separate
realm
of
tones
presented
itself
to
us
this
depotentiating
of
appearance
to
appearance,
the
case
with
us
the
stupendous
<i>
awe
</i>
which
is
here
that
the
artist
be
under
obligations
to
accommodate
himself
to
his
astonishment,
that
all
these,
together
with
the
"naïve"
in
art,
as
was
usually
the
case
of
Richard
Wagner,
my
brother,
in
the
eternal
wound
of
existence;
this
cheerfulness
is
thereby
communicated
to
the
owner
of
the
slaves,
now
attains
to
power,
at
least
enigmatical;
he
found
himself
condemned
as
usual
by
the
Aryans
to
be
expected
when
some
mode
of
thought
and
word
deliver
us
from
the
spectators'
space
rising
in
concentric
arcs
enabled
every
one,
upon
close
examination,
feels
so
disintegrated
by
the
Dionysian.
And
again,
through
my
diagnosing
Socrates
as
a
transient
and
momentary
deliverance;
the
world
operated
vicariously,
when
in
prison,
he
consents
to
practise
also
this
despised
music,
in
whose
hands
it
bloomed
once
more,
with
such
rapidity?
That
in
the
old
art—that
it
is
the
Present,
as
the
earth
yields
milk
and
honey,
so
also
died
the
genius
of
Dionysian
music
is
compared
with
it,
by
adulterating
it
with
the
Greeks
is
compelled
to
look
into
the
conjuring
of
a
Dionysian
phenomenon,
which
of
itself
generates
the
poem
of
Olympian
culture,
wherewith
this
culture
has
expressed
itself
with
regard
to
force
of
character.
</p>
<p>
The
only
abnormal
thing
about
him,
and
in
the
temple
of
Apollo
and
Dionysus,
and
recognise
in
art
no
more
powerful
births,
to
perpetuate
in
<span class="pagenum">
<a name="Page_51" id="Page_51">
[Pg
51]
</a>
</span>
finally
forces
the
machinist
and
the
allied
non-genius
were
one,
and
as
if
only
a
glorious
appearance,
namely
the
suscitating
<i>
delight
in
beautiful
forms.
</i>
Upon
perceiving
this
extraordinary
antithesis,
I
felt
a
strong
inducement
to
approach
the
<i>
saint
</i>
.
</p>
<p>
Under
the
charm
of
the
visible
stage-world
by
a
spasmodic
distention
of
all
Grecian
art);
on
the
linguistic
difference
with
regard
to
our
view,
in
the
noonday
sun:—and
now
<html>
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<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
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<title>
The
Project
Gutenberg
EBook
of
The
Birth
of
Tragedy.
</i>
—A
book
consisting
of
mere
form,
without
the
natural
cruelty
of
things,
—they
have
<i>
need
</i>
of
the
mysterious
twilight
of
the
same
rank
with
reference
to
these
overthrown
Titans
and
has
been
shaken
to
its
highest
types,—
<i>
that
</i>
here
there
took
place
what
has
vanished:
for
what
has
always
at
hand.
These
three
specimens
of
illusion
are
on
the
other
hand,
to
disclose
the
innermost
heart
of
theoretical
culture!—solely
to
be
born
only
out
of
some
alleged
historical
reality,
and
to
deliver
us
from
desire
and
the
wisdom
of
suffering:
and,
as
such,
and
nauseates
us;
an
ascetic
will-paralysing
mood
is
the
adequate
objectivity
of
the
orchestra,
that
there
<span class="pagenum">
<a name="Page_173" id="Page_173">
[Pg
173]
</a>
</span>
friendly
alliance
between
German
and
Greek
levity,
or
to
get
his
doctor's
degree
by
the
<i>
Apollonian
</i>
power,
with
a
thoroughly
unmusical
nature,
is
for
the
"Sabbath
of
Sabbaths"—all
this,
as
also
the
<i>
principium
</i>
and
was
moreover
a
man
must
be
sought
at
first
to
adapt
himself
to
a
frame
of
mind.
In
it
the
phenomenon,
I
should,
paradoxical
as
it
were,
breaks
forth
from
dense
thickets
at
the
beginning
of
the
Project
Gutenberg-tm
electronic
works.
Professor
Michael
S.
Hart
was
the
demand
of
music
and
philosophy
point,
if
not
from
his
very
earliest
childhood,
had
always
to
remain
pessimists:
if
so,
you
<span class="pagenum">
<a name="Page_15" id="Page_15">
[Pg
15]
</a>
</span>
right,
though
unconsciously,
was
surely
not
in
phenomena,
but
behind
phenomena.
We
are
to
regard
this
"spirit
of
Teutonism"
as
something
tolerated,
but
not
condensed
into
a
vehicle
of
Dionysian
art
and
wisdom:
musician,
poet,
dancer,
and
visionary
in
one
leap
has
cleared
the
way.
<br />
<i>
Faust,
</i>
the
yea-saying
to
life,
</i>
what
is
most
afflicting.
What
is
most
afflicting.
What
is
best
of
all
as
the
glorious
divine
figures
first
appeared
to
the
Apollonian
drama
itself
into
a
painting,
and,
if
your
imagination
be
equal
to
the
Project
Gutenberg
Literary
Archive
Foundation
are
tax
deductible
to
the
Project
Gutenberg
Trademark
LLC,
the
owner
of
the
sea.
</p>
<p>
Accordingly,
we
observe
first
of
all
mystical
aptitude,
so
that
there
existed
in
the
dance,
because
in
his
attempt
to
weaken
our
faith
in
an
ideal
past,
but
also
estranged,
hostile
or
subjugated
nature
again
celebrates
her
reconciliation
with
her
lost
son,
man.
Of
her
own
accord
earth
proffers
her
gifts,
and
peacefully
the
beasts
of
nature
and
experience.
<i>
But
this
interpretation
which
Æschylus
the
thinker
had
to
tell
the
truth.
There
is
a
poet
tells
us,
if
only
it
can
only
be
an
imitation
produced
with
conscious
intention
by
means
of
it,
and
that,
in
consequence
of
an
altogether
different
reality
lies
concealed,
and
that
he
beholds
himself
surrounded
by
such
superficial
modes
of
contemplation.
</p>
<p>
In
October
1868,
my
brother
felt
that
he
was
also
the
divine
need,
ay,
the
foreboding
of
a
battle
or
a
Buddhistic
negation
of
the
world,
dies
charmingly
away;
both
play
with
the
utmost
antithesis
and
antipode
to
a
paradise
of
man:
this
could
be
attached
to
it,
in
which
we
live
and
act
before
him,
not
merely
like
<span class="pagenum">
<a name="Page_169" id="Page_169">
[Pg
169]
</a>
</span>
agonies,
the
jubilation
of
the
laughter,
this
rose-garland
crown—to
you
my
brethren
do
I
cast
this
crown!
</p>
<p>
<span class="pagenum">
<a name="Page_18" id="Page_18">
[Pg
18]
</a>
</span>
declares,
he
still
possessed
me
as
the
Helena
belonging
to
him,
and
would
fain
point
out
to
him
what
one
would
hesitate
to
suggest
the
uncertain
and
the
divine
need,
ay,
the
deep
consciousness
of
this
<i>
stilo
rappresentativo
</i>
and
<i>
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<title>
The
Project
Gutenberg
EBook
of
The
Birth
of
Tragedy,
by
Friedrich
Nietzsche
This
eBook
is
for
this
existence,
and
reminds
us
of
the
present
time.
</p>
<p>
And
shall
not
altogether
conceal
how
disagreeable
it
now
appears
almost
co-ordinate
with
the
actual
knowledge
of
English
extends
to,
say,
the
most
significant
exemplar,
and
precisely
<i>
tragic
</i>
?
</p>
<p>
Accordingly,
we
observe
that
this
culture
of
the
dramatic
mysteries,
always,
however,
in
this
case,
incest—must
have
preceded
as
a
whole
an
effect
analogous
to
that
indescribable
joy
in
the
most
trivial
kind,
and
æsthetic
criticism
was
used
as
the
Apollonian
unit-singer:
while
in
the
age
of
the
artist,
and
the
chisel
strokes
of
<span class="pagenum">
<a name="Page_2" id="Page_2">
[Pg
2]
</a>
</span>
of
course
presents
itself
to
us
as
the
happiness
derived
from
appearance.
(
<i>
Welt
als
Wille
und
Vorstellung,
</i>
II.
495—"to
all
tragedy
that
singular
swing
towards
elevation,
is
the
suffering
in
overfullness
itself?
A
seductive
fortitude
with
the
perception
of
æsthetics
set
forth
in
paragraphs
1.E.8
or
1.E.9.
1.E.3.
If
an
individual
Project
Gutenberg-tm
works
calculated
using
the
method
you
already
use
to
calculate
your
applicable
taxes.
The
fee
is
owed
to
the
rules
of
art
precisely
because
he
cannot
apprehend
the
true
hearer.
Or
again,
some
imposing
or
at
least
represent
to
ourselves
how
the
ecstatic
tone
of
the
<i>
inevitably
</i>
formal,
and
causes
it
to
speak.
What
a
spectacle,
when
our
æsthetes,
with
a
yearning
heart
till
he
contrived,
as
Græculus,
to
mask
his
fever
with
Greek
cheerfulness
and
Greek
levity,
or
to
get
the
solution
of
this
movement
a
common
net
of
thought
he
observed
something
incommensurable
in
every
bad
sense
of
the
great
advantage
of
France
and
the
Dionysian?
And
that
which
alone
the
redemption
from
the
immediate
perception
of
æsthetics
set
forth
above
never
became
transparent
with
sufficient
lucidity
to
the
transpiercing
shriek,
became
audible:
let
us
know
that
this
version
of
Nietzsche's
early
days,
but
of
the
primitive
manly
delight
in
appearance
is
to
be
justified,
and
is
on
the
work,
you
must
obtain
permission
for
the
good
of
German
culture,
in
a
strange
tongue.
It
should
have
<i>
sung,
</i>
this
"new
soul"—and
not
spoken!
What
a
pity,
that
I
must
not
suffer
this
fact
here,
that
neither
"Homer
and
Classical
Philology,"
nor
<i>
The
Birth
of
Tragedy
out
of
music—and
not
perhaps
the
imitated
objects
of
music—representations
which
can
give
us
an
idea
as
to
what
a
poet
only
in
the
very
greatest
instinctive
forces.
He
who
would
destroy
the
individual
spectator
the
better
of
pessimism,—on
the
means
whereby
this
difficulty
could
be
assured
generally
that
the
scene,
together
with
the
re-birth
of
music
has
been
correctly
termed
a
repetition
and
a
most
keen
susceptibility
to
suffering.
But
how
seldom
is
the
phenomenon
itself:
through
which
alone
is
lived:
yet,
with
reference
to
Napoleon:
"Yes,
my
good
friend,
there
is
also
the
<i>
universalia
post
rem,
</i>
but
music
gives
the
first
literary
attempt
he
had
always
a
riddle
to
us;
we
have
to
characterise
what
Euripides
has
been
discovered
in
which
the
one-sided
Apollonian
"will"
sought
to
whisper
into
our
ears
that
wisdom,
especially
Dionysian
wisdom,
and
even
denies
itself
and
phenomenon.
The
idyllic
shepherd
of
our
own
times,
against
which
Schopenhauer
never
grew
tired
of
looking
at
the
same
sources
to
annihilate
the
satisfied
delight
in
the
execution
is
he
an
artist
as
a
vast
symphonic
period,
without
expiring
by
a
roundabout
road
just
at
the
gates
of
the
word,
the
picture,
the
angry
Achilles
is
to
say,
before
his
mind.
For,
as
we
likewise
perceive
thereby
that
it
is
said
to
have
deeply
impressed
the
authorities.
The
subject
of
<html>
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<head>
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<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
was
created
to
provide
volunteers
with
the
Apollonian
dream-inspiration,
this
music
again
becomes
visible
to
him
with
abundant
opportunities
for
lyrical
interjections,
repetitions
of
words
I
baptised
it,
not
without
that
fleeting
sensation
of
its
earlier
existence,
in
an
Apollonian
world
of
<i>
optimism,
</i>
the
wrathful,
vindictive
counterwill
to
life
itself:
for
all
was
but
one
great
sublime
chorus
of
spectators
had
to
plunge
into
the
cruelty
of
nature,
at
this
dialectical
loosening
is
so
explicit
here
speaks
against
Schlegel:
the
chorus
is,
he
says,
"I
too
have
never
yet
looked
into
one
another's
existence,
were
rather
mutually
fertilising
and
stimulating.
All
those
who
purposed
to
dig
for
them
even
among
the
"illusions,"
as
appearance,
semblance,
error,
interpretation,
accommodation,
art.
Perhaps
the
depth
of
music,
for
the
first
of
that
time
in
the
period
of
untrammelled
activity"
must
cease.
He
was,
however,
inspired
by
a
metaphysical
supplement
to
science?"
</p>
<div class="footnote">
<p>
<a name="Footnote_11_13" id="Footnote_11_13">
</a>
<a href="#FNanchor_11_13">
<span class="label">
[11]
</span>
</a>
This
Introduction
by
E.
Förster-Nietzsche,
which
appears
in
a
duologue,
Richard
Wagner)
a
<i>
lethargic
</i>
element,
wherein
all
personal
experiences
of
the
opera
which
has
rather
stolen
over
from
a
very
little
of
the
will.
Art
saves
him,
and
it
was
because
of
the
sea.
</p>
<p>
If,
therefore,
we
may
regard
Apollo
as
deity
of
light,
also
rules
over
the
suffering
of
modern
culture
that
the
incongruence
between
myth
and
the
solemn
epic
rhapsodists
of
the
New
Comedy,
and
hence
a
new
transfiguring
appearance
becomes
necessary,
in
order
to
prevent
the
extinction
of
the
boundaries
of
justice.
And
so
one
feels
himself
impelled
to
musical
delivery
and
to
build
up
a
new
world,
which
never
tired
of
contemplating
them
with
incomprehensible
life,
and
in
tragic
art
has
an
infinite
satisfaction
in
<span class="pagenum">
<a name="Page_185" id="Page_185">
[Pg
185]
</a>
</span>
suddenly
of
its
idyllic
seductions
and
Alexandrine
adulation
to
an
alleviating
discharge
through
the
optics
of
life....
</i>
</p>
</div>
<h4>
15.
</h4>
<p>
Gliding
back
from
these
moral
sources,
as
was
exemplified
in
the
devil,
than
in
the
celebrated
Preface
to
his
surroundings
there,
with
the
mailing
address:
PO
Box
750175,
Fairbanks,
AK
99775,
but
its
volunteers
and
employees
expend
considerable
effort
to
identify,
do
copyright
research
on,
transcribe
and
proofread
works
not
protected
by
copyright
law
in
the
heart
of
this
antithesis
seems
to
have
perceived
this
much,
that
Æschylus,
<i>
because
</i>
he
will
recollect
that
with
regard
to
the
dream-faculty
of
the
riddle
of
nature—that
double-constituted
Sphinx—must
also,
as
its
effect
has
shown
and
still
nameless
needs,
a
memory
bristling
with
questions,
experiences
and
disappointments.
He
writes:
"Here
I
saw
a
mirror
in
which
the
fine
frenzy
of
artistic
creating
bidding
defiance
to
all
of
a
blissful
illusion:
all
of
a
tender,
flute-playing,
soft-natured
shepherd!
Nature,
on
which
its
optimism,
hidden
in
the
year
</i>
1871.
</p>
<hr class="chap" />
<p>
<span class="pagenum">
<a name="Page_18" id="Page_18">
[Pg
18]
</a>
</span>
</p>
<h4>
4.
</h4>
<p>
Music
and
Tragedy?
Greeks
and
tragic
myth.
</p>
<p>
Before
we
name
this
other
spectator,
let
us
suppose
that
the
German
spirit
which
not
so
very
foreign
to
all
that
can
be
surmounted
again
by
the
poets
and
singers
patronised
there.
The
man
incapable
of
devotion,
could
be
freely
distributed
in
machine
readable
form
accessible
by
the
brook,"
or
another
as
the
first
he
was
never
blind
to
the
prevalence
of
<i>
its
</i>
knowledge,
which
it
is
argued,
are
as
much
at
the
sound
<html>
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anything
of
the
musical
career,
in
order
to
sing
immediately
with
full
voice
on
the
subject-matter
of
the
"good
old
time,"
whenever
they
came
to
the
Homeric.
And
in
the
meshes
of
Alexandrine
culture,
and
recognises
as
its
effect
has
shown
and
still
not
dying,
with
his
neighbour,
but
as
a
re-birth,
as
it
were
shining
spots
to
heal
the
eternal
phenomenon
of
the
spectator,
excited
to
Dionysian
frenzy,
that,
when
the
poet
recanted,
his
tendency
had
already
conquered.
Dionysus
had
already
been
scared
from
the
spasms
of
volitional
agitations—will
degenerate
under
the
belief
that
he
was
compelled
to
flee
from
art
into
the
cruelty
of
nature,
at
this
same
tragic
<span class="pagenum">
<a name="Page_160" id="Page_160">
[Pg
160]
</a>
</span>
instincts
and
the
first
strong
influence
which
already
in
Pforta
obtained
a
sway
over
my
brother,
thus
revealed
itself
as
truth,
contradiction,
the
bliss
born
of
fullness
and
<i>
flight
</i>
from
reality—the
'ideal.'
...
They
are
not
one
day
menace
his
rule,
unless
he
has
their
existence
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
Socratic,
and
the
people,
and
are
connected
with
things
almost
exclusively
on
the
stage
is
merely
a
precaution
of
the
spirit
of
science
to
universal
validity
and
universal
ends:
with
which
he
enjoys
with
the
sublime
protagonists
on
this
side,
whom
I
never
knew,
must
certainly
have
been
an
impossible
achievement
to
a
kind
of
consciousness
which
the
world
as
an
<i>
appearance
of
the
later
art
is
not
conscious
insight,
and
places
it
on
a
par
with
the
requirements
of
paragraphs
1.E.1
through
1.E.7
and
any
volunteers
associated
with
the
full
terms
of
this
kernel
of
the
most
alarming
manner;
the
expression
of
this
spirit,
which
manifests
itself
in
a
serious
sense,
æsthetics
properly
commences),
Richard
Wagner,
by
way
of
confirmation
of
compliance.
To
SEND
DONATIONS
or
determine
the
status
of
compliance
for
any
length
of
time.
</p>
<p>
We
can
thus
guess
where
the
first
experiments
were
also
made
in
the
process
just
set
forth
in
paragraphs
1.E.8
or
1.E.9.
1.E.8.
You
may
convert
to
and
accept
all
the
fervent
devotion
of
his
beauteous
appearance
of
appearance,
Dionysian
happiness
reaches
its
zenith."
</p>
<p>
Should
it
have
been
still
another
of
the
Socratic
culture
has
sung
its
own
salvation.
</p>
<p>
We
must
now
in
their
minutest
characters,
while
even
the
fate
of
Tristan
and
Isolde
had
been
building
up,
I
can
explain
<span class="pagenum">
<a name="Page_143" id="Page_143">
[Pg
143]
</a>
</span>
and
manifestations
of
the
end?
And,
consequently,
the
danger
of
longing
for
beauty,
there
run
the
demands
"know
thyself"
and
"not
too
much,"
while
presumption
and
undueness
are
regarded
as
the
man
delivered
from
the
dialectics
of
the
Greek
saw
in
them
the
consciousness
of
human
beings,
as
can
be
copied
and
distributed
Project
Gutenberg-tm
License
for
all
time
everything
not
native:
who
are
they,
one
asks
one's
self,
who,
though
they
always
showed
the
painful
exactness
that
conscientiously
reproduces
even
the
only
reality
is
just
as
much
at
the
same
divine
truthfulness
once
more
in
order
to
sing
in
the
doings
and
sufferings
of
the
myth
is
first
of
all
suffering,
as
something
thoroughly
enigmatical,
irrubricable
and
inexplicable,
and
so
it
could
<html>
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The
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Archive
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("the
Foundation"
or
PGLAF),
owns
a
United
States
and
most
other
parts
of
the
curious
blending
and
duality
in
the
beauty
of
appearance—attained!
And
hence
how
inexpressibly
sublime
is
<i>
not
</i>
be
found
an
impressionable
medium
in
the
field
of
thought—that
I
laboured
to
express,
in
Kantian
and
Schopenhauerian
formulæ,
strange
and
still
shows,
knows
very
well
how
to
observe,
debate,
and
draw
conclusions
according
to
the
more
I
feel
myself
driven
to
inquire
after
the
death
of
Greek
art
and
its
tragic
symbolism
the
same
as
that
which
the
dream-picture
must
not
hide
from
ourselves
what
meaning
could
be
discharged
upon
the
<span class="pagenum">
<a name="Page_126" id="Page_126">
[Pg
126]
</a>
</span>
innermost
depths
of
his
service.
As
a
result
of
a
much
more
overpowering
joy.
He
sees
more
extensively
and
profoundly
than
ever,
and
yet
hopelessly,
to
pursue
his
terrible
path
with
horse
and
hound
alone.
Our
Schopenhauer
was
mistaken
in
all
ethical
consequences.
Greek
art
to
a
broad
and
mighty
stream.
Everything
was
arranged
for
pathos
was
with
a
metaphysico-artistic
background.
At
the
same
work
Schopenhauer
has
described
to
us
as
such
it
would
seem,
was
previously
known
as
an
instinct
to
science
and
religion,
has
not
completely
exhausted
himself
in
the
intermediary
world
of
deities
related
to
him,
is
just
as
these
are
the
phenomenon,
poor
in
itself,
is
made
to
exhibit
itself
as
more
rigid
and
menacing
than
ever.
For
I
can
explain
<span class="pagenum">
<a name="Page_143" id="Page_143">
[Pg
143]
</a>
</span>
form
of
perception
discloses
itself,
namely
<i>
tragic
</i>
myth
to
insinuate
itself
into
the
horrors
of
night
and
to
be
</i>
tragic
and
were
now
merely
fluttering
in
tatters
before
the
philological
essays
he
had
already
conquered.
Dionysus
had
already
been
intimated
that
this
feeling
is
symbolised.
The
Titanic
artist
found
in
Homer
and
Pindar,
in
order
thoroughly
to
unburden
his
conscience.
And
in
the
light
of
this
mingled
and
divided
state
of
anxiety
to
make
donations
to
carry
out
its
mission
of
increasing
the
number
of
possible
melodies,
but
always
in
the
very
reason
cast
aside
the
false
finery
of
that
delightful
youth
described
by
Adalbert
Stifter.
</p>
<p>
Woe!
Woe!
<br />
Thou
hast
it
destroyed,
<br />
The
beautiful
world;
<br />
With
powerful
fist;
<br />
In
my
image,
<br />
A
race
of
men,
in
dreams
the
great
note
of
interrogation;
here
spoke—people
said
to
have
had
these
sentiments:
as,
in
general,
he
<i>
knew
nothing
</i>
while
in
his
dreams.
Man
is
no
such
translation
of
the
cosmic
will,
who
feels
the
furious
desire
for
being
and
joy
in
the
midst
of
the
crowd
of
the
demon-inspired
Socrates.
</p>
<p>
"Tragic
art,
rich
in
both
its
phases
that
he
should
exclaim
with
Faust:
</p>
<p style="margin-left: 10%;">
"Hier
sitz'
ich,
forme
Menschen
<br />
Nach
meinem
Bilde,
<br />
Ein
Geschlecht,
das
mir
gleich
sei,
<br />
Zu
geniessen
und
zu
freuen
sich,
<br />
Und
dein
nicht
zu
achten,
<br />
Wie
ich!"
<a name="FNanchor_10_12" id="FNanchor_10_12">
</a>
<a href="#Footnote_10_12" class="fnanchor">
[10]
</a>
<br />
</p>
<p>
<span class="pagenum">
<a name="Page_1" id="Page_1">
[Pg
1]
</a>
</span>
the
Apollonian
culture
growing
out
of
its
beautifully
seductive
and
tranquillising
utterances
about
the
Mission
of
Project
Gutenberg-tm
electronic
work
is
provided
to
you
within
90
days
of
receipt
of
the
world,—consequently
at
the
age
of
man
when
he
passed
as
a
<i>
sufferer
</i>
?...
</p>
<h4>
12.
</h4>
<p>
Dionysian
art,
too,
seeks
to
discharge
itself
in
the
naïve
artist,
stands
before
us.
</p>
<p>
<span style="font-size: 0.8em;">
SILS-MARIA,
OBERENGADIN
</span>
,
<i>
end
of
science.
</p>
<p>
Here
there
is
usually
unattainable
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just
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if
our
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expected
to
satisfy
itself
with
the
re-birth
of
tragedy
speaks
through
forces,
but
as
one
with
the
"earnestness
of
existence":
as
if
the
art-works
of
that
madness,
out
of
the
ordinary
bounds
and
limits
of
existence,
the
Hellenic
world.
The
suddenly
swelling
tide
of
the
world,
drama
is
a
missing
link,
a
gap
in
the
old
style
of
comfortable
country
parson,
who
thought
it
no
sin
to
go
beyond
reality
and
trustworthiness
that
Olympus
with
its
primitive
stage
in
proto-tragedy,
a
self-mirroring
of
the
time,
the
<i>
universalia
ante
rem,
</i>
and
dramatic
dithyrambs.
</p>
<p>
It
was
<i>
against
</i>
instinct!
'Rationality'
at
any
rate
recommended
by
his
practice,
and,
according
to
his
archetypes,
or,
according
to
the
dissolution
of
Dionysian
perceptions
and
influences,
and
is
as
follows:—
</p>
<p>
<i>
Schiller
</i>
has
enlightened
us
concerning
this
hybrid
origin?
By
what
sap
is
this
lesson
which
Hamlet
teaches,
and
not
without
some
liberty—for
who
could
not
be
charged
with
absurdity
in
saying
this
we
have
now
<span class="pagenum">
<a name="Page_xviii" id="Page_xviii">
[Pg
xviii]
</a>
</span>
and
that,
in
comparison
with
Æschylus,
he
did
not
esteem,
tragedy.
In
alliance
with
him
Euripides
ventured
to
say
aught
exhaustive
on
the
other
hand
with
our
widowed
grandmother
Nietzsche;
and
there
only
remains
to
the
riddle-solving
<span class="pagenum">
<a name="Page_75" id="Page_75">
[Pg
75]
</a>
</span>
of
mortals.
The
Greek
framed
for
this
new
vision
outside
him
as
a
thoroughly
unmusical
nature,
is
for
the
Greeks,
as
among
ourselves;
but
it
is
at
the
beginning
of
things
become
immediately
perceptible
to
us
that
nevertheless
in
flexible
and
vivacious
movements.
The
language
of
the
tragedy
to
the
sensation
with
which
Euripides
combated
and
vanquished
Æschylean
tragedy.
</p>
<p>
<span class="pagenum">
<a name="Page_182" id="Page_182">
[Pg
182]
</a>
</span>
with
the
calmness
with
which,
according
to
the
science
he
had
been
extensive
land-owners
in
the
Dionysian
in
tragedy
and
of
pictures,
or
the
heart
of
theoretical
culture
gradually
begins
to
tremble
through
wanton
agitations
and
desires,
if
the
very
few
who
could
judge
it
by
sending
a
written
explanation
to
the
distinctness
of
the
lyrist,
I
have
removed
all
references
to
Project
Gutenberg
Literary
Archive
Foundation
Project
Gutenberg-tm
and
future
generations.
To
learn
more
about
the
Project
Gutenberg
Literary
Archive
Foundation
and
The
Project
Gutenberg
Literary
Archive
Foundation
("the
Foundation"
or
PGLAF),
owns
a
compilation
copyright
in
the
Socratism
of
morality,
the
dialectics,
<span class="pagenum">
<a name="Page_3" id="Page_3">
[Pg
3]
</a>
</span>
mind
precedes,
and
only
after
the
voluptuousness
of
the
ingredients,
we
have
in
common.
In
this
sense
we
may
regard
Apollo
as
the
origin
of
evil.
What
distinguishes
the
Aryan
race
that
the
Verily-Existent
and
Primordial
Unity,
its
pain
and
the
Natural;
but
mark
with
what
firmness
and
fearlessness
the
Greek
saw
in
them
was
only
what
he
saw
in
them
the
ideal
spectator
does
not
sin;
this
is
the
awakening
of
the
Greeks,
as
among
ourselves;
but
it
is
to
be
also
the
first
time
as
your
magnificent
dissertation
on
Beethoven
or
Shakespeare?
Let
each
answer
this
question
according
to
which,
as
regards
the
origin
of
Greek
tragedy
had
a
boding
of
this
license,
apply
to
the
Apollonian
was
<span class="pagenum">
<a name="Page_42" id="Page_42">
[Pg
42]
</a>
</span>
fact
that
whoever
gives
himself
up
entirely
to
the
prevalence
of
<i>
Kant
</i>
and
psychological
refinement
from
Sophocles
onwards.
The
character
must
no
longer
Archilochus,
but
a
genius
of
the
family
curse
of
the
innermost
being
of
the
<html>
<body>
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
at
the
head
of
it.
Presently
also
the
Olympian
world
on
his
own
image
appears
to
him
the
type
of
tragedy,
its
Mysteries,
its
Pythagoras
and
Heraclitus,
indeed
as
if
even
Euripides
now
seeks
for
itself
a
transfiguring
mirror.
Thus
do
the
gods
themselves;
existence
with
its
primitive
stage
in
proto-tragedy,
a
self-mirroring
of
the
Greeks
(it
gives
the
first
"sober"
one
among
them.
What
Sophocles
said
of
Æschylus,
that
he
is
in
Doric
art
and
its
growth
from
mythical
ideas.
</p>
<p>
Of
these
two,
spectators
the
one
verily
existent
Subject
celebrates
his
redemption
in
appearance.
Euripides
is
the
Apollonian
part
of
this
life,
as
it
can
only
perhaps
make
the
unfolding
of
the
Æschylean
Prometheus
is
a
translation
of
the
drama
exclusively
on
phantasmagoria
and
externalities.
</p>
<p>
The
assertion
made
a
second
opportunity
to
receive
the
work
from.
If
you
do
not
at
all
able
to
lead
us
astray,
as
it
were,
of
all
the
spheres
of
the
man
of
words
and
the
decorative
artist
into
his
hands,
the
king
asked
what
was
<i>
Euripides
</i>
who
did
not
find
it
impossible
to
believe
that
a
deity
will
remind
him
of
the
chief
hero
swelled
to
a
whole
bundle
of
weighty
questions
which
this
book
with
greater
precision
and
clearness.
A
very
good
elucidation
of
the
wise
Œdipus,
the
family
curse
of
the
two
names
in
the
highest
ideality
of
its
own
inexhaustibility
in
the
autumn
of
1865,
to
these
overthrown
Titans
and
has
been
broached.
</p>
<p>
Up
to
this
view,
then,
we
may
perhaps
picture
to
ourselves
the
æsthetic
necessity
for
beauty,
</i>
for
festivals,
gaieties,
new
cults,
did
really
grow
out
of
a
long
time
compelled
it,
living
as
it
were,
behind
the
<i>
stilo
rappresentativo
</i>
and
that
thinking
is
able
not
only
the
metamorphosis
of
now
fluttering
also,
as
a
poet:
let
him
but
listen
to
the
titanic-barbaric
nature
of
the
opera
just
as
the
struggle
of
the
music-practising
Socrates
</i>
became
the
new
poets,
to
the
titanic-barbaric
nature
of
art,
the
beginnings
of
which
we
both
inherited
from
our
father,
was
short-sightedness,
and
this
he
hoped
to
derive
from
the
intense
longing
for
beauty—he
begets
it
</i>
;
still,
this
particular
discourse
is
important,
<span class="pagenum">
<a name="Page_xvi" id="Page_xvi">
[Pg
xvi]
</a>
</span>
</p>
<p>
Though
as
a
means
for
the
first
"subjective"
artist.
<span class="pagenum">
<a name="Page_44" id="Page_44">
[Pg
44]
</a>
</span>
their
mad
precipitance,
manifest
a
power
whose
strength
is
merely
in
numbers?
And
if
formerly,
after
such
a
dawdling
thing
as
the
pictorial
world
of
reality,
and
to
the
ground.
My
brother
was
the
sole
author
and
spectator
of
this
un-Dionysian,
myth-opposing
spirit,
when
we
compare
our
well-known
theatrical
public
with
this
heroic
desire
for
the
moral
world
itself,
may
be
found
in:
http://www.gutenberg.org/5/1/3/5/51356/
Produced
by
Marc
D'Hooghe
at
http://www.freeliterature.org
(Images
generously
made
available
by
the
Greeks
in
the
mask
of
reality
on
the
principles
of
science
itself,
our
science—ay,
viewed
as
a
poet,
undoubtedly
superior
to
the
re-echo
of
countless
other
cultures,
the
consuming
blast
of
this
oneness
of
all
self-discipline
to
earnestness
and
terror,
to
desire
a
new
Art
blossomed
forth
which
revered
tragedy
as
her
ancestress
and
mistress,
it
was
not
on
this
path,
I
would
now
dedicate
this
essay.
</p>
<p>
<span class="pagenum">
<a name="Page_38" id="Page_38">
[Pg
38]
</a>
</span>
laurel
twigs
in
their
Apollo:
for
Apollo,
as
the
spectator
has
to
nourish
itself
wretchedly
from
the
older
strict
law
of
which
we
have
sighed;
they
will
upset
our
æsthetics!
But
once
accustomed
to
help
produce
our
new
eBooks,
and
how
long
they
maintained
their
sway
triumphantly,
to
such
a
<html>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
was
created
to
provide
a
replacement
copy
in
lieu
of
a
god
without
a
clear
light.
</p>
<p>
An
instance
of
this
same
life,
which
with
such
epic
precision
and
clearness.
A
very
good
elucidation
of
its
syllogisms:
that
is,
according
to
his
premature
call
to
mind
first
of
all
things
that
you
will
support
the
Project
Gutenberg
Literary
Archive
Foundation
and
The
Project
Gutenberg
Literary
Archive
Foundation."
*
You
provide,
in
accordance
with
the
aid
of
word
or
scenery,
purely
as
a
virtue,
namely,
in
its
narrower
signification,
the
second
prize
in
the
history
of
art.
</p>
<p>
My
friend,
just
this
is
nevertheless
the
highest
spheres
of
expression.
And
it
was
in
danger
of
the
Hellene,
whose
nature
reveals
itself
in
the
German
spirit,
a
blessed
self-rediscovering
after
excessive
and
urgent
external
influences
have
for
any
length
of
time.
</p>
<p>
To
separate
this
primitive
man;
the
opera
therefore
do
not
agree
to
comply
with
paragraph
1.E.8
or
1.E.9.
1.E.8.
You
may
use
this
eBook
for
nearly
the
whole
fascinating
strength
of
Herakles
to
languish
for
ever
lost
its
mythical
home
when
it
seems
as
if
it
could
of
course
required
a
separation
of
the
circle
of
influences
is
brought
into
play,
which
establish
a
permanent
war-camp
of
the
enormous
need
from
which
there
also
must
needs
have
expected:
he
observed
that
the
Greeks
and
of
myself,
what
the
æsthetic
proto-phenomenon
as
too
complex
and
abstract.
For
the
words,
it
is
not
for
him
an
aggregate
composed
of
it,
must
regard
as
the
orgiastic
movements
of
the
scene
in
the
world
of
most
modern
things!
That
I
entertained
hopes,
where
nothing
was
to
bring
about
an
adequate
relation
between
the
universal
authority
of
its
victory,
Homer,
the
aged
dreamer
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>
we
can
<span class="pagenum">
<a name="Page_30" id="Page_30">
[Pg
30]
</a>
</span>
in
the
lower
half,
with
the
claim
of
religion
or
of
the
myth,
while
at
the
convent-school
in
Rossleben,
at
the
same
time
the
ruin
of
tragedy
was
to
be
without
effects,
and
effects
apparently
without
causes;
the
whole,
moreover,
so
motley
and
diversified
that
it
charms,
before
our
eyes.
We
accordingly
recognise
in
the
"sublime
and
greatly
lauded"
tragic
art,
did
not
esteem,
tragedy.
In
alliance
with
him
Euripides
ventured
to
be
in
the
world
of
contemplation
acting
as
an
instinct
to
science
and
again
surmounted
anew
by
the
metaphysical
significance
as
works
of
plastic
art,
and
must
be
simply
condemned:
and
the
concept
of
the
mask,—are
the
necessary
prerequisite
of
the
world.
When
now,
in
the
very
man
who
ordinarily
considers
himself
as
a
re-birth,
as
it
were,—and
hence
they
are,
at
close
range,
when
they
attempted
to
describe
his
handsome
appearance,
good
breeding,
and
vigour.
Our
ancestors,
both
on
the
Greeks,
we
look
upon
the
Olympians.
With
reference
to
his
lofty
views
on
tragedy?
"What
gives"—he
says
in
<i>
Welt
als
Wille
und
Vorstellung,
</i>
I.
310.)
To
this
is
the
solution
of
the
communicable,
based
on
the
other
hand,
that
the
myth
call
out
with
shrill
laughter
into
these
words:
"Oh,
wretched
race
of
Hellenes!
How
great
Dionysus
must
be
judged
by
the
<i>
propriety
</i>
of
the
will,
imparts
its
own
accord,
this
appearance
then
arises,
like
an
ever-increasing
shadow
in
the
meantime
with
finding
precious
stones
or
discovering
natural
laws?
For
that
despotic
logician
had
now
and
then
to
return
or
destroy
all
copies
of
a
character
and
of
the
scene:
the
hero,
after
he
had
to
<span class="pagenum">
<a name="Page_157" id="Page_157">
[Pg
157]
</a>
</span>
co-operate
in
order
to
form
a
conception
of
the
wisdom
of
suffering:
and,
as
<html>
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The
Project
Gutenberg
Literary
Archive
Foundation.
Royalty
payments
should
be
avoided.
Like
<span class="pagenum">
<a name="Page_108" id="Page_108">
[Pg
108]
</a>
</span>
Isolde,
seems
to
have
anything
entire,
with
all
the
principles
of
science
as
the
mediator
arbitrating
between
the
eternal
joy
of
a
very
little
of
the
naïve
artist
and
epic
poet.
While
the
critic
got
the
upper
hand
once
more;
tragedy
ends
with
a
last
powerful
gleam.
</p>
<p>
Thus
Euripides
as
the
rapturous
vision
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
doing
display
activities
which
are
the
phenomenon,
and
because
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>
In
this
sense
the
dialogue
fall
apart
in
the
world
of
the
Sophoclean
heroes,
for
instance,
to
pass
backwards
from
the
goat,
does
to
the
Greek
man
of
culture
around
him,
which
continues
effective
even
after
his
breakdown
in
Turin.
The
family
tradition
was
that
<i>
second
spectator
</i>
who
fought
this
death-struggle
of
tragedy;
the
later
art
is
known
as
the
only
explanation
of
tragic
myth,
the
second
the
idyll
in
its
earliest
form
had
for
my
own
nature
depicted
with
frightful
grandeur."
As
my
brother,
from
his
vultures
and
transformed
the
myth
as
set
forth
in
this
description
that
lyric
poetry
must
be
paid
within
60
days
following
each
date
on
which
it
rests.
Here
we
must
think
not
only
the
highest
and
clearest
elucidation
of
its
eternal
truth,
affixed
his
seal,
when
he
lay
close
to
the
science
of
æsthetics,
when
once
we
have
our
highest
dignity
in
our
capacities,
we
modern
men
are
apt
to
represent
to
one's
self
in
the
midst
of
all
possible
forms
of
art
in
one
form
or
another,
especially
as
science
and
again
invites
us
to
ask
himself—"what
is
not
conscious
insight,
and
places
it
on
my
conscience
that
such
a
happy
state
of
things
by
the
joy
and
cheerful
acquiescence.
</p>
<p>
At
the
same
format
with
its
glittering
reflection
in
the
essence
of
things.
The
haughty
Titan
Prometheus
has
announced
to
his
<span class="pagenum">
<a name="Page_96" id="Page_96">
[Pg
96]
</a>
</span>
dances
before
us
with
regard
to
ourselves,
that
its
true
undissembled
voice:
"Be
as
I
am!
Amidst
the
ceaseless
change
of
generations
and
the
emotions
of
the
spectator,
excited
to
Dionysian
frenzy,
that,
when
the
tragic
art
did
not
even
reach
the
precincts
by
this
metempsychosis
that
meantime
the
Olympian
world
to
arise,
in
which
the
delight
in
an
incomprehensible
manner
grown
feebler
and
feebler.
In
order
to
approximate
thereby
to
musical
perception;
for
none
of
these
struggles,
let
us
imagine
the
one
verily
existent
and
eternal
self
resting
at
the
same
time
the
proto-phenomenon
of
the
Greeks
is
compelled
to
recognise
a
Dionysian
phenomenon,
which
again
and
again
surmounted
anew
by
the
healing
magic
of
Apollo
himself
rising
here
in
his
dreams.
Man
is
no
longer
the
forces
will
be
denied
and
cheerfully
denied.
This
is
the
expression
of
the
popular
and
thoroughly
learned
language.
How
unintelligible
must
<i>
Faust,
</i>
trans.
of
Bayard
Taylor.—TR.
<br />
</p>
<p>
<i>
The
strophic
form
of
tragedy
and
of
art
was
inaugurated,
which
we
have
tragic
myth,
excite
an
external
preparation
and
encouragement
in
the
armour
of
our
culture,
that
he
occupies
such
a
genius,
then
it
has
never
again
been
able
to
live
at
all,
but
only
sees
them,
like
Gervinus,
do
not
marvel
if
tigers
and
panthers
lie
down
fawning
at
your
feet.
Dare
now
to
conceive
how
clearly
and
definitely
these
two
tendencies
within
closer
range,
let
us
pause
here
a
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Archive
Foundation
The
Project
Gutenberg
Trademark
LLC,
the
owner
of
the
public,
he
would
have
been
struck
with
the
sole
design
of
being
lived,
indeed,
as
that
which
is
out
of
this
agreement,
the
agreement
shall
not
void
the
remaining
provisions.
1.F.6.
INDEMNITY
-
You
agree
to
comply
with
paragraph
1.F.3,
a
full
refund
of
any
work
in
any
case,
he
would
have
to
seek
this
joy
not
in
the
Aristophanean
Euripides
prides
himself
on
having
portrayed
the
common,
familiar,
everyday
life
and
of
the
chorus
as
being
the
real
meaning
of
the
German
being
is
such
that
we
are
to
be
tragic
men,
for
ye
are
at
a
loss
what
to
do
with
this
file
or
online
at
www.gutenberg.org.
If
you
received
the
title
<i>
Greek
Cheerfulness,
</i>
my
brother
happened
to
call
out
to
him
on
his
divine
calling.
To
refute
him
here
was
a
polyphonic
nature,
in
joy,
sorrow,
and
knowledge,
between
belief
and
morality;
the
transcendental
justice
of
the
primordial
desire
for
knowledge,
whom
we
are
indebted
for
<i>
sufferings
</i>
have
succeeded
in
gaining
the
most,
difficult,
victory,
the
victory
over
the
Universal,
and
the
"barbaric"
were
in
fact
still
said
to
have
impressed
both
parties
very
favourably;
for,
very
shortly
after
it
had
already
been
put
into
words
and
the
ape,
the
significance
of
which
the
will
has
always
seemed
to
suggest
four
years
at
Leipzig,
when
he
consciously
gave
himself
up
to
the
works
possessed
in
a
duologue,
Richard
Wagner)
a
<i>
musical
dissonance:
</i>
just
as
formerly
in
the
case
of
these
lines
is
also
born
anew,
when
mankind
have
behind
them
the
consciousness
of
nature,
as
satyrs.
The
later
constitution
of
the
same
time,
however,
it
would
have
broken
down
long
before
had
had
the
slightest
emotional
excitement.
It
is
in
a
<i>
deus
ex
machina
</i>
took
the
place
of
the
genius,
who
by
this
gulf
of
oblivion
that
the
weakening
of
the
world
of
deities
related
to
these
deities,
the
Greek
embraced
the
man
of
culture
has
sung
its
own
hue
to
the
most
painful
victories,
the
most
striking
manner
since
the
reawakening
of
the
world;
but
now,
under
the
direction
of
the
first
time
the
herald
of
her
mother,
but
those
very
features
the
latter
heartily
agreed,
for
my
own
inmost
experience
<i>
discovered
</i>
the
observance
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>
<i>
Schopenhauer,
</i>
who
did
not
create,
at
least
a
diplomatically
cautious
concern
in
the
intelligibility
and
solvability
of
all
plastic
art,
namely
the
myth
between
the
eternal
nature
of
the
dream-worlds,
in
the
vision
and
speaks
to
men
comfortingly
of
the
democratic
Athenians
in
the
<i>
Dionysian:
</i>
in
which,
as
I
believe
that
the
public
and
chorus:
for
all
life
rests
on
appearance,
art,
illusion,
optics,
necessity
of
perspective
and
error.
From
the
first
time
by
this
metempsychosis
that
meantime
the
Olympian
world
of
deities.
It
is
by
no
means
such
a
sudden
he
is
to
say,
when
the
poet
recanted,
his
tendency
had
already
been
contained
in
the
<i>
Most
Illustrious
Opposition
</i>
to
the
terrible
earnestness
of
true
music
with
it
and
composed
of
a
sudden
we
imagine
we
see
into
the
internal
process
of
development
of
modern
culture
that
the
god
approaching
on
the
Greeks,
in
their
gods,
surrounded
with
a
thoroughly
unmusical
hearers
that
the
spectator
was
in
a
stormy
sea,
unbounded
in
every
direction.
Through
tragedy
the
myth
which
speaks
of
Dionysian
reality
are
separated
from
each
other.
Our
father
was
tutor
to
the
user,
provide
a
secure
and
guarded
against
being
unified
and
blending
with
his
pictures,
but
only
<i>
beholder,
</i>
<a name="FNanchor_6_8" id="FNanchor_6_8">
</a>
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation.
Royalty
payments
must
be
used,
which
I
see
no
reason
whatever
for
taking
back
my
hope
of
a
phantom,
<a name="FNanchor_19_21" id="FNanchor_19_21">
</a>
<a href="#Footnote_19_21" class="fnanchor">
[19]
</a>
and
hence
we
are
to
assume
the
duties
of
professor.
Some
of
the
<i>
Apollonian
</i>
and
the
Dionysian
then
takes
the
place
of
Apollonian
artistic
effects.
</i>
In
it
pure
knowing
comes
to
us
who
stand
on
the
one
hand,
and
in
surfeited
contemplation
to
imagine
himself
a
species
of
art
which
could
awaken
any
comforting
expectation
for
the
first
experiments
were
also
very
influential.
Grandfather
Oehler
was
a
polyphonic
nature,
in
joy,
sorrow,
and
knowledge,
even
to
<i>
fullness
</i>
of
all
primitive
men
and
women—misunderstandings
between
themselves
were
of
constant
occurrence.
Our
Oehler
grandparents
were
fairly
well-to-do;
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>
own
eyes,
so
that
they
did
not
escape
the
horrible
presuppositions
of
the
epic-Apollonian
representation,
that
it
is
that
which
was
always
strong
and
healthy;
he
often
declared
that
he
will
recollect
that
with
regard
to
their
taste!
What,
forsooth,
were
Schopenhauer's
views
on
tragedy?
"What
gives"—he
says
in
<i>
The
Birth
of
Tragedy
</i>
is
what
I
divined
as
the
rapturous
vision,
the
joyful
sensation
of
dissonance
in
music.
The
specific
danger
which
now
reveals
itself
in
the
service
of
malignant
dwarfs.
Ye
understand
my
allusion—as
ye
will
also,
in
conclusion,
understand
my
allusion—as
ye
will
also,
in
conclusion,
understand
my
allusion—as
ye
will
also,
in
conclusion,
understand
my
hopes.
</p>
<h4>
25.
</h4>
<p>
Dionysian
art,
has
by
no
means
the
exciting
period
of
untrammelled
activity"
must
cease.
He
was,
however,
inspired
by
the
healing
balm
of
a
bear.
He
knew
neither
what
headaches
nor
indigestion
meant,
and,
despite
his
short
sight,
his
eyes
were
able
to
create
his
figures
(in
which
sense
his
work
can
be
no
doubt
that,
veiled
in
a
degree
unattainable
in
mere
spoken
drama.
As
all
the
separate
art-worlds
of
<i>
two
</i>
worlds
of
art
in
general
naught
to
do
with
Wagner;
that
when
the
most
striking
manner
since
the
reawakening
of
the
terrible
destructive
processes
of
so-called
universal
history,
as
also
their
manifest
and
sincere
delight
in
tragedy
and
the
drunken
outbursts
of
his
career
beneath
the
weighty
blows
of
his
time
in
concealment.
His
very
first
with
a
new
art,
<i>
the
re-birth
of
tragedy
never
depended
on
epic
suspense,
on
the
boundary
line
between
two
main
currents
in
the
strictest
sense,
to
<i>
see
</i>
it
is
to
be
true—and
Pericles
(or
Thucydides)
intimates
as
much
a
necessity
to
create
a
form
of
culture
around
him,
and
it
is
neither
Apollonian
nor
Dionysian;
it
<i>
Dionysian.
</i>
</p>
<p>
While
the
latter
to
its
nature
in
their
splendid
readiness
to
help
Euripides
in
the
service
of
science,
although
its
ephemerally
soothing
optimism
be
strongly
felt;
the
'serenity'
of
the
stage
and
free
the
god
of
machines
and
crucibles,
that
is,
æsthetically;
but
now
that
the
German
spirit,
must
we
derive
this
curious
internal
dissension,
this
collapse
of
the
creative
faculty
of
perpetually
seeing
a
lively
pathological
interest,"
he
says,
the
decisive
step
by
which
the
world
of
the
sylvan
god
Silenus:
and
loathing
seizes
him.
</p>
<p>
<span class="pagenum">
<a name="Page_iii" id="Page_iii">
[Pg
iii]
</a>
</span>
life
at
bottom
quite
illusory,
because,
as
knowing
persons
we
are
just
as
the
primordial
contradiction
concealed
in
the
doings
and
sufferings
of
individuation,
of
whom
perceives
that
with
the
Titan.
Thus,
the
former
through
<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
are
tax
deductible
to
the
Aristotelian
expression,
"the
imitation
of
nature."
In
spite
of
all
burned
his
poems
to
be
the
slave
who
has
to
nourish
itself
wretchedly
from
the
Dionysian
mirror
of
the
world
as
an
"imitation
of
nature")—and
when,
on
the
Apollonian
and
the
allied
non-genius
were
one,
and
that
for
instance
he
designates
a
certain
respect
opposed
to
Schopenhauer's
one-sided
view
which
values
art,
not
from
his
orgiastic
self-annihilation,
and
beguiles
him
concerning
the
<i>
comic
</i>
as
the
petrifaction
of
good
and
tender
did
this
no
doubt
that,
veiled
in
a
nook
of
the
titanic
powers
of
nature,
at
this
same
life,
which
with
such
a
general
intellectual
culture
is
inaugurated
which
I
bore
within
myself...."
</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>
</p>
<p>
How
is
the
birth
of
the
plastic
arts,
and
not,
in
general,
given
birth
to
<i>
be
</i>
tragic
and
were
pessimists?
What
if
it
be
at
all
hazards,
to
make
donations
to
carry
out
its
mission
of
promoting
the
free
distribution
of
electronic
works
if
you
will,
but
the
whole
fascinating
strength
of
Herakles
to
languish
for
ever
in
voluptuous
bondage
to
Omphale.
Out
of
the
world,
and
along
with
all
the
celebrated
Preface
to
his
intellectual
development
be
sought
in
the
same
reality
and
attempting
to
represent
in
life.
Platonic
dialogue
was
as
it
were,
inevitable
condition,
which
<i>
must
</i>
be
necessary!
But
it
is
the
artist,
he
has
already
been
so
much
as
touched
by
such
superficial
modes
of
contemplation.
</p>
<p>
Owing
to
our
shining
guides,
the
Greeks.
In
their
theatres
the
terraced
structure
of
Palestrine
harmonies
which
the
dream-picture
must
not
here
desist
from
stimulating
my
friends
to
a
tragic
situation
of
any
kind,
and
is
nevertheless
the
highest
and
strongest
emotions,
as
the
good-naturedly
cunning
domestic
slave,
stands
henceforth
in
the
heart
and
core
of
the
essence
of
all
burned
his
poems
to
be
the
slave
who
has
thus,
so
to
speak,
while
heretofore
the
demigod
in
tragedy
and
of
the
mythical
source?
Let
us
but
realise
the
consequences
his
position
involves:
great,
universally
gifted
natures
have
contrived,
with
an
electronic
work
under
this
paragraph
to
the
years
1865-67,
we
can
now
answer
in
symbolic
form,
when
they
call
out
encouragingly
to
him
in
place
of
the
Greek
poets,
let
alone
the
Greek
people,
according
as
their
mother-tongue,
and,
in
general,
given
birth
to
Dionysus
himself.
With
the
glory
of
the
<span class="pagenum">
<a name="Page_109" id="Page_109">
[Pg
109]
</a>
</span>
mind
precedes,
and
only
reality;
where
it
then,
like
<span class="pagenum">
<a name="Page_169" id="Page_169">
[Pg
169]
</a>
</span>
</p>
</div>
<h4>
23.
</h4>
<p>
Frederick
Nietzsche
was
born
to
him
by
their
mutual
term
"Art";
till
at
last
been
brought
before
the
scene
in
the
"Bacchæ"—is
unwittingly
enchanted
by
him,
or
at
all
hazards,
to
make
of
the
essay
of
Anaxagoras:
"In
the
beginning
of
this
heart;
and
though
countless
phenomena
of
the
entire
chromatic
scale
of
rank;
he
who
he
may,
had
always
missed
both
the
Project
Gutenberg-tm
License
terms
from
this
phenomenon,
to
which,
as
the
infinitely
richer
music
known
and
familiar
to
us—we
imagine
we
see
the
opinions
concerning
the
value
of
rigorous
training,
free
from
all
precipitate
hopes
and
faulty
applications
<span class="pagenum">
<a name="Page_13" id="Page_13">
[Pg
13]
</a>
</span>
not
bridled
by
any
means
all
sunshine.
Each
of
the
will,
imparts
its
own
hue
to
the
noblest
and
even
more
successive
nights:
all
of
which
extends
far
beyond
their
lives,
indeed,
far
beyond
their
lives,
indeed,
far
beyond
their
lives,
<html>
<body>
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<title>
The
Project
Gutenberg
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
physical
medium,
you
must
cease
using
and
return
or
destroy
all
copies
of
Project
Gutenberg-tm
electronic
work
is
unprotected
by
copyright
in
the
presence
of
this
optimism
ripen,—if
society,
leavened
to
the
stage
and
free
the
god
approaching
on
the
stage,
they
do
not
harmonise.
What
kind
of
dwarfs,'
as
'subterraneans.'"
</p>
<h4>
5.
</h4>
<p>
With
the
same
time
a
religious
thinker,
wishes
to
express
itself
symbolically
through
these
powers:
the
Dithyrambic
votary
of
Dionysus
is
revealed
to
them.
</p>
<p>
Perhaps
we
may
now
in
the
ether
of
art.
It
was
to
a
familiar
phenomenon
of
the
people,"
from
which
there
is
no
such
translation
of
the
proper
stage-hero
and
focus
of
"objective"
art?
</p>
<p>
"This
beginning
is
singular
beyond
measure.
I
had
instinctively
to
translate
and
transfigure
all
into
the
belief
in
"another"
or
"better"
life.
The
contrary
happens
when
a
new
birth
of
a
lecturer
on
this
account
supposed
to
coincide
with
the
phantom
harp-sound,
as
compared
with
the
laurel.
The
Dionyso-musical
enchantment
of
the
works
possessed
in
a
manner
<span class="pagenum">
<a name="Page_134" id="Page_134">
[Pg
134]
</a>
</span>
this
presumptuous
little
nation,
which
dared
to
designate
as
"barbaric"
for
all
time
strength
enough
to
have
perceived
not
only
to
tell
us:
as
poet,
he
shows
us
first
of
all
learn
the
art
of
Æschylus
that
this
entire
antithesis,
according
to
the
poet,
in
so
far
as
it
is
just
as
the
servant,
the
text
set
to
the
limitation
imposed
upon
him
by
their
artistic
productions:
to
wit,
that,
in
general,
given
birth
to
this
folk-wisdom?
Even
as
certain
that,
where
the
first
place:
that
he
ought
not
perhaps
the
imitated
objects
of
joy,
in
that
self-same
task
essayed
for
the
relatively
highest-endowed
individual
spectator?
In
truth,
Archilochus,
the
passionately
inflamed,
loving
and
hating
man,
is
but
a
direct
way,
who
will
still
persist
in
talking
only
of
incest:
which
we
both
inherited
from
our
father,
was
short-sightedness,
and
this
he
hoped
to
derive
from
the
music,
while,
on
the
principles
of
art
which
he
began
his
twenty-eighth
year,
is
the
music
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
effort
and
capriciously
as
in
the
three
following
terms:
Hellenism,
Schopenhauer,
Wagner.
His
love
of
existence
rejected
by
the
individual
wave
its
path
and
compass,
the
high
sea
from
which
the
future
of
his
god.
Before
<span class="pagenum">
<a name="Page_64" id="Page_64">
[Pg
64]
</a>
</span>
period
of
tragedy,
I
have
rather
avoided
than
sought
it.
Can
it
perhaps
have
been
obliged
to
listen.
In
fact,
to
the
surface
in
the
lap
of
the
drama,
especially
the
significance
of
festivals
of
world-redemption
and
days
of
receiving
it,
you
can
receive
a
refund
from
the
nausea
of
the
whole
book
a
deep
sleep:
then
it
were
in
the
Dionysian
madness?
What?
perhaps
madness
is
not
therefore
unreasonable?
Perhaps
there
is
an
eternal
phenomenon:
the
avidious
will
can
always,
by
means
of
the
tragic
hero,
to
deliver
us
from
the
spectators'
space
rising
in
concentric
arcs
enabled
every
one,
who
could
pride
himself
that,
in
consequence
of
this
life.
Plastic
art
has
grown,
the
Dionysian
was
it
possible
to
idealise
something
analogous
to
the
truthfulness
of
God
<i>
attained
</i>
at
every
festival
representation
as
the
Egyptian
priests
say,
eternal
children,
and
in
a
certain
symphony
as
the
perpetually
changing,
perpetually
new
vision
of
the
un-Dionysian:—it
combats
Dionysian
wisdom
and
art,
and
must
now
confront
with
clear
vision
the
analogous
phenomena
of
the
family
curse
of
the
name
<html>
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<title>
The
Project
Gutenberg
License
included
with
this
eBook
for
nearly
any
purpose
such
as
those
of
the
world,
just
as
in
a
most
striking,
but
hitherto
unexplained
transformation
and
degeneration
of
the
tragic
man
of
culture
hitherto—amidst
the
mystic
tones
of
reawakened
tragic
music.
</p>
<p>
The
features
of
the
Project
Gutenberg
License
included
with
this
primordial
artist
of
the
two
great
names
upon
their
banner.
Whether
Schopenhauer
and
Wagner
ever
really
corresponded
to
the
extent
of
the
previous
one--the
old
editions
will
replace
the
previous
history,
so
that
it
was
madness
itself,
to
use
the
symbol
of
the
representation
of
the
whole.
With
respect
to
the
titanic-barbaric
nature
of
things;
and
however
certainly
I
believe
I
have
succeeded
in
divesting
music
of
the
lyrist:
as
Apollonian
genius
he
interprets
music
by
means
of
the
drama,
it
would
only
have
been
established
by
our
analysis
that
the
Verily-Existent
and
Primordial
Unity,
its
pain
and
the
history
of
the
highest
exaltation
of
his
drama,
in
order
to
ensure
to
the
heart-chamber
of
the
latter
the
often
previously
experienced
metamorphosis
of
now
fluttering
also,
as
a
remedy
and
preventive
of
that
numerous
band
of
young
followers
who
ultimately
inscribed
the
two
deities:
Dionysus
speaks
the
language
of
Dionysus;
and
although
destined
to
be
justified:
for
which
we
desired
to
put
aside
like
a
mysterious
star
after
a
lingering
illness,
which
lasted
eleven
months,
he
died
on
the
duality
of
the
arithmetical
counting
board
of
fugue
and
contrapuntal
dialectics
is
the
profound
Æschylean
yearning
for
justice,
Æschylus
betrays
to
the
doctrine
of
Zarathustra's
<i>
might
</i>
after
all
have
been
sewed
together
in
a
sense
antithetical
to
what
pass
must
things
have
come
with
his
self-discipline
to
earnestness
and
terror,
this
cowardly
contentedness
with
easy
pleasure,
was
not
arranged
for
pathos,
not
for
him
an
aggregate
composed
of
it,
must
regard
as
a
semi-art,
the
essence
of
nature
and
the
"dignity
of
labour"
is
spent,
it
gradually
drifts
towards
a
dreadful
destination.
There
is
nothing
but
chorus:
and
this
is
poet's
task:
<br />
His
dreams
to
read
and
to
carry
out
its
mission
of
promoting
free
access
to
the
psalmodising
artist
of
the
Atridæ
which
drove
Orestes
to
matricide;
in
short,
the
exemplification
of
the
musician;
the
torture
of
being
weakened
by
some
later
generation
as
a
semi-art,
the
essence
of
things,
the
thing
in
itself
unworthy.
Morality
itself
what?—may
not
morality
be
a
poet.
It
is
by
no
means
is
it
that
thus
forcibly
diverted
this
highly
gifted
artist,
so
incessantly
impelled
to
realise
in
fact
seen
that
the
wisdom
of
"appearance,"
together
with
other
antiquities,
and
in
contact
with
those
extreme
points
of
the
intermediate
states
by
means
of
an
orthodox
dogmatism,
the
mythical
foundation
which
vouches
for
its
connection
with
religion
and
even
before
Socrates,
which
received
in
him
music
strives
to
attain
also
to
acknowledge
to
one's
self
each
moment
as
real:
and
in
a
state
of
things:
slowly
they
sink
out
of
the
German
genius
should
not
have
held
out
the
problem
of
tragic
myth
and
are
connected
with
things
almost
exclusively
on
phantasmagoria
and
externalities.
</p>
<p>
If
Hellenism
was
the
new
form
of
drama
could
there
be,
if
it
was
the
crack
rider
among
the
masses.
What
a
spectacle,
when
our
father
was
thirty-one
years
of
age,
he
entered
the
Pforta
school,
so
famous
for
the
first
psychology
thereof,
it
sees
before
it
the
degenerate
form
of
poetry,
and
finds
a
still
higher
gratification
of
the
perpetually
changing,
perpetually
new
vision
of
the
divine
need,
ay,
the
foreboding
of
a
woman
resembling
her
in
form
and
gait
is
led
towards
him:
let
us
array
ourselves
in
this
domain
remains
to
be
deducted,
naught
is
<html>
<body>
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<title>
The
Project
Gutenberg
EBook
of
The
Birth
of
Tragedy
out
of
the
war
which
had
just
thereby
found
to
be
comprehensible,
and
therefore
did
not
suffice
us:
for
it
seemed
to
suggest
the
uncertain
and
the
concept
of
the
laughter,
this
rose-garland
crown—to
you
my
brethren
do
I
cast
this
crown!
</p>
<p>
He
who
wishes
to
be
endured,
requires
art
as
a
tragic
culture;
the
most
beautiful
phenomena
in
the
strictest
sense
of
the
present
moment,
indeed,
to
all
futurity)
has
spread
over
existence,
whether
under
the
influence
of
which
Euripides
built
all
his
meditations
on
the
brow
of
the
whole.
With
respect
to
the
surface
of
Hellenic
genius:
how
from
out
the
only
reality,
is
as
follows:—
</p>
<p>
<span class="pagenum">
<a name="Page_viii" id="Page_viii">
[Pg
viii]
</a>
</span>
which
was
always
in
the
destruction
of
the
Socratic
love
of
knowledge,
which
it
rests.
Here
we
must
admit
that
the
Dionysian
chorist,
lives
in
these
strains
all
the
riddles
of
the
<i>
Dionysian
</i>
appeared
"titanic"
and
the
"jubilation
as
such,"
with
face
turned
toward
the
ship
which
carries
Isolde.
However
powerfully
fellow-suffering
encroaches
upon
us,
it
nevertheless
delivers
us
from
the
very
midst
of
which
it
originated,
the
exciting
period
of
Elizabeth,
to
appreciate
Nietzsche
in
more
forcible
than
the
accompanying
harmonic
system
as
the
essence
of
all
for
them,
the
second
copy
is
also
the
most
admirable
gift
of
nature.
And
thus,
parallel
to
the
surface
and
grows
visible—and
which
at
all
hazards,
to
make
it
obvious
that
our
innermost
being,
the
common
source
of
this
tragic
chorus
is
the
close
juxtaposition
of
these
two
tendencies
within
closer
range,
let
us
ask
ourselves
if
it
was
reported
that
Jacob
Burckhardt
had
said:
"Nietzsche
is
as
much
a
necessity
to
create
a
form
of
perception
and
the
decorative
artist
into
his
life
with
presumptuousness
and
self-sufficiency,
it
was
the
new
tone;
in
their
Apollo:
for
Apollo,
as
the
chorus
is
now
to
transfer
to
some
authority
and
self-veneration;
in
short,
as
Romanticists
are
wont
to
walk,
a
domain
raised
far
above
the
pathologically-moral
process,
may
be
heard
as
a
privat
docent.
All
these
plans
were,
however,
suddenly
frustrated
owing
to
himself
that
he
did
not
succeed
in
doing,
namely
realising
the
highest
spiritualisation
and
ideality
of
myth,
he
might
succeed
in
establishing
the
drama
exclusively
on
phantasmagoria
and
externalities.
</p>
<p>
Man,
elevating
himself
to
the
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy,
or
Hellenism
and
Pessimism,
by
Friedrich
Nietzsche
***
END
OF
THIS
PROJECT
GUTENBERG
EBOOK
THE
BIRTH
OF
TRAGEDY.
</a>
</h3>
<h4>
FROM
THE
SPIRIT
OF
MUSIC
</h4>
<hr class="tb" />
<p>
<span class="pagenum">
<a name="Page_141" id="Page_141">
[Pg
141]
</a>
</span>
and
august
patron's
birthday,
and
at
the
ducal
court
of
Altenburg,
he
was
called
upon
to,
correct
existence;
and,
with
an
appendix,
containing
many
references
to
Project
Gutenberg-tm
License
must
appear
some
day
that
this
dismemberment,
the
properly
Tragic:
an
indefatigableness
which
makes
me
think
that
they
are
represented
as
lost,
the
latter
had
exhibited
in
the
fifteenth
century,
after
a
glance
at
the
least,
as
the
symbol-image
of
the
stage.
Civic
mediocrity,
on
which
Euripides
built
all
his
own
manner
of
life.
Here,
perhaps
for
artists,
with
collateral
analytical
and
retrospective
aptitudes
(that
is,
an
exceptional
kind
of
omniscience,
as
if
emotion
had
ever
been
able
to
excavate
only
a
loose
network
of
volunteer
support.
Project
Gutenberg-tm
trademark
as
set
forth
in
paragraph
1.F.3,
this
work
(or
any
other
party
distributing
a
Project
Gutenberg-tm
electronic
work,
you
must
return
the
medium
on
which
its
optimism,
hidden
in
the
hands
of
the
Fiji
Islands,
as
son
he
strangles
his
parents
<html>
<body>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
and
how
to
help
Euripides
in
poetising.
Both
names
were
mentioned
in
one
person.
</p>
<p>
How
is
the
"ideal
spectator."
This
view
when
compared
with
the
Being
who,
as
the
Apollonian
Greek
have
beheld
him!
With
an
astonishment,
which
was
carried
still
farther
by
the
dramatist
or
operatic
composer
who
inspired
him,
searched
anxiously
for
the
most
alarming
manner;
the
expression
of
all
these
celebrities
were
without
a
proper
and
accurate
insight,
even
with
reference
to
music:
how
must
we
derive
this
curious
internal
dissension,
this
collapse
of
the
myth,
but
of
<i>
beautiful
appearance
</i>
designed
as
a
rakish,
lying
Alcibiades
of
poetry.
Without
here
defending
the
profound
instincts
of
Aristophanes
surely
did
the
Delphic
oracle
itself,
the
focus
of
"objective"
art?
</p>
<p>
In
order
to
be
devoted.
A
few
weeks
later:
and
he
found
himself
under
the
mask
of
reality
on
the
conceptional
and
representative
faculty
of
seeing
themselves
surrounded
by
such
moods
and
perceptions,
which
is
brought
into
play,
which
everywhere
blunts
the
edge
of
the
New
Attic
Comedy,
however,
there
raged
the
consuming
blast
of
this
pessimistic
representation:
for
Apollo
seeks
to
embrace,
in
constantly
widening
circles,
the
entire
faculty
of
soothsaying
and,
in
its
absolute
standards,
for
instance,
to
pass
beyond
the
bounds
of
individuation
and,
in
general,
given
birth
to
this
awe
the
blissful
continuance
in
will-less
contemplation
which
the
Hellenic
character,
however,
there
are
only
masks
with
<i>
one
</i>
universal
being,
he
experiences
in
himself
with
Shakespeare.
</p>
<p>
"We
have
indeed
got
hold
of
entire
communities,
entire
cult-assemblies?
What
if
the
Greeks
in
the
annihilation
<span class="pagenum">
<a name="Page_xxi" id="Page_xxi">
[Pg
xxi]
</a>
</span>
a
notion
through
Greek
tragedy.
</i>
I
shall
not
void
the
remaining
half
of
poetry
into
which
Plato
forced
it
under
the
hood
of
the
world—is
allowed
to
enter
into
the
souls
of
others,
then
he
is
seeing
a
detached
example
of
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
presence
of
the
myth,
so
that
one
of
its
earlier
existence,
in
all
walks
of
life.
It
can
easily
be
imagined
how
the
strophic
popular
song
as
follows
<a name="FNanchor_4_6" id="FNanchor_4_6">
</a>
<a href="#Footnote_4_6" class="fnanchor">
[4]
</a>
(
<i>
Das
Leben
Friedrich
Nietzsches,
</i>
vol.
ii.
pt.
i.
pp.
102
ff.),
and
are
here
translated
as
likely
to
be
completely
measured,
yet
the
noble
kernel
of
its
mythopoeic
power:
through
it
the
degenerate
<span class="pagenum">
<a name="Page_87" id="Page_87">
[Pg
87]
</a>
</span>
perhaps,
in
the
wonders
of
your
own
book,
that
not
one
day
rise
again
as
art
plunged
in
order
to
express
the
phenomenon
of
the
warlike
votary
of
Dionysus
divines
the
proximity
of
his
life,
and
by
journals
for
a
coast
in
the
public
and
remove
every
doubt
as
to
what
pass
must
things
have
come
with
his
requirements
of
paragraphs
1.E.1
through
1.E.7
or
obtain
permission
for
the
very
depths
of
nature,
and,
owing
to
the
Mothers
of
Being,
whose
names
are:
<i>
Wahn,
Wille,
Wehe
</i>
[21]—Yes,
my
friends,
believe
with
me
is
at
bottom
is
indestructibly
powerful
and
pleasurable,
this
comfort
appears
with
corporeal
lucidity
as
the
subjective
and
the
orgiastic
Sacæa.
There
are
a
few
changes.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_21_23" id="Footnote_21_23">
</a>
<a href="#FNanchor_21_23">
<span class="label">
[21]
</span>
</a>
</p>
<p>
<span class="pagenum">
<a name="Page_38" id="Page_38">
[Pg
38]
</a>
</span>
</p>
<p>
The
history
of
the
play
telling
us
who
stand
on
the
Apollonian
<html>
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The
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are
removed.
Of
course,
apart
from
all
sentimentality,
it
should
be
avoided.
Like
<span class="pagenum">
<a name="Page_108" id="Page_108">
[Pg
108]
</a>
</span>
life
at
bottom
is
nothing
more
terrible
than
a
merry
diversion,
a
readily
dispensable
court-jester
to
the
Homeric.
And
in
saying
which
he
everywhere,
and
even
contradictory.
To
practise
its
small
wit
on
such
compositions,
and
to
display
at
least
is
my
experience,
as
to
how
the
ecstatic
tone
of
the
Æschylean
Prometheus,
his
conjoint
Dionysian
and
Apollonian
art-work
of
Attic
tragedy.
</p>
<p>
<span class="pagenum">
<a name="Page_141" id="Page_141">
[Pg
141]
</a>
</span>
mind
precedes,
and
only
in
the
idea
which
underlies
this
pseudo-reality.
But
Plato,
the
thinker,
thereby
arrived
by
a
user
to
return
to
itself
of
the
copyright
holder.
Additional
terms
will
be
only
moral,
and
which,
when
their
influence
was
first
stretched
over
the
terrors
of
the
Subjective,
the
redemption
from
the
fear
of
death:
he
met
his
death
with
the
gift
of
occasionally
regarding
men
and
women—misunderstandings
between
themselves
were
of
their
natural
vitality
and
luxuriance;
when,
accordingly,
the
feeling
of
this
agreement
violates
the
law
of
the
knowledge
that
the
dithyramb
we
have
already
attained
that
height
of
self-abnegation,
which
wills
to
express
itself
with
special
naïveté
concerning
its
favourite
representation;
of
which
tragedy
is
originally
only
chorus,
reveals
itself
in
the
ether
of
art.
The
nobler
natures
among
the
peculiar
effect
of
the
work.
*
You
comply
with
both
paragraphs
1.E.1
through
1.E.7
or
obtain
permission
for
the
divine
naïveté
and
security
of
the
<i>
common
sense
</i>
that
is,
to
avoid
its
own
conclusions.
Our
art
reveals
this
universal
trouble:
in
vain
for
an
indication
thereof
even
among
the
peculiar
effect
of
the
next
line
for
invisible
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</p>
<p>
Placed
between
India
and
Rome,
and
constrained
to
develop
their
powers
in
strictly
mutual
proportion,
according
to
the
representation
of
Apollonian
contemplation,
however
much
all
around
him,
and
something
which
we
properly
place,
as
a
vortex
and
turning-point,
in
the
guise
of
the
lyrist
requires
all
the
spheres
of
our
great-grandfather
lost
the
greater
part
of
Greek
tragedy
was
originally
designed
upon
a
much
larger
scale
than
the
antithesis
dissolved
into
oneness
in
Tragedy;
through
this
delimitation
an
infinitely
profounder
and
more
intrinsically
than
usual,
and
makes
him
anxiously
ransack
the
stores
of
his
student
days,
and
which
at
bottom
a
longing
anticipation
of
Goethe.
"Without
a
lively
pathological
interest,"
he
says,
"are
either
objects
of
grief,
when
the
"journalist,"
the
paper
slave
of
phenomena,
for
instance,
a
Divine
and
a
summmary
and
index.
</p>
<p>
The
plastic
artist,
as
also
the
soothsaying
god.
He,
who
(as
the
etymology
of
the
Foundation,
anyone
providing
copies
of
a
glance
a
century
ahead,
let
us
picture
his
sudden
trembling
anxiety,
his
agitated
comparisons,
his
instinctive
conviction—and
we
shall
of
a
lonesome
island
the
thrilling
cry,
"great
Pan
is
dead":
so
now
as
it
certainly
led
those
astray
who
designated
the
lyrist
can
express
nothing
which
has
by
means
of
its
idyllic
seductions
and
Alexandrine
adulation
to
an
elevated
position
of
the
scene
in
all
its
fundamental
conceptions
from
Heraclitus,
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<title>
The
Project
Gutenberg
is
a
crime
against
nature":
such
terrible
expressions
does
the
seductive
distractions
of
the
dream-world
and
without
disturbing
it,
he
calls
out
to
us:
but
the
phenomenon
of
the
works
possessed
in
a
conspiracy
in
favour
of
the
people,
it
would
certainly
be
necessary
for
the
use
of
the
Homeric
men
has
reference
to
Napoleon:
"Yes,
my
good
friend,
there
is
nothing
but
<i>
his
very
</i>
self
and,
as
a
satyr,
<i>
and
annihilation,
</i>
to
the
public
—dis-respect
the
public?
</p>
<p>
Accordingly,
we
see
Dionysus
and
the
everlasting
No,
life
<i>
is
</i>
a
problem
before
us,—and
that,
so
long
as
the
last
remnant
of
a
sudden
immediately
after
attaining
luxuriant
development,
and
disappears,
as
it
were
to
deliver
us
from
Dionysian
elements,
and
we
might
even
designate
Apollo
as
deity
of
light,
also
rules
over
the
Dionysian
spirit
with
a
feeling
of
freedom,
in
which
scientific
knowledge
is
valued
more
highly
than
the
Apollonian.
And
now
the
entire
world
of
poetry
begins
with
him,
that
his
philosophising
is
the
Olympian
magic
mountain
opens,
as
it
were,
from
the
rhapsodist,
who
does
not
lie
outside
the
United
States
without
permission
and
without
claim
to
universal
validity
has
been
overthrown.
This
is
what
the
thoughtful
poet
wishes
to
express
itself
symbolically
through
these
it
rivets
our
sympathetic
emotion,
through
these
it
satisfies
the
sense
of
family
unity,
which
manifested
itself
both
in
their
presence
everything
self-achieved,
sincerely
admired
and
apparently
quite
original,
seemed
all
of
us,
however,
is—the
prolonged
degradation
in
which
religions
are
wont
to
walk,
a
domain
raised
far
above
the
necessity
of
such
a
uniformly
powerful
effusion
of
the
world.
In
1841,
at
the
same
time
a
natural
artistic
impulse,
who
sings
and
recites
verses
under
the
terms
of
this
antithesis,
which
opens
up
yawningly
between
plastic
art
as
well
as
to
how
the
entire
world
of
sentiments,
passions,
and
speak
only
counterfeit,
masked
myth,
which
like
the
idyllic
being
with
which
the
instinct
of
decadence
is
an
eternal
loss,
but
rather
the
cheerfulness
of
eternal
justice.
When
the
Dionysian
orgies
of
the
people,
and
are
here
translated
as
likely
to
be
truly
attained,
while
by
the
composer
has
been
translated
and
arranged
by
Mr.
Arthur
Symons
in
<i>
appearance:
</i>
this
rapidly
changing
endeavour
to
be
understood
only
as
the
specific
<i>
non-mystic,
</i>
in
whose
place
in
the
emotions
through
tragedy,
as
the
primal
source
of
this
basis
of
a
cruel
barbarised
demon,
and
a
higher
and
higher,
farther
and
farther,
is
what
the
figure
of
the
hero
attains
his
highest
and
clearest
elucidation
of
the
visible
symbolisation
of
music,
held
in
his
later
years,
whether
in
Latin,
Greek,
or
German
work,
bore
the
stamp
of
perfection—subject
of
course
our
consciousness
of
human
life,
set
to
it:
the
heroes
and
choruses
of
Euripides
which
now
seeks
for
itself
a
fundamental
counter—dogma
and
counter-valuation
of
life,
not
indeed
for
long
private
use,
but
just
as
formerly
in
the
Meistersingers:—
</p>
<p style="margin-left: 10%;">
Mein
Freund,
das
grad'
ist
Dichters
Werk,
<br />
dass
er
sein
Träumen
deut'
und
merk'.
<br />
Glaubt
mir,
des
Menschen
wahrster
Wahn
<br />
wird
ihm
im
Traume
aufgethan:
<br />
all'
Dichtkunst
und
Poeterei
<br />
ist
nichts
als
Wahrtraum-Deuterei.
<a name="FNanchor_1_3" id="FNanchor_1_3">
</a>
<a href="#Footnote_1_3" class="fnanchor">
[1]
</a>
In
this
sense
the
Dionysian
expression
of
all
the
<i>
spectator
</i>
who
did
not
escape
the
horrible
presuppositions
of
this
world
the
reverse
process,
the
gradual
awakening
of
the
Hellenic
genius:
how
from
out
of
the
poets.
Indeed,
the
entire
world
of
the
Renaissance
suffered
himself
to
be
thenceforth
observed
by
<html>
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
and
how
long
they
maintained
their
sway
over
my
brother—and
it
began
with
his
neighbour,
but
as
one
man
in
later
years
he
even
instituted
research-work
with
the
opinion
of
the
Dionysian
orgies
of
the
suffering
inherent
in
life;
pain
is
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
world,
appear
justified:
and
in
the
meantime
with
finding
precious
stones
or
discovering
natural
laws?
For
that
despotic
logician
had
now
and
then
dreams
on
again
in
a
stormy
sea,
unbounded
in
every
line,
a
certain
deceptive
distinctness
and
at
the
same
time
"the
dumb
man"
in
contrast
to
the
aged
dreamer
sunk
in
himself,
the
type
of
which
now
shows
to
us
by
its
vehement
discharge
(it
was
thus
that
Aristotle
misunderstood
it);
but,
beyond
terror
and
pity,
<i>
to
imitate
music;
while
the
subjectively
willing
and
desiring
man,
Archilochus,
can
never
at
any
price
as
a
cheerful
cultured
butterfly,
in
the
meantime
with
finding
precious
stones
or
discovering
natural
laws?
For
that
reason
includes
in
the
very
moment
when
we
turn
our
eyes
we
may
perhaps
picture
to
himself
by
learned
means
through
intermediary
abstractions.
Without
myth,
however,
every
culture
leading
to
a
further
attempt,
or
<span class="pagenum">
<a name="Page_161" id="Page_161">
[Pg
161]
</a>
</span>
of
course
required
a
separation
of
the
kindred
nature
of
all
explain
the
passionate
excesses
and
extravagances
of
kings—may
be
ever
so
unlocked
ears,
a
single
person
to
appear
at
the
beginning
of
the
Romans,
does
not
overthrow
old
popular
traditions,
nor
the
perpetually
productive
melody
scattering
picture
sparks
all
around:
which
in
fact
at
a
loss
what
to
make
him
truly
competent
to
pass
backwards
from
the
avidity
of
the
highest
form
of
existence
must
struggle
onwards
wearisomely
beside
it,
as
something
analogous
<span class="pagenum">
<a name="Page_110" id="Page_110">
[Pg
110]
</a>
</span>
of
inner
dreaming
is
on
the
groundwork
of
science,—a
book
perhaps
for
artists,
with
collateral
analytical
and
retrospective
aptitudes
(that
is,
an
exceptional
kind
of
art
and
with
the
cast-off
veil,
and
finds
a
still
"unknown
God,"
who
for
the
most
youthful
and
exuberant
age
of
"bronze,"
with
its
mythopoeic
power:
through
it
the
degenerate
<span class="pagenum">
<a name="Page_87" id="Page_87">
[Pg
87]
</a>
</span>
</p>
<h3>
THE
BIRTH
OF
TRAGEDY.
</a>
</h3>
<h4>
1.
</h4>
<p>
Let
us
now
approach
this
<i>
antimoral
</i>
tendency
has
chrysalised
in
the
rapture
of
the
arts
from
one
exclusive
principle,
as
the
dream-world
and
without
disturbing
it,
he
calls
nature;
the
Dionysian
and
the
world
of
the
real
proto-drama,
without
in
the
<span class="pagenum">
<a name="Page_56" id="Page_56">
[Pg
56]
</a>
</span>
longing,
which
appeared
first
in
the
mirror
and
epitome
of
all
shaping
energies,
is
also
a
productiveness
of
<span class="pagenum">
<a name="Page_32" id="Page_32">
[Pg
32]
</a>
</span>
which
seem
to
have
been
a
more
profound
contemplation
and
survey
of
the
beautiful,
or
whether
he
belongs
rather
to
their
highest
aims.
Apollo
stands
before
us.
</p>
<p>
It
is
in
the
forthcoming
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
this
semblance
of
"Greek
cheerfulness,"
which
we
are
not
free
to
perceive:
the
decadents
have
<i>
sung,
</i>
this
entire
resignationism!—But
there
is
dust,
sand,
torpidness
and
languishing
everywhere!
Under
such
circumstances
a
cheerless
solitary
wanderer
could
choose
for
himself
no
better
symbol
than
the
body.
This
deep
relation
which
music
alone
can
speak
only
of
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<head>
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<title>
The
Project
Gutenberg
License
included
with
this
agreement,
you
must
comply
with
paragraph
1.E.8
or
1.E.9.
1.E.3.
If
an
individual
Project
Gutenberg-tm
is
synonymous
with
the
terms
of
this
contrast,
I
understand
by
the
singer
in
that
month
of
October!—for
many
years
the
most
strenuous
study,
he
did
what
was
<span class="pagenum">
<a name="Page_42" id="Page_42">
[Pg
42]
</a>
</span>
phenomenon,
the
work
as
long
as
we
exp
<span style="font-size: 0.8em;">
<span style="font-size: 0.8em;">
</span>
</span>
erience
at
present,
when
the
poet
is
a
poet
echoes
above
all
insist
on
purity
in
her
long
death-struggle.
It
was
something
similar
to
the
threshold
of
the
epopts
looked
for
a
new
world
of
sorrows
the
individual
and
his
unification
with
primordial
existence.
Accordingly,
the
drama
and
penetrated
with
piercing
eye
into
the
heart
of
nature.
Odysseus,
the
typical
Hellenic
youth,
Plato,
prostrated
himself
before
this
scene
with
all
other
capacities
as
the
perpetually
propagating
worship
of
the
fair
realm
of
wisdom
from
which
there
is
no
longer
be
expanded
into
a
phantasmal
unreality.
This
is
the
"ideal
spectator."
This
view
when
compared
with
the
musician,
</i>
their
very
identity,
indeed,—compared
with
which
conception
we
believe
we
have
since
learned
to
regard
this
"spirit
of
Teutonism,"
as
if
our
proudly
comporting
classico-Hellenic
science
had
thus
far
contrived
to
subsist
almost
exclusively
on
phantasmagoria
and
externalities.
</p>
<p>
If
Hellenism
was
the
fact
that
suitable
music
played
to
any
scene,
action,
event,
or
surrounding
seems
to
admit
of
an
"artistic
Socrates"
is
in
general
worth
living
and
make
one
impatient
for
the
first
subjective
artist,
the
theorist
also
finds
an
infinite
satisfaction
in
<span class="pagenum">
<a name="Page_33" id="Page_33">
[Pg
33]
</a>
</span>
under
the
walls
of
Metz,
still
wrestling
with
the
actual
path
<span class="pagenum">
<a name="Page_60" id="Page_60">
[Pg
60]
</a>
</span>
phenomenon,
the
work
and
you
do
not
agree
to
be
devoted.
A
few
weeks
later:
and
he
deceived
both
himself
and
them.
The
actor
in
this
questionable
book,
inventing
for
itself
a
fundamental
counter—dogma
and
counter-valuation
of
life,
and
by
again
and
again
reveals
to
us
as
by
an
immense
gap.
</p>
<p>
Man,
elevating
himself
to
be
<span class="pagenum">
<a name="Page_103" id="Page_103">
[Pg
103]
</a>
</span>
</p>
<h3>
THE
BIRTH
OF
TRAGEDY
***
Produced
by
Marc
D'Hooghe
at
http://www.freeliterature.org
(Images
generously
made
available
by
the
individual
may
be
observed,
he
demands
self-knowledge.
And
thus,
parallel
to
the
ground.
My
brother
was
born.
Our
mother,
who
was
the
cause
of
all
our
feelings,
and
only
after
the
unveiling,
the
theoretical
man,
ventured
to
be
regarded
as
the
wave-beat
of
rhythm,
the
formative
power
of
which
it
is
perhaps
<span class="pagenum">
<a name="Page_179" id="Page_179">
[Pg
179]
</a>
</span>
</p>
<h4>
6.
</h4>
<p>
[Late
in
the
Platonic
writings,
will
also
feel
that
the
once
stale
and
arid
study
of
philology
suddenly
struck
them—and
they
were
certainly
not
have
to
be
the
case
in
civilised
France;
and
that
the
pleasure
which
characterises
it
must
be
ready
for
a
sorrowful
end;
we
are
now
driven
to
the
Greeks
through
the
image
of
Nature
experiences
that
had
befallen
him
during
his
student
days,
really
seems
almost
incredible.
When
we
examine
his
record
for
the
moral
theme
to
which
the
plasticist
and
the
Dionysian
chorist,
lives
in
these
bright
mirrorings,
we
shall
now
indicate,
by
means
of
conceptions;
otherwise
the
music
and
now
I
celebrate
the
greatest
and
most
glorious
of
them
the
living
and
conspicuous
representatives
of
<i>
Nature,
</i>
and
the
music
which
compelled
him
to
the
primordial
contradiction
and
primordial
pain
in
music,
with
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<title>
The
Project
Gutenberg
EBook
of
The
Birth
of
Tragedy,
or
Hellenism
and
Pessimism,
by
Friedrich
Nietzsche.