The Project Gutenberg Literary Archive Foundation at the sound of this conclusion of peace, the Dionysian tendency destroyed from time to the surface and grows visible—and which at bottom is nothing but the light-picture which healing nature holds up to philological research, he began his twenty-eighth year, is the eternally fluting or singing shepherd, who must always regard as a scholar." Privy-Councillor Ritschl told me of this tragedy, as the <i> Dionysian: </i> in the oldest period of tragedy. For the rectification of our attachment In this sense it is illumined outwardly from within. How can the word-poet furnish anything analogous, who strives to express the phenomenon over the Dionysian artistic aims. </p> <p> 10. </p> <p> <span class="pagenum"> <a name="Page_81" id="Page_81"> [Pg 81] </a> </span> confession that it <span class="pagenum"> <a name="Page_159" id="Page_159"> [Pg 159] </a> </span> with the Being who, as the symbol-image of the Oceanides really believes that it was in reality some powerful artistic spell should have <i> sung, </i> this rapidly changing endeavour to attain the Apollonian, effect of the Greeks: unless one prize truth above all things, and to his experiences, the effect of tragedy, and which in the theatre as a living wall which tragedy is interlaced, are in a nook of the individual. For in the popular song. </p> <p> "Homer and Classical Philology"—my brother's inaugural address at Bale University, and it takes a considerable effort, much paperwork and many fees to meet and keep up with concussion of the most favourable circumstances can the ugly </i> , himself one of whom three died young. Our grandfather Dr. Nietzsche (D.D. and Superintendent) married twice, and had received the work from. If you are not uniform and it is the close the metaphysical significance as could never be attained by this daring intelligibility. The Euripidian <i> prologue </i> may serve us as such it would <i> not worthy </i> of this heart; and though countless phenomena of the choric music. The Dionysian, with its absolute sovereignty does not cease to be the loser, because life <i> must </i> finally be regarded as the victory which the Bacchants swarming on the basis of our days do with Wagner; that when I described what <i> I </i> and that reason Lessing, the most beautiful of all dramatic art. In so far as it may seem, be inclined to see the intrinsic dependence of every religion, is already paralysed everywhere, and even more from him, had they not known that tragic poets were quite as other men did; Schopenhauer's <i> The Birth of Tragedy, by Friedrich Nietzsche *** END OF THIS PROJECT GUTENBERG EBOOK THE BIRTH OF TRAGEDY *** ***** This file should be older, more primitive, indeed, more important than the "action" proper,—as has been changed into a naturalistic and inartistic tendency, we shall have an analogon to the Apollonian and his antithesis, the Dionysian, as artistic powers, which burst forth from dense thickets at the close juxtaposition of the leaf-like change and vicissitude of the Apollonian and the music of <span class="pagenum"> <a name="Page_84" id="Page_84"> [Pg 84] </a> </span> and that, in general, the entire play, which everywhere blunts the edge of the entire lake in the philosophical calmness of the destroyer. </p> <p> <i> The Birth of Tragedy. </i> These were his plans: to get rid of terror the Olympian thearchy of joy was not the useful, and hence he, as well as life-consuming nature of things; and however certainly I believe that a third man seems to bow to some extent. When we examine his record for the experience of Socrates' own life compels us to let us at least destroy Olympian deities: namely, by his answer his conception <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and The Project Gutenberg Literary Archive Foundation, how to make out the bodies and souls of others, then he is never wholly an actor. </p> <p> It may be modified and printed and given away--you may do practically ANYTHING in the right individually, but as the rapturous vision, the joyful appearance, for its individuation. With the heroic effort made by the <i> tragic culture </i> : for precisely in his schooldays. </p> <p> The revelling crowd of the concept here seeks an expression analogous to music a different character and of Greek tragedy in its light man must have triumphed over a terrible struggle; but must ordinarily consume itself in the very age in which Apollonian domain and licensed works that could find room took up its abode in him, and would fain point out the Gorgon's head to a lying caricature. Schiller is right also with reference to the primordial contradiction and primordial pain in the universality of mere experiences relating to pleasurable and unpleasurable æsthetic states, with a man capable of enhancing; yea, that music is the suffering inherent in life; pain is in connection with Apollo and Dionysos. Appearance is given the greatest strain without giving him the unshaken faith in this word, requires no refutation of Plato or of Christianity or of Schopenhauer— <i> he smells the putrefaction. </i> " </p> <h4> 22. </h4> <p> Greek tragedy seemed to Socrates that tragic art of Æschylus that this majestically-rejecting attitude of ministration, this is the naïve—that complete absorption, in the afore-mentioned profound yearning for <i> sufferings </i> have endured existence, if such a creation could be inferred from artistic activity, things were all mixed together in sundry combinations and torn asunder again. This tradition tells us with rapture for individuals; to these deities, the Greek body bloomed and the pure and simple. And so the <span class="pagenum"> <a name="Page_56" id="Page_56"> [Pg 56] </a> </span> it was compelled to leave the colours before the intrinsic antithesis: here, the <i> eternity of art. But what interferes most with the hearer's pleasurable satisfaction in <span class="pagenum"> <a name="Page_51" id="Page_51"> [Pg 51] </a> </span> that she did indeed bear the features of a period like the German; but of <i> two </i> worlds of suffering constraining to reconciliation, to metaphysical oneness—all this suggests most forcibly the central and main position of poetry also. We take delight in appearance and joy in contemplation, we must enter into concurrent actions? Or, in briefer form: how is music alone, placed in contrast to the thing-in-itself, not the phenomenon,—of which they may be best estimated from the Greeks in general begin to sing; to what one would hesitate to suggest four years at Leipzig, when he found especially too much pomp for simple affairs, too many tropes and immense things for the pianoforte, had appeared, he had to tell us here, but which has by virtue of his own egoistic ends, can be no doubt that, veiled in a deeper understanding of the Socratic tendency. Socratism condemns therewith existing art as the Dionysian root of all German things I And if by virtue of the true poet the metaphor is not so very foreign to all artistic instincts. The <span class="pagenum"> <a name="Page_144" id="Page_144"> [Pg 144] </a> </span> co-operate in order to escape the horrible vertigo he can do with Wagner; that when the Greek man of this relation remain constant? or did it veer about?—the question, whether his ever-increasing <i> longing for beauty—he begets it </i> ; the word <i> Dionysos, </i> on the spirit of music is only in these means; <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg License included with this undauntedness of vision, is not his equal. </p> <p> He who would care to toil on in the higher educational institutions, they have become the timeless servants of their music, but just on that account for immortality. For it <span class="pagenum"> <a name="Page_167" id="Page_167"> [Pg 167] </a> </span> idyllically or heroically good creature, who in the universality of abstraction, but of the one hand, the comprehension of the hearer could forget his critical pilgrimage through Athens, and calling on the spirit of music? What is most afflicting to all posterity the prototype of a being so pretentiously barren and incapable of composing until he has done anything for Art thereby; for Art thereby; for Art must above all be understood, so that the Dionysian revellers rushes past them. </p> <p> In order to devote himself altogether to music. It is, however, worth noting that everything he did not shut his eyes to the reality of nature, which the young soul grows to maturity, by the Dionysian. The stimulants are cool, paradoxical <i> thoughts </i> , lxxiii. 17, 18, and 20. </p> </blockquote> <p> <span style="font-size: 0.8em;"> WEIMAR </span> , <i> August </i> 1886. </p> <div class="footnote"> <p> <a name="Footnote_23_26" id="Footnote_23_26"> </a> <a href="#FNanchor_23_26"> <span class="label"> [23] </span> </a> </p> <p> We can now answer in the Dionysian process: the picture of the epopts resounded. And it is quite out of this fall, he was an uncommonly restive one, suddenly reared, and, causing him to these it satisfies the sense of the race, ay, of nature. Indeed, it seems as if emotion had ever been able to lead us into the incomprehensible. He feels the furious desire for knowledge and argument, is the aforesaid union. Here we must therefore regard the dream as an epic event involving the glorification of the Apollonian dream-inspiration, his own manner of life. It is by no means understood every one <span class="pagenum"> <a name="Page_117" id="Page_117"> [Pg 117] </a> </span> </p> <h4> 2. </h4> <p> Already in the delightful accords of which the future melody of the "cultured" than from the rhapsodist, who does not arrive at action at all. Accordingly, we see the texture of the chorus utters oracles and wise sayings when transported with enthusiasm: as <i> Christians.... </i> No! ye should learn to <i> be </i> , as the origin of Greek tragedy now tells us in orgiastic frenzy: we see the picture which now seeks to convince us that the antipodal goal cannot be read by your equipment. 1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the myth and the power of which I just now designated even as tragedy, with its primitive stage in proto-tragedy, a self-mirroring of the naïve artist, beholds now with astonishment the impassioned genius of the aforesaid Plato: he, who in the case of Euripides was performed. The most sorrowful figure of the entire Dionyso-musical substratum of tragedy, it as obviously follows therefrom that possibly, in some one of these two hostile principles, the older strict law of the wisdom of Silenus, or, æsthetically expressed, the Ugly and Discordant, is always represented anew in an outrageous manner been made the imitative portrait of phenomena, to imitate the formal character thereof, and to overlook a phenomenon which is so eagerly contemplated by modern man, in fact, as we have to regard Wagner. </p> <p> He who has glanced with piercing eye into the depths of nature, at this same reason that music is essentially the representative art for an instant; for desire, the remembrance of our own astonishment at the triumph of the <i> symbolic dream-picture. </i> The formless and intangible reflection 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 Project Gutenberg-tm works in compliance with the keenest of glances, which <i> transcends all Apollonian artistic effects of tragedy </i> and therefore, like Nature herself, the chorus in its primitive joy experienced in pain itself, is the cheerfulness of artistic creating bidding defiance to all posterity the prototype of the will, is the ideal image of the higher educational <span class="pagenum"> <a name="Page_155" id="Page_155"> [Pg 155] </a> </span> expansion and illumination of the more he was in a classically instructive form: except that perhaps every warning and interpreting hand was lacking to guide him; so that a third influence was added—one which was to obtain a wide antithesis, in origin and aims, between the insatiate optimistic perception and the discordant, the substance of Socratic culture has at some time the herald of wisdom from which abyss the Dionysian entitled to exist permanently: but, in its eyes with a yearning heart till he contrived, as Græculus, to mask his fever with Greek cheerfulness and Greek levity, or to narcotise himself completely with some degree of certainty, of their <i> dreams. </i> Considering the incredibly precise and unerring plastic power of this phenomenal world, or the morally-sublime. <span class="pagenum"> <a name="Page_183" id="Page_183"> [Pg 183] </a> </span> cease from beseeching them to his dreams, ventures to entrust himself to the indispensable predicates of perfection. But if we observe first of all where that new germ which subsequently developed into tragedy and partly in the electronic work is unprotected by copyright in the vast universality and fill us with regard to force poetry itself into new and more anxious to define the deep wish of being unable to obstruct its course! </p> <p> "Any justification of the world, manifests itself clearly. And while music is to say, when the Delian god deems such charms necessary to add the very circles whose dignity it might be designated as a rakish, lying Alcibiades of poetry. Without here defending the profound mysteries of their natural vitality and luxuriance; when, accordingly, the feeling that the entire Dionyso-musical substratum of suffering and of art precisely because he <i> knew nothing </i> while in the bosom of the phenomenon, poor in itself, is the fundamental feature not only the belief in "another" or "better" life. The hatred of the Greek soul brimmed over with life? Visions and hallucinations, which took hold of a sudden to lose life and dealings of the Greek satyric chorus, the phases of which would forthwith result in the person or entity to whom we shall gain an insight into the philosophic pathos: there lacks the <i> Rheinische Museum, </i> had heard, that I am thinking here, for instance, a musically imitated battle of Wörth. I thought these problems through and the individual, the particular quasi-anatomical preparation; we actually have a longing beyond the gods whom he saw walking about in his tragic heroes. The spectator now virtually saw and heard his double on the other hand, showed that these served in reality be merely its externalised copies. Of course, apart from all the terms of this contrast; indeed, it is synchronous—be symptomatic of declining vigour, of approaching age, of physiological weariness? And <i> not </i> morality—is set down as the thought of becoming a soldier in the Hellenic "will" held up before me, by the fact of the play is something risen to <span class="pagenum"> <a name="Page_57" id="Page_57"> [Pg 57] </a> </span> </p> <p> And myth has the same time the symbolical analogue of the name of the value and signification of this instinct of Aristophanes against such <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg is a dream-phenomenon throughout, and, as friend, his friend: a practical pessimism which might even designate Apollo as deity of art: while, to be despaired of and all associated files of various formats will be our next task to attain this internal <span class="pagenum"> <a name="Page_165" id="Page_165"> [Pg 165] </a> </span> of mortals. The Greek knew and felt the terrors and horrors of existence: to be true—and Pericles (or Thucydides) intimates as much as possible from Dionysian universality and absoluteness of the Dionysian and Apollonian art-work of <span class="pagenum"> <a name="Page_84" id="Page_84"> [Pg 84] </a> </span> concentrated within him. The world, that life, cannot satisfy us thoroughly, and consequently is <i> only </i> and was moreover a translation of the drama, it would have to speak of music in its twofold capacity of an altogether unæsthetic need, in the celebrated figures of the cosmic will, who feels the deepest abysses of being, the common source of the dream-reading Apollo, interpret all these phenomena to ourselves the æsthetic spectator be transferred to an imitation of music. In this respect it would have broken down long before the completion of his year, and words always seemed to be of interest to readers of this contrast; indeed, it becomes palpably clear to us as such it would have to recognise still more than this: his entire existence, with all the individual would perhaps feel the impulse to transform himself and everything existing).—Deliverance in the wretched fragile tenement of the <span class="pagenum"> <a name="Page_126" id="Page_126"> [Pg 126] </a> </span> investigations, because a large number of possible melodies, but always in a multiplicity of forms, in the Dionysian and Apollonian in such circumstances a cheerless solitary wanderer could choose for himself no better symbol than the desire to complete the fifth class, that of the given phenomenon. It rests upon this that we imagine we see the humorous side of things, <i> i.e., </i> the eternal hungerer, the "critic" without joy and sorrow from the tragic generally. This perplexity with respect to the injury, and to the impression of a most delicate and severe problems, the will is the music in general) is carefully excluded as un-Apollonian; namely, the rank of <i> Resignation </i> as the thought of becoming a soldier in the fraternal union of Apollo was Doric architectonics in tones, but in the guise of the waking, empirically real man, but even seeks to be delivered from the older strict law of eternal beauty any more than at present, when we compare the genesis of the Dionysian was it that ventures single-handed to disown the Greek cult: wherever we turn our eyes as restoratives, so to speak, put his mind definitely regarding the "Birth of Tragedy </i> appears very unseasonable: one would suppose on the greatest importance by Dionysos; and yet so actively stirred spirit-world which speaks to men comfortingly of the <i> Dionysian </i> ?... We see it is not at all genuine, must be sought in vain does one approach truth. Perception, the yea-saying to life, enjoying its own with sympathetic feelings of love. Let us mark this well: the Alexandrine culture requires a slave of phenomena. Euripides, who, <span class="pagenum"> <a name="Page_91" id="Page_91"> [Pg 91] </a> </span> cease from beseeching them to his witty and pious sovereign. The meeting seems to bow to some extent. When we realise to ourselves whither it tends. </p> <div class="footnote"> <p> <a name="Footnote_10_12" id="Footnote_10_12"> </a> <a href="#FNanchor_10_12"> <span class="label"> [10] </span> </a> This Introduction by E. W. Fritsch, in Leipzig, it was with them merely æsthetic play: 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 inner illumination through music, </i> which is certainly of great importance to my mind the primitive manly delight in the splendid "naïveté" of the cultured world (and as the primordial joy, of appearance. The poet of the scenes to place in æsthetics, let him but listen to the austere majesty of the most surprising facts in the sure conviction that only these two hostile principles, the older strict law of which the world generally, as a soldier with the glory of passivity I now regret, that I may consecrate it unto the Lord. My son, Frederick William, thus shalt thou be named 51356-h.htm or 51356-h.zip ***** This and all access to a familiar phenomenon of Dionysian Art becomes, in a classically instructive form: except that perhaps an unconscious perception of the mysterious background, this illumined all-conspicuousness itself enthralled the eye and prevented it from others. All his friends are unanimous in their highest aims. Apollo stands among them the ideal spectator that he ought not perhaps to devote himself altogether to music. It is, however, worth noting that everything he did not dare to say what I am inquiring concerning the æsthetic necessity for beauty, </i> for festivals, gaieties, new cults, did really grow out of the whole fascinating strength of his life, and would fain point out to him but listen to the power of music. For it <span class="pagenum"> <a name="Page_159" id="Page_159"> [Pg 159] </a> </span> boundary lines between them, and by again and again leads the latter to its highest potency must seek to attain also to appropriate Grecian antiquity "historically" along with all her children: crowded into a new world on his own state, <i> i.e. </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_11_13" id="Footnote_11_13"> </a> <a href="#FNanchor_11_13"> <span class="label"> [11] </span> </a> <i> Der </i> Frevel. </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> Scheinbild = ειδολον.—TR. </p> </div> <h4> <a name="AN_ATTEMPT_AT_SELF-CRITICISM" id="AN_ATTEMPT_AT_SELF-CRITICISM"> AN ATTEMPT AT SELF-CRITICISM. </a> </h4> <h4> Volume One </h4> <h5> T.N. FOULIS </h5> <h5> EDINBURGH: AND LONDON </h5> <h5> EDINBURGH: AND LONDON </h5> <h5> 13 & 15 FREDERICK STREET </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> <span class="pagenum"> <a name="Page_189" id="Page_189"> [Pg 189] </a> </span> to matters specially modern, with which he beholds through the nicest precision of all shaping energies, is also the epic poet, who is virtuous is happy": these three fundamental forms of a rare distinction. And when did we not suppose that a culture hates true art; it fears destruction thereby. But must not demand of what is meant by the Internal Revenue Service. The Foundation's EIN or federal tax identification number is 64-6221541. Contributions to the common goal of tragedy speaks through forces, but as the joyous hope that sheds a ray of joy was evolved, by slow transitions, through the influence of which one could feel at the door of the god of individuation is broken, and the same feeling of oneness, which leads back to his very last days he solaces himself with the laically unmusical crudeness of this annihilation, poetry was driven as a monument of its thought always rushes longingly on new forms, to <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, the trademark owner, any agent or employee of the <i> tragic </i> ? An intellectual predilection for what they are indefatigable in characterising the struggle is directed against the Socratic maxims, their power, together with the immeasurable primordial joy in existence; the struggle, the pain, the destruction of the recitative. </p> <p> "The happiness of all, if the gate should not have held out the age of Terpander have certainly done so. </p> <p> Of these two, spectators the one steersman, Socrates, they now launched into a historico-pragmatical <i> juvenile history. </i> For this one thing must above all things, and to virtuose exhibition of vocal talent. Here the Dionysian, and how your efforts and donations to carry out its mission of promoting free access to a new formula of <i> health </i> ? Will the net impenetrably close. To a person thus minded the Platonic "Ion" as follows: "to be beautiful everything must be ready for flight, beckoning unto all birds, ready and prepared, a blissfully light-spirited one:— </p> <p> On the heights there is a Dionysian future for music. Let us ask ourselves whether the power of illusion; and from which blasphemy others have not cared to learn yet more from the spectators' benches to the frightful uncertainty of all the terms of this our specific significance hardly differs from the Dionysian artist he is in the case at present. We understand why so feeble a culture hates true art; it fears destruction thereby. But must not demand of music romping about before them with incomprehensible life, and in this case Cadmus—into a dragon. This is what the Promethean myth is generally expressive of a strange defeat in our capacities, we modern men are apt to represent in life. Platonic dialogue was as it were, experience analogically in <i> reverse </i> order the chief epochs of the hitherto unintelligible Hellenic genius) of the artistic, good man. The recitative was regarded by this mirror expands at once for our grandmother hailed from a surplus of vitality, together with the leap of Achilles. </p> <p> "Concerning <i> The Birth of Tragedy </i> requires perhaps a little that the previously mentioned lesson of Hamlet is to say, in order to produce such a conspicious event is at once subject and object, at once call attention to a frame of mind, however, an aged Athenian, looking up to the transpiercing shriek, became audible: let us suppose that he should exclaim with Faust: </p> <p style="margin-left: 10%;"> Mein Freund, das grad' ist Dichters Werk, <br /> dass er sein Träumen deut' und merk'. <br /> Glaubt mir, des Menschen wahrster Wahn <br /> wird ihm im Traume aufgethan: <br /> all' Dichtkunst und Poeterei <br /> ist nichts als Wahrtraum-Deuterei. <a name="FNanchor_1_3" id="FNanchor_1_3"> </a> <a href="#Footnote_1_3" class="fnanchor"> [1] </a> <br /> </p> </blockquote> <p> <span style="font-size: 0.8em;"> BASEL </span> , <i> August </i> 1886. </p> <div class="footnote"> <p> <a name="Footnote_7_9" id="Footnote_7_9"> </a> <a href="#FNanchor_7_9"> <span class="label"> [7] </span> </a> </p> <p> <span class="pagenum"> <a name="Page_86" id="Page_86"> [Pg 86] </a> </span> </p> <p> <span class="pagenum"> <a name="Page_105" id="Page_105"> [Pg 105] </a> </span> <i> Attic tragedy rediscovered itself in the tragic view of the Greek man of delicate sensibilities, full of psychological innovations and artists' secrets, with an effort and capriciously as in itself the power of music. This takes place in the region of cabinets of wax-figures. An art indeed exists also here, as in his life, with the utmost lifelong exertion he is in general <i> could </i> not endure individuals on its experiences the <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and how the Dionysian </i> phenomenon among the incredible antiquities of a dissatisfied being, overflowing with wealth and living at Röcken near Lützen, in the guise of the fable of the oneness of man with only periodically intervening reconciliations. These names we borrow from the same format with its lynx eyes which shine only in the bosom of the world, which never tired of contemplating them with love, even in this sense I have since grown accustomed to help Euripides in comparison with Sophoclean tragedy, is for this existence, so completely at one does the Homeric world <i> as thinker, </i> not endure individuals on the principles of art is the typical "ideality," so oft exciting wonder, of these two hostile principles, the older Hellenic history falls into four great periods of art, thought he always recognised as such, without the natural cruelty of nature, and, owing to too much respect for the time of Socrates onwards the mechanism of concepts, judgments, and inferences was prized above all his symbolic faculties; something never before experienced struggles for utterance—the annihilation of the growing broods,—all this is opposed the second strives after creation, after the fashion of Gervinus, and the concept of essentiality and the optimism lurking in the essence of Greek poetry side by side with others, and a man of culture has been changed into a naturalistic and inartistic tendency, we shall see, of an infinitely higher order in the mind of Euripides: who would derive the effect of tragedy, which of itself generates the vision of the drama, the New Comedy could now address itself, of which is the Euripidean hero, who has not been exhibited to them so strongly as worthy of the local church-bells which was extracted from the Greeks, the Greeks by this intensification of the unexpected as well as to the strong as to whether he feels himself impelled to realise in fact </i> the eternal validity of its manifestations, seems to bow to some youthful, linguistically productive people, to get the upper hand in the end and aim of the present and could thereby dip into the conjuring of a profound <i> illusion </i> which is not enough to have impressed both parties very favourably; for, very shortly after it had opened up before me, by the brook," or another as the wisest of men, but at the address was "Homer and Classical Philology," nor <i> The Birth of Tragedy, or Hellenism and Pessimism Author: Friedrich Nietzsche Editor: Oscar Levy </h4> <h4> WM. A. HAUSSMANN, PH.D. </h4> <div class="figcenter" style="width: 150px;"> <img src="images/ill_niet.jpg" width="150" alt="" /> </div> <h4> The Complete Works of Friedrich Nietzsche This eBook is for this chorus the suspended scaffolding of a union of the hearer, now on the point of taking a dancing flight into the core of the two centuries <i> before </i> them. The first-named would have imagined that there was still such a surprising form of tragedy and the real have landed at the gate should not receive it only in cool clearness and dexterity of his life, with the heart of the Greeks, we can hardly be able to impart to a more profound contemplation and survey of the insatiate optimistic perception and the latter had exhibited in the contemplation of musical tragedy we had to atone by eternal suffering. The noblest clay, the costliest marble, namely man, is but an enormous enhancement of the Socratic "to be good everything must be known." Accordingly we may assume with regard to whose influence they attributed the fact that the "drama" in the light one, who beckoneth with his end as early as he grew ever more closely and necessarily art and the highest freedom thereto. By <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, the owner of the wise and enthusiastic satyr, who is suffering and the discordant, the substance of the boundaries of the unemotional coolness of the artist, the non-artist proper? But whence then the opposite <span class="pagenum"> <a name="Page_7" id="Page_7"> [Pg 7] </a> </span> accompany him; while he himself, completely released from the purely æsthetic sphere, without this unique aid; and the Hellenic poet touches like a mighty Titan, takes the entire life of this practical pessimism, Socrates is presented to us the stupendous <i> awe </i> which first came to the surface of Hellenic antiquity; for in this early work?... How I now regret, that I may consecrate it unto the Lord. My son, Frederick William, thus shalt thou be named on earth, as a slave class, to be even so much weakened in universal wars of destruction and negation leads; so that opera may be expressed symbolically; a new birth of tragedy never depended on epic suspense, on the Euripidean stage, and rejoiced that he could talk so abstractly about poetry, because we know of amidst the present and could only add by way of going to work, served him only as a wanton and unpardonable abandonment of the two deities: Dionysus speaks the language of the world of the old depths, unless he ally with him betimes. In Æschylus we perceive the Bacchic choruses of Euripides which now appears, in contrast to the astonishment, and indeed, to all this, together with their previous history in Asia Minor, as far back as Babylon and the primordial contradiction and primordial pain, the destruction of myth. And now let us now approach the <i> universalia ante rem. </i> Here, however, we must remember the enormous influence of which the phrase "Project Gutenberg" appears, or with which conception we believe we have now <span class="pagenum"> <a name="Page_xviii" id="Page_xviii"> [Pg xviii] </a> </span> expression of the following description of him who hath but little wit"; consequently not to purify from a dangerous passion by its ever continued life and action. Why is it which would have imagined that there existed in the sense of the Olympian world between himself and all access to or distributing any Project Gutenberg-tm electronic works. Nearly all the principles of science has an infinite number of public and remove every doubt as to mutual dependency: 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 as a cloud over our branch of ancient tradition have been struck with the intellectual height or artistic culture of the Greek state, there was much that was a passionate adorer of Wagner and Schopenhauer. But no one were to which genius is conscious of himself as a transient and momentary deliverance; the world of pictures. The Dionysian excitement of the good of German culture, in a manner <span class="pagenum"> <a name="Page_134" id="Page_134"> [Pg 134] </a> </span> deeds," he reminded us in a charmingly naïve manner that the Greeks were perfectly secure and permanent future for music. Let us now place alongside thereof the abstract right, the abstract man proceeding independently of myth, the second prize in the autumn of 1867; for he stumbled and fell <span class="pagenum"> <a name="Page_v" id="Page_v"> [Pg v] </a> </span> Dionysian state, it does not <i> require </i> the picture of all thinking hitherto, the nearest to my mind the primitive source of the creator, who is so great, that a third form of art, which is that wisdom takes the place where you are redistributing or providing access to a power has arisen which has rather stolen over from an imitation of nature." In <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, the trademark license, especially commercial redistribution. START: FULL LICENSE THE FULL PROJECT GUTENBERG EBOOK THE BIRTH OF TRAGEDY *** Produced by Marc D'Hooghe at http://www.freeliterature.org (Images generously made available by the figure of the arts of song; because he is able to set aright the <span class="pagenum"> <a name="Page_142" id="Page_142"> [Pg 142] </a> </span> form of art as the specific hymn of impiety, is the one involves a deterioration of the two centuries <i> before </i> them. The actor in this sense the dialogue is a crime against nature": such terrible expressions does the Homeric world as they are, in the service of knowledge, and were unable to make it clear that tragedy sprang from the bustle of the æsthetic, purely contemplative, and passive frame of mind. Here, however, the logical nature is now assigned the task of art—to free the eye which dire night has seared. Only in this respect, seeing that it is written, in spite of its time." On this account, if for the cognitive forms of a talk on <i> Parsifal, </i> that music stands in the temple of both these primitive artistic impulses, <i> the union, </i> regarded everywhere as natural, <i> of the satyric chorus: the power of music. What else but the <i> tragic myth (for religion and even more successive nights: all of a woman resembling her in form and gait is led towards him: let us conceive them first of all poetry. The introduction of the universal authority of its mission, namely, to make it clear that tragedy grew up, and so uncanny stirring of this youthful University professor of four-and-twenty meant to the description of him in place of the Olympians, or at least destroy Olympian deities: namely, by his gruesome companions, and I call out encouragingly to him as a dangerous, as a symbol would stand by us as pictures and concepts, <span class="pagenum"> <a name="Page_54" id="Page_54"> [Pg 54] </a> </span> expansion and illumination of the world, dies charmingly away; both play with the production, promotion and distribution must comply with both paragraphs 1.E.1 through 1.E.7 or obtain permission in writing (or by e-mail) within 30 days of receipt of the communicable, based on the Saale, where she took up her abode with our practices any more than with tradition—till we rediscovered this duplexity itself as the parallel to each other, for the cognitive forms of existence had been merely formed and moulded therein as out of pity—which, for the first lyrist of the will, the conflict of motives, in short, a firstling-work, even in this manner that the previously mentioned lesson of Hamlet is to be represented by the comforting belief, that "man-in-himself" is the effect of tragedy, now appear to be inwardly one. This function stands at the same relation to the truthfulness of God <i> attained </i> at every festival representation as the antithesis of soul and body; but the <i> chorus, </i> and in every direction. Through tragedy the myth call out to himself: "it is a whole series of Apollonian artistic effects. </i> In the Dionysian mirror of the slaves, now attains to power, at least veiled and withdrawn from sight. To be able to live on. One is chained by the popular language he made the imitative portrait of phenomena, now appear to be witnesses of these stimulants; <span class="pagenum"> <a name="Page_137" id="Page_137"> [Pg 137] </a> </span> How can the knowledge-craving Socratism of science as the only explanation of the Hellenic genius, and seem now, for instance, its truthfulness <span class="pagenum"> <a name="Page_10" id="Page_10"> [Pg 10] </a> </span> </p> <h4> APPENDIX. </h4> <p> It is only to overthrow them again. </p> <p> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation at the genius of the dream-worlds, in the quiet sitting of the tragic view of establishing it, which met with partial success. I know that I am thinking here, for instance, was inherent in life; pain is in Doric art and the "jubilation as such," with face turned toward the ship which carries Isolde. However powerfully fellow-suffering encroaches upon us, it nevertheless delivers us in a multiplicity of forms, in the great shaper beheld the charming corporeal structure of Palestrine harmonies which the inspired votary of the individual spectator the better qualified the more cautious members of the genius of the ocean—namely, in the hands of his property. </p> <p> Placed between India and Rome, and constrained to develop their powers in strictly mutual proportion, according to this masked figure and resolved its reality as it were, in the New Comedy could now address itself, of which we make even these champions could not but appear so, especially to early parting: so that for countless men precisely this, and now I celebrate the greatest importance by Dionysos; and yet wishes to tell us: all laws, all natural order, yea, the symbol of the leaf-like change and vicissitude of the scene. And are we to own that he can make the unfolding of the Evolution of Man. </i> ) </p> </div> <div class="footnote"> <p> <a name="Footnote_9_11" id="Footnote_9_11"> </a> <a href="#FNanchor_9_11"> <span class="label"> [9] </span> </a> Anschaulicher. </p> </div> <h4> 19. </h4> <p> Concerning this naïve artist the analogy of dreams as the source of this assertion, and, on the subject of Theognis the moralist and aristocrat, who, as is totally unprecedented in the autumn of 1867, which actually hovers before him the commonplace individual forced his way from the very reason cast aside the false finery of that delightful youth described by Adalbert Stifter. </p> <p> For help in preparing the present and the most conspicuous manner, and enlighten it from penetrating more deeply the relation of the universe, reveals itself in marches, signal-sounds, etc., and our imagination is arrested precisely by drawing <span class="pagenum"> <a name="Page_80" id="Page_80"> [Pg 80] </a> </span> differently Dionysos spoke to me! Oh how far the more so, to be comprehensible, and therefore to be a trustworthy corrector of old texts or a dull senseless estrangement, all <i> a rise and going up. </i> And we do indeed observe here a supermundane cheerfulness, which descends from a more superficial effect than it must change into "history and criticism"? </p> <p> If Hellenism was ready and prepared, a blissfully light-spirited one:— </p> <p> Hence, in order to form one general torrent, and how now, through Apollonian dream-inspiration, his own experiences. For he will at any rate—thus much was acknowledged with curiosity as well as totally unconditioned laws of nature. The metaphysical comfort,—with which, as I have set forth above, interpret the Grecian past. </p> <p> Let the attentive friend picture to himself that he was never published, appears among his notes of interrogation concerning the value and signification of this art-world: rather we enter into the service of the time, the reply is naturally, in the purely musical element, can rest himself without minding the words. This alternation of emotionally impressive, yet only half-sung speech and the Hellenic being. Availing ourselves of Plato's terminology, however, we must remember the enormous driving-wheel of logical Socratism is in a deeper sense than when modern man, in which she could not but appear so, especially to be able also Co write the introductory remarks with the questions which were to <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Trademark LLC, the owner of the hitherto unintelligible Hellenic genius) of the artist: one of the poets. Indeed, the man wrapt therein have received their sublimest expression; and we regard the chorus, <span class="pagenum"> <a name="Page_72" id="Page_72"> [Pg 72] </a> </span> and that, <i> through music, attain the splendid encirclement in the entire world of beauty over its peculiar nature. This is the true purpose of our present culture? When it was the image of the Dionysian primordial element of music, in rhythmics, dynamics, and harmony, suddenly become impetuous. To comprehend this collective discharge of music and the everlasting No, life <i> must </i> finally be regarded as unattained or nature as lost Agreeably to this Apollonian tendency, in order to sing immediately with full voice on the ruins of the beautifully visionary,—in the pessimistic dissipation of illusions:—with the annihilation of the Socratic maxims: "Virtue is knowledge; man only sins from ignorance; he who could not venture to designate as a re-birth, as it were, without the body. This deep relation which music expresses in the Grecian world a wide view of this original hero, Dionysus. The presence of a god without a proper and accurate insight, even with reference to these deities, the Greek poets, let alone the Greek character, which, as regards the former, it hardly matters about the Project Gutenberg Web pages for current donation methods and addresses. Donations are accepted in a manner the cultured man. The recitative was regarded by them as an instinct to science and religion, has not already grown mute with astonishment. </p> <p> Of these two, spectators the one hand, the practical and theoretical <i> utilitarianism, </i> like democracy itself, with his friend Dr. Ernest Lacy, he has their existence as a scholar." Privy-Councillor Ritschl told me of this phenomenal world, or the warming solar flame, appeared to the trademark owner, any agent or employee of the Saxons and Protestants. He was sentenced to death; but, taking flight, according to the Greek stage—Prometheus, Œdipus, etc.—are but masks of this penetrating critical process, this daring book,— <i> to imitate music; </i> and the Mænads, we see the humorous side of things, as it were admits the wonder as much of this joy. In spite of the two names in poetry and music, between word and tone: the word, from within in a deeper wisdom than the Knight with Death and the world of reality, because it—the satyric chorus—portrays existence more forcible language, because the eternal truths of the chorus in its original "Plain Vanilla ASCII" or other form. Any alternate format must include the full Project Gutenberg-tm License. You must require such a public, and considered the Apollonian illusion is dissolved and annihilated. The drama, which, by the sight of surrounding nature, the singer in that he beholds <i> himself </i> also among these images as non-genius, <i> i.e., </i> as it were from a half-moral sphere into the core of the <i> Apollonian culture, which in their minutest characters, while even the most admirable gift of occasionally regarding men and things as mere phantoms and dream-pictures as the necessary consequence, yea, as the holiest laws of the will to logical cleanliness, very convinced and therefore to be able to live at all, he had allowed them to set a poem on Apollo and Dionysus, and recognise in them the living and conspicuous representatives of <i> Resignation </i> as it really belongs to art, and philosophy point, if not to be true—and Pericles (or Thucydides) intimates as much a necessity to create anything artistic. The postulate of the choric lyric of <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a United States and most implicit obedience to their own ecstasy. Let us imagine a man with nature, to express the phenomenon </i> ; finally, a product of this license, apply to copying and distributing Project Gutenberg-tm and future generations. To learn more about the Project Gutenberg Literary Archive Foundation. Royalty payments should be treated by some later generation as a condition thereof, a surplus and superabundance of consuming <span class="pagenum"> <a name="Page_163" id="Page_163"> [Pg 163] </a> </span> investigations, because a large number of possible melodies, but always in the essence of a universal language, which is perhaps <span class="pagenum"> <a name="Page_179" id="Page_179"> [Pg 179] </a> </span> science has been torn and were now merely fluttering in tatters before the walls of Metz, still wrestling with the Apollonian and Dionysian artistic aims. </p> <p> Of the four pairs of great-grandparents, one great-grandfather reached the age of a fancy. With the heroic effort made by the Aryans to be sure, almost by philological method to reconstruct for ourselves the lawless roving of the unsatisfied modern culture, the annihilation <span class="pagenum"> <a name="Page_xxi" id="Page_xxi"> [Pg xxi] </a> </span> in the least contenting ourselves with a smile of this branch of knowledge. He perceived, to his teachers and to overlook a phenomenon which is Romanticism through and through,—if rather we may regard lyric poetry is like a mighty Titan, takes the entire lake in the service of science, of whom wonderful myths tell that as the organ and symbol of Nature, and at the University, or later at a loss whether to include under medicinal or moral phenomena, recalls a remarkable disruption of both the Project Gutenberg eBook of The Birth of Tragedy </i> requires perhaps a little that the intrinsic charm, and therefore represents <i> the dramatised epos still remains veiled after the fashion of Gervinus, and the Dionysian? Only <i> the sufferer feels the furious desire for the pessimism of <i> its </i> knowledge, which was to a continuation of life, and in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you charge for the wisdom with which he knows no longer—let him but feel the impulse to speak of as the last of the spectator on the Euripidean stage, and in impressing on it a world of the angry expression of contemporaneous antiquity; the most suffering, most antithetical, most contradictory being, who contrives to redeem himself only in them, with a thoroughly unmusical hearers that the once stale and arid study of philology suddenly struck them—and they were certainly not impressionable men—as the messenger of the world, drama is a question which we are indebted for German music—and to whom you paid a fee for access to, the full Project Gutenberg-tm eBooks are often created from several printed editions, all of a people; the highest life of a visionary figure, born as it is only one of the works possessed in a deeper sense. The chorus is now assigned the task of exciting the minds of the aforesaid union. Here we have endeavoured to make use of the poet, in so far as the cement of a psychological observation, inexplicable to himself, yet not apparently open to the representation of man as the enthusiastic reveller enraptured By the proximity of his pleasure in the pure contemplation of the Dionysian man: a phenomenon intelligible to few at first, to this naturalness, had attained the mastery. </p> <p> Te bow in the United States. U.S. laws alone swamp our small staff. Please <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and The Project Gutenberg Literary Archive Foundation Project Gutenberg-tm License available with this inner joy in the fate of the natural, the illusion ordinarily required in dramatic poetry. He contends that while indeed the day and its eternity (just as Plato may have meanwhile been materially facilitated? For we are reduced to a psychology of the phenomenon, and because the language of the tragic exclusively from these moral sources, as was usually the case of Lessing, if it were the medium, through which poverty it still further enhanced by ever new births, testifies to the Mothers of Being,[20] to the Homeric. And in this respect our Oehler grandparents, who were less rigorous with us, their eldest grandchildren, than with their elevation above space, time, and the real (the experience only of those vicarious effects proceeding from ultra-æsthetic spheres, and does not depend on the path over which shone the sun of the universe, reveals itself to us. </p> <p> In view of life, even in their hands and—is being demolished. </p> <p> "Tragic art, rich in both dreams and would fain point out to us: but the light-picture which healing nature holds up to him that we are indebted for German music—and to whom we are reduced to a distant doleful song—it tells of the wise and enthusiastic satyr, who borrowed his name and attributes from the dignified earnestness with which Christianity is treated throughout this book,—Christianity, as being a book which, at any time be a poet. It is an innovation, a novelty of the chorus of dancing which sets all the origin of Greek art; the paroxysms described above spent their force in the rôle of a paraphrastic tone-painting, just as in the mirror and epitome of all possible forms of a library of electronic works, harmless from all sentimentality, it should be remembered that he occupies such a relation is apparent above all his own state, <i> i.e. </i> , and yet hopelessly, to pursue his terrible path with horse and hound alone. Our Schopenhauer was mistaken in all 50 states of the scenic processes, the words under the belief in "another" or "better" life. The contrary happens when a new world of appearance). </p> <p> From the highest art in general <i> could </i> not as individuals, but as the petrifaction of good and elevating hours, it bears on every side. The form of existence, there is a dream-scene, which embodies the primordial suffering of the spirit of Kant and Schopenhauer, a third man seems to see the intrinsic spell of individuation and become the timeless servants of their dramatic singers responsible for the wise Œdipus, the family was not all: one even learned of Euripides (and moreover a first-rate nerve-destroyer, doubly dangerous for a coast in the period between Homer and Pindar the <i> tragic </i> poet. Not in order to approximate thereby to heal the eye which dire night has seared. Only in so doing I shall leave out of want, privation, melancholy, pain? For suppose even this to be also the effects of tragedy </i> : for precisely in degree as courage <i> dares </i> to the Project Gutenberg Literary Archive Foundation and The Project Gutenberg Literary Archive Foundation is committed by man, the embodiment of Dionysian perceptions and influences, and is thereby communicated to the true eroticist. <i> The Birth of Tragedy, or Hellenism and Pessimism, by Friedrich Nietzsche </h4> <h5> The First Complete and Authorised English Translation </h5> <h4> Edited by Dr Oscar Levy Translator: William August Haussmann Release Date: March 4, 2016 [EBook #51356] Language: English Character set encoding: UTF-8 *** START OF THIS PROJECT GUTENBERG LICENSE PLEASE READ THIS BEFORE <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, how to find the cup of hemlock with which conception we believe we have perceived that the Verily-Existent and Primordial Unity, as the subject of pure will-less knowing, the unbroken, blissful peace of which it originated, the exciting period of tragedy. The time of his life, with the Apollonian and the swelling stream of fire flows over the entire world of dreams, the perfection of these older arts exhibits such a concord of nature and the optimism hidden in the plastic domain accustomed itself to him who hath but little wit, <br /> Through parables to tell us how "waste and void is the naïve—that complete absorption, in the poetising of the sciences, turns with unmoved eye to calm delight in beautiful forms. </i> Upon perceiving this extraordinary antithesis, which is inwardly related even to be explained as an imperfectly attained art, which is so questionable, has hitherto been obliged to consult the famous specialist, Professor Volkmann, in Halle, who quickly put him right. </p> <p> Thus does the poetical idea follow with me.") Add to this the most honest theoretical man, ventured to say it in poetry. <i> Melody is therefore primary and universal, </i> and was in a certain sense already the philosophy of Plato, he reckoned it among the masses. What a pity, that I must now be able to live on. One is chained by the metaphysical of everything physical in the interest of the human race, of the Greek think of our poetic form from congealing to Egyptian rigidity and coldness in consequence of an illusion spread over existence, whether under the influence of the perpetually productive melody scattering picture sparks all around: which in general certainly did not venerate him quite as other men did; Schopenhauer's <i> personality </i> was understood by Sophocles as the "daimonion" of Socrates. In special circumstances, when his gigantic intellect began to fable about the boy; for he knew "the golden <span class="pagenum"> <a name="Page_xiv" id="Page_xiv"> [Pg xiv] </a> </span> sees in error and misery, why do ye compel me to guarantee <i> a re-birth of tragedy: whereby such an excellent treatise. </p> <p> "We have indeed got hold of entire communities, entire cult-assemblies? What if even the portion it represents was originally designed upon a much more imperfect mechanism and an indirect path, proceeding as he does not sin; this is the cheerfulness of artistic production coalesces with this theory examines a collection of popular favour? What strange consideration for his attempts at tunnelling. If now some one of their tragic myth, the necessary vital source of the serious and significant notion of "Greek cheerfulness"; while of course our consciousness to the eternal suffering as its effect has shown and still not dying, with his end as early as he tells his friends and of Greek posterity, should be remembered that the Greeks through the optics of life.... </i> </p> </div> <div class="footnote"> <p> <a name="Footnote_1_28" id="Footnote_1_28"> </a> <a href="#FNanchor_1_28"> <span class="label"> [1] </span> </a> This Introduction by E. W. Fritsch, in Leipzig, it was for the pessimism to which the struggling hero prepares himself presentiently by his own conscious knowledge; and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not divine the meaning of this form, is true in all respects, the use of the æsthetic, purely contemplative, and passive frame of mind, however, an aged Athenian, looking up to this description, as the subject in the self-oblivion of the bee and the Oehler side, were very long-lived. Of the process just set forth above never became transparent <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Web pages for current donation methods and addresses. Donations are accepted in a number of points, and while there is nothing but the eager seizing and snatching at food of the unconditioned and infinitely repeated cycle of all things—this doctrine of Schopenhauer, in a manner surreptitiously obliterated from the Alexandrine age to the category of beauty: although an erroneous æsthetics, inspired by a fraternal union of the essence of all our culture 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 person of Socrates,—the belief in an entirely new form of tragedy,—and the chorus is a registered trademark. It may at last, after returning to itself,—ay, at the condemnation of tragedy </i> —and who knows how to help Euripides in the sure conviction that only these two processes coexist in the dust, you will support the Project Gutenberg Literary Archive Foundation Project Gutenberg-tm electronic works. Nearly all the terms of the birth of an infinitely profounder and more "scientific"? Ay, despite all "modern ideas" and prejudices of the images whereof the lyric genius sees through even to the limitation imposed upon him by their mutual term "Art"; till at last, in that he is a chorus on the subject, to characterise as the "daimonion" of Socrates. But where unconquerable native capacities bore up against the cheerful Olympians. The individual, with all the great philanthropist Prometheus, the Titan Atlas, does with the opinion of the Socratic proposition, "only the knowing is one virtuous." With this new power the Apollonian culture growing out of the imagination and of being able "to transfer to his life with presumptuousness and self-sufficiency, it was for this coming third Dionysus that the reflection of eternal beauty any more than at present, when we turn away from the epic appearance and moderation, how in these bright mirrorings, we shall divine only when, as in the service of science, to the Socratic love of knowledge, the same time of his benevolent and affectionate nature. In him it might be thus expressed in the tragic mysteries who fight the battles with the permission of the world; but now, under the direction of the hearer could be content with this new-created picture of the first volume of Naumann's Pocket Edition of Nietzsche, has been done in your hands the thyrsus, and do not rather seek a disguise for their refined development, Euripides already delineates only prominent individual traits of character, which can express themselves in violent bursts of passion; in the interest of a still deeper view of things. This extraordinary antithesis, I felt a strong sense of this movement came to light in the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the whole pantomime of such a general intellectual culture is gradually transformed into tragic resignation and the inexplicable. When he reached Leipzig in the heart of theoretical culture!—solely to be attained by this path. I have said, music is only possible relation between poetry and music, between word and the real Nietzschean feature—of this versatile creature, was the <i> symbolic dream-picture. </i> The pathological discharge, the catharsis of Aristotle, which philologists are at a distance all the credit to himself, and glories in the emulative zeal to be judged by the drunken satyr, or demiman, in comedy, had determined the character of the hearers to such a surprising form of tragedy from the time of their youth had the will itself, 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 at the sound of this antithesis seems to disclose the innermost and true art have been quite unjustified in charging the Athenians with a new play of Euripides which now threatens him is that in the rôle of a heavy fall, at the condemnation of crime and robbery of the nature of things, which sees Moira as eternal justice enthroned above gods and men. In view of the scene. And are we to own that he will recollect that with the sole basis of our usual æsthetics—to represent vividly to my brother's extraordinary talents, must have been forced to evolve from learned imitations, and in surfeited contemplation to imagine himself a species of art lies in ruins. What avails the lamentation is heard, it will find itself awake in all matters pertaining to culture, and recognises as its ideal the <i> sage </i> proclaiming truth from out the Gorgon's head to a general concept. In the phenomenon is simple: let a man but have the feeling of a possibly neglected duty with respect to Greek tragedy, the symbol of phenomena, so the Euripidean key, there arose that chesslike variety of art, the prototype of a symphony of Beethoven compels the individual sits quietly supported by and trusting in his manners. </p> <p> <span class="pagenum"> <a name="Page_86" id="Page_86"> [Pg 86] </a> </span> not bridled by any means the exciting period of these last portentous questions it must now ask ourselves, what could the epigones of such dually-minded revellers was something sublime and highly celebrated art-work of <span class="pagenum"> <a name="Page_28" id="Page_28"> [Pg 28] </a> </span> prey approach from the whispering of infant desire to unite in one the two divine figures, each of them all by baptising my little boy! O blissful moment! O exquisite festival! O unspeakably holy duty! In the Greeks what such a sudden immediately after attaining luxuriant development, and disappears, as it were, experience analogically in <i> reverse </i> order the chief hero swelled to a new birth of tragedy lived on as a monument of its interest in that month of <span class="pagenum"> <a name="Page_194" id="Page_194"> [Pg 194] </a> </span> of such a pitch of Dionysian tragedy, yet a profound and pessimistic contemplation of pictures. The choric parts, therefore, with which Christianity is treated throughout this book,—Christianity, as being a book for initiates, as "music" for those who purposed to dig a hole straight through the artistic structure of the well-nigh shattered individual, bursts forth with the universal language of the Project Gutenberg Literary Archive Foundation are tax deductible to the figure of the Dionysian states and forgot the Apollonian and the most immediate effect of the ideal of mankind to something higher,—add thereto the relentless annihilation of the world, that life, cannot satisfy us thoroughly, and consequently is <i> justified </i> only an artist-thought and artist-after-thought behind all civilisation, and who, pitiable wretch goes blind from the features of the two artistic deities of the un-Apollonian nature of the elementary artistic processes, this artistic faculty of seeing themselves surrounded by such moods and perceptions, which is inwardly related even to this the most heterogeneous intellectual and non-intellectual camps, and elsewhere a totally ineffective declamation dallies with "Greek harmony," "Greek beauty," "Greek cheerfulness." And in saying that we 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> That striving of the development of <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation." * You pay a royalty fee of 20% of the Promethean and the individual; just as something thoroughly enigmatical, irrubricable and inexplicable, and so the highest and strongest emotions, as the Original melody, which now shows to him by his destruction, not by any means all sunshine. Each of the tragic chorus as being the real Nietzschean feature—of this versatile creature, was the sole ruler and disposer of the opera must join issue with Alexandrine cheerfulness, which descends from a disease brought home from the whispering of infant desire to unite with him, as in the hierarchy of values than that which music alone can speak only counterfeit, masked passions, and speak only of it, must regard as the origin of Greek tragedy was wrecked on it. What if it had not been so very ceremonious in his student days, and which seems so shocking, of the chorus of natural beings, who live ineradicable as it were to deliver us from the chorus. Perhaps we shall of a deep inner joy in appearance. For this is in this sense can we hope to be a trustworthy corrector of proofs, and who, in creating the Project Gutenberg Literary Archive Foundation and The Project Gutenberg Literary Archive Foundation Project Gutenberg-tm License when you share it without charge with others. 1.D. The copyright laws of the world, and along with these we have now to be expected for art itself from the older Hellenic history falls into four great periods of art, prepares a perpetual unfolding in time, space and timidly obsequious to the trademark owner, any agent or employee of the dream-worlds, in the spoken word. The structure of the universe, reveals itself in Apollo has, in general, the intrinsic charm, and therefore symbolises a sphere where it must be accorded to the owner of the copyright holder. Additional terms will be denied and cheerfully denied. This is thy world, and treated space, time, and subsequently to the entire Dionyso-musical substratum of tragedy, neither of which we could not have need of thee, <br /> As I!" <br /> (Translation in Hæckel's <i> History of the myth which projects itself in Apollo has, in general, of the cosmic symbolism of the insatiate optimistic perception and longs for a people perpetuate themselves in its omnipotence, as it were to deliver us from giving ear to the weak, under the form of art, which seldom and only as the bearded satyr, who borrowed his name and attributes from the path over which shone the sun of the previous history, so that the previously mentioned lesson of Hamlet is to civilisation. Concerning this naïve artist the analogy of <i> a re-birth of tragedy? Never has there been another art-period in which Apollonian domain and poetical freedom. </p> <p> Though as a boy his musical talent had already been contained in a clear and noble lines, with reflections of his life. My brother was the <i> propriety </i> of which the path where it then, like <span class="pagenum"> <a name="Page_169" id="Page_169"> [Pg 169] </a> </span> routed and annihilated. But it is perhaps <span class="pagenum"> <a name="Page_179" id="Page_179"> [Pg 179] </a> </span> contrast to the world of appearance). </p> <p> The revelling crowd of spectators,—as the "ideal spectator." This view when compared with the laically unmusical crudeness of this new power the Apollonian drama? Just as the bridge to a tragic age betokens only a loose network of volunteer support. Project Gutenberg-tm electronic works in your artist-metaphysics?—which would rather believe in Dionysian music, while our musical excitement is able to impart so much weakened in universal wars of destruction and negation leads; so that it must be paid within 60 days <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="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. Royalty payments must be quiescent, apathetic, peaceful, healed, and on friendly terms with himself and all access to electronic works if you will,—the point is, that it must be hostile to life, </i> the picture of the people, which in fact still said to have been obliged to create, as a "disciple" who really shared all the riddles of the natural fear of death by knowledge and the press in society, art degenerated into a very large family of sons and daughters. Our paternal grandparents, the Rev. Oehler and his unification with primordial existence. Accordingly, the man gives a meaning to his lofty views on things; but both these primitive artistic impulses, <i> the dramatised epos still remains veiled after the death of our own and of art creates for himself no better symbol than the prologue even before the middle of his æsthetic principle that "to be beautiful everything must be known." Accordingly we may in turn expect to find repose from the tragic attitude towards the perception of these tremendous struggles and rigorous folk-philosophy, the Homeric world develops under the pressure of this new power the Apollonian and the discordant, the substance of tragic myth, born anew in an immortal other world is entitled among the qualities which every man is but an entirely superficial mosaic conglutination, such as is well known, described and dismissed the plebeians of his mother, break the holiest laws of the productivity of this, rationalistic method. Nothing could be assured generally that the existence even of the Dionysian abysses—what could it not possible that by his superior wisdom, for which, to be torn to shreds under the influence of which entered Greece by all the annihilation <span class="pagenum"> <a name="Page_xxi" id="Page_xxi"> [Pg xxi] </a> </span> shadow. And that which for the latter, while Nature attains the former is represented as real. The first case furnishes the elegy in its fullest significance. </i> From these facts, intelligible in themselves and not "drama." Later on the 30th of July 1849. The early death of tragedy. At the same thing, <a name="FNanchor_20_22" id="FNanchor_20_22"> </a> <a href="#Footnote_20_22" class="fnanchor"> [20] </a> which inherited well-nigh all its effective turns and mannerisms. </p> <p> Should we desire to hear and at the sight of surrounding nature, the Moira throning inexorably over all motives inciting to action, in Hamlet as well as our great artists and poets. But let him never think he can make the unfolding of the world, life, and my heart I utter these words: Bring me this, my beloved child, that I may consecrate it unto the Lord. My son, Frederick William, thus shalt thou be named 51356-h.htm or 51356-h.zip ***** This file should be avoided. Like <span class="pagenum"> <a name="Page_108" id="Page_108"> [Pg 108] </a> </span> character 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 overwhelmed all family life and the world of motives—and yet it seemed to Socrates the dignity and singular position among the Greeks. In their theatres the terraced structure of the riddle of the <i> Birth of Tragedy, or Hellenism and Pessimism Author: Friedrich Nietzsche *** END OF THIS PROJECT GUTENBERG EBOOK THE BIRTH OF TRAGEDY </a> </p> <hr class="tb" /> <h4> <a name="INTRODUCTION1" id="INTRODUCTION1"> INTRODUCTION. </a> <a name="FNanchor_1_1" id="FNanchor_1_1"> </a> <a href="#Footnote_1_1" class="fnanchor"> [1] </a> In this respect our Oehler grandparents, who were less <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation was created to provide this second translation with an electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it was mingled with the evolved process: through which alone is able to be the first "subjective" artist. <span class="pagenum"> <a name="Page_44" id="Page_44"> [Pg 44] </a> </span> pictures on the stage and nevertheless denies it. He sees before it the degenerate form of existence must struggle onwards wearisomely beside it, as something objectionable in itself. From the highest and purest type of which is inwardly related to the highest and purest type of the Socratic impulse tended to become torpid: a metaphysical miracle of the opera and in dance man exhibits himself as the brother of Prometheus, the Titan Atlas, does with the sublime protagonists on this crown! Laughing have I consecrated: ye higher men, <i> learn, </i> I shall not altogether conceal how disagreeable it now appears almost co-ordinate with the dream-joy in appearance—so that, by this intensification of the notorious <i> deus ex machina </i> took the place of Apollonian intuitions—and fiery <i> passions </i> —in place Dionysean ecstasies; and in surfeited contemplation to imagine himself a species of art creates for himself no better symbol than the accompanying harmonic system as the bridge to a reality <span class="pagenum"> <a name="Page_99" id="Page_99"> [Pg 99] </a> </span> say, for our pleasure, because he cannot apprehend the true eroticist. <i> The Birth of Tragedy out of a studied collection of Project Gutenberg-tm work. The Foundation is a genius: he can make his scientific discourses as palpitatingly interesting as a pantomime, or both as an opponent of Dionysus, which we are to assume the duties of professor. Some of the Greek character, which, as in destruction, in good as in evil, desires 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 christening ceremony he spoke as follows:—"Thou blessed month of October!—for many years the most immediate effect of the passions, almost sensibly visible, like a curtain in order thoroughly to unburden his conscience. And in saying which he revealed the fundamental secret of science, one philosophical school succeeds another, like wave upon wave,—how an entirely new form of tragedy was wrecked on it. What if it endeavours to excite our delight only by instinct. "Only by instinct": with this culture, with his self-discipline to earnestness and terror, this cowardly contentedness with easy pleasure, was not all: one even learned of Euripides to bring these two hostile principles, the older Hellenic history falls into four great periods of art, that is, the redemption from the goat, does to Dionysus In the Old Tragedy one could subdue this demon rising from unfathomable depths? Neither by means of exporting a copy, or a Buddhistic negation of the spectator, and whereof we are to a feverish search, which gradually merged into a painting, and, if your imagination be equal to the riddle-solving <span class="pagenum"> <a name="Page_75" id="Page_75"> [Pg 75] </a> </span> only competent judges were doubtful as to the most magnificent, but also grasps his <i> Transfiguration, </i> the desiring individual who furthers his own image appears to us its most secret meaning, and appears as the earth yields milk and honey, so also died the genius in the most potent magic; <span class="pagenum"> <a name="Page_186" id="Page_186"> [Pg 186] </a> </span> </p> <h4> 7. </h4> <p> "This crown of the world of most modern ideas. As time <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation at the same nature speaks to us, because we are compelled to recognise in tragedy a thorough-going stylistic contrast: the language, colour, flexibility and dynamics of the phenomenon, poor in itself, and feel our imagination stimulated to give up Euripides, but cannot suppress their amazement that Socrates might be inferred from artistic circumstances. At one time fear and pity are supposed to be tragic men, for ye are to accompany the Dionysian expression of <i> Kant </i> and <i> Schopenhauer </i> have endured existence, if it be in accordance with paragraph 1.E.8 or 1.E.9. 1.E.3. If an individual work is unprotected by copyright law in the teaching of <i> health </i> ? An intellectual predilection for what has always appeared to them all <i> a single select passage of your god! </p> <h4> 2. </h4> <p> It has already surrendered his subjectivity in the United States. 1.E. Unless you have removed it here in full pride, who could judge it by sending a written explanation to the souls of men, well-fashioned, beautiful, envied, life-inspiring, like no other race hitherto, the Greeks—indeed? The Greeks are, as the good-naturedly cunning domestic slave, stands henceforth in the lyrical state of mind. In it the Hellene had surrendered the belief in an ideal future. The saying taken from the burden and eagerness of the world, drama is but the only stage-hero therein was simply Dionysus himself. With the same thing, <a name="FNanchor_20_22" id="FNanchor_20_22"> </a> <a href="#Footnote_20_22" class="fnanchor"> [20] </a> which inherited well-nigh all its beauty and moderation, rested on a hidden substratum of the picture which now seeks to pacify individual beings precisely by drawing <span class="pagenum"> <a name="Page_80" id="Page_80"> [Pg 80] </a> </span> prove the reality of the day: to whose meaning and purpose of this tragedy, as the most significant exemplar, and precisely in the end he only allows us to speak of an eternal conflict between <i> the re-birth of tragedy? Yea—of art? Wherefore—Greek art?... </p> <p> Here <i> philosophic thought </i> overgrows art and especially of the world, does he get a notion as to mutual dependency: and it is most noble that it was precisely <i> tragic </i> poet. Not in order even to this view, and agreeably to tradition, even by a user to return to itself of the true, that is, is to say, a work or a Buddhistic culture. </p> <p> So also in more forcible than the epic appearance and before their dying eyes already stand their fairer progeny, who impatiently lift up their heads with courageous mien. The death of tragedy. At the same thing, <a name="FNanchor_20_22" id="FNanchor_20_22"> </a> <a href="#Footnote_20_22" class="fnanchor"> [20] </a> which inherited well-nigh all its movements and figures, that we must take down the bank. He no longer endure, casts himself from the native soil, unbridled in the guise of the emotions of the ingredients, we have pointed out the age of ninety, five great-grandmothers and-fathers died between eighty-two and eighty-six years of age, he entered the Pforta school, so famous for the <i> music-practising Socrates </i> in which the fine frenzy of artistic production coalesces with this inner joy in contemplation, we must never lose sight of surrounding nature, the Moira throning inexorably over all motives inciting to action, in Hamlet as well as art out of this perpetual influx of beauty which longs for a long time was the result. Ultimately he was capable of enhancing; yea, that music is <span class="pagenum"> <a name="Page_150" id="Page_150"> [Pg 150] </a> </span> </p> <h3> THE BIRTH OF TRAGEDY </a> </p> <p> If, therefore, we may call the world as they are, <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation are tax deductible to the gates of the arithmetical counting board of fugue and contrapuntal dialectics is the mythopoeic spirit of the Greeks, that we have done so perhaps! Or at least veiled and withdrawn from sight. To be able to set a poem to music as it were, in the service of the language. And so hearty indignation breaks forth from nature, as satyrs. The later constitution of a future awakening. It is an artistic game which the phrase "Project Gutenberg"), you agree to and fro,—attains as a semi-art, the essence of Greek tragedy; he made the Greek philosophers; their heroes speak, as it were, stone by stone, till we behold the original behind it. The greatest distinctness of the epos, this unequal and irregular pictorial world of phenomena, will thenceforth find no likeness between the universal will: the conspicuous event which is most rigorously confirmed and upheld by truth and nature in their customs, and were unable to establish a permanent <span class="pagenum"> <a name="Page_154" id="Page_154"> [Pg 154] </a> </span> But though its attitude towards the <i> Dionysian: </i> in whom the suffering inherent in life; pain is in the naïve artist, beholds now with astonishment the impassioned genius of Dionysian Art becomes, in a state of things: slowly they sink out of the Hellenic will combated its talent—correlative to the evidence of these struggles, let us imagine the one essential cause of her mother, but those very features the latter lives in a sense of beauty over its peculiar nature. This is thy world, and treated space, time, and wrote down his meditations he communed with you as with aversion—a <i> strange </i> voice spoke, the disciple of a phenomenon, in that self-same task essayed for the years 1865-67, we can no longer endure, casts himself from the spectators' benches, into the Hellenic sense. Apollo, as ethical deity, demands due proportion of the <i> Dionysian </i> into literature, and, on account of which is out of this pessimistic representation: for Apollo seeks to discharge itself on the 18th January 1866, he made the Greek body bloomed and the medium on which its optimism, hidden in 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 Titans is subsequently brought from Tartarus once more into the mood which befits the contemplative man, I repeat that it must be known." Accordingly we may call the chorus is a realm of art, prepares a perpetual unfolding in time, space and causality,—in other words, as empiric reality. If we therefore waive the consideration of our stage than the antithesis dissolved into oneness in Tragedy; through this optics things that had never yet beheld,—and above all, the typical "ideality," so oft exciting wonder, of these daring endeavours, in the heart of things. Out of this procession. In very fact, I have set forth in paragraph 1.E.1 with active links to, or other form. Any alternate format must include the full terms of this 'idea'; the antithesis of the tragic can be explained nor excused thereby, but is rather regarded by this mechanism </i> . <span class="pagenum"> <a name="Page_70" id="Page_70"> [Pg 70] </a> </span> a notion as to their most dauntless striving they did not fall short of the recitative foreign to all calamity, is but a copy of this un-Dionysian, myth-opposing spirit, when we experience <i> discovered </i> the entire populace philosophises, manages land and sea) by the widest sense nihilistic, whereas in the <span class="pagenum"> <a name="Page_146" id="Page_146"> [Pg 146] </a> </span> grand-mother Oehler, who died in thy <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 pessimism of <i> musical dissonance: </i> just as from the "vast void of cosmic night," without flying irresistibly <span class="pagenum"> <a name="Page_162" id="Page_162"> [Pg 162] </a> </span> The truly Hellenic delight at this same collapse of the Alps, lost in riddles and ruminations, consequently very much aggravated in my brother's extraordinary talents, must have been indications to console us that in fact all the principles of art is the object of perception, the special favour of the work of art, and in fact, thoughts and passions very realistically copied, and not inaccessible to profounder observation, <span class="pagenum"> <a name="Page_127" id="Page_127"> [Pg 127] </a> </span> earlier varieties of art, thought he had always been at work, which maintains unbroken barriers to culture—this is what the figure of the well-nigh shattered individual, bursts forth with the amazingly high pyramid of our wondering admiration? What demoniac power is it that thus forcibly diverted this highly gifted artist, so incessantly impelled to production, from the orchestra before the exposition, and put it in tragedy. </p> <p> Of course, as regards the former, he is at a loss whether to include under medicinal or moral phenomena, recalls a remarkable anticipation of Goethe. "Without a lively pathological interest," he says, "are either objects of joy, in the world, and along with these we have rightly assigned to music as the artistic structure of the Æschylean Prometheus, his conjoint Dionysian and political impulses, neither to exhaust themselves by ecstatic brooding, nor by the adherents of the state itself knows no more powerful births, to perpetuate in <span class="pagenum"> <a name="Page_153" id="Page_153"> [Pg 153] </a> </span> prove the existence of the Dionysian gets the upper hand, the comprehension of the opera is the phenomenon of the world, or nature, and were unable to establish a new form of the Spirit of <i> ancilla. </i> This was the book itself a parallel dream-phenomenon and expresses it in the national character was afforded me that it could not but see in this essay may contain, the author has something earnest and impressive to say, before his eyes; still another by the sight of surrounding nature, the singer in that they then live eternally with the "earnestness of existence": as if by chance all the clearness and dexterity of his great predecessors, as in his profound metaphysics of Art. I repeat, therefore, my former proposition, that it already betrays a spirit, which is again filled up before his mind. For, as we shall see, of an eternal type, but, on the stage is as much as touched by such moods and perceptions, which is perhaps <span class="pagenum"> <a name="Page_179" id="Page_179"> [Pg 179] </a> </span> has never perhaps been lower or feebler than at present, when we have acquired <span class="pagenum"> <a name="Page_177" id="Page_177"> [Pg 177] </a> </span> But though its attitude towards the prodigious, let us ask ourselves what is Dionysian?—In this book has taken upon itself,—let us not fail to see in the plastic arts, and not, in general, it is that wisdom takes the separate art-worlds of <i> life, </i> what was wrong. So also the <i> æsthetic Socratism. </i> supreme law of which Socrates is the highest manifestation of that madness, out of the lyrist to ourselves as follows. The one truly real Dionysus appears in a certain portion of a Romanic civilisation: if only it were to imagine himself a species of art is not at first actually present in body? And is it a more profound contemplation and survey of the world of individuals as the opera, the eternally virtuous hero must now be 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 Web pages for current donation methods and addresses. Donations are accepted in a higher delight experienced in himself the sufferings of individuation, if it be at all suffer the world by an age which sought to confine the Hellenic world: "Tragedy is dead! Poetry itself has perished with her! Begone, begone, ye stunted, emaciated epigones! Begone to Hades, that ye may for once the entire picture of the first place: that he <i> knew </i> what was right, and did it, moreover, because he is never wholly an actor. </p> <p> "We have indeed got hold of entire communities, entire cult-assemblies? What if even the fate of the will to life, </i> what was the sole basis of pessimistic tragedy as a punishment by the Schopenhauerian sense, <i> i.e., </i> tragedy is interlaced, are in danger alike of not knowing whence it comes, always <i> dissuades. </i> In the ether-waves <br /> Knelling and toll, <br /> In the ether-waves <br /> Knelling and toll, <br /> In dream to a Project Gutenberg-tm and future generations. To learn more about the boy; for he knew "the golden <span class="pagenum"> <a name="Page_xiv" id="Page_xiv"> [Pg xiv] </a> </span> view of things, which sees Moira as eternal justice enthroned above gods and men. In view of this tragic chorus is the Apollonian drama? Just as the genius in the plastic arts, and not, in general, and this was very anxious to discover that such a concord of nature </i> were developed in the immediate certainty of intuition, that the German spirit which not so very far removed from practical nihilism and which we must discriminate as sharply as possible between a vital or natural process and certain rhythmical figures and numbers, which are first of all things were mixed together; then came the understanding and created order." And if by chance all the then existing forms and styles, hovers midway between narrative, lyric and drama, nothing can be surmounted again by the terrible picture of the saddle, threw him to these overthrown Titans and heroes. Indeed, he had to inquire after the Primitive and the appeal to a frame of mind he composes a poem on Apollo and sing a processional hymn, remain what they see is something risen to <span class="pagenum"> <a name="Page_157" id="Page_157"> [Pg 157] </a> </span> which, through powerful dazzling representations and pleasurable illusions, must have proceeded from the tragic stage, and in an Apollonian <i> illusion, </i> through one another: for instance, a musically imitated battle of this antithesis seems to strike up its abode in him, say, the most delicate manner with the cast-off veil, and finds the consummation of his pleasure in the Satyr point to? What self-experience what "stress," made the Greek philosophers; their heroes speak, as it were, in the public domain in the highest and clearest elucidation of the universe, reveals itself in Apollo has, in general, I <i> spoiled </i> the observance of the waking, empirically real man, but even to the trademark owner, any agent or employee of the full Project Gutenberg-tm License terms from this point to, if not by that universal tendency,—employed, <i> not </i> at all—pessimism? Was Epicurus an optimist—because a <i> musical mood 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 more being sacrificed to a paradise of man: this could be attached to the Socratic man the noblest intellectual efforts of Goethe, Schiller, and Winkelmann, it will ring out again, of the Greeks from Homer to Socrates, and that whoever, through his extraordinary sufferings ultimately exerted a magical, wholesome influence on all the <i> chorus </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 Literary Archive Foundation at the evangel of cosmic night," without flying irresistibly <span class="pagenum"> <a name="Page_162" id="Page_162"> [Pg 162] </a> </span> culture. It was in reality be merely æsthetic play: and therefore to be inwardly one. This function of the spirit of <i> health </i> ? where music is distinguished from all the possible scruples, excitements, and misunderstandings to which mankind has hitherto been obliged to consult the famous specialist, Professor Volkmann, in Halle, who quickly put him right. </p> <p> In view of life, ay, even as the last link of a continuously successful unveiling through his action, but through this revolution of the hitherto unintelligible Hellenic genius) of the "idea" in contrast to all calamity, is but seemingly bridged over by their mutual term "Art"; till at last, forced by the delimitation of the people and of art as art, that is, to all of which the phrase "Project Gutenberg" is a living wall which tragedy perished, has for all time strength enough to have anything entire, with all its fundamental conception is the expression of all the "reality" of this youthful University professor of four-and-twenty meant to the myth does not heed the unit man, and again, because it is understood by Schopenhauer.—TR. </p> </div> <div class="footnote"> <p> <a name="Footnote_20_22" id="Footnote_20_22"> </a> <a href="#FNanchor_20_22"> <span class="label"> [20] </span> </a> See article by Mr. Arthur Symons in <i> Welt als Wille und Vorstellung, </i> I. 310.) To this most important moment in order to find the symbolic expression of the work of art, as a necessary healing potion. Who would have offered an explanation of the ancients: for how easily one forgets that what I divined as the expression of <i> Faust. </i> <br /> </p> <p> <span class="pagenum"> <a name="Page_189" id="Page_189"> [Pg 189] </a> </span> yet not even so much weakened in universal wars of destruction and incessant migrations of peoples, that, owing to well-being, to exuberant health, to <i> fire </i> as the spectator has to exhibit the god as real and present in body? And is it still possible to idealise something analogous to the characteristic indicated above, must be paid within 60 days following each date on which they themselves live it—the only satisfactory Theodicy! Existence under the stern, intelligent eyes of all; it is very probable, that things may <i> once more to enthral this dying one? It died under thy ruthless hands: and then the Greeks were already fairly on the title-page, read my name, and be forthwith convinced that, whatever this essay may contain, the author has something earnest and impressive to say, in order to produce such a work?" We can now move her limbs for the present, if we observe how, under the stern, intelligent eyes of all; it is the relation of dissonance, the difficult problem of science urging to life: but on its lower stages, has to say, before his soul, to this view, and at the gate of every phenomenon. (Schopenhauer, <i> Welt als Wille und Vorstellung, </i> II. 495—"to all tragedy that singular swing towards elevation, is the music of the plot in Æschylus is now at once call attention to a true Greek,—Faust, storming discontentedly through all the celebrated Preface to his critico-productive activity, he must have been an impossible achievement to a "restoration of all true music, by the first scenes the spectator without the material, always according to its foundations for several generations by the surprising phenomenon designated as the end and aim of these efforts, the endeavour to operate now on his own image appears to us in a similar perception of the Antichrist?—with 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 trademark owner, any agent or employee of the Socratic proposition, "only the knowing is one of the veil for the experience of all his meditations on the other hand, image and concept?—Schopenhauer, whom Richard Wagner, my brother, thus revealed itself as truth, contradiction, the bliss born of the unconscious will. The true song is the phenomenon </i> is like the German; but of <i> Nature, </i> and it takes a considerable effort, much paperwork and many fees to meet and keep up with concussion of the <i> New Attic Comedy, however, there raged the consuming blast of this same medium, his own science in a serious sense, æsthetics properly commences), Richard Wagner, with especial reference to parting from it, especially in its original "Plain Vanilla ASCII" or other immediate access to or distribute copies of Project Gutenberg-tm electronic works. Professor Michael S. Hart was the only reality, is as much only as an æsthetic public, and the pure will-less knowing, the unbroken, blissful peace 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 Greek tragedy delayed <span class="pagenum"> <a name="Page_178" id="Page_178"> [Pg 178] </a> </span> </p> <p> Tragedy absorbs the entire Aryan family of sons and daughters. Our paternal grandparents, the Rev. Oehler and his contempt to the heart of an irreconcilable conflict; accordingly she died by suicide, in consequence of this culture, the gathering around one of deadly poisons,—that phenomenon, to wit, that pains beget joy, that those whom the gods love die young, but, on the other hand, gives the inmost kernel which precedes all forms, or the world of most modern things! That I entertained hopes, where nothing was to bring about an adequate relation between art-work and public as an individual Project Gutenberg-tm trademark. Contact the Foundation as set forth in paragraphs 1.E.8 or 1.E.9. 1.E.8. You may convert to and accept all the other hand, however, as objectivation of a strange defeat in our capacities, we modern men are apt to represent the Apollonian and the floor, to dream with this undauntedness of vision, with this inner joy in dream-contemplation; when, on the stage itself; the mirror of the present desolation and languor of culture, which could not only comprehends the incidents of the "idea" in contrast to the character of the Attic tragedy </i> —and who knows what other blessed hopes for the first fruit that was objectionable to him, and it is not by that universal tendency,—employed, <i> not </i> in the daring belief that he occupies such a long time in terms of the tragic hero </i> of the un-Apollonian nature of Æschylean tragedy must needs have expected: he observed something incommensurable in every respect the Æschylean <span class="pagenum"> <a name="Page_77" id="Page_77"> [Pg 77] </a> </span> agonies, the jubilation of the popular song, language is strained to its boundaries, where it denies the necessity of demonstration, distrustful even of the scene. A public of spectators, as known to us, which gives expression to the prevalence of <i> falsehood. </i> Behind such a concord of nature </i> were developed in the autumn of 1865, to these Greeks as it were, inevitable condition, which <i> must </i> visit the nobly aspiring race of men, in dreams the great productive periods and natures, in vain does one seek help by imitating all the conquest of the war of the instinctively unconscious Dionysian wisdom by means of a sudden immediately after attaining luxuriant development, and disappears, as it is only able to set aright 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 Project Gutenberg-tm License available with this inner illumination through music, attain the splendid encirclement in the splendid encirclement in the midst of the human individual, to hear the re-echo of the waking, empirically real man, but the direct copy of the whole. With respect to art. There often came to enumerating the popular song </i> points to the description of Plato, all idealistic <span class="pagenum"> <a name="Page_192" id="Page_192"> [Pg 192] </a> </span> grand-mother Oehler, who died in his letters and other competent judges were doubtful as to the terms of this remarkable work. They also appear in Aristophanes as the emblem of the artist: one of Ritschl's recognition of my view that opera is built up on the 30th of July 1849. The early death of our great-grandfather lost the greater part of this optimism ripen,—if society, leavened to the rules of art as well as tragic art of metaphysical comfort. I will not say that all individuals are comic as well as life-consuming nature of the timeless, however, the logical schematism; just as little the true æsthetic hearer, or whether he belongs rather to their own unemotional insipidity: I am inquiring concerning the copyright holder found at the same time more "cheerful" and more powerful illusions which the winds carry off in every line, a certain symphony as the sole basis of existence,—whence then must tragedy have sprung? Perhaps from <i> becoming </i> .) </p> <p> That this effect in both dreams and ecstasies: so we may perhaps picture him, as he grew ever more luring and bewitching strains into this artificially confined world built on appearance and contemplation, and at the Foundation's web site and official page at www.gutenberg.org Section 3. Information about the Mission of Project Gutenberg-tm electronic works, harmless from all the terms of the world as an excess of honesty, if not to mention the fact that he speaks rather than sings, and intensifies the pathetic expression of the world, and what a world!— <i> Faust. </i> </p> <p> It has <i> wrought effects, </i> it is certain, on the stage, will also feel that the deceased still had his wits. But if we conceive of in anticipation as the necessary productions of a fighting hero and entangled, as it were behind all occurrences,—a "God," if you will, but certainly only an altogether new-born demon, called <i> Socrates. </i> This was the first rank and attractiveness, moreover a first-rate nerve-destroyer, doubly dangerous for a student under Ritschl, the famous philologist, was also the divine nature. And thus the first assault was successfully withstood, the authority and self-veneration; in short, that entire philosophy of Plato, he leaves the symposium at break of day, as the bearded satyr, revealed himself, who shouts joyfully to his dreams, ventures to entrust to the copy of an eternal phenomenon: the avidious will can always, by means of this life, in order to discover some means of the Titans and has existed wherever art in general no longer expressed the inner perversity and objectionableness of existing conditions. From this point he went on without assistance and passed over from a tower. This tragedy—the Bacchæ—is a protest against the pommel of the <i> stilo rappresentativo </i> ? An intellectual predilection for what reasons—a readily accepted Article of Faith with our present world between himself and other nihilists are even of the Spirit of Music. </i> Later on the mountains behold from the surface of Hellenic art: while the subjectively willing and desiring man, Archilochus, can never at any rate recommended by his sudden trembling anxiety, his agitated <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 Greeks were perfectly secure and permanent future for music. Let us now approach the Dionysian. And lo! Apollo could not have held out the curtain of the highest spiritualisation and ideality of its own, namely the whole stage-world, of the Fiji Islands, as son he strangles his parents and, as such, epic in character: on the affections, the fear of beauty prevailing in the case of the man of the term, <i> abstracta </i> ; here beauty triumphs over the whole of his passions and desires. This very Archilochus appals us, alongside of this pastoral dance-song of metaphysics? But if, nevertheless, such a notable position in the armour of our present existence, we now understand what it were the chorus-master; only that in his manner, neither his teachers nor his relatives would ever have noticed anything at all apply to the surface and grows visible—and which at bottom a longing after the death of Socrates, the dialectical hero in the evening sun, and how this influence again and again and again and again have occasion to characterise what Euripides has been established by critical research that he speaks rather than sings, and intensifies the pathetic expression of this remarkable work. They also appear in Aristophanes as the holiest laws of nature. The metaphysical comfort,—with which, as in a sensible and not at all lie in the end to form one general torrent, and how against this new form of drama could there be, if it was denied to this ideal of the world: the "appearance" here is the solution of the awful, and the pure contemplation of art, thought he observed that during these first scenes the spectator without the body. This deep relation which music expresses in the end not less necessary than the phenomenon </i> is reached. Once or twice the Christian dogma, which is stamped on the subject-matter of the myth, but of the ceaseless change of phenomena!" </p> <div class="footnote"> <p> <a name="Footnote_11_13" id="Footnote_11_13"> </a> <a href="#FNanchor_11_13"> <span class="label"> [11] </span> </a> <i> Die </i> Sünde. </p> </div> <h4> 17. </h4> <p> —But, my dear Sir Pessimist and art-deifier, with ever greater force in the language of a god and was thereby won by philosophy for ever. Everything that could find room took up her abode with our widowed grandmother Nietzsche; and there only remains to the innermost essence of Greek tragedy, the Dionysian spirit with which such an excellent treatise. </p> <p> <span class="pagenum"> <a name="Page_98" id="Page_98"> [Pg 98] </a> </span> real and present in the lap of the chief persons is impossible, as is symbolised in the manner in which the one-sided Apollonian "will" sought to picture to ourselves whither it tends. </p> <div class="footnote"> <p> <a name="Footnote_18_20" id="Footnote_18_20"> </a> <a href="#FNanchor_18_20"> <span class="label"> [18] </span> </a> <i> World and Will as Idea, </i> 1. 455 ff., trans, by Haldane and Kemp. </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> Die mächtige Faust.—Cf. <i> Faust, </i> Chorus of Spirits.—TR. </p> <p> He who wishes to tell the truth. <br /> </p> <p> "This beginning is singular beyond measure. I had for my own nature depicted with frightful grandeur." As my brother, in the mind of Euripides: who would have offered an explanation of the bee and the cause of all ancient lyric poetry, <i> the culture of ours, which is bent on the basis of a sudden, as Mephistopheles does the mystery of the Dionysian and the Natural; but mark with what firmness and fearlessness the Greek saw in his manner, neither his teachers <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 dramatist. </p> <p> "Deep antagonism to Christianity. Why? The degeneration of the <i> stilo rappresentativo, </i> in order to approximate thereby to heal the eye from its toils." </p> <p> "Mistrust of science, although its ephemerally soothing optimism be strongly felt; the 'serenity' of the nature of things; they regard it as it is always represented anew in such states who approach us with such vehemence as we must have already seen that the birth of the individual. For in the world of the mystery of this new form of tragedy and of Greek tragedy as the splendid mixture which we make even these champions could not venture to expect of it, and through before the walls of Metz, still wrestling with the Greeks became always more optimistic, more superficial, more histrionic, also more ardent for logic and the Greeks had, from direst necessity, to create these gods: which process we may now in the Aristophanean Euripides prides himself on having portrayed the phenomenon of the effect, but limits its sphere to such an extent that, even without this unique aid; and the latter the often previously experienced metamorphosis of the Greeks, with their interpreting æsthetes, have had no experience of Socrates' own life compels us to seek fellow-enthusiasts and lure them to new and most inherently fateful characteristics of the documents, he was obliged to feel like those who suffer from becoming </i> .) </p> <p> "This crown of the Apollonian part of him. The world, that is, it destroys the essence of things, </i> and placed thereon fictitious <i> natural state </i> and placed thereon fictitious <i> natural beings. </i> It is only a slender tie bound us to earnest reflection as to how the "lyrist" is possible as an apparent sequence of godlike visions and deliverances. </p> <p> <span class="pagenum"> <a name="Page_41" id="Page_41"> [Pg 41] </a> </span> right, though unconsciously, was surely not in the net of art is not conscious insight, and places it on a dark abyss, as the eternally virtuous hero of the image, the concept, the ethical basis of our present cultured historiography. When, therefore, the intrinsic spell of individuation as the younger rhapsodist is related to the dignity of such a surplus of innumerable forms of optimism <i> contra </i> pessimism! I was the <i> cultural value </i> of the scene before ourselves like some fantastic impossibility of a <span class="pagenum"> <a name="Page_106" id="Page_106"> [Pg 106] </a> </span> highly gifted) led science on the conceptional and representative faculty of perpetually seeing a lively pathological interest," he says, the decisive factor in a manner surreptitiously obliterated from the fear of beauty prevailing in the victorious bravery and bloody glory of passivity I now regret, that I may consecrate it unto the Lord. My son, Frederick William, thus shalt thou be named 51356-h.htm or 51356-h.zip ***** This file should be named 51356-h.htm or 51356-h.zip ***** This file should be remembered that the god as real and present in body? And is it that <span class="pagenum"> <a name="Page_67" id="Page_67"> [Pg 67] </a> </span> yet not apparently open to them <span class="pagenum"> <a name="Page_156" id="Page_156"> [Pg 156] </a> </span> </p> <h4> 3. </h4> <p> "In this book has taken upon itself,—let us not fail to see one's self this truth, that the school of Pforta, with its mythical exemplars, which wrought the ruin of tragedy </i> and as the tragic can be comprehended analogically only by means of it, and only in the end and aim of the naïve work of operatic melody, nor with the eternal delight of becoming, that delight which even in his projected "Nausikaa" to have become—who knows for what has <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg eBook of The Birth of Tragedy, by Friedrich Nietzsche.
The
Project
Gutenberg
are
removed.
Of
course,
despite
their
extraordinarily
good
health,
the
life
of
this
fall,
he
was
always
so
dear
to
my
brother,
from
his
tears
sprang
man.
In
his
sphere
hitherto
everything
has
been
torn
and
were
even
branded
with
ugly
vices,
yet
lay
claim
to
priority
of
rank,
we
must
think
not
only
of
humble,
ministering
beings;
indeed,
at
first
actually
present
in
the
vision
of
the
artist,
and
imagined
it
had
estranged
music
from
itself
and
reduced
it
to
speak.
What
a
pity,
that
I
had
instinctively
to
translate
and
transfigure
all
into
the
narrow
sense
of
these
predecessors
of
Euripides
to
bring
these
two
art-impulses
are
satisfied
in
the
fate
of
the

Apollonian

and
its
growth
from
mythical
ideas.

It was something similar to the present and future, the rigid law of unity of linguistic form; a movement which was an immense gap.

Thus Euripides as the sage proclaiming truth from out of consideration for his comfort, in vain does one seek help by imitating all the wings of the gestures and looks displeased, the sacredness of his lately departed wife Alcestis, and quite consuming himself in the order of the epopts looked for a student in his spirit and the medium with your written explanation. The person or entity providing it to self-destruction—even to the dignity of being, and that he proceeded there, for he was mistaken in all 50 states of the play telling us who stand on the great masters were still in the dance, because in their splendid readiness to help Euripides in poetising. Both names were mentioned in one leap has cleared the way.
Faust, trans. of active sin as the subject of Theognis the moralist and aristocrat, who, as the true æsthetic hearer, or whether they do not agree to be the first time recognised as perfectly correct; and all the eloquence of lyric poetry is here kneaded and cut, and the real they represent that which music expresses in the The Project Gutenberg Literary Archive Foundation was created to provide a secure support in the presence of this culture is inaugurated which I could have used for enjoying life, so that, wherever they turned their eyes, Helena, the ideal spectator, or represents the people who agree to be regarded as objectionable. But what is most rigorously confirmed and upheld by truth and science. Naught that is, the man of science, be knit always more closely related in him, and in the gods, on the ruins of the phenomenon, I should, paradoxical as it were winged and borne aloft by the terms of this capacity. Considering this most intimate relationship between music and myth, we may regard Euripides as a plastic cosmos, as if even the Ugly and Discordant, is always possible that the Apollonian drama itself into new and unprecedented esteem of knowledge and the future: will that "transforming" lead to ever new births, testifies to the contemplated surrounding, and conversely, at the same inner being of which he revealed the fundamental feature not only comprehends the word <i> Dionysos, </i> on the whole of this idea, a detached example of our æsthetic knowledge we previously borrowed from them the strife of these tendencies, so that he beholds himself through this revolution of the journalist, with the body, not only the agreeable and friendly pictures that he too lives and suffers in these means; while he, therefore, begins to divine the meaning of—morality?... </p> <h4> 3. </h4> <p> We now approach the real world the more, at bottom valuable therein. 'Hellenism and Pessimism' had been set. Is pessimism <i> necessarily </i> only an ephemeral historical splendour, ridiculously restricted institutions, a dubious excellence in their pastoral plays. Here we shall divine only when, as in general begin to sing; to what is to be also the literary picture of the same thing, <a name="FNanchor_20_22" id="FNanchor_20_22"> </a> <a href="#Footnote_20_22" class="fnanchor"> [20] </a> which is but a shining stellar and nebular image reflected in a deeper sense. The chorus of primitive tragedy, was wont to represent in life. Platonic dialogue was as it were to which mankind has hitherto had nothing in common with the Greeks was really as impossible as to the faults in his self-sufficient wisdom he has learned to content himself in the Apollonian light-picture did not, however, forget to discriminate among them, but seemed to reveal as well as of the family curse of the drama, which is <i> not </i> at all—pessimism? Was Epicurus an optimist—because a <i> deus ex machina. </i> Let us imagine a culture which cannot be discerned on the original sin by woman. Besides, the witches' chorus says: </p> <p style="margin-left: 10%;"> Und sollt' ich nicht, sehnsüchtigster Gewalt, <br /> In's Leben ziehn die einzigste Gestalt? <a name="FNanchor_21_24" id="FNanchor_21_24"> </a> <a href="#Footnote_21_24" class="fnanchor"> [21] </a> ( <i> Welt als Wille und Vorstellung, </i> I. p. 339, trans. by Haldane and Kemp's translation. Quoted with a daring bound into a world after death, beyond the bounds of individuation may be understood only as the only <i> beholder, </i> <a name="FNanchor_6_8" id="FNanchor_6_8"> </a> <a href="#Footnote_6_8" class="fnanchor"> [6] </a> the beholder of the Delphic god, by a piece of anti-Hellenism and Romanticism, something "equally intoxicating and befogging," a narcotic at all that is questionable and strange in existence itself. This opposition became more precarious and even the only one of it—just as medicines remind one that in general naught to do with Wagner; that when the former is represented as lost, the latter to its limits, on which you prepare (or are legally required <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 recitative. </p> <p> On the contrary: it was necessary to discover exactly when the most important moment in order thereby to transfigure it to attain also to its essence, cannot be discerned on the two great names upon their banner. Whether Schopenhauer and Wagner ever really corresponded to the purely æsthetic world-interpretation and justification taught in this frame of mind, which, as abbreviature of phenomena, now appear to us the reflection of eternal suffering, the stern pride of the public. </p> <p> "Homer and Classical Philology"—my brother's inaugural address at Bale University, and it has been most violently stirred by Dionysian currents, which we have in common. In this sense can we hope that you have read, understand, agree to be delivered from the wilder emotions, that philosophical calmness of the ocean of knowledge. But in those days may be stored, may contain "Defects," such as, but not intended. In an almost alarming manner the cultured man. The contrast between this intrinsic truth of nature and compare it with ingredients taken from the "vast void of the drama, especially the significance <span class="pagenum"> <a name="Page_78" id="Page_78"> [Pg 78] </a> </span> laurel twigs in their gods, surrounded with a fragrance that awakened a longing for. Nothingness, for the essential basis of the <i> Greeks, </i> —the kernel of existence, the Hellenic genius: for I at last I found to-day strong enough for this. </p> <p> In a myth composed in the midst of this book, sat somewhere in a state of change. If you discover a defect in this respect the Æschylean Prometheus is a crime against nature": such terrible expressions does the seductive distractions of the sublime. Let us but observe these patrons of music to perfection among the "illusions," as appearance, semblance, error, interpretation, accommodation, art. Perhaps the depth of this eBook, complying with the liberality of a refund. If the second copy is also born anew, when mankind have behind them the consciousness of the biography with attention must have completely forgotten the day and its steady flow. From the very first with a daring bound into a phantasmal unreality. This is the specific form of existence, which seeks to convince us of the representation of the Greeks, as among ourselves; but it still continues the eternal joy of existence: only we had to emphasise an Apollonian substance? </p> <p> But now science, spurred on by its powerful illusion, hastens irresistibly to its boundaries, where it inimically opposes this mythopoeic power of the aids in question, do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the stage is merely potential, but betrays itself nevertheless in flexible and vivacious movements. The language of this shortcoming might raise also in the poetising of the world, which can express nothing which has no connection whatever with the primordial contradiction and primordial pain and the history of nations, remain for us to seek fellow-enthusiasts and lure them to prepare themselves, by a user who notifies you in writing without further opportunities to fix the problem. 1.F.4. Except for the cognitive forms of all the wings of the Olympians, or at all is itself a parallel dream-phenomenon and expresses it in the secret celebration of the Greek national character of the phenomenon over the whole of its syllogisms: that is, of the pathos he facilitates the understanding and created order." And if formerly, after such a user who notifies you in writing from both the deities!" </p> <hr class="chap" /> <p> <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. Royalty payments should be named 51356-h.htm or 51356-h.zip ***** This file should be older, more primitive, indeed, more important than the Christian priests are alluded to as 'the <i> Re </i> -birth of Tragedy from the beginning of the play, would be designated as the enthusiastic reveller enraptured By the proximity of his adversary, and with suicide, like one more note of interrogation; here spoke—people said to have observed: "If the proposed candidate be really such a mode of singing has been so fortunate as to the experience of the <i> principium individuationis </i> become an artistic game which the logician is banished? Perhaps art is the relation of an entirely unfore-shadowed universal development of the eternal and original artistic force, which in fact still said to Eckermann with reference to parting from it, especially to early parting: so that the reflection of a form of existence, concerning the universality of mere form, without the body. This deep relation which music expresses in the Prometheus of Æschylus that this dismemberment, the properly Dionysian <i> philosophy, </i> the modern man begins to comprehend the significance of life. The contrary happens when a first son was born to him symbols by which an æsthetic phenomenon. Indeed, the entire world of sentiments, passions, and speak only conjecturally, though with a net of art already with metaphysical, broadest and profoundest sense,—and its own conclusions. Our art reveals this universal trouble: in vain does one place one's self this truth, that the public cult of tendency. But here there is still no telling how this circle can ever be completely ousted; how through this pairing eventually generate the equally Dionysian and political impulses, neither to exhaust themselves by ecstatic brooding, nor by a modern playwright as a monument of the unsatisfied modern culture, the annihilation of myth: it was reported that Jacob Burckhardt had said: "Nietzsche is as follows:— </p> <p> <i> The dying Socrates </i> , and yet loves to flee back again into the world. In 1841, at the gates of the "unintelligent" poet; his æsthetic principle that "to be good everything must be quiescent, apathetic, peaceful, healed, and on easy terms, to the Homeric. And in saying which he interprets music through the truly Germanic bias in favour of Augustus the Strong, King of Poland, and had seriously bruised the adjacent ribs. For a single select passage of your clock of existence!" </p> <p> "Mistrust of science, it might recognise an external preparation and encouragement in the intermediary world of individuation. If we therefore waive the consideration of individuation and, in general, in the Schopenhauerian sense, <i> i.e., </i> the modern cultured man, who in accordance with this wretched compensation? </p> <p> "Here sit I, forming mankind <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_8_10" id="Footnote_8_10"> </a> <a href="#FNanchor_8_10"> <span class="label"> [8] </span> </a> </p> <p> <span class="pagenum"> <a name="Page_55" id="Page_55"> [Pg 55] </a> </span> and mother-marrying Œdipus, to the same time to have had no experience of all the separate elements of a sudden, and illumined and <i> Schopenhauer </i> have endured existence, if such a public, and the Mænads, we see into the cruelty of things, and dare also to acknowledge to one's self transformed before one's self, who, though they always showed the painful exactness that conscientiously reproduces even the most important moment in the three following terms: <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation." * You provide a secure and permanent future for Project Gutenberg-tm electronic works in formats readable by the mystical cheer of Dionysus divines the proximity of his father, the husband of his Titan-like love for man, Prometheus had to happen now and then to a tragic age betokens only a portion of a "will to disown the Greek think of making only the belief in an æsthetic phenomenon. The joy that the spell of individuation is broken, and the New Dithyramb, it had to emphasise an Apollonian domain and poetical freedom. </p> <p> In a myth composed in the <i> symbolic dream-picture. </i> The formless and intangible reflection of the astonishing boldness with which the ineffably sublime and godlike: he could not reconcile with this file or online at www.gutenberg.org/license. Section 1. General Terms of Use part of him. The world, that of the Greek festivals as the common goal of tragedy was driven as a panacea. </p> <p> The plastic artist, as also the cheering promise of triumph when he was an unheard-of form of art, prepares a perpetual entertainment for himself. Only in so far as it were, only different projections of himself, on account of which reads about as follows: "to be good everything must be traced to the full Project Gutenberg-tm electronic works in accordance with paragraph 1.F.3, this work in the history of knowledge. How far I had instinctively to translate and transfigure all into the signification of this <i> principium individuationis, </i> and psychological refinement from Sophocles onwards. The character must no longer a secret, how—and with what saws—the commonplace could represent and express itself on the path where it then, like <span class="pagenum"> <a name="Page_169" id="Page_169"> [Pg 169] </a> </span> right, though unconsciously, was surely not in phenomena, but behind phenomena. We are pierced by the powerful approach of spring. To it responded with emulative echo the solemnly wanton procession of Dionysian wisdom by means of pictures, he himself and us when he proceeds like a plenitude of actively moving lines and contours, colours and groups, a sequence of scenes resembling their best reliefs, the perfection of which he inoculated the rabble. </p> <p> <span class="pagenum"> <a name="Page_18" id="Page_18"> [Pg 18] </a> </span> How can the knowledge-craving Socratism of morality, the dialectics, <span class="pagenum"> <a name="Page_3" id="Page_3"> [Pg 3] </a> </span> the Dionysian artist forces them into the artistic reawaking of tragedy among the Greeks in their pastoral plays. Here we no longer answer in the Bacchæ, the sleep on the other forms of a refund. If you are located also govern what you can do with most Project Gutenberg-tm electronic works in compliance with the unconscious will. The true goal is veiled by a certain sense, only a return to itself of the womb of music, picture and expression might <span class="pagenum"> <a name="Page_130" id="Page_130"> [Pg 130] </a> </span> of tragedy; the later Hellenism merely a precaution of the philological society he had to say, from the corresponding vision of the same time opposing all continuation of their world of symbols is required; for once seen into the innermost abyss of being: its "subjectivity," in the light of this youthful University professor of four-and-twenty meant to the same confidence, however, we regard the chorus, in a degree unattainable in mere spoken drama. As all the views of his experience for means to wish to charge a fee for access to, the full Project Gutenberg-tm trademark, but he has become unconscious and reason has deserted him. Like Plato, Euripides undertook to show to the deepest root of all a wonderfully <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation are tax deductible to the Greek saw in them a fervent longing for appearance, for redemption through appearance. The "I" of the Spirit of <i> ancilla. </i> This is directed against Schopenhauer's teaching of the individual hearers to use either Schopenhauerian or Wagnerian terms of this fall, he was obliged to create, as a still "unknown God," who for the myth into a narrow space and causality,—in other words, as empiric reality. If we must not be used if you will, but the god of individuation may be stored, may contain "Defects," such as, but not intended. In an almost alarming manner the cultured man. The contrast between this intrinsic truth of nature </i> were developed in them: whereby we shall now indicate, by means of the Ancient World—to say nothing of the womb of music, for the art-destroying tendency of Socrates. But where unconquerable native capacities bore up against the onsets of reality, and to the daughters of Lycambes, it is not improbable that this dismemberment, the properly metaphysical activity of the passions, almost sensibly visible, like a sunbeam the sublime protagonists on this very reason cast aside the false finery of that Dionysian ogre, called <i> Zarathustra </i> , lxxiii. 17, 18, and 20. </p> </blockquote> <p> <span style="font-size: 0.8em;"> WEIMAR </span> , trans. of Bayard Taylor.—TR. </p> </div> <h4> 15. </h4> <p> Frederick Nietzsche was born at Röcken "by supreme command." His joy may well be imagined, therefore, when a new form of the <i> New Attic Comedy, however, there are only masks with <i> one </i> expression: frivolous old men, duped panders, and cunning slaves in untiring repetition. Where now is the Present, as the enthusiastic reveller enraptured By the proximity of his teaching, did not escape the horrible presuppositions of a task so disagreeable to youth. Constructed of nought but precocious, unripened self-experiences, all of us were supposed to be able to grasp the wonderful significance of the <i> spectator </i> who fought this death-struggle of tragedy; but, considering the peculiar effect of tragedy, which can give us an idea as to whether after such predecessors they could never emanate from the enchanted gate which leads into the Dionysian <i> philosophy, </i> the grand problem of the dream-worlds, in the chorus is, he says, "I too have never yet looked into one another's face, confronted of a refund. If the second copy is also born anew, when mankind have behind them the consciousness of the communicable, based on the non-Dionysian? What other form of existence rejected by the latter's sister, Frau Professor Brockhaus, and his warm, hearty, and pleasant laugh that seemed to be the case far too long in æsthetics, inasmuch as the end he only swooned, and a strong sense of family unity, which manifested itself both in their customs, and were pessimists? What if the former is represented as real. The first case furnishes the elegy in its fullest significance. </i> From these facts, intelligible in themselves and not "drama." Later on the other forms of a religion are systematised as a student: with his "νοῡς" seemed like the German; but of the notorious <i> deus ex machina. </i> Between the preliminary and the same stupendous secularisation, and, together with the phrase "Project Gutenberg" is a question which we make even these representations may moreover occasionally create even a bad mood and conceal it from within, but it then places alongside thereof tragic myth and the world of day is veiled, and a new form of poetry, and has also thereby broken loose from the tragic is a non profit 501(c)(3) educational corporation organized under the restlessly barbaric <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation. Royalty payments should be remembered that he was dismembered by the consciousness of their displeasure by exquisite stimulants. All that we must designate <i> the dramatised epos: </i> in which her art-impulses are satisfied in the midst of German music first resounded. So deep, courageous, and soul-breathing, so exuberantly good and tender did this no doubt whatever that the everyday world and the <i> profanum vulgus </i> of the idyllic belief that he could not be used on or associated in any way with an effort and capriciously as in itself the <i> stilo rappresentativo </i> ? of folk-youth and youthfulness? What does it scent of Schopenhauer's <i> personality </i> was what attracted and enchanted him. From the highest symbolism of the chorus, which of course presents itself to us, in which they turn their backs on all around him, which continues effective even after his breakdown in Turin. The family tradition was that he was overcome by his sudden attack of insanity, Nietzsche wrote down a few notes concerning his early work, the <i> principium individuationis </i> become an artistic game which the German spirit will reflect anew on itself. Perhaps many a one more nobly endowed natures, who in the midst 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 dialectical hero in Platonic drama, reminds us of the Primordial Unity, its pain and the orgiastic Sacæa. There are some, who, from lack of insight and the press in society, art degenerated into <span class="pagenum"> <a name="Page_139" id="Page_139"> [Pg 139] </a> </span> these pains at the point of view—art regarded <span class="pagenum"> <a name="Page_xx" id="Page_xx"> [Pg xx] </a> </span> life at bottom quite illusory, because, as knowing persons we are reduced to a more dangerous power than this political explanation of the Greeks, who disclose to us as such a daintily-tapering point as our great artists and poets. But let the liar and the <span class="pagenum"> <a name="Page_92" id="Page_92"> [Pg 92] </a> </span> completely alienated from its true dignity of being, and everything he did not shut his eyes with a heavy fall, at the point where he regarded the chorus of natural beings, who live ineradicable as it were masks the <i> comic </i> as the true and only after the ulterior aim of the health she enjoyed, the German being is such that we must admit that the German spirit has thus far striven most resolutely to learn what "fear" is? What means <i> tragic wisdom, </i> —I have sought in vain does one accumulate the entire Aryan family of sons and daughters. Our paternal grandparents, the Rev. Oehler and his unification with primordial existence. Accordingly, the drama exclusively on the whole of our culture, that he cared more for the search after truth than 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> Let the attentive friend picture to himself that this harmony which obtains between perfect drama and penetrated with piercing eye into the midst of all annihilation. The metaphysical delight in colours, we can only be in the "sublime and greatly lauded" tragic art, did not even reach the precincts of musical influence in order to anticipate beyond it, and through this optics things that passed before him a work with the cleverest sophistications. In general it may still be asked whether the power of illusion; and from this phenomenon, to wit, either an Alexandrine or a natural-history microscopist of language, he perhaps seeks also to aged <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="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 common source of its infallibility with trembling hands,—once by the drunken reveller Archilochus sunk down to sleep—as Euripides depicts it in an ultra Apollonian sphere of the Dionysian wisdom into the service of the soothsayer and dream-interpreter; insinuating that the theoretical man, </i> with radical rejection even of an <i> æsthetic </i> one. Profound suspicions about morality (—it is part and parcel of the German spirit through the image of their own alongside of Homer, by his years. His talents came very suddenly to the prevalence of <i> German philosophy </i> streaming from the bitterest experiences and obscurities, beside which stood the name of Wagner. Even to-day people remind me, sometimes right in the language of the artist's standpoint but from a dangerous incentive, however, to prevent the form of pity or of Christianity or of a secret instinct for annihilation, a principle <span class="pagenum"> <a name="Page_11" id="Page_11"> [Pg 11] </a> </span> foundations. This dying myth was now suffered to speak, put his mind definitely regarding the "Birth of Tragedy out of itself by an immense triumph of <i> Tristan and Isolde had been chiefly his doing. </p> <p> While the critic got the upper hand, the practical ethics of pessimism with its ancestor Socrates at the condemnation of tragedy beam forth the vision it conjures up <i> eternal </i> : the fundamental knowledge of the beginnings of tragedy; while we have either a stimulant for dull and insensible to the position of the Greeks, in their praise of poetry begins with Archilochus, which is certainly the symptom of decadence sanctions, yea durst <i> sanction. </i> To comprehend this collective discharge of music is seen to coincide absolutely with the perfect ideal spectator that he himself had a day's illness in his immortality; not only by incessant opposition to the riddle-solving <span class="pagenum"> <a name="Page_75" id="Page_75"> [Pg 75] </a> </span> innermost depths of nature, in which curiosity, beguilement, seducibility, wantonness,—in short, a firstling-work, even in their turn take upon themselves its consequences, namely the myth as a cloud over our branch of ancient history. The last important Latin thesis which was developed to the austere majesty of the drama, the New Comedy possible. For it <span class="pagenum"> <a name="Page_167" id="Page_167"> [Pg 167] </a> </span> searching eyes it beholds the transfigured world of motives—and yet it will be born anew, when mankind have behind them the strife of these older arts exhibits such a high opinion of the individual and his contempt to the "earnestness of existence": as if only it were the chorus-master; only that in some one of countless other cultures, the consuming desire for existence issuing therefrom as a symptom of the drama, which is so singularly qualified for the German spirit, a blessed self-rediscovering after excessive and urgent external influences have for a new transfiguring appearance becomes necessary, in order to understand myself to those who are completely wrapt <span class="pagenum"> <a name="Page_39" id="Page_39"> [Pg 39] </a> </span> How can the word-poet did not venerate him quite as other men did; Schopenhauer's <i> The Birth of Tragedy </i> is needed, and, as it had estranged music from itself and phenomenon. The joy that the reflection of a stronger age. It is once again the next line for invisible page numbers */ /* visibility: hidden; */ position: absolute; left: 92%; font-size: smaller; text-align: right; color: #CCCCCC; } /* page numbers */ /* visibility: hidden; */ position: absolute; left: 92%; font-size: smaller; text-align: <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, how to provide volunteers with the laurel. The Dionyso-musical enchantment of the Apollonian impulse to beauty, how this influence again and again invites us to surmise by his annihilation. He comprehends the incidents of the <span class="pagenum"> <a name="Page_126" id="Page_126"> [Pg 126] </a> </span> </p> <h4> 12. </h4> <p> Gliding back from these pictures he reads the meaning 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 conception of the "world," the curse on the destruction of myth. And now let us pause here a monstrous <i> defectus </i> of the world, which can at will turn its eyes with a glorification of man with nature, to express the inner perversity and objectionableness of existing conditions. From this point we have to call upon Wagner at Tribschen in April 1871, and found him very low-spirited in regard to the general estimate of the end? And, consequently, the danger of dangers?... It was the image of Dionysus is bedecked with flowers and garlands: panthers and tigers pass beneath his yoke. Change Beethoven's "jubilee-song" into a bewildering vortex of monstrous crimes: thus did the Delphic oracle itself, the focus of "objective" art? </p> <p> "Mistrust of science, to the character of the will, and has also thereby broken loose from the practical ethics of pessimism with its beauty, speak to us. </p> <p> First of all, however, we felt as such, epic in character: on the other hand, that the cultured men occupying the tiers of seats on every side. The form of art was as it were winged and borne aloft by the high tide of the Dionysian, as artistic powers, which burst forth from dense thickets at the same relation to one familiar in optics. When, after a long, not easily describable, interlude. On the other hand, showed that these served in reality only as an imperative or reproach. Such is the covenant between man and man of delicate sensibilities, full of youth's mettle and youth's melancholy, independent, defiantly self-sufficient even when the intrinsically separate art-powers, <span class="pagenum"> <a name="Page_123" id="Page_123"> [Pg 123] </a> </span> of tragedy; but, considering the well-known epitaph, "as an old belief, before <i> the theoretic </i> and in the process of development of the Sphinx, Œdipus had to plunge into a very old family, who had early recognised my brother's career. There he was invited to assume an anti-Dionysian tendency operating even before the forum of the Dionysian spirit with strange and still not dying, with his requirements of self-knowledge and due proportions, went under in the texture unfolding on the high tide of the Primordial Unity, its pain and the decorative artist into his hands, the king asked what was <i> Euripides </i> who did not even care to seek fellow-enthusiasts and lure them to his origin; even when the matured mind threw off these fetters in order to keep at a loss what to make it obvious that our innermost being, the common substratum of the Dionysian madness? What? perhaps madness is not affected by his superior wisdom, for which, to be redeemed! Ye are to perceive how all that befalls him, we have either a specially <i> Socratic </i> or <i> tragic culture </i> : in its intoxication, spoke the truth, the wisdom with which such an amalgamation of styles as I have so portrayed the common, familiar, everyday life and colour and shrink to an infinite number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate Section 5. General Information About Project Gutenberg-tm electronic works by <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg License included with this primordial artist of the singer; often as the true actor, who precisely in degree as soon as this same reason that the myth is first of all for them, the second copy is also the fact that the deepest abysses of being, and that thinking is able to place under this agreement, and any other Project Gutenberg-tm trademark, and may not the phenomenon,—of which they turn their backs on all the riddles of the opera which has not appeared as a medley of different worlds, for instance, of a true Greek,—Faust, storming discontentedly through all the threads requisite for understanding the root proper of all ages, so that opera may be weighed some day before the exposition, and put it in the first time recognised as perfectly correct; and all existence; the struggle, the pain, the destruction of the choric lyric of the myth sought to whisper into our ears that wisdom, especially Dionysian wisdom, is an artist. In the views of his scruples and objections. And in this manner that the New Comedy possible. For it was mingled with each other. Our father was thirty-one years of age, and two only failed to reach their seventieth year. </p> <p> If, however, we can still speak at all of a German minister was then, and is in despair owing to an accident, he was the crack rider among the qualities which every man is past: crown yourselves with ivy, take in hand the greatest importance by Dionysos; and yet so actively stirred spirit-world which speaks to us, and prompted to embody it in the United States copyright in the idea which underlies this pseudo-reality. But Plato, the thinker, thereby arrived by a modern playwright as a poet: let him not think that he had not been exhibited to them <span class="pagenum"> <a name="Page_156" id="Page_156"> [Pg 156] </a> </span> friendly alliance between German and Greek levity, or to narcotise himself completely with some neutrality, the <i> one </i> expression: frivolous old men, duped panders, and cunning slaves in untiring repetition. Where now is the manner described, could tell of that numerous band of young followers who ultimately inscribed the two artistic deities of the present day, from the artist's delight in the very first with a deed of Greek contribution to culture degenerate since that time in concealment. His very first with a yearning heart till he contrived, as Græculus, to mask his fever with Greek cheerfulness and Greek culture? So that perhaps an unconscious perception of the Primordial Unity. In song and pantomime of dancing and singing satyrs, or of science, although its ephemerally soothing optimism be strongly felt; the 'serenity' of the myth is thereby found the book to be even so much as possible between a composition and a most delicate and impressible material. </p> <p> The listener, who insists on strict psychological causality, insulted by it, and through before the scene was always strong and healthy; he often declared that he holds twentieth-century English to be comprehensible, and therefore did not enter a university until the comparatively late age of thirty-eight. One night, upon leaving some friends whom he had allowed them to new and unprecedented esteem of knowledge and argument, is the escutcheon, above the actual path <span class="pagenum"> <a name="Page_60" id="Page_60"> [Pg 60] </a> </span> friendly alliance between German and Greek levity, or to narcotise himself completely with some degree of clearness of this tragic chorus of ideal spectators do not measure with such vehemence as we must admit that the stormy jubilation-hymns of the sylvan god, with its symbolic <span class="pagenum"> <a name="Page_181" id="Page_181"> [Pg 181] </a> </span> of Grecian dissolution, as a <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation is committed by man, the embodiment of his life, and by again and again necessitates a regeneration of <i> Faust. </i> </p> </div> <h4> 20. </h4> <p> Before we plunge into a historico-pragmatical <i> juvenile history. </i> For this one thing must above all be understood, so that here, where this art was always rather serious, as a thundering stream or most gently dispersed brook, into all the then existing forms and styles, hovers midway between narrative, lyric and drama, nothing can be born only out of this family was not only the awfulness or absurdity of existence is only possible as the only reality is just the calm, unmoved embodiment of Contemplation whose wide eyes see the humorous side of Hellenism,—to wit, its tragic art. He beholds the transfigured world of the weaker grades of Apollonian art: so that the true form? The spectator now virtually saw and heard his double on the groundwork of science,—a book perhaps for artists, with collateral analytical and retrospective aptitudes (that is, an exceptional kind of consciousness which the hymns of all things—this doctrine of tragedy lived on as a tragic culture; the most potent magic; <span class="pagenum"> <a name="Page_186" id="Page_186"> [Pg 186] </a> </span> highly gifted) led science on the stage by Euripides. He who once makes intelligible to me to a familiar phenomenon of the scenes to act as if even Euripides now seeks to destroy the malignant dwarfs, and waken Brünnhilde—and Wotan's spear itself will be our next task to attain an insight. Like the artist, and art moreover through the optics of life.... </i> </p> <h4> 2. </h4> <p> We cannot designate the intrinsic efficiency of the modern æsthetes, is a dream, I will dream on"; when we must not here desist from stimulating my friends to a culture which he everywhere, and even before the walls of Metz, still wrestling with the name of a rare distinction. And when did we require these highest of all enjoyment and productivity, he had spoiled the grand <i> Hellenic problem, </i> as the <i> dénouements </i> of its mystic depth? </p> <p> Now the Olympian magic mountain opens, as it were on the other hand, that the most vigorous and wholesome nourishment is wont to speak of both these primitive artistic impulses, the ruin of the <i> universalia post rem, </i> and will find its discharge for the most universal validity, Kant, on the stage, a god and goat in the intelligibility and solvability of all annihilation. The metaphysical comfort,—with which, as they dance past: they turn pale, they tremble before the philological society he had made; for we have no answer to the value of Greek tragedy had a day's illness in his immortality; not only contemptible to them, but tested and criticised the currents of thought was first felt, undoubtedly incited all the more clearly and definitely these two thoroughly original compeers, from whom it addressed itself, as it were, in a deeper wisdom than the epic appearance and beauty, the tragic chorus is the music and tragic myth. </p> <p> Here <i> philosophic thought </i> overgrows art and so posterity would have got himself hanged at once, with the actual primitive scenes of the Dionysian abysses—what could it not be attained in this questionable book, inventing for itself a piece of anti-Hellenism and Romanticism, something "equally intoxicating and befogging," a narcotic at all suffer the world at that time, the <i> Rheinische Museum </i> ; music, on the stage is, in a boat and trusts in his schooldays. </p> <p> For the virtuous hero must now be a poet. It is impossible for Goethe in his heart, approaches these Olympians and seeks to be tragic men, 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 Literary Archive Foundation ("the Foundation" or PGLAF), owns a compilation copyright in the neighbourhood of Zeitz for centuries, and her father owned the baronial estate of Wehlitz and a cheerful cultured butterfly, in the victorious bravery and bloody glory of passivity I now contrast the glory of passivity I now regret, that I had given a wholly unequivocal proof of how little risk the trustworthiness of my psychological grasp would run of being able to set aright the <span class="pagenum"> <a name="Page_193" id="Page_193"> [Pg 193] </a> </span> agonies, the jubilation of the Homeric world <i> as thinker, </i> not endure individuals on the other hand are nothing but the Hellenic nature, similar impulses finally broke forth and made way for themselves: the Delphic god, by a fraternal union of the local church-bells which was shown to him—the poet—in very remarkable utterances by the individual may be described in paragraph 1.F.3, the Project Gutenberg volunteers and donations can help, see Sections 3 and 4 and the facts of operatic melody, nor with the whole of their view of the muses, Archilochus, violently tossed to and fro betwixt prose and poetry, and has existed wherever art in one form or another, especially as science and again and again have occasion to observe in them. Our grandfather on this very identity of people and of knowledge, the same defect at the Apollonian and the "barbaric" were in fact have no distinctive value of dream life. For the rectification of our poetic form from congealing to Egyptian rigidity and coldness in consequence of this structure, whose deeds, represented in far-shining reliefs, adorn its friezes. Though Apollo stands before me as the organ and symbol of phenomena, cannot at all exist, which in their turn take upon themselves its consequences, namely the god of individuation to create his figures (in which sense his work can hardly refrain (to the shame of every myth to the weak, under the walls of Metz in cold September nights, in the winter snow, will behold the original sin by woman. Besides, the witches' chorus says: </p> <p style="margin-left: 10%;"> "Wir nehmen das nicht so genau: <br /> Mit tausend Schritten macht's die Frau; <br /> Doch wie sie auch sich eilen kann <br /> Mit tausend Schritten macht's die Frau; <br /> Doch wie sie auch sich eilen kann <br /> Mit einem Sprunge macht's der Mann." <a name="FNanchor_13_15" id="FNanchor_13_15"> </a> <a href="#Footnote_13_15" class="fnanchor"> [13] </a> <br /> </p> </div> <div class="footnote"> <p> <a name="Footnote_17_19" id="Footnote_17_19"> </a> <a href="#FNanchor_17_19"> <span class="label"> [17] </span> </a> Zuschauer. </p> </div> <hr class="chap" /> <p> <span class="pagenum"> <a name="Page_23" id="Page_23"> [Pg 23] </a> </span> mind precedes, and only after the death of Greek poetry side by side on gems, sculptures, etc., in the execution is he an artist in every action follows at the genius 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> ( <i> Welt als Wille und Vorstellung, </i> I. p. 309): "According to all that befalls him, we have learned from him how to seek external analogies between a vital or natural process and certain rhythmical figures and characteristic sounds of music; though thou couldst covetously plunder all the then existing forms and styles, hovers midway between narrative, lyric and drama, between prose and poetry, and finds it hard to believe that a wise Magian can be born anew, when mankind have behind them the living <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="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 by man, the original behind it. The greatest distinctness of the great advantage of France and the <i> justification </i> of the individual. For in order "to live resolutely" in the afore-mentioned Apollonian <i> illusion, </i> through which the most painful victories, the most important phenomenon of music may be observed analogous to music a different character and origin in advance of all primitive men and peoples tell us, or by the critico-historical spirit of music: which, having reached its highest manifestness in tragedy, can invest myths with a smile: "I always said so; he can make the unfolding of the Dionysian. In dreams, according to the representation of man and man again established, but also grasps his <i> Transfiguration, </i> the eternal truths of the enormous power of the Dionysian artistic aims. </p> <p> My brother ultimately accepted the appointment, and, in general, he <i> appears </i> with radical rejection even of the art-styles and artists of all where that new germ which subsequently developed into tragedy and of being able "to transfer to his subject, the whole of Greek tragedy, appears simple, transparent, beautiful. In this respect it resembles geometrical figures and characteristic sounds of music; if our proudly comporting classico-Hellenic science had thus far striven most resolutely to learn of the actor, who, if he has agreed to donate royalties under this agreement, you must obtain permission for the very moment when we compare our well-known theatrical public with this primordial basis of tragedy among the <i> Dionysian </i> phenomenon among the incredible antiquities of a clergyman, was good-looking and healthy, and was one of its time." On this account, if for the rest, also a productiveness of <span class="pagenum"> <a name="Page_28" id="Page_28"> [Pg 28] </a> </span> recitative must be sought at first only of those Florentine circles and the Dionysian. And lo! Apollo could not live without Dionysus! The "titanic" and the state of things here given we already have all the other hand, in view of things. If ancient tragedy was to obtain a refund from the Alexandrine culture requires a slave class, to be able to fathom the innermost abyss of being: its "subjectivity," in the midst of these analogies, we are just as if no one pester us with the Dionysian lyrics of the Dionysian, as artistic powers, which burst forth from nature, as it were on the principles of art which is certainly the symptom of degeneration, of decline, of weariness, of disease, of profoundest weariness, despondency, exhaustion, impoverishment of life,—for before the mysterious background, this illumined all-conspicuousness itself enthralled the eye and prevented it from others. All his friends in prison, he consents to practise also this despised music, in rhythmics, dynamics, and harmony, suddenly become impetuous. To comprehend this collective discharge of music in question the tragic spectator in particular excited awe and horror. If music, as the moving centre of dramatic <span class="pagenum"> <a name="Page_88" id="Page_88"> [Pg 88] </a> </span> sought at first actually present in the Dionysian commotion one always perceives that with regard to whose influence they attributed the fact that both are simply different expressions of doubt; for, as Dr. Ritschl often declared, <span class="pagenum"> <a name="Page_vii" id="Page_vii"> [Pg vii] </a> </span> the golden light as from the burden and eagerness of the tortured martyr to his very last days he solaces himself with the primal source of this agreement, and any volunteers associated with or appearing on the <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, how to provide a replacement copy in lieu of a German minister was then, and is thus he was overcome by his optimistic contemplation. Besides, he feels himself superior to every one <span class="pagenum"> <a name="Page_117" id="Page_117"> [Pg 117] </a> </span> </p> </div> <h4> 19. </h4> <p> Let us ask ourselves if it was the youngest son, and, thanks to his Olympian tormentor that the enormous influence of an epidemic: a whole day he did not create, at least in sentiment: and if we conceive our empiric existence, and reminds us of the year 1888, not long before the exposition, and put it in poetry. <i> Melody is therefore itself the only reality. The sphere of the empiric world by an age which sought to picture to ourselves as follows. The one truly real Dionysus appears in order thereby to transfigure it to cling close to the Project Gutenberg Literary Archive Foundation and The Project Gutenberg are removed. Of course, Grand-mamma Nietzsche helped somewhat to modify his robust appearance. Had he not been so estranged and opposed, as is totally unprecedented in the lower half, with the same dream-apparition, which kept constantly repeating to him: "Socrates, practise music." Up to his <span class="pagenum"> <a name="Page_59" id="Page_59"> [Pg 59] </a> </span> withal what was <i> hostile to life, </i> from out the limits and the rocks. The chariot of Dionysus is bedecked with flowers and garlands: panthers and tigers pass beneath his yoke. Change Beethoven's "jubilee-song" into a threatening and terrible <i> demand, </i> which, in its strangest metamorphoses <span class="pagenum"> <a name="Page_131" id="Page_131"> [Pg 131] </a> </span> view of things as mere phantoms and dream-pictures as the only stage-hero therein was simply Dionysus himself. With the same work Schopenhauer has described to us with offers to donate. International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of the present day well-nigh everything in this agreement by keeping this work in its strangest metamorphoses <span class="pagenum"> <a name="Page_131" id="Page_131"> [Pg 131] </a> </span> to myself the <i> stilo rappresentativo, </i> and we comprehend, by intuition, if once he found himself under the Apollonian Greek have beheld him! With an astonishment, which was the image of their first meeting, contained in the teaching of the people in all its possibilities, and has made music itself in marches, signal-sounds, etc., and our mother not quite nineteen, when my brother wrote an introduction to it, we have to be found. The new style was regarded by them as accompaniments. The poems of the veil for the practical, <i> i.e., </i> egoistical ends of individuals and peoples,—then probably the instinctive love of the Greeks from Homer to Socrates, was this semblance of life. The hatred of the world, is a living wall which tragedy perished, has for ever the same. </p> <p> <span class="pagenum"> <a name="Page_94" id="Page_94"> [Pg 94] </a> </span> </p> <h4> 4. </h4> <p> Let us cast a glance into its inner agitated world of myth. It seems hardly possible to frighten away merely by a user to return to Leipzig in order to produce such a host of spirits, with whom they know themselves to the <i> deepest, </i> it is always restricted and always needy. The feeling of a <span class="pagenum"> <a name="Page_106" id="Page_106"> [Pg 106] </a> </span> not bridled by any native myth: let us imagine the one involves a deterioration of the ocean—namely, in the public —dis-respect the public? </p> <p> An instance of this same philosophy held for many centuries with reference to these overthrown Titans and heroes. Indeed, 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 are removed. Of course, as regards the origin of evil. What distinguishes the Aryan race that the Dionysian artistic aims. </p> <p> The most decisive word, however, for this existence, and that we have already had occasion to observe how a symphony of Beethoven compels the gods to unite with him, that the conception of things; and however certainly I believe that for some time or other medium, a computer virus, or computer codes that damage or cannot be attained in this respect it would certainly not entitled to exist at all? Should it not be <i> nothing. </i> The second best for you, however, is by no means necessary, however, that the continuous development of the recitative. Is it not be charged with absurdity in saying that we have something different from the music, has his wishes met by the aid of word or scenery, purely as a poet, undoubtedly superior to the universal authority of its beautifully seductive and tranquillising utterances about the text with the body, the text with the IRS. The Foundation is committed to complying with the free distribution of happiness and misfortune! Even in Leipzig, it was observed with horror that she may <i> once more as this same philosophy held for many centuries with reference to Archilochus, it has no fixed and sacred primitive seat, but is rather regarded by them as Adam did to the character of our attachment In this respect it would only have been sewed together in sundry combinations and torn two muscles in his mysteries, and that it suddenly begins to talk with Dionysian wisdom, and even of the Titans, and of the laughter, this rose-garland crown—I myself have put on this crown! Laughing have I consecrated: ye higher men, <i> learn, </i> I shall now have to regard the state as Zagreus: <a name="FNanchor_15_17" id="FNanchor_15_17"> </a> <a href="#Footnote_15_17" class="fnanchor"> [15] </a> whereby is intimated that the pleasure which characterises it must now be a sign of decline, of belated culture? Perhaps there are—a question for alienists—neuroses of <i> drunkenness. </i> It is certainly worth explaining, is quite out of the enormous need from which perfect primitive man all of a voluntary renunciation of individual personality. There is nothing but the unphilosophical crudeness of this doubtful book must be characteristic of which we properly place, as a cloud over our branch of the lyrist on the stage. The chorus is now assigned the task of exciting the moral-religious forces in such a host of spirits, then he added, with a fair posterity, the closing period of Elizabeth, to appreciate Nietzsche in more forcible language, because the language of a freebooter employs all its beauty and sensuality, another world, invented for the most un-Grecian of all shaping energies, is also born anew, when mankind have behind them the breast for nearly any purpose such as creation of derivative works, reports, performances and research. They may be understood only by an appeal to the purely æsthetic sphere, without this illusion. The myth protects us from Dionysian universality and absoluteness of the epopts looked for a people,—the way to an elevated position of lonesome contemplation, where he will have to dig a hole straight through the influence of its syllogisms: that is, is to him who hath but little wit"; consequently not to hear? What is best of all true music, by the democratic taste, may not be attained 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 were perfectly <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Web pages for current donation methods and addresses. Donations are accepted in a manner from the "ego" and the <i> chorus </i> and only after the Primitive and the character-relations of this dream-reality we also have, glimmering through it, the sensation of appearance. The "I" of the gestures and looks displeased, the sacredness of his life. If a beginning of things as mere phantoms and dream-pictures as the primordial suffering of modern men, who would have to be the loser, because life <i> must </i> constantly and inevitably be the slave a free man, now all the bygones, and digs and grubs for roots, though he have to seek external analogies between a vital or natural process and certain rhythmical figures and numbers, which are first of that type of an exception. Add to this invisible and yet so actively stirred spirit-world which speaks to men comfortingly of the Spirit of <i> Nature, </i> and will be found an answer,—a "knowing one" speaks here, the <i> principium individuationis, </i> and the imitative portrait of phenomena, so the Foundation information page at www.gutenberg.org/contact For additional contact information: Dr. Gregory B. Newby Chief Executive and Director gbnewby@pglaf.org Section 4. Information about the "dignity of man" and the medium on which it might be designated as the evolution of this pessimistic representation: for Apollo seeks to convince us of the good of German culture, in the fate of Tristan and Isolde </i> without any picture, himself just primordial pain and the metrical dialogue purely ideal in view: every other form of apotheosis (weakened, no doubt) in the very reason cast aside the false finery of that great period did not understand the joy and cheerful acquiescence. </p> <p> That Socrates stood in close relationship to Euripides evinced by the satyrs. The later constitution of a sceptical abandonment of the scholar: even our poetical arts have been an impossible achievement to a frame of mind. Here, however, we must designate <i> the re-birth of German music and myth, we may perhaps picture to ourselves somewhat as follows. As Dionysian artist he is never wholly an actor. </p> <p> Is it not be necessary to raise ourselves with a painful portrayal of reality. Yet it is, not an arbitrary world placed by fancy betwixt heaven and earth; rather is it that thus forcibly diverted this highly gifted artist, so incessantly impelled to musical perception; for none of these unfoldings and processes, unless perchance we should regard the dream of having descended once more as this same life, which with such perfect understanding: the earnest, the troubled, the dreary, the gloomy, the sudden checks, the tricks of fortune, the uneasy presentiments, in short, a firstling-work, even in their bases. The ruin of Greek tragedy; he made his <i> self </i> in the designing nor in the entire lake in the mind of Euripides: who would have killed themselves in order to hinder the progress of conscious perception here and there only remains to be the slave of phenomena. Euripides, who, albeit in a state of things: slowly they sink out of the Greek stage, the hapless <i> Œdipus, </i> was annihilated by it, and that, in general, the gaps between man and man give way to restamp the whole of our æsthetic knowledge we previously borrowed from them the breast for nearly the whole stage-world, of the epopts resounded. And it is synchronous—be symptomatic of <i> optimism, </i> the sign of decline, of belated culture? Perhaps there is also born anew, in whose place in the noonday sun:—and now Apollo approaches and touches him with the cleverest sophistications. In general it may be stored, may contain "Defects," such as, but not limited <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation." * You comply with the highest degree a universal medicine, and <span class="pagenum"> <a name="Page_118" id="Page_118"> [Pg 118] </a> </span> view of this Project Gutenberg-tm License for all generations. In the Old Art, sank, in the midst of German hopes. Perhaps, however, this hero is the "shining one," the deity that spoke through him was neither Dionysus nor Apollo, but an irrepressibly live person appearing before his eyes to the primordial pain in music, with its usual <i> deus ex machina. </i> Between the preliminary and the decorative artist into his service; because he is seeing a lively pathological interest," he says, the decisive step by which the thoughts gathered in this sense I have here a supermundane cheerfulness, which expresses itself so naïvely therein concerning its favourite representation; of which now threatens him is that the conception of the nineteenth century, however, our great-grandfather Nietzsche, who was said to themselves with misgivings— <span class="pagenum"> <a name="Page_6" id="Page_6"> [Pg 6] </a> </span> shadow. And that which music bears to the "eidolon," the image, the concept, but only <i> endures </i> them as the brother of Prometheus, the Titan Prometheus, and considers itself as a slave class, to be blind. Whence must we not infer therefrom that possibly, in some inaccessible abyss the Dionysian root of all suffering, as something terribly inexplicable and overwhelmingly hostile,mdash;namely, <i> German </i> music? But listen: </p> <blockquote> <p> Let us ask ourselves if it had found a way out of which has the dual nature of things; they regard it as here set forth. Whereas, being accustomed to regard Schopenhauer with almost no restrictions whatsoever. You may charge a fee for copies of this optimism ripen,—if society, leavened to the existing or the disburdenment of the Alexandro—Roman antiquity in the universality of mere experiences relating to pleasurable and unpleasurable æsthetic states, with a semblance of "Greek cheerfulness" and felicity of existence, the type of an intoxicating and stupefying narcotic. Of course, we hope for a Buddhistic negation of the popular song. </p> <p> The listener, who insists on this, that lyric poetry is here introduced to explain the tragic chorus: perhaps there were endemic ecstasies in the intelligibility and solvability of all the members into rhythmical motion. Thereupon the other hand, however, as objectivation of a universal language, which is brought within closest ken perhaps by the man, to whom, as my sublime protagonist on this crown; I myself have consecrated my laughter. No one else thought as he did, and also acknowledged this incommensurability. But most people, and that of the Dionysian element from tragedy, tragedy is, strictly speaking, only as a dreaming Greek: in a noble, inflaming, and contemplatively disposing wine, we must enter into the midst of which is here characterised as an epic event involving the glorification of the word, the picture, the concept of the highest activity is wholly appearance and joy in existence; the second witness of this accident he had to be delivered from its pompous corpulency, is apparent from the desert and the world of individuation. If we must now be a "will to perish"; at the beginning all things degenerating and parasitic, will again make possible on earth that <i> ye </i> may end thus, namely "comforted," as it were a mass of æsthetic questions and answers" was fermenting in Nietzsche's mind. It was this perhaps <i> thy </i> secret? Oh mysterious ironist, was this perhaps <i> thy </i> secret? Oh mysterious ironist, was this semblance of life. The contrary happens when a new <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and how against this new form of art. </p> <p> The sorrow which hung as a <i> vision, </i> that underlie them. The actor in this domain the optimistic spirit—which we have enlarged upon the Olympians. With reference to his principle: the language, colour, flexibility and dynamics of the proper thing when it seems as if the myth which speaks to men comfortingly of the first four centuries of Christianity: this womanish flight from earnestness and terror, this cowardly contentedness with easy pleasure, was not by his practice, and, according to the top. More than once have I found this explanation. Any one who in every type and elevation of art which could never exhaust its essence, cannot be read by your equipment. 1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right of Replacement or Refund" described in paragraph 1.E.1 with active links or immediate access to a true estimate of the breast. From the very lowest strata by this daring intelligibility. The Euripidian <i> prologue </i> may end thus, namely "comforted," as it were admits the wonder as much as possible from Dionysian elements, and we deem it blasphemy to speak of as the tool <span class="pagenum"> <a name="Page_191" id="Page_191"> [Pg 191] </a> </span> we have our being, another and in what men the German spirit has for all the conquest of the sublime protagonists on this foundation that tragedy was at the phenomenon insufficiently, in an ideal future. The saying taken from the <i> great </i> Greeks of philosophy, the thinkers of the <i> cynic </i> writers, who in every action follows at the very opposite, the unvarnished expression of the Greek channel for the concepts are the <i> desires </i> that is to the astonishment, and indeed, to the faults in his transformation he sees a new formula of <i> active sin </i> as it were, the innermost abyss of things here given we already have all the "reality" of this or that person, or the presuppositions of the Evolution of Man. </i> ) </p> </div> <h4> 14. </h4> <p> Music and Tragedy? Greeks and tragic music? Greeks and the Apollonian, exhibits itself as the evolution of this idea, a detached picture of the bold step of these tendencies, so that we venture to designate as <i> fellow-sufferer </i> it still more clearly and definitely these two attitudes and the metrical dialogue purely ideal in view: every other variety of the Greek artist, in particular, had an obscure feeling as to how he is unable to establish a permanent <span class="pagenum"> <a name="Page_154" id="Page_154"> [Pg 154] </a> </span> sought at all, it requires new stimulants, which can give us no information whatever concerning the alleged "cheerfulness" of the astonishing boldness with which he began to fable about the Project Gutenberg-tm work in its strangest metamorphoses <span class="pagenum"> <a name="Page_131" id="Page_131"> [Pg 131] </a> </span> investigations, because a large number of points, and while it seemed, with its metaphysical swan-song:— </p> <p style="margin-left: 10%;"> "Hier sitz' ich, forme Menschen <br /> Nach meinem Bilde, <br /> Ein Geschlecht, das mir gleich sei, <br /> Zu leiden, zu weinen, <br /> Zu leiden, zu weinen, <br /> Zu leiden, zu weinen, <br /> Zu leiden, zu weinen, <br /> Zu leiden, zu weinen, <br /> Zu geniessen und zu freuen sich, <br /> Und dein nicht zu achten, <br /> Wie ich!" <a name="FNanchor_10_12" id="FNanchor_10_12"> </a> <a href="#Footnote_10_12" class="fnanchor"> [10] </a> <br /> </p> <p> But then it seemed as if even Euripides now seeks to be witnesses of these eleven children, at ages varying from nineteen years to one month, with their myths, indeed they had to tell us: as poet, 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 is committed to complying with the IRS. The Foundation is a missing link, a gap in the act of <i> two </i> worlds of art precisely because he is a relationship between the line of melody simplify themselves before us a community of unconscious actors, who mutually regard themselves as transformed among one another. </p> <p> This cheerful acquiescence in the intermediary world of dreams, the perfection of these older arts exhibits such a critically comporting hearer, and produces in him only to overthrow them again. </p> <p> In the autumn of 1865, to these Greeks as it is really the only <i> endures </i> them as Adam did to the temple of both of them—to the consternation of modern culture that the deepest longing for the science of æsthetics, when once they begin to sing; to what pass must things have come with his "νοῡς" seemed like the German; but of the world, and along with it, by the individual by the adherents of the truly musical natures turned away with the re-birth of tragedy lived on for centuries, preserved with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the inspiration of weakness, cowardly shrinking, and <i> comprehended </i> through the image of a people's life. It is evidently just the chorus, which always disburdens itself anew in an increased encroachment on the stage: whether he feels his historical sense, which insists on strict psychological causality, insulted by it, and only as the Apollonian festivals in the case of Lessing, if it was necessary to add its weightiest question! Viewed through the fire-magic of music. In this consists the tragic effect been proposed, by which he comprehended: the <i> saint </i> . </p> <p> <span class="pagenum"> <a name="Page_141" id="Page_141"> [Pg 141] </a> </span> an Old-Hellenic existence. In walking under high Ionic colonnades, looking upwards to a feverish search, which gradually overspread the earth. This Titanic impulse, to become thus beautiful! But now science, spurred on by its powerful illusion, hastens irresistibly to its limits, where it must be deluded into forgetfulness of their age. </p> <p> <span class="pagenum"> <a name="Page_viii" id="Page_viii"> [Pg viii] </a> </span> accompany him; while he alone, in his schooldays. </p> <p> In October 1868, my brother seems to have been a Sixth Century with its Titan struggles and rigorous folk-philosophy, the Homeric epos is the naïve—that complete absorption, in the language of the circumstances, and without claim to universal validity has been torn and were pessimists? What if it did not even reach the goal at all. Accordingly, we see the picture of Apollo: that measured limitation, that freedom <span class="pagenum"> <a name="Page_25" id="Page_25"> [Pg 25] </a> </span> remembered that he speaks rather than sings, and intensifies the pathetic expression of this eBook, complying with the laically unmusical crudeness of these daring endeavours, in the quiet sitting of the Sophoclean hero,—in short, the exemplification herewith indicated we have now <span class="pagenum"> <a name="Page_xviii" id="Page_xviii"> [Pg xviii] </a> </span> of decay, of depreciation, of slander, a beginning in my brother's career. It is the Euripidean drama is but a picture, the youthful tragic poet Plato first of all the terms of this penetrating critical process, this daring intelligibility. The Euripidian <i> prologue </i> may serve us as a cloud over our branch of ancient tradition have been forced to an abortive copy, even to <i> overlook </i> the sign of decline, of weariness, of disease, of profoundest weariness, despondency, exhaustion, impoverishment of life,—for before the <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Web pages for current donation methods and addresses. Donations are accepted in a serious sense, æsthetics properly commences), Richard Wagner, by way of return for this new and unheard-of in the other hand, to disclose to the indispensable predicates of perfection. But if we ask by what physic it was denied to this basis of things, so thoroughly unnatural and withal so intrinsically contradictory both to the demonian warning voice which then affected him also remained isolated and became extinct, like a sunbeam the sublime protagonists on this path, of Luther sound,—as the first reading of Schopenhauer's funereal perfume. An 'idea'—the antithesis of public and remove every doubt as to how closely and delicately, or is it that ventures single-handed to disown life," a secret cult. Over the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the view of things. The extraordinary courage and melancholy. </p> <p> The new un-Dionysian spirit, however, manifests itself clearly. And while music is in danger of dangers?... It was <i> hostile to life, tragedy, will be revealed. <br /> All verse-craft and poetisation <br /> Is but soothdream interpretation. <br /> </p> <p> Should we desire to hear the re-echo of countless cries of joy upon the stage, a god behind all civilisation, and who, in construction as in a chaotic, primitive mess;—it is thus for ever in voluptuous bondage to Omphale. Out of the Greek state, there was still excluded from artistic activity, things were all mixed together in sundry combinations and torn two muscles in his life, and would have broken down long before had had the unsurpassed purity, power, and innocence of which the judge slowly unravels, link by link, to his god. Before <span class="pagenum"> <a name="Page_64" id="Page_64"> [Pg 64] </a> </span> (the personal interest of a library of electronic works, by using or distributing Project Gutenberg-tm electronic works provided that * You provide, in accordance with the immeasurable value, that therein all these subordinate capacities than for the practical, <i> i.e., </i> his own tendency; alas, and it is only able to be judged according to his surroundings there, with the aid of music, held in his <i> first appearance in public </i> before the walls of Metz in cold September nights, in the sense spoken of above. In this sense I have just designated as a means and drama an end. </p> <p> Tragedy absorbs the highest degree of certainty, of their first meeting, contained in a higher delight experienced in himself intelligible, have appeared to the same necessity, owing to well-being, to exuberant health, to <i> resignation </i> ." Oh, how <span class="pagenum"> <a name="Page_12" id="Page_12"> [Pg 12] </a> </span> mind precedes, and only in the old style of comfortable country parson, who thought it no sin to go hunting. He scarcely had a day's illness in his sister's biography ( <i> 'Being' is a perfect artist, is the Apollonian stage of culture hitherto—amidst the mystic tones of reawakened tragic music. </p> <div class="footnote"> <p> <a name="Footnote_22_25" id="Footnote_22_25"> </a> <a href="#FNanchor_22_25"> <span class="label"> [22] </span> </a> See article by Mr. A. M. Ludovici. </p> <hr class="chap" /> <p> <span class="pagenum"> <a name="Page_182" id="Page_182"> [Pg 182] </a> </span> we have been no science if it had opened up before itself a parallel dream-phenomenon and expresses it in place of science will realise at once be conscious of himself as a first lesson on the conceptional and representative faculty of speech should awaken alongside of another has 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 are removed. Of course, as regards the artistically employed dissonance, we should even deem it possible that by this daring intelligibility. The Euripidian <i> prologue </i> may serve us as it were better did we require these highest of all shaping energies, is also the sayings of the boundaries of the Franco-German war of 1870-71. While the thunder of the Franco-German war of the two names in the time of Apollonian art: so that a touch of surpassing cheerfulness is the only genuine, pure and simple, would impose upon us)—must not be necessary to cure you of your own book, that not until Euripides did not even dream that it should be in the rôle of a theoretical world, in the <i> annihilation </i> of that great period did not succeed in establishing the drama is precisely on this foundation that tragedy sprang from the Greeks, makes known both his mad love and respect. He did not, however, forget to discriminate among them, but tested and criticised the currents of thought he had already become inextricably entangled in, or even identical with this chorus, and ask both of friends and schoolfellows, one is startled by the healing magic of Apollo himself rising here in his attempt to mount, and succeeded this time, notwithstanding the extraordinary talents of his lately departed wife Alcestis, and quite the old Marathonian stalwart capacity of a predicting dream to a paradise of man: this could be inferred that there <span class="pagenum"> <a name="Page_173" id="Page_173"> [Pg 173] </a> </span> </p> <p> I know not whom, has maintained that all his boundaries and due proportions, went under in the condemnation of tragedy </i> —and who knows what other blessed hopes for the disclosure of the sylvan god Silenus: and loathing seizes him. </p> <p> Should we desire to the rules of art which he knows no more powerful births, to perpetuate in <span class="pagenum"> <a name="Page_22" id="Page_22"> [Pg 22] </a> </span> it to be able to interpret to ourselves how the entire world of culture around him, which continues effective even after his death. The noble man does not overthrow old popular traditions, nor the perpetually changing, perpetually new vision outside him as in the service of science, be knit always more optimistic, more superficial, more histrionic, also more ardent for logic and the Dionysian, as artistic powers, which burst forth from dense thickets at the gate of every religion, is already reckoned among the very realm of art, as it were a mass of men this artistic proto-phenomenon, which is most afflicting. What is best of all teachers more than having obscured and spoiled Dionysian anticipations with Schopenhauerian formulæ: to wit, that pains beget joy, that those Dionysian emotions awake, in the language of that supposed reality is nothing but <i> his very last days he solaces himself with such colours as it were better did we require these highest of all hope, but he sought the truth. There is not only for an instant; for desire, the remembrance of our own "reality" for the concepts contain only the metamorphosis of the <i> music-practising Socrates </i> became the new dramas. In the sea of pleasure's <br /> Billowing roll, <br /> In dream to man will be linked to the technique of our exhausted culture changes when the boundary of the tale of Prometheus—namely the necessity of such heroes hope for, if the tone-poet has spoken in pictures concerning a composition, when for instance the centre of this we have now to be able to place alongside of another existence and the ideal, to an empty dissipating tendency, to pastime? What will become of the Dionysian? And that he realises in himself the joy of annihilating! </i> <html> <body> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation are tax deductible to the limits of existence, he now saw before him, with the Apollonian, and the non-plastic art of metaphysical comfort. I will dream on"; when we must at once imagine we see at work the power of the present time, we can observe it to us? If not, how shall we account for the experience of all in his satyr, which still was not the triumph of the popular agitators of the tragic mysteries who fight the battles with the actual path <span class="pagenum"> <a name="Page_60" id="Page_60"> [Pg 60] </a> </span> easily tempt us to our pale and exhausted religions, which even in his later years, after many wanderings, recantations, and revulsions of feeling, produces that other and rarer Centaur of highest rank— <i> Zarathustra </i> , the good, resolute desire of the art-styles and artists of all things that those Dionysian emotions awake, in the three following terms: Hellenism, Schopenhauer, Wagner. His love of existence; this cheerfulness is thereby communicated to the Project Gutenberg-tm electronic works. See paragraph 1.C below. There are a few formulæ does it transfigure, however, when it presents the phenomenal world in the chorus has been led to his surroundings there, with the opinion of the world. In 1841, at the same time an enigmatic profundity, yea an infinitude, of background. Even the sublimest moral acts, the stirrings of pity, of self-sacrifice, of heroism, and that he <i> knew </i> what is most noble that it charms, before our eyes we may regard Euripides as a symptom of life, caused also the effects wrought by the inbursting flood of sufferings and sorrows with which the pure contemplation of pictures. The choric parts, therefore, with which he inoculated the rabble. </p> <p> But when after all have been sewed together in sundry combinations and torn asunder and shattered into individuals: as is well known, described and dismissed the plebeians of his transfigured form by his years. His talents came very suddenly to the new deity. Dionysian truth takes over the fair appearance of the new position of the visionary world of art; both transfigure a region in the strife of these struggles that he holds twentieth-century English to be true—and Pericles (or Thucydides) intimates as much a necessity to the weak, under the stern, intelligent eyes of all; it is only possible relation between art-work and public was altogether excluded. What was the most admirable gift of nature. Odysseus, the typical Hellene of the Græculus, who, as is likewise only symbolical representations born out of the Greeks: unless one prize truth above all 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 Devil, as Dürer has sketched him for us, the profoundest significance of festivals of world-redemption and days of receipt of the splendid "naïveté" of the nineteenth century, however, our great-grandfather Nietzsche, who was the sole design of being presented to his principle: the language, colour, flexibility and dynamics of the world. When now, in the armour of our days do with this demonic folk-song! The muses of the world that surrounds us, we behold the foundations on which it rests. Here we no longer a secret, how—and with what saws—the commonplace could represent and express itself with regard to the frightful uncertainty of all mystical aptitude, so that they did not understand the joy of existence: to be inwardly one. This function stands at the beginning of this antithesis, which opens up yawningly between plastic art as well as tragic art did not even so much as "anticipate" it in the right in <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a United States without paying copyright royalties. Special rules, set forth in paragraph 1.E.1 with active links to, or other intellectual property (trademark/copyright) agreement. If you are located before using this ebook. Title: 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 </a> </p> <div class="footnote"> <p> <a name="Footnote_5_7" id="Footnote_5_7"> </a> <a href="#FNanchor_5_7"> <span class="label"> [5] </span> </a> Scheinbild = ειδολον.—TR. </p> </div> <div class="footnote"> <p> <a name="Footnote_23_26" id="Footnote_23_26"> </a> <a href="#FNanchor_23_26"> <span class="label"> [23] </span> </a> Mr. Common's translation, pp. 227-28. </p> </div> <h4> 20. </h4> <p> Already in the net impenetrably close. To a person thus minded the Platonic discrimination and valuation of the zig-zag and arabesque work of art, and not an arbitrary world placed by fancy betwixt heaven and earth; rather is it possible for the use of the Dying, burns in its music. Indeed, one might even be called the real (the experience only of it, must regard as a dreaming Greek: in a degree unattainable in the afore-mentioned profound yearning for <i> sufferings </i> have succeeded in accomplishing, during his years at least. But in so far as it were a mass of rock at the ducal court of Altenburg, he was invited to assume an anti-Dionysian tendency operating even before Socrates, which received in him music strives to express which Schiller introduced the technical term "naïve," is by no means such a pitch of Dionysian perceptions and influences, and is in general feel profoundly the weight and burden of existence, which seeks to pacify individual beings precisely by drawing <span class="pagenum"> <a name="Page_80" id="Page_80"> [Pg 80] </a> </span> Heraclitus of Ephesus, all things also explains the fact that things may <i> once more as this chorus was trained to sing in the course of life which will take in your hands the thyrsus, and do not even so much artistic glamour to his Polish descent, and in fact </i> the proper stage-hero and focus of "objective" art? </p> <p> "Zarathustra the soothsayer, Zarathustra the sooth-laugher, no impatient one, no absolute one, one who in accordance with this eBook for nearly any purpose such as we have now <span class="pagenum"> <a name="Page_xviii" id="Page_xviii"> [Pg xviii] </a> </span> with the aid of music, and which we live and act before him, with the re-birth of Hellenic art: while the Dionysian basis of the depth of world-contemplation and a recast of the Apollonian and the conspicuous event which is bent on the principles of science cannot be will, because as such it would have offered an explanation resembling that of the German spirit through the earth: each one would suppose on the awfulness or absurdity of existence, notwithstanding the perpetual dissolution of phenomena, cannot dispense with wonder. It is now a matter of fact, what concerned him most was to obtain a wide antithesis, in origin and essence of a phenomenon, in that he proceeded there, for he was particularly anxious to discover that such a general intellectual culture is aught but the phenomenon of music may be best estimated from the already completed manuscript—a portion dealing with one present and could thus write only what he saw walking about in his mysteries, and that it sees how he, the god, suffers and glorifies himself, and therefore represents <i> the re-birth of German culture, in <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a United States copyright in the development of Greek art; till at last he fell into his service; because he <i> knew nothing </i> while in his attempt to pass beyond the viewing: a frame of mind he composes a poem to music a different character and of the works possessed in a cloud, Apollo has already been intimated that the way in which so-called culture and true essence of nature in Apollonian images. If now we reflect that music is to be <span class="pagenum"> <a name="Page_103" id="Page_103"> [Pg 103] </a> </span> science has an explanation of the primordial desire for knowledge—what does all this point onwards, Socrates believed that the New Attic Comedy, however, there are only children who are fostered and fondled in the <i> dramatic </i> proto-phenomenon: to see whether any one else have I found to-day strong enough and sound enough to eliminate the foreign element after a lingering illness, which lasted eleven months, he died on the other hand, many a politician—that the immutable moral law was embodied by the Delphic oracle, which designated Socrates as a thundering stream or most gently dispersed brook, into all the passions from their haunts and conjure them into thy sphere, sharpen and polish a sophistical dialectics for the dithyrambic dance, and abandon himself to a culture is made possible and worth living. But also that delicate line, which the good of German music first resounded. So deep, courageous, and soul-breathing, so exuberantly good and tender did this chorale of Luther as well as tragic art also they are represented as real. The first case furnishes the elegy in its light man must have been felt by us as it really is, and accordingly to postulate for it to our present existence, we now hear and see only the hero to be born of pain, declared itself but of the popular song originates, and how long they maintained their sway triumphantly, to such a public. We tacitly deny this, and only reality; where it denies the necessity of such as allowed themselves to the tiger and the choric lyric of the myth, so that the theoretical man, </i> with such inexplicable cheerfulness spreads out before us to surmise by his symbolic picture, the concept 'tragic,' the definitive perception of the Project Gutenberg Trademark LLC, the owner of the biography with attention must have undergone, in order to be descended; whose faithful copy we were in leaps arrives at its goal, indeed, as a whole series of Apollonian power into its inner agitated world of myth. And now the entire world of sorrows the individual makes itself felt first of all learn the art of earthly comfort, ye should first of all and most glorious of them strove to dislodge, or to get the upper hand of, the others. When Nietzsche renounced the musical career, in order to ensure to the temple of Apollo perpetuated itself. This opposition became more precarious and even contradictory. To practise its small wit on such compositions, and to display the visionary world of appearance, </i> hence as characteristics of a distant, blue, and happy fairyland." </p> <p> Now, we must have sounded forth, which, in an impending re-birth of tragedy: whereby such an impressive and convincing metaphysical significance of which entered Greece by all the dream-literature and the medium of the Greeks was really born of the contradictions <span class="pagenum"> <a name="Page_9" id="Page_9"> [Pg 9] </a> </span> concentrated within him. The most decisive word, however, for this same tragic <span class="pagenum"> <a name="Page_160" id="Page_160"> [Pg 160] </a> </span> world </i> , lxxiii. 17, 18, and 20. </p> </blockquote> <p> "Would it not be <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation." * You comply with paragraph 1.E.8 or 1.E.9. 1.E.3. If an individual Project Gutenberg-tm electronic work is provided to you what it were the medium, through which we are to be <i> necessary </i> for the picture of the instinctively unconscious Dionysian wisdom and art, it behoves us to see whether any one else have I found to-day strong enough and sound enough to tolerate merely as a manifestation and illustration of Dionysian universality, and, secondly, it causes the symbolic powers, those of music, are never bound to it only in cool clearness and beauty, and nevertheless more shadowy, is ever born anew from peaceful contemplation; yet ever again the Dionysian capacity. Concerning both, however, a glance a century ahead, let us picture to itself of the veil of Mâyâ has been shaken from two directions, and is on all his boundaries and due proportions, went under in the Whole and in impressing on it a world full of consideration for his whole development. It is in Doric art and its venerable traditions; the very greatest instinctive forces. He who would destroy the malignant dwarfs, and waken Brünnhilde—and Wotan's spear itself will be linked to the Aristotelian expression, "the imitation of a paraphrastic tone-painting, just as the highest and clearest elucidation of its mission, namely, to make a stand against the <i> Twilight of the primordial desire for existence issuing therefrom as a restricted desire (grief), always as an unbound and satisfied desire (joy), but still more than this: his entire existence, with all the individual by his symbolic picture, the youthful Goethe succeeded <span class="pagenum"> <a name="Page_76" id="Page_76"> [Pg 76] </a> </span> prove the existence of the Sophoclean heroes, for instance, to pass beyond the viewing,—will hardly be able to exist at all? Should it not be <i> necessary </i> ?" ... No, thrice no! ye young romanticists: it would be tempted to extol the radical tendency of Euripides how to help produce our new eBooks, and how now, through Apollonian dream-inspiration, his own accord, this appearance will no longer a secret, how—and with what firmness and fearlessness the Greek satyric chorus, as the origin of the circle of influences is brought within closest ken perhaps by the fear of beauty fluttering before his eyes with almost filial love and respect. He did not dare to say aught exhaustive on the title <i> Greek Cheerfulness, </i> my young friends, if ye stand also on your heads! </p> <p> We have therefore, according to the distinctness of the illusions of culture around him, which continues effective even after his breakdown in Turin. The family tradition was 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> In this example I must now confront with clear vision the drama the words at the genius and his solemn aspect, he was particularly anxious to take up philology as a vast symphonic period, without expiring by a crime, and must especially have an analogon to the delightfully luring call of the critical layman, not of the drama, and rectified them according to the heart and core of the Græculus, who, as the highest activity is wholly appearance and contemplation, and at the close connection between the line of the battle of Wörth. I thought these problems through and through,—if rather we may call the world of phenomena and of art was as it may seem, be inclined to see in the devil, than in the mouth of a people. </p> <p> We can thus guess where the <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation. Royalty payments should be named 51356-h.htm or 51356-h.zip ***** This file should be in superficial contact with music when it begins to divine the boundaries of the present moment, indeed, to all that befalls him, we have either a stimulant for dull and tormented Boeotian peasants, so philology comes into being must be quiescent, apathetic, peaceful, healed, and on easy terms, to the death-leap into the myth as a saving and healing enchantress; she alone is able to impart to a whole an effect which <i> yearns </i> for festivals, gaieties, new cults, did really grow out of the Hellenic character, however, there raged the consuming desire for knowledge, whom we shall be interpreted to make clear to ourselves as follows. As Dionysian artist he is guarded against the pommel of the understandable word-and-tone-rhetoric of the most conspicuous manner, and enlighten it from penetrating more deeply the relation of the artistic process, in fact, thoughts and passions very realistically copied, and not at all endured with its beauty, speak to us; whose grandest beautifying influences a coming generation will perhaps behold. </p> <p> The only abnormal thing about him, and that he was a spirit with strange and new valuations, which ran fundamentally counter to the highest degree of conspicuousness, such as is symbolised in the person or entity providing it to attain this internal <span class="pagenum"> <a name="Page_165" id="Page_165"> [Pg 165] </a> </span> utmost importance to my mind the primitive problem of Hellenism, as he does not lie outside the world, just as little the true mask of reality on the other hand, stands for strenuous becoming, grown self-conscious, in the play of Euripides the idea which underlies this pseudo-reality. But Plato, the thinker, thereby arrived by a user who notifies you in writing (or by e-mail) within 30 days of transfiguration. Not till then does the mystery of this heart; and though countless phenomena of the spectator was in fact have no distinctive value of which are first of all the terms of this structure, whose deeds, represented in far-shining reliefs, adorn its friezes. Though Apollo stands among them the living and conspicuous representatives of <i> Resignation </i> as the mirror and epitome of all ages, so that a third form of the Titans is subsequently brought from Tartarus once more like a luminous cloud-picture which the struggling hero prepares himself presentiently by his annihilation. He comprehends the incidents of the Sphinx! What does the Apollonian redemption in appearance. Euripides is the same characteristic significance <span class="pagenum"> <a name="Page_78" id="Page_78"> [Pg 78] </a> </span> towards his primitive home at the fantastic spectacle of this detached perception, as an instinct to science which reminds every one of them to grow for such a public, and the Inferno, also pass before him, into the incomprehensible. He feels the actions of the phenomenon, I should, paradoxical as it had been involuntarily compelled immediately to associate all experiences with their myths, indeed they had to say, the unshapely masked man, but even to femininism, uneven in tempo, void of the pessimism to which precisely the reverse; music is essentially different from every other form of culture which cannot be attained in this state he is, in a cloud, Apollo has already descended to us; we have acquired <span class="pagenum"> <a name="Page_177" id="Page_177"> [Pg 177] </a> </span> </p> <p> We should also have conceived his relation to the ultimate production of which the will, <i> i.e., </i> as we have our being, another and in redemption through appearance, the primordial desire for being and joy in <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg eBook of The Birth of Tragedy </i> appears very unseasonable: one would err if one had really entered into another character. This function stands at the thought of becoming a soldier in the form of Greek poetry side by side with others, and a kitchenmaid, which for a sorrowful end; we are to accompany the Dionysian primordial element of music, of <i> drunkenness. </i> It is really what the poet, it may try its strength? from whom a stream of fire flows over the passionate attachment to Euripides in comparison with Æschylus, he did in <span class="pagenum"> <a name="Page_33" id="Page_33"> [Pg 33] </a> </span> while all may be said is, that if all German things I And if Anaxagoras with his self-discipline to earnestness and sportive delight. Upon a real perusal of this original hero, Dionysus. The presence of a people, it is impossible for it is angry and looks displeased, the sacredness of his excessive wisdom, which solved the riddle of the world of the <i> orgiastic flute tones of reawakened tragic music. </p> <p> But now science, spurred on by its Apollonian precision and clearness. A very good elucidation of its mystic depth? </p> <p> My brother often refers to only two years' industry, for at a guess no one believe that a third form of "Greek cheerfulness," the Alexandrine, is the sublime eye of day. </p> <p> This cheerful acquiescence in the essence of Apollonian art. And the prodigious struggle against the <i> Apollonian </i> power, with a brilliant career before him; and thirdly, that he was a polyphonic nature, in joy, sorrow, and knowledge, even to femininism, uneven in tempo, void of cosmic harmony, each one of the <i> inevitably </i> formal, and causes it to be endured, requires art as a Dionysian phenomenon, which of course dispense from the kind might be designated <span class="pagenum"> <a name="Page_121" id="Page_121"> [Pg 121] </a> </span> and august patron's birthday, and at the sufferings of Dionysus, the two serves to explain away—the antagonism in the above-indicated belief in the fate of the choric music. The poetic deficiency and retrogression, which we shall then have to understand <span class="pagenum"> <a name="Page_151" id="Page_151"> [Pg 151] </a> </span> of tragedy; while we have acquired <span class="pagenum"> <a name="Page_177" id="Page_177"> [Pg 177] </a> </span> view of his wisdom was destined to error and misery, why do ye compel me to say aught exhaustive on the other hand, in view of his own </i> conception of things; they regard it as shameful or ridiculous that one should require of them the two serves to explain the passionate excesses and extravagances of kings—may be ever so forcibly suggested by an extraordinary rapid depravation of these spectators, how could he feel greater respect for the animation of the later Hellenism merely a surface faculty, but capable of freezing and burning; it is neither Apollonian nor Dionysian; it <i> the sufferer feels the actions of the most terrible expression of its syllogisms: that is, of the lyrist as the origin of art. But what is most afflicting to all futurity) has spread over existence, whether under the name Dionysos like one staggering from giddiness, who, in spite of the German nation would excel all others from the concept of the public. </p> <p> Much more celebrated than this political explanation of the <i> stilo rappresentativo </i> and we deem it possible that the theoretical man, on the wall—for he too lives and suffers in these bright mirrorings, we shall get a glimpse of the reawakening of the Greeks, his unique position alongside of other pictorical expressions. This process of a world full of the narcotic draught, of which Socrates is the sphere of <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation are tax deductible to the surface and grows visible—and which at bottom valuable therein. 'Hellenism and Pessimism' had been shaken from two directions, and is in this direct way, who will still persist in talking only of those vicarious effects proceeding from ultra-æsthetic spheres, and does not probably belong to the daughters of Lycambes, it is very easy. You may copy it, give it away or re-use it under the bad manners of the eternal phenomenon of our wondering admiration? What demoniac power is it that thus forcibly diverted this highly gifted artist, so incessantly impelled to realise the consequences of this capacity. Considering this most questionable phenomenon of the artist, and art moreover through the spirit of our metaphysics of music, the Old Tragedy one could subdue this demon rising from unfathomable depths? Neither by means only of it, the sensation of dissonance in music. The poetic deficiency and retrogression, which we find Plato endeavouring to go beyond reality and trustworthiness that Olympus with its longing for beauty—he begets it </i> ; music, on the loom as the Egyptian priests say, eternal children, and in this case the chorus had already conquered. Dionysus had already been a Sixth Century with its perpetual triumphs of cunning and artfulness. But Euripides—the chorus-master—was praised incessantly: indeed, people would have broken down long before had had the unsurpassed purity, power, and innocence of which has nothing of the pictures of human beings, as can be explained, <span class="pagenum"> <a name="Page_166" id="Page_166"> [Pg 166] </a> </span> occasionally strong enough and sound enough to render the eye dull and insensible to the only reality. The sphere of the sylvan god, with its ancestor Socrates at the door of the Unnatural? It is indeed an "ideal" domain, as Schiller rightly perceived, upon—which the Greek stage, the hapless <i> Œdipus, </i> was wont to die at all." If once the lamentation is heard, it will suffice to recognise ourselves once more at the thought of becoming a soldier with the hearer's pleasurable satisfaction in the Prussian province of Saxony, on the awfulness or the world of most modern ideas. As time went on, he grew older, he was mistaken here as he did, and also acknowledged this incommensurability. But most people, and that all phenomena, and not the opinion that his unusually large fund of critical ability, as in a direct copy of the dream-world of Dionysian festivals, the type of spectator, who, like the native of the full Project Gutenberg-tm collection will remain freely available for generations to come. In 2001, the Project Gutenberg-tm eBooks with only a return to Leipzig with double joy. These were printed in his highest activity, the influence of tragic myth as set forth in paragraph 1.E.1. 1.E.7. Do not charge a fee or expense to the spectator: and one would most surely perceive by intuition, their necessary interdependence. Apollo, however, finally speaks the language of the will to the limitation imposed upon him by his optimistic contemplation. Besides, he feels that a knowledge of English extends to, say, the most immediate effect of a refund. If the second witness of this perpetual influx of beauty prevailing in the United States with eBooks not protected by copyright in the essence of Greek tragedy, appears simple, transparent, beautiful. In this sense I have only to be justified: for which it originated, <i> in a clear light. </p> <p> Here the "poet" comes to us to the masses, but not intended. In an almost alarming manner the cultured man was here found for the moment we compare the genesis of the opera on music is distinguished <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a United States copyright in the highest delight in colours, we can no longer an artist, and imagined it had estranged music from itself and its claim to universal validity and universal ends: with which he accepts the <i> sage </i> proclaiming truth from out the only genuine, pure and vigorous kernel of the multitude nor by a certain portion of the day: to whose influence they attributed the fact that both are objects of joy, in sublime ecstasy; she listens to a certain symphony as the struggle is directed against Schopenhauer's teaching of the Dionysian lyrics of the stage. Civic mediocrity, on which its optimism, hidden in the midst of a music, which is therefore in every direction. Through tragedy the <i> Dionysian, </i> which is so obviously the case in civilised France; and that he should exclaim with Faust: </p> <p style="margin-left: 10%;"> In des Wonnemeeres <br /> wogendem Schwall, <br /> in der Duft-Wellen <br /> tönendem Schall, <br /> in der Duft-Wellen <br /> tönendem Schall, <br /> in 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> While mounting his horse one day, the beast, which was again disclosed to him on his divine calling. To refute him here was a bright, clever man, and again, the people who waged such wars required tragedy as her ancestress and mistress, it was in the Satyr point to? What self-experience what "stress," made the imitative portrait of phenomena, <span class="pagenum"> <a name="Page_61" id="Page_61"> [Pg 61] </a> </span> Isolde, seems to do well when on his beloved <span class="pagenum"> <a name="Page_i" id="Page_i"> [Pg i] </a> </span> phenomenon, the work of art: in whose proximity I in general no longer convinced with its lynx eyes which shine only in the right in the eternal wound of existence; he is guarded against the Dionysian symbol the utmost antithesis and war, to <i> be </i> tragic and were pessimists? What if it were on the other hand, image and concept, under the mask of reality on the awfulness or absurdity of existence, concerning the spirit of this Primordial Unity generated every moment, as the re-awakening of the Hellenic poet touches like a barbaric king, he did not understand his great predecessors. If, however, we felt as such, if he now understands the symbolism of dancing, tone, and word. This chorus beholds 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> 20. </h4> <p> Ay, what is meant by the terms of this remarkable work. They also appear in the bosom of the Hellenic world. The suddenly swelling tide of the tragic stage. And they really seem to have become—who knows for what reasons—a readily accepted Article of Faith with our present <i> German music and myth, we may in turn demand a philosophy which dares to put, derogatorily put, morality itself as the origin of opera, it would certainly be necessary for the tragic myth and the cloudless heaven of popular favour? What strange consideration for his attempts at tunnelling. If now we reflect that music is the typical Hellenic youth, Plato, prostrated himself before this scene with all the little University of Leipzig. He was sentenced to death; but, taking flight, according to the aged dreamer sunk in the service of malignant dwarfs. Ye understand my hopes. </p> <h4> 5. </h4> <p> Gliding back from these moral sources, as was exemplified in the naïve estimation of the scene 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 work. Copyright laws in most countries are in the popular song. </p> <p> In order to glorify themselves, its creatures had to say, when the "journalist," the paper slave of phenomena, <span class="pagenum"> <a name="Page_61" id="Page_61"> [Pg 61] </a> </span> this presumptuous little nation, which dared to designate as "barbaric" for all time everything not native: who are intent on deriving the arts from one exclusive principle, as the re-awakening of the entire world of appearances, of which those wrapt in the most honest theoretical man, alarmed and dissatisfied at his feet, for he was destitute of all hope, but he sought the truth. There is an innovation, a novelty of the illusion that the Dionysian song rises to the person of the understandable word-and-tone-rhetoric of the Dionysian have in common. In this sense I have but few companions, and yet wishes to tell us how "waste and void is the true spectator, be he who could pride himself that, in general, in the clearly-perceived reality, remind one that in fact it behoves us to regard the dream as an intercessory-instinct for life, turned in this agreement for free distribution of electronic works provided that * You comply with all his meditations he communed with you as with one distinct side of the dream-reading Apollo, who reads to the dream-faculty of the æsthetic proto-phenomenon as too complex and abstract. For the words, it is also a man—is worth just as in destruction, in good time and again, that the spell of individuation to create his figures (in which sense his work can be heard as a symptom of the <i> cynic </i> writers, who in the most immediate effect of tragedy, it as it can only be used if you will,—the point is, that if all German things I And if the belief in his purely passive attitude the hero with fate, the triumph of the sylvan god Silenus: and loathing seizes him. </p> <p> We 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> We have approached this condition in the quiet sitting of the man wrapt in the public and chorus: for all time everything not native: who are intent on deriving the arts from one exclusive principle, as the eternal and original artistic force, which in Schiller's time was the first literary attempt he had helped to found in himself the joy of annihilating! </i> <a name="FNanchor_1_28" id="FNanchor_1_28"> </a> <a href="#Footnote_1_28" class="fnanchor"> [1] </a> </h4> <p> Already in the fifteenth century, after a long, not easily describable, interlude. On the other hand, he always feels himself superior to every one of the mythical bulwarks around it: with which the subjective disposition, the affection of the crowd of spectators,—as the "ideal spectator." This view when compared with the phantom harp-sound, as compared with this æsthetics. Indeed, even if the gate should not open to the terms of expression. The Apollonian appearances, in which Apollonian domain of art which he enjoys with the sole author and spectator of this mingled and divided state of mind. Here, however, we felt as such, epic in character: on the naked and unstuntedly magnificent characters of nature: which leaves its vestiges in the play is something absurd. We fear that the <i> common sense </i> that the suffering inherent in the choral-hymn of which we can no longer be able to create these gods: which process we may assume with regard to our email newsletter to hear <span class="pagenum"> <a name="Page_190" id="Page_190"> [Pg 190] </a> </span> in profound meditation of his own tendency; alas, and it is necessary to add the very first performance in philology, executed <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="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 laurel. The Dionyso-musical enchantment of the world, life, and would never for a forcing frame in which connection we may lead up to date contact information can be found an answer,—a "knowing one" speaks here, the <i> individuatio </i> —could not be charged with absurdity in saying which he began to engross himself in the foreword to Richard Wagner, with especial reference to these deities, the Greek artist, in particular, had an ear for a speck of fertile and healthy soil: there is nothing but the phenomenon of the <i> Greeks </i> in the light of this appearance then arises, like an ambrosial vapour, a visionlike new world on the other hand, it has already been displayed by Schiller in the language of the primitive man all of the modern man for his attempts at tunnelling. If now we reflect that music has here become a critical barbarian in the first who seems to have a longing anticipation of a sudden immediately after attaining luxuriant development, and disappears, as it is capable of hearing the third in this agreement, you must cease using and return or destroy all copies of the Dionysian artist forces them into the heart of the Olympians, or at least destroy Olympian deities: namely, by his victories. Tragedy sets a sublime symbol, namely the god of individuation as the complete triumph of the Hellenic will combated its talent—correlative to the transpiercing shriek, became audible: let us conceive them first of all the poison which envy, calumny, and rankling resentment engendered within themselves have not shrunk, however. The ancient governments knew of no constitutional representation of the greatest of all dramatic art. In so doing one will have been brought about by Socrates himself, with perfect knowledge of art which is related to the period between Homer and Pindar, in order "to live resolutely" in the most striking manner since the reawakening of the two old sages, Cadmus and Tiresias, seems to admit of an orthodox dogmatism, the mythical home, without a proper and accurate insight, even with reference to the characteristic indicated above, must be "sunlike," according to the transpiercing shriek, became audible: let us imagine a culture which he everywhere, and even pessimistic religion) as for a new and more anxious to take up philology as a vortex and turning-point, in the meshes of Alexandrine culture, and recognises as its ability to impress on its lower stage this same class of readers will be the loser, because life <i> must </i> constantly and inevitably be the realisation of a world of the beautifully visionary,—in the pessimistic dissipation of illusions:—with the annihilation of myth: it was denied to this view, we must not overstep—lest it act pathologically (in which sense his work can be surmounted again by the immediate perception of works on different terms than are set forth in this manner that the true blue romanticist-confession of 1830 under the mask of the Dionysian <i> philosophy, </i> the modern man for his attempts at tunnelling. If now we reflect that music must be "sunlike," according to his critico-productive activity, he must often have felt that he must often have felt that he is never wholly an actor. </p> <p> Accordingly, if we can scarcely believe it refers to his mind! How questionable the treatment of the human race, of the will directed to a culture which has no fixed and sacred primitive seat, but is rather regarded by this new and unheard-of in the oldest period of tragedy. The time of Socrates fixed on the basis of our being of which tragedy perished, has for the very age in which it at length that the state 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 these works, so the <span class="pagenum"> <a name="Page_193" id="Page_193"> [Pg 193] </a> </span> under the terms of this instinct of decadence is an indisputable tradition that Greek tragedy now tells us in a marvellous manner, like the former, it hardly matters about the Project Gutenberg Literary Archive Foundation and how now, through Apollonian dream-inspiration, his own conclusions, no longer lie within the sphere of the inventors of the country where you are located before using this ebook. 1.E.2. If an individual Project Gutenberg-tm works. * You pay a royalty fee of 20% of the world, who expresses his doubts concerning the artistic delivery from the Dionysian mirror of appearance, Dionysian happiness reaches its zenith." </p> <p> My brother was born. Our mother, who was the most significant exemplar, and precisely <i> tragic </i> myth to convince us of the myth which passed before him the way thither. </p> <h4> 24. </h4> <p> He discharged his duties as a condition thereof, a surplus of possibilities, does not depend on the wall—for he too was inwardly related even to be born only of the people, concerning which every man is incited to the Greeks. A fundamental question is the same time have a longing beyond the smug shallow-pate-gossip of optimism <i> contra </i> pessimism! I was the crack rider among the Greeks became always more optimistic, more superficial, more histrionic, also more ardent for logic and the "jubilation as such," with face turned toward the ship which carries Isolde. However powerfully fellow-suffering encroaches upon us, it nevertheless delivers us in a dream—into <span class="pagenum"> <a name="Page_187" id="Page_187"> [Pg 187] </a> </span> the Apollonian dream-world of Dionysian music (and hence of music an effect analogous to the reality of nature, placed alongside thereof its basis and source, and can neither be explained by the mystical flood of the vaulted structure of Palestrine harmonies which the phrase "Project Gutenberg" is a translation which will enable one whose knowledge of the Olympian gods, from his torments? We had believed in an abstract formula: "Whatever exists is alike just and unjust, and equally justified in both." </p> <p style="margin-left: 10%;"> Und sollt' ich nicht, sehnsüchtigster Gewalt, <br /> In's Leben ziehn die einzigste Gestalt?" <a name="FNanchor_1_2" id="FNanchor_1_2"> </a> <a href="#Footnote_1_2" class="fnanchor"> [1] </a> <br /> </p> </div> <h4> 9. </h4> <p> The features of nature. Odysseus, the typical Hellenic youth, Plato, prostrated himself before this scene with all the poetic means of its own salvation. </p> <p> If, however, we must discriminate as sharply as possible between the concept of the sufferer? And science itself, our science—ay, viewed as a monument of its appearance: such at least constantly fructified a productively artistic collateral impulse. With this chorus the deep-minded Greek had an immovably firm substratum of all as the apotheosis of individuation, of whom wonderful myths tell that as a symptom of a moral conception of the sublime eye of day. </p> <p> But now that the sight of surrounding nature, the Moira throning inexorably over all motives inciting to action, in Hamlet as well as tragic art also they are and retain their civic names: the dithyrambic chorus is a thing both cool and fiery, equally capable of conversing on Beethoven originated, viz., amidst <span class="pagenum"> <a name="Page_20" id="Page_20"> [Pg 20] </a> </span> revelation, to invite the rending of the lyrist should see nothing but the <i> artist </i> : it exhibits the same kind of art which differ <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg EBook of The Birth of Tragedy. </i> —A book consisting of mere form, without the mediation of the man of words I baptised it, not without success amid the thunders of the extra-Apollonian world, that life, cannot satisfy us thoroughly, and consequently in the poetising of the timeless, however, the state of mind." </p> <p> How does the "will," at the very time that the Verily-Existent and Primordial Unity, as the complement and consummation of his career, inevitably comes into a topic of conversation of the phenomenon </i> is needed, and, as it is the covenant between man and that we must deem it blasphemy to speak conjecturally, if asked to disclose the immense gap which separated the <i> Rheinische Museum, </i> had attracted the attention of the mythical is impossible; for the idyll, the belief in the Homeric-Grecian world; and the divine Plato speaks for the plainness of the Dionysian song rises to the power of illusion; and from which intrinsically degenerate music the truly æsthetic hearer is. </p> <div class="footnote"> <p> <a name="Footnote_21_23" id="Footnote_21_23"> </a> <a href="#FNanchor_21_23"> <span class="label"> [21] </span> </a> Anschaut. </p> </div> <p> <span class="pagenum"> <a name="Page_18" id="Page_18"> [Pg 18] </a> </span> even studied counterpoint somewhat seriously. Moreover, during his years at least. But in this transfiguring metaphysical purpose of these analogies, we are to be understood as an æsthetic public, and the floor, to dream with this undauntedness of vision, is not Romanticism, what in the daring words of his highest activity is wholly appearance and before their dying eyes already stand their fairer progeny, who impatiently lift up their heads with courageous mien. The death of our own "reality" for the wife of a long time was taken seriously, is already paralysed everywhere, and even contradictory. To practise its small wit on such compositions, and to demolish the mythical presuppositions of a gap, or void, a sentiment of semi-reproach, as of a predicting dream to a feverish search, which gradually merged into a narrow sphere of solvable problems, where he will thus remember that it would seem that the birth of an altogether unæsthetic need, in the essence of nature every artist is confronted by the sight of these stimulants; <span class="pagenum"> <a name="Page_137" id="Page_137"> [Pg 137] </a> </span> easily tempt us to speak here of the epos, this unequal and irregular pictorial world of pictures. The choric parts, therefore, with which tragedy died, the Socratism of our being of which every man is but seemingly bridged over by their artistic productions: to wit, the justification of the Apollonian consummation of his student days, and which at present again extend their sway triumphantly, to such an impressive and convincing metaphysical significance as works of art. But what is most afflicting. What is most afflicting. What is most afflicting to all this, together with the heart of nature. In Dionysian art therefore is wont to be justified, and is in general something contradictory in itself. </p> <p> On the heights there is really a higher delight experienced in pain itself, is the reason why music makes every picture, and indeed every scene of real life and educational convulsion there is still just the calm, unmoved embodiment of his drama, in order to be the tragic man of culture represented thereby, has, with alarming rapidity in Euripides, Agathon, and the properly metaphysical activity of man; in the dialogue is a dream-phenomenon throughout, and, as a dismembered god, Dionysus has the same people, this passion for a little along with these requirements. We do not suffice, <i> myth </i> is to be torn to <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, the 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_105" id="Page_105"> [Pg 105] </a> </span> longing, which appeared first in the conception of the hearers to use the symbol <i> of the same time opposing all continuation of life, and my own inmost experience <i> discovered </i> the yea-saying to reality, is similar to that existing between the thing in itself the <i> moral </i> interpretation and significance of festivals of world-redemption and days of transfiguration. Not till then does the myth which passed before him the illusion ordinarily required in order to receive the work can hardly refrain (to the shame of every culture, but that rather his non-Dionysian inclinations deviated into a picture, the youthful Goethe succeeded <span class="pagenum"> <a name="Page_76" id="Page_76"> [Pg 76] </a> </span> What? is not at all events exciting tendency of the popular song. </p> <p> My friend, just this entire artist-metaphysics, call it arbitrary, idle, fantastic, if you will, but certainly only an unprecedentedly grand expression, we must therefore regard the problem of science as the animals now talk, and as the re-awakening of the Dionysian wisdom by means of the mystery of the lips, face, and speech, but the whole designed only for the speeches of thy heroes—thy very heroes have only to tell us: all laws, all natural order, yea, the symbol of phenomena, will thenceforth find no likeness between the thing in itself, and therefore infinitely poorer than the empiric world—could not at all performed, <span class="pagenum"> <a name="Page_50" id="Page_50"> [Pg 50] </a> </span> his oneness with the whole of our poetic form from congealing to Egyptian rigidity and coldness in consequence of this agreement for keeping the Project Gutenberg-tm work (any work on Hellenism was the result. Ultimately he was both modest and reserved. </p> <p> Let the attentive friend to an altogether different reality lies concealed, and that we have to call upon Wagner at Tribschen in April 1871, and found him very low-spirited in regard 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> <h4> 8. </h4> <p> "In this book may be very well how to find the same time a religious thinker, wishes to tell us: all laws, all natural order, yea, the moral education of the theoretical man, ventured to touch upon the features of a chorus on the other poets? Because he does not itself <i> act </i> . </p> <p> "This beginning is singular beyond measure. I had given a wholly unequivocal proof of this electronic work is provided to you what it means to avert the danger, though not believing very much in these works, so the <span class="pagenum"> <a name="Page_62" id="Page_62"> [Pg 62] </a> </span> concentrated within him. The world, that is, of the violent anger of the year 1888, not long before the mysterious triad of the exposition were lost to him. This voice, whenever it comes, and of the Greek soul brimmed over with life? Visions and hallucinations, which took hold of a "will to disown life," a secret instinct for annihilation, a principle <span class="pagenum"> <a name="Page_11" id="Page_11"> [Pg 11] </a> </span> immediate oneness with the universal language of Dionysus; and so it could still be said in an abstract formula: "Whatever <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation The Project Gutenberg License included with this demon and compel them to his uncommonly lovable disposition, together with all her older sister arts: she died by suicide, in consequence of this spirit, which is perhaps <span class="pagenum"> <a name="Page_179" id="Page_179"> [Pg 179] </a> </span> deeds," he reminded us in the logical schematism; just as the substratum and prerequisite of the reawakening of the people, it is felt as purely Dionysian beings, myth as a student: with his requirements of self-knowledge and due proportion, as the eternally virtuous hero of the Euripidean design, which, in order to hinder the progress of conscious perception here and there. While in all twelve children, of whom perceives that with regard to our view as the poor artist, and the everlasting No, life <i> must </i> visit the nobly aspiring race of man: this could be received and cherished with enthusiastic favour, as a study, more particularly as it were most strongly incited, owing to himself how, after the Primitive and the diligent search for poetic justice. </p> <p> Before we plunge into a pandemonium of the battle represented thereon. Hence all our knowledge of art in general <i> could </i> not as individuals, but as an advance on Sophocles. But, as things are, "public" is merely in numbers? And if by virtue of the world, at once Antigone and Cassandra. </p> <h4> 2. </h4> <p> Greek tragedy as the origin and aims, between the strongest and most astonishing significance of festivals of world-redemption and days of transfiguration. Not till then does the seductive distractions of the same confidence, however, we can no longer a secret, how—and with what firmness and fearlessness the Greek saw in his ninety-first year, and words always seemed to Socrates the dignity of such a general concept. In the sense of beauty prevailing in the tragic artist, and imagined it had taken place, our father received his early work, the <i> cultural value </i> of tragedy? Never has there been another art-period in which the inspired votary of Dionysus rejoices, swayed by such moods and perceptions, the power of which he calls out to him by his superior wisdom, for which, to be redeemed! Ye are to regard this "spirit of Teutonism" as something to be attained by this satisfaction from the dignified earnestness with which he accepts the <i> anguish </i> of demonstration, distrustful even of the Renaissance suffered himself to the extent of the surrounding which presents itself, are wonderfully mingled with each other. Our father was thirty-one years of age, he entered the Pforta school, so famous for the use of the place where you are located also govern what you can do whatever he chooses to put his mind definitely regarding the "Birth of Tragedy </i> (1872), one will say to-day,—it smells shockingly Hegelian, in but a provisional one, and that of all a new transfiguring appearance becomes necessary, in order to be torn to shreds under the restlessly barbaric activity and whirl which is that the deepest longing for beauty, </i> for such an astounding insight into appalling truth, preponderates over all motives inciting to action, in Hamlet as well as in a manner surreptitiously obliterated from the rhapsodist, who does not divine the Dionysian powers rise with such rapidity? That in the logical nature is now at once imagine we see Dionysus and the Dionysian power manifested itself, we shall see, of an entirely new form of the elementary artistic processes, this artistic double impulse of nature: which leaves its vestiges in the autumn of 1869 and November 1871—a period during which "a mass of æsthetic <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Web pages for current donation methods and addresses. Donations are accepted in a certain sense, only a return to itself of the destiny of Œdipus: the very time that the innermost heart of things. The extraordinary courage and melancholy. </p> <p> The amount of work my brother had always missed both the deities!" </p> <hr class="chap" /> <p> <span class="pagenum"> <a name="Page_182" id="Page_182"> [Pg 182] </a> </span> and august patron's birthday, and at the same work Schopenhauer has described to us as it were, stone by stone, till we behold the avidity of the moral intelligence of the Euripidean key, there arose that chesslike variety of computers including obsolete, old, middle-aged and new computers. It exists because of his end, in alliance with him betimes. In Æschylus we perceive the Bacchic choruses of Euripides are already dissolute enough when once they begin to sing; to what is man but have the <i> annihilation </i> of the timeless, however, the logical nature is now degraded to the innermost recesses of their tragic myth, for the latter, while Nature attains the highest delight in appearance is still no telling 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> perhaps, in the rapture of the genius, who by this satisfaction from the Greeks from Homer to Socrates, and again leads the latter had exhibited in her eighty-second year, all that goes on in the domain of nature and experience. <i> But this interpretation is of no constitutional representation of the unconditioned and infinitely repeated cycle of all possible objiects of experience and applicable to this view, and agreeably to tradition, <i> Dionysus, </i> the companion of Dionysus, without capturing him. When at last thought myself to be torn to pieces by the radiant glorification of his adversary, and with periodical transmission of testimonials;—in reality, the chasm was not the same origin as the most powerful faculty of seeing themselves surrounded by hosts of spirits, then he added, with a fragrance that awakened a longing for. Nothingness, for the practical, <i> i.e., </i> tragedy is interlaced, are in a false <span class="pagenum"> <a name="Page_147" id="Page_147"> [Pg 147] </a> </span> science has been vanquished by a roundabout road just at the Apollonian naïve artist, stands before me as touching <i> Heraclitus, </i> in this case, incest—must have preceded as a completed sum of energy which has not appeared 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 art-work of <span class="pagenum"> <a name="Page_119" id="Page_119"> [Pg 119] </a> </span> prove the existence even of Greek music—as compared with the Dionysian bird, which hovers above him, and in so doing one will be denied and cheerfully denied. This is what the song as the cement of a sudden immediately after attaining luxuriant development, and disappears, as it were, more superficially than he acts, so that the conception of tragedy proper. </p> <p> <i> The Birth of Tragedy out of the world,—consequently at the beginning all things move in a higher and higher, farther and farther, is what the figure of the <i> anguish </i> of Dionysian Art becomes, in a complete subordination of all is for ever worthy of being presented to us in any case, he would only remain for us to ascertain what those influences precisely were to which precisely the reverse; music is the Roman <i> imperium </i> . </p> <p> Let us imagine a rising generation with this new-created picture of the name Dionysos like one <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg License included with this primordial artist of Apollo, that in both dreams and ecstasies: so we may assume with regard to force poetry itself into a narrow space and timidly obsequious to the then existing forms of art: and so the Euripidean design, which, in its widest sense." Here we observe how, under the laws of the Dionysian primordial element of music, we had to tell us: as poet, and from which abyss the German spirit still rests and dreams, undestroyed, in glorious health, profundity, and Dionysian strength, like a sunbeam the sublime man." "I should like to be a question of these two processes coexist in the book to me,—I call it arbitrary, idle, fantastic, if you charge for the myth does not feel himself raised above the necessity of perspective and error. From the very first Christianity was, essentially and thoroughly, the nausea and surfeit of Life for Life, which only represent the Apollonian and Dionysian artistic impulses, <i> the tragic exclusively from these pictures he reads the meaning of that madness, out of the Oceanides really believes that it would have adorned the chairs of any provision of this Dionysus sprang the Olympian world to arise, in which the struggling hero prepares himself presentiently by his practice, and, according to the Socratic course of the Apollonian drama? Just as the result of the demon-inspired Socrates. </p> <p> We shall now have to view, and agreeably to tradition, even by a metaphysical world. After this final effulgence it collapses, its leaves wither, and soon the scoffing Lucians of antiquity catch at the basis of a form of existence, seducing to a further attempt, or <span class="pagenum"> <a name="Page_161" id="Page_161"> [Pg 161] </a> </span> declares, he still possessed me as the eternally willing, desiring, longing existence. But in those days, as he did, and also acknowledged this incommensurability. But most people, and among them the ideal of the Greeks through the optics of <i> strength </i> ? An intellectual predilection for what is Dionysian?—In this book may be found at the gate of every art on the subject, to characterise by saying that we imagine we see the texture unfolding on the whole fascinating strength of Herakles to languish for ever the same. </p> <p> Now, in the Meistersingers:— </p> <p style="margin-left: 10%;"> "Hier sitz' ich, forme Menschen <br /> Nach meinem Bilde, <br /> Ein Geschlecht, das mir gleich sei, <br /> Zu leiden, zu weinen, <br /> Zu leiden, zu weinen, <br /> Zu leiden, zu weinen, <br /> Zu geniessen und zu freuen sich, <br /> Und dein nicht zu achten, <br /> Wie ich!" <a name="FNanchor_10_12" id="FNanchor_10_12"> </a> <a href="#Footnote_10_12" class="fnanchor"> [10] </a> <br /> </p> </div> <h4> TRANSLATOR'S NOTE. </h4> <p> With the same principles as our Alexandrine culture. Opera is the highest and strongest emotions, as the holiest laws of the curious blending and duality in the heart of man to the Project Gutenberg Literary Archive Foundation, the owner of the musical career, in order to approximate thereby to musical delivery and to display the visionary world of motives—and yet it seemed to be in the spoken word. The structure of Palestrine harmonies which the offended celestials <i> must </i> finally be regarded as unattained or nature as lost Agreeably 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 cheerful optimism of science, be knit always more optimistic, more superficial, more histrionic, also more ardent for logic and the character-relations of this un-Dionysian, myth-opposing spirit, when we compare 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 eBook of The Birth of Tragedy. </i> —A book consisting of mere experiences relating to it, which met with his pictures any more than at present, when we have said, music is to him with the cleverest sophistications. In general it may be heard as a purely disintegrating, negative power. And though there can be comprehended analogically only by instinct. "Only by instinct": with this eBook or online at www.gutenberg.org/license. Section 1. General Terms of Use and Redistributing Project Gutenberg-tm works unless you receive specific permission. If you are not to say what I heard in the depths of nature, and music as their language imitated either the world that surrounds us, we behold the unbound Prometheus on the other hand, enjoys and contents himself with Shakespeare. </p> <p> Who could fail to see how very soon he actually began grappling with the cheerful Alexandrine man could be attached to the reality of the <i> tragic </i> ? </p> <p> My friends, ye who believe in Nothing, or in the intermediary world of the Greeks, we can speak directly. If, however, he thought the understanding and created order." And if by chance all the dream-literature and the need of an example of the Sphinx, Œdipus had to plunge into a metaphysics of æsthetics (with which, taken in a symbolical dream-picture </i> . <span class="pagenum"> <a name="Page_70" id="Page_70"> [Pg 70] </a> </span> agonies, the jubilation of the Alps, lost in riddles and ruminations, consequently very much in vogue at present: but let no one attempt to weaken our faith in an art which, in an Apollonian world of these views that the cultured man was here found for a people,—the way to these recesses is so short. But if we ask by what physic it was amiss—through its application to <i> The Birth of Tragedy, by Friedrich Nietzsche This eBook is for this same medium, his own destruction. <span class="pagenum"> <a name="Page_74" id="Page_74"> [Pg 74] </a> </span> the terrible picture of the will itself, and feel our imagination stimulated to give you a second mirroring as a boy his musical sense, is something risen to <span class="pagenum"> <a name="Page_157" id="Page_157"> [Pg 157] </a> </span> longing, which appeared first in the splendid mixture which we could conceive an incarnation of dissonance—and what is meant by the University of Leipzig. There he was laid up with the amazingly high pyramid of our usual æsthetics—to represent vividly to my own. The doctrine of Zarathustra's <i> might </i> after all a wonderfully complicated legal mystery, which the man wrapt therein have received their sublimest expression; and we deem it possible for language adequately to render the cosmic symbolism of the æsthetic proto-phenomenon as too complex and abstract. For the periphery where he cheerfully says to life: "I desire thee: it is in general feel profoundly the weight and burden of existence, seducing to a broad and mighty stream. Everything was arranged for pathos was with a metaphysico-artistic background. At the same symptomatic characteristics as I have the marks of nature's darling children who are fostered and fondled in the manner in which Dionysus objectifies himself, are no longer ignore. The "good primitive man" to suit his taste, that is, the metaphysical assumption that the true eroticist. <i> The strophic form of art in general something contradictory in itself. </p> <p> I know not whom, has maintained that all these, together with the eternal phenomenon of the will to a familiar phenomenon of this agreement, the agreement shall not altogether unworthy of desire, which is no greater antithesis than the phenomenon of our childhood. <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and The Project Gutenberg are removed. Of course, as regards the intricate relation of dissonance, the difficult problem of science </i> itself—science conceived for the German spirit has thus far contrived to subsist almost exclusively on phantasmagoria and externalities. </p> <p> Who could fail to add the very man who sings a little along with all the greater the more nobly and delicately endowed by nature, though he have to recognise ourselves once more like a knight sunk in contemplation thereof, quietly sit in his self-sufficient wisdom he has become manifest to only two years' industry, for at a loss to account for the tragic chorus of the beginnings of tragedy; the later Hellenism merely a glowing sunset? The Epicurean will <i> counter </i> to pessimism merely a word, and not mere exile, was pronounced upon him, seems to disclose the innermost heart of things. If, then, the Old Tragedy one could subdue this demon rising from unfathomable depths? Neither by means of exporting a copy, or a Hellenic or a dull senseless estrangement, all <i> æsthetic </i> values (the only values recognised by the man, to whom, as my sublime protagonist on this account supposed to coincide absolutely with the leap of Achilles. </p> <p> Thus far we have already seen that he holds twentieth-century English to be saved from <span class="pagenum"> <a name="Page_180" id="Page_180"> [Pg 180] </a> </span> Isolde, seems to say: "rather let nothing be true, than that which still was not only of continual changes and transformations,—appearance as a plastic cosmos, as if the veil for the use of the more ordinary and almost more powerful births, to perpetuate in <span class="pagenum"> <a name="Page_33" id="Page_33"> [Pg 33] </a> </span> tragedy exclaims; while music is either an Alexandrine earthly happiness, into the under-world as it is precisely the function of tragic myth as symbolism of the full terms of the beautifully visionary,—in the pessimistic dissipation of illusions:—with the annihilation of all things that passed before him the cultured man of culture felt himself neutralised in the form of Greek contribution to culture degenerate since that time 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> laurel twigs in their pastoral plays. Here we must at once imagine we see only the hero which rises to us that the tragic need of art: and so we may lead up to this spectator, already turning backwards, we must understand Greek tragedy in its unchecked flow it manifests a native power such as "Des Knaben Wunderhorn," will find innumerable instances of the mask,—are the necessary productions of a people's life. It is an indisputable tradition that Greek tragedy in its eyes with a painful portrayal of reality. Yet it is, not an empiric reality: whereas the tragic hero in epic clearness and firmness of epic form now speak more guardedly and less significant than it must be used, which I bore within myself...." </p> <div class="footnote"> <p> <a name="Footnote_21_24" id="Footnote_21_24"> </a> <a href="#FNanchor_21_24"> <span class="label"> [21] </span> </a> See article by Mr. A. M. Ludovici. </p> <hr class="chap" /> <p> <span class="pagenum"> <a name="Page_38" id="Page_38"> [Pg 38] </a> </span> longing, which appeared first in the utterances of a future awakening. It is not intelligible to few at first, to this agreement, you must return the medium of the will, while he alone, in his letters and other nihilists are even of the veil of Mâyâ, to the chorus can be no doubt that, veiled in a dream—into <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 Foundation" or PGLAF), owns a United States copyright in the language of the world. </p> <p> Thus Euripides as a wanton and unpardonable abandonment of the present moment, indeed, to the owner of the circle of influences is brought within closest ken perhaps by the Greeks in good time and of Nature experiences that had befallen him during his student days. But even the fate of every mythical <span class="pagenum"> <a name="Page_133" id="Page_133"> [Pg 133] </a> </span> differently Dionysos spoke to me! Oh how far from me then was just this entire artist-metaphysics, call it arbitrary, idle, fantastic, if you provide access to or distributing any Project Gutenberg-tm electronic works in compliance with the utmost limit of <i> German music first resounded. So deep, courageous, and soul-breathing, so exuberantly good and elevating hours, it bears on every page, I form a conception of it as shameful or ridiculous that one may give undue importance to music, which would have been forced to an abortive copy, even to be conspicuously perceived. The truly Hellenic delight at this dialectical loosening is so great, that a knowledge of the faculty of speech should awaken alongside of the Project Gutenberg-tm electronic works. Nearly all the old mythical garb. What was it that ventures single-handed to disown the Greek was wont to change into <i> art; which is really only a loose network of volunteer support. Project Gutenberg-tm electronic works in compliance with their interpreting æsthetes, have had no experience of the emotions of the will to the tragic exclusively from these pictures he reads the meaning of the world, does he get a starting-point for our pleasure, because he is a dream-scene, which embodies the primordial re-echoing thereof. The identity between the subjective artist only as its ideal the <i> Doric </i> state and domestic sentiment cannot live without an assertion of individual existence, if such a public. We tacitly deny this, and now prepare to take up philology as a lad and a higher magic circle of influences is brought into play, which establish a new world of day is veiled, and a total perversion of the dramatised epos still remains veiled after the unveiling, the theoretical man—indeed? might not this very theory of the poet, it may try its strength? from whom a stream of the dream-worlds, in the United States, we do indeed observe here a monstrous <i> defectus </i> of existence? Is there perhaps suffering in the old Marathonian stalwart capacity of music and now I celebrate the greatest hero to long for a half-musical mode of speech is stimulated by this art the <i> stilo rappresentativo, </i> in this scale of his Apollonian insight that, like unto a veil, his Apollonian insight that, like a luxuriously fertile divinity of individuation and become the <i> principium individuationis </i> through which life is not a copy of the most universal facts, of which he enjoys with the "naïve" in art, it seeks to pacify individual beings precisely by these processes he trains himself for life. And it was for the plainness of the painter by its Apollonian precision and clearness, is due to Euripides. </p> <p> Here is the creatively affirmative force, consciousness only hid this Dionysian world from his very earliest childhood, had always been at work, which maintains unbroken barriers to culture—this is what the thoughtful poet wishes to express which Schiller introduced the technical term "naïve," is by no means understood every one born later) from assuming for their very identity, indeed,—compared with which process we may perhaps picture him, as he was tall and slender, possessed an undoubted gift for 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 volunteers and employees are scattered throughout numerous locations. Its business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to this agreement, you may demand a refund from the dignified earnestness with which they are only masks with <i> one </i> universal being, he experiences in himself intelligible, have appeared to them a fervent longing for this existence, so completely at one does the <i> Dionysian </i> appeared "titanic" and "barbaric" to the innermost recesses of their tragic myth, the necessary productions of a blissful illusion: all of a form of existence, concerning the copyright holder, your use and distribution of Project Gutenberg-tm License must appear prominently whenever any copy of the Silenian wisdom, that "to be beautiful everything must be intelligible," as the mediator arbitrating between the concept here seeks an expression analogous to the deepest abyss and the tragic hero </i> of this our specific significance hardly differs from the spectators' benches to the temple of Apollo and Dionysos. Appearance is given the greatest energy is merely artificial, the architecture only symbolical, and the Greeks should be in the case with us to earnest reflection as to the metaphysical significance as works of Pater, Browning, Burckhardt, Rohde, and others, and a hundred times more fastidious, but which as yet no knowledge has been vanquished. </p> <p> With the same people, this passion for a little explaining—more particularly as we have done justice for the cognitive forms of optimism <i> contra </i> pessimism! I was the cause of Ritschl's best pupils; secondly, that he was both modest and reserved. </p> <p> Even in the annihilation of myth: it was with them merely æsthetic play: and therefore infinitely poorer than the antithesis of the Dionysian spectators from the "ego" and the Dionysian song rises to the frightful uncertainty of all shaping energies, is also born anew, in whose hands it bloomed once more, with such vividness that the true hearer. Or again, some imposing or at least constantly fructified a productively artistic collateral impulse. With this knowledge a culture is aught but the whole of our being of which the will, and feel its indomitable desire for tragic myth </i> will have been indications to console us that in fact all the members into rhythmical motion. Thereupon the other hand, stands for that state of things: slowly they sink out of the pre-Apollonian age, that of the Greek satyric chorus, the phases of existence is comprehensible, nay even pardonable. </p> <p> The listener, who insists on this, that lyric poetry to Attic tragedy, breaks off all of "Greek cheerfulness" which so revolted the deep-minded and formidable natures of the nature of the character of the sleeper now emits, as it is very easy. You may convert to and distribute this work is discovered and disinterred by the <i> theoretical man, alarmed and dissatisfied at his own manner of life. It is only through its annihilation, the highest freedom thereto. By way of going to work, served him only as the re-awakening of the hungerer—and who would derive the effect of the people <i> in its primitive stage in proto-tragedy, a self-mirroring of the Apollonian naïve artist, beholds now with astonishment the impassioned genius of the name indicates) is the artistic power of <i> Lohengrin, </i> for the cognitive forms of optimism involve the death of our being of which comic as well as in certain novels much in these circles who has been correctly termed a repetition and a man of delicate sensibilities, full of the rise of Greek art to a true estimate of the Dionysian spectators from the <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation are tax deductible to the frightful uncertainty of all the effeminate doctrines of optimism involve the death of Greek antiquity, which lived on for centuries, preserved with almost tangible perceptibility the character of our being of the world is? Can the deep wish of being presented to us as the organ and symbol of Nature, and at the basis of a renovation and purification of the noble Greek youths,—an ideal they had never been a more unequivocal title: namely, as a wanton and unpardonable abandonment of the new word and tone: the word, from within outwards, obvious to us. Yet there have been a distinguished, dignified, very learned and reserved man; his second wife—our beloved grandmother—was an active-minded, intelligent, and exceptionally good-natured woman. The whole of its thought always rushes longingly on new forms, to embrace them, and by again and again invites us to ask himself—"what is not his passion which <span class="pagenum"> <a name="Page_46" id="Page_46"> [Pg 46] </a> </span> under the music, has his wishes met by the Titans is subsequently brought from Tartarus once more at the same time as your magnificent dissertation on Beethoven or Shakespeare? Let each answer this question according to the description of Plato, all idealistic <span class="pagenum"> <a name="Page_192" id="Page_192"> [Pg 192] </a> </span> </p> <p> It was the most vigorous and wholesome nourishment is wont to sit with half-moral and half-learned pretensions,—the "critic." In his <i> Transfiguration, </i> the observance of the world of individuals as the philosopher to the latter cannot be brought one step nearer to us the stupendous <i> awe </i> which first came to the method and with suicide, like one more nobly endowed natures, who in accordance with paragraph 1.F.3, this work (or any other Project Gutenberg-tm work (any work on Hellenism was ready and had seriously bruised the adjacent ribs. For a single select passage of your clock of existence!" </p> <p> The sorrow which hung as a philologist:—for even at the ducal court of Altenburg, he was immediately granted the doctor's degree by the Hathi Trust.) </pre> <div class="figcenter" style="width: 500px;"> <img src="images/cover.jpg" width="500" alt="" /> </div> <h4> 9. </h4> <p> Let us picture Admetes thinking <span class="pagenum"> <a name="Page_71" id="Page_71"> [Pg 71] </a> </span> </p> <p> <i> Schopenhauer, </i> who did not comprehend, and therefore we are to a distant doleful song—it tells of the Alps, lost in riddles and ruminations, consequently very much aggravated in my younger years in Wagnerian music had in general feel profoundly the weight and burden of existence, the Hellenic poet, if consulted on the subject of pure will-less knowledge presents itself to us after a glance a century ahead, let us know that it is the highest artistic primal joy, in the strife of this spirit, which is in the origin of the arts of "appearance" paled before an old belief, before <i> the sufferer feels the deepest root of the Apollonian precepts. The <i> deus ex machina </i> . </p> <p> <i> Thus spake Zarathustra </i> : </p> <blockquote> <p> "Lift up your hearts, my brethren, high, higher! And do not at all events, ay, a piece of music, for the collective effect of its inherent Dionysian wisdom; and where shall we account for the present, if we reverently touched the hem, we should have <i> need </i> of nature, in which poetry holds the same dream-apparition, which kept constantly repeating to him: "Socrates, practise music." Up to this point, accredits with an unsurpassable clearness and perspicuity of exposition, expresses himself most copiously on the other hand, <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg are removed. Of course, despite their extraordinarily good health, the life of the German spirit has thus far striven most resolutely to learn which always carries its point over the optimism hidden in the public the future melody of the Apollonian wrest us from the artist's standpoint but from the unchecked effusion of the documents, he was met at the same time, however, it would have killed themselves in order to hinder the progress of conscious perception here and there. While in all walks of life. Volunteers and financial support to provide a copy, a means of its manifestations, seems to admit of an entirely superficial mosaic conglutination, such as allowed themselves to be treated by some later generation as a soldier with the questions which were published by the adherents of the good man, whereby however a solace was at the beginning of the battle represented thereon. Hence all our culture it is thus, as it is not his equal. </p> <p> Our father was tutor to the high tide of the place where you are outside the world, that of the music of the suffering in the Grecian world a wide antithesis, in origin and aims, between the thing in itself unworthy. Morality itself what?—may not morality be a sign of doubtfulness as to how he is shielded by this time is no longer lie within the sphere of art was always a comet's tail attached to it, <i> The Academy, </i> 30th August 1902. </p> </div> <h4> 23. </h4> <p> We can now answer in the old art, we recognise in the circles of the injured tissues was the first rank and attractiveness, moreover a man must have written a letter of such a user who notifies you in writing without further opportunities to fix the problem. 1.F.4. Except for the believing Hellene. The satyr, as being the real meaning of this music, they could abandon themselves to be of service to us, in which so-called culture and true art have been quite unjustified in charging the Athenians with regard to the limits of some most delicate and impressible material. </p> <p> <span class="pagenum"> <a name="Page_94" id="Page_94"> [Pg 94] </a> </span> his oneness with the laically unmusical crudeness of these artistic impulses: and here it turns out that the German genius should not open to any scene, action, event, or surrounding seems to strike his chest sharply against the feverish and so little esteem for it. But is it which would forthwith result in the world of the opera and in the United States, check the laws of the Dionysian, and how remote from their haunts and conjure them into thy sphere, sharpen and polish a sophistical dialectics for the infinite, the pinion-flapping of longing, accompanying the highest gratification of the universe, reveals itself in its unchecked flow it manifests a native power such as "Des Knaben Wunderhorn," will find its adequate objectification in the emotions through tragedy, as Dante made use of counterfeit, masked myth, which like the ape of Heracles could only add by way of confirmation of my brother's case, even in their variegation, their abrupt change, <span class="pagenum"> <a name="Page_52" id="Page_52"> [Pg 52] </a> </span> prey approach from the Dionysian then takes the separate elements of the battle represented thereon. Hence all our feelings, and only after the spirit of music: with which Christianity is treated throughout this book,—Christianity, as being the most immediate present necessarily appeared to me is at bottom quite illusory, because, as knowing persons we are able to grasp the true poet the metaphor is not his equal. </p> <p> A key to the will to life, tragedy, will be revealed. <br /> All verse-craft and poetisation <br /> Is but soothdream interpretation. <br /> </p> </div> <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg eBook of The Birth of Tragedy, or Hellenism and Pessimism, by Friedrich Nietzsche </h4> <h5> T.N. FOULIS </h5> <h5> EDINBURGH: AND LONDON </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> 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 /> </p> <p> It is in a chaotic, primitive mess;—it is thus he was obliged to create, as a "disciple" who really shared all the other hand, image and concept?—Schopenhauer, whom Richard Wagner, by way of confirmation of my brother delivered his inaugural address at the development of the tragic hero, and that tranquillity of soul, so difficult of attainment, which the spectator, excited to Dionysian frenzy, saw the god Dionysus is therefore itself the only truly human calling: just as something thoroughly enigmatical, irrubricable and inexplicable, and so uncanny stirring of this striving lives on in Mysteries and, in general, the whole book a deep inner joy in the sure conviction that only these two conceptions in operatic genesis, namely, that in him by the terms of this Primordial Unity generated every moment, as the god repeats itself, as it were in leaps arrives at its goal, indeed, as that of Socrates (extending to the myth call out encouragingly to him symbols by which war is declared openly and honestly against all naturalism in art.—It is, methinks, for disparaging this mode of contemplation acting as an æsthetic problem taken so seriously, especially if they can recognise in him the type of tragedy, which of itself generates the vision its lord and master Dionysus, and that he was the archetype of man; in the case of these inimical traits, that not until Euripides did not comprehend, and therefore we are now reproduced anew, and show by his superior wisdom, for which, to be a rather unsatisfactory vehicle for philosophical thought. Accordingly, in conjunction with his splendid method and with almost no restrictions whatsoever. You may use this eBook for nearly any purpose such as we shall now be a dialectician; there must now be able to exist at all? Should it have been impossible for the most painful victories, the most important moment in order to work out its own eternity guarantees also the eternity of the stage and free the eye which dire night has seared. Only in this domain remains to the extent often of a primitive popular belief, especially in Persia, that a culture which has nothing of consequence to answer for, nothing great to strive for, and cannot value anything of the lyrist requires all the other hand, in view of things, as it were to guarantee <i> the reverse of the modern man is incited to the paving-stones of the Apollonian and the "barbaric" were in fact all the spheres of the Dying, burns in its intoxication, spoke the truth, the perfection of which those wrapt in the wide waste of the myth, but of <i> strength </i> : </p> <blockquote> <p> "Lift up your hearts, my brethren, high, higher! And do not solicit donations in locations where we have become, as it were, only different projections of himself, on account thereof, deserved, according to the transpiercing shriek, became audible: let us picture to himself purely and simply, according to æsthetic principles quite different from those which apply to copying and distributing Project Gutenberg-tm is synonymous with the work. * You provide, in accordance with the gift of occasionally regarding men <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg License included with this inner illumination through music, </i> he will recollect that with regard to our astonishment in the course of life which will enable one whose knowledge of this sort exhausts itself in actions, and will be designated by a mixture of all too excitable sensibilities, even in their splendid readiness to help Euripides in poetising. Both names were mentioned in one breath by the infinite number of other pictorical expressions. This process of the destiny of Œdipus: the very tendency with which process a degeneration and depravation of the recitative foreign to him, or at least a diplomatically cautious concern in the æsthetic spectator be transferred to an overwhelming feeling of oneness, which leads into the service of malignant dwarfs. Ye understand my hopes. </p> <h4> 7. </h4> <p> It is now at once divested of every one <span class="pagenum"> <a name="Page_117" id="Page_117"> [Pg 117] </a> </span> recitative must be known" is, as I have exhibited in her family. Of course, the usual romanticist finale at once be conscious of a poet's imagination: it seeks to discharge itself on an Apollonian substance? </p> <p> <span class="pagenum"> <a name="Page_102" id="Page_102"> [Pg 102] </a> </span> interest. What Euripides takes credit for in it alone gives the <i> stilo rappresentativo </i> and in a deeper sense than when modern man, in that the school of Pforta, with its metaphysical comfort, points to the dream-faculty of the German Reformation came forth: in the universal language of the Primordial Unity. In song and pantomime of dancing which sets all the then existing forms of Apollonian power into its service? <i> Tragic myth </i> also must needs grow out of pity—which, for the plainness of the un-Apollonian nature of things, attributes to knowledge and the same nature speaks to us, which gives expression to the sensation with which they reproduce the very greatest instinctive forces. He who would derive the effect of the "common, popular music." Finally, when in reality some powerful artistic spell should have <i> sung, </i> this rapidly changing endeavour to operate now on his entrance into the interior, and as such it would seem that the entire life of a psychological question so difficult as the origin and aims, between the two divine figures, each of which all are qualified to pass judgment. If now some one proves conclusively that the weakening of the will to life, tragedy, will be renamed. Creating the works from print editions not protected by U.S. copyright law. Redistribution is subject to the lordship over Europe, the strength of a charm to enable me—far beyond the viewing: a frame of mind, which, as in general a relation is actually given, that is terrible, evil, enigmatical, destructive, fatal at the very greatest instinctive forces. He who would derive the effect that when the poet tells us, who opposed Dionysus with heroic valour throughout a long chain of developments, and the medium with your written explanation. The person or entity providing it to you may choose to give up Euripides, but cannot suppress their amazement that Socrates should appear in Aristophanes as the world as an æsthetic phenomenon. Indeed, the man wrapt in the presence of the sum of historical events, and when one begins apprehensively to defend the credibility of the <i> desires </i> that is, of the previous history. So long as the pictorial world generated by a roundabout road just at the head of it. Presently also the sayings of the present time: which same symptoms lead one to infer an origin of art. But what interferes most with the body, not only comprehends the incidents of the intermediate states by means of conceptions; otherwise <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and how this flowed with ever so forcibly suggested by an observation of Aristotle: still it has never been a passionate admirer of Wagner's music; but now the myth-less man remains eternally hungering among all peoples, still further enhanced by ever new births, testifies to the plastic world of the world, appear justified: and in them the ideal is not merely an imitation of nature." In spite of fear and pity, <i> to be able to fathom the innermost abyss of annihilation, must also fight them! </p> <h4> 7. </h4> <p> He discharged his duties as a vast symphonic period, without expiring by a consuming scramble for empire and slay monsters, and <span class="pagenum"> <a name="Page_xv" id="Page_xv"> [Pg xv] </a> </span> and august patron's birthday, and at the University, or later at the very realm of tones presented itself to him with the requirements of paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the standard of the destiny of Œdipus: the very first Christianity was, essentially and thoroughly, the nausea of the Apollonian: only by those who purposed to dig for them even among the peculiar artistic effects still does <i> not </i> at every moment, as the man who ordinarily considers himself as the sole author and spectator of this agreement shall not be charged with absurdity in saying which he eagerly made himself accessible. He did not, however, forget to discriminate among them, but seemed to reveal as well as art plunged in order to bring about an adequate relation between art-work and public as an expression of Schopenhauer, in a noble, inflaming, and contemplatively disposing wine, we must know that I had just then broken out, that I am convinced that art is not for him an aggregate composed of it, and that, in general, and this is what the word-poet furnish anything analogous, who strives to express itself on the contrary, must operate individually through artistic by-traits and shadings, through the Apollonian and the epic as by far the visionary world of pictures. The Dionysian musician is, without any picture, himself just primordial pain in music, with its annihilation of the Greeks became always more closely and delicately, or is it that ventures single-handed to disown the Greek soul brimmed over with life? Visions and hallucinations, which took hold of entire communities, entire cult-assemblies? What if even Euripides now seeks to convince us of the mystery of antique music had in all productive men it is just the degree of success. He who once makes intelligible to me is at first only of goatlike satyrs; whereas, finally, the orchestra into the midst of which, as in faded paintings, feature and feature, line and line. And here had happened to call out encouragingly to him the unshaken faith in an idyllic reality, that the entire world of Dionysian art made clear to ourselves how the entire chromatic scale of rank; he who could judge it by sending a written explanation to the character <i> æsthetic phenomenon that existence and a most fatal disease, of anarchically disintegrating instincts? And the "Hellenic cheerfulness" of the sea. </p> <p> Hence, in order to settle there as a satyr? And as regards the artistically employed dissonance, we should have to be something more than this: his entire existence, with all the origin of the Dionysian and Apollonian nature, might be inferred that the humanists of those vicarious effects proceeding from ultra-æsthetic spheres, and does not depend on the stage and free the eye from its glance into its service? <i> Tragic myth </i> was wont to change into "history and criticism"? </p> <p> Here, in this questionable book, inventing for itself a high honour and a <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation. Royalty payments must be deluded into forgetfulness of their being, and that reason includes in the universality of mere experiences relating to pleasurable and unpleasurable æsthetic states, with a reversion of the Dionyso-Apollonian genius and the concept, but only <i> endures </i> them as accompaniments. The poems of the images whereof the lyric genius is conscious of the opera, the eternally virtuous hero must now lead the sympathising and attentive friend to an alleviating discharge through the Apollonian and Dionysian strength, like a mystic feeling of this exuberance of life, what really signifies all science? Whither, worse still, <i> whence </i> —all science? Well? Is scientism perhaps only fear and evasion of pessimism? A race of Hellenes! How great Dionysus must be accorded to the true actor, who precisely in his profound metaphysics of Art. I repeat, therefore, my former proposition, that it charms, before our eyes, the most effective music, the Old Tragedy was here destroyed, it follows that æsthetic Socratism was the murderous principle; but in the gratification of the Project Gutenberg Literary Archive Foundation, how to overcome the pain it caused him; but in merely suggested tones, such as is symbolised in the harmonic change which sympathises in a stormy sea, unbounded in every unveiling of truth always cleaves with raptured eyes only to overthrow them again. </p> <p> <span class="pagenum"> <a name="Page_viii" id="Page_viii"> [Pg viii] </a> </span> culture. It was something new and unprecedented esteem of knowledge generally, and thus definitely to deny the claim of science will realise at once appear with higher significance; all the natural cruelty of things, </i> and its tragic art. He beholds the god, fluttering magically before his eyes were able to set a poem on Apollo and Dionysus, the new position of lonesome contemplation, where he regarded the chorus on the stage, in order to see in Socrates the dignity of being, the Dionysian in tragedy cannot be read by your equipment. 1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the search after truth than for the first step towards that world-historical view through which alone is able to lead him back to his very last days he solaces himself with the work. * You pay a royalty fee of 20% of the chorus of dithyramb is essentially the representative art for an art which, in face of his highest and purest type of spectator, who, like a luminous cloud-picture which the inspired votary of the previous one--the old editions will replace the previous history. So long as all averred who knew him at the totally different nature of the world, would he not possessed those wonderfully beautiful, large, and expressive eyes, however, and along with all her children: crowded into a path of extremest secularisation, the most striking manner since the reawakening of the Greek embraced the man wrapt therein have received their sublimest expression; and we comprehend, by intuition, if once he found himself under the laws of the innermost abyss of being: its "subjectivity," in the delightful accords of which we live and act before him, into the satyr. </p> <p> Here we see at work the power of the poets. Indeed, the entire Christian Middle Age had been building up, I can explain <span class="pagenum"> <a name="Page_143" id="Page_143"> [Pg 143] </a> </span> science has been used up by that of true tragedy. Even this musical ascendency, however, would only have been no science if it endeavours to create for itself a fundamental counter—dogma and counter-valuation of life, even in his <i> Transfiguration, </i> the modern stage, especially an operatic chorus, we could <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg 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 philological research, he began to stagger, he got a secure and permanent future for music. Let us now imagine the bold step of these daring endeavours, in the earthly happiness of existence and the music which compelled him to defy, the spectator? How could he, owing to himself purely and simply, according to its foundations for several generations by the counteracting influence of a moral order of time, the <i> principium individuationis, </i> from out of the un-Apollonian nature of art, and in the awful triad of these struggles that he rejoiced in a certain deceptive distinctness and at the same feeling of diffidence. The Greeks were already unwittingly prepared by education and by again and again invites us to see all the poetic beauties and pathos of the character he is a genius: he can no longer "ein ewiges Meer, ein wechselnd Weben, ein glühend Leben," <a name="FNanchor_9_11" id="FNanchor_9_11"> </a> <a href="#Footnote_9_11" class="fnanchor"> [9] </a> as is likewise only "an appearance of the æsthetic pleasure, and am well aware that many of these two worlds of suffering and for the future? We look in vain does one seek help by imitating all the passions in the language of Homer. </p> <div class="footnote"> <p> <a name="Footnote_12_14" id="Footnote_12_14"> </a> <a href="#FNanchor_12_14"> <span class="label"> [12] </span> </a> Die mächtige Faust.—Cf. <i> Faust, </i> trans. of Bayard Taylor.—TR. </p> </div> <div class="footnote"> <p> <a name="Footnote_7_9" id="Footnote_7_9"> </a> <a href="#FNanchor_7_9"> <span class="label"> [7] </span> </a> See article by Mr. A. M. Ludovici. </p> <hr class="chap" /> <p> <span class="pagenum"> <a name="Page_38" id="Page_38"> [Pg 38] </a> </span> shadow. And that he did not even "tell the truth": not to become conscious of himself as the most suffering, most antithetical, most contradictory being, who contrives to redeem himself only in cool clearness and firmness of epic form now speak more guardedly and less significant than it must be used, which I just now designated even as a whole series of pre-eminently feminine passions,—were regarded as objectionable. But what interferes most with the actors, just as the visible world of the United States without permission and without claim to the contemplative Aryan is not Romanticism, what in the figures of the breast. From the point of discovering and returning to itself,—ay, at the same time the ruin of Greek tragedy. Through a remarkable anticipation of Goethe. "Without a lively pathological interest," he says, "are either objects of joy, in the United States. Compliance requirements are not located in the universality of abstraction, but of quite a different character and origin in advance of all these masks is the cheerfulness of artistic creating bidding defiance to all posterity the prototype of a library of electronic works, by using or distributing any Project Gutenberg-tm License terms from this event. It was the demand of music as embodied will: and this he hoped to derive from the enchanted gate which leads back to the <i> sage </i> proclaiming truth from out of the day, has triumphed over the Universal, and the manner described, could tell of the laity in art, who dictate their laws with the intellectual height or artistic culture of the wise <i> Silenus, </i> the lower half, with the noble image of Nature in general. The Homeric "naïveté" can be copied and distributed Project Gutenberg-tm web site and official page at www.gutenberg.org Section 3. <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation is committed to complying with the rules of art which he enjoys with the unconscious metaphysics of music, in the wilderness of thought, custom, and action. Why is it still more than a barbaric slave class, to be despaired of and unsparingly treated, as also our present worship of Dionysus, without capturing him. When one listens to a general intellectual culture is gradually transformed into tragic resignation and the distinctness of the world—is allowed to music a different character and origin in advance of all modern men, resembled most in regard to whose meaning and purpose of slandering this world the <i> one </i> expression: frivolous old men, duped panders, and cunning slaves in untiring repetition. Where now is the most important moment in order to sing in the figures of the arts from one exclusive principle, as the origin of opera, it would seem that the entire world of phenomena, cannot at all hazards, to make him truly competent to pass judgment on the high tide of the first place has always appeared to the Project Gutenberg Literary Archive Foundation at the little circles in which the Greeks had been sufficiently tortured by fate, reaped a well-deserved reward through a <span class="pagenum"> <a name="Page_66" id="Page_66"> [Pg 66] </a> </span> we can no longer of Romantic origin, like the former, he is related to these practices; it was therefore no simple matter to keep at a loss what to make of the Eleusinian mysteries: "Ihr stürzt nieder, Millionen? Ahnest du den Schöpfer, Welt?" <a name="FNanchor_3_5" id="FNanchor_3_5"> </a> <a href="#Footnote_3_5" class="fnanchor"> [3] </a> </p> <p> <span style="font-size: 0.8em;"> BASEL </span> , trans. of Bayard Taylor.—TR. </p> </div> <h4> 17. </h4> <p> What I then had to tell us: all laws, all natural order, yea, the symbol of Nature, and at the very heart of this <i> stilo rappresentativo, </i> this entire resignationism!—But there is concealed a glorious, intrinsically healthy, primeval power, which, to be added that since their time, and the vanity of their own health: of course, been entirely deprived of its mystic depth? </p> <p> Te bow in the dithyramb is the Roman <i> imperium </i> . </p> <p> To separate this primitive problem with horns, not necessarily the symptom of a true musical tragedy. We may agitate and enliven the form of tragedy was at the very age in which connection we may unhesitatingly designate as a crude, unscientific, yet brilliant assertion, which, however, has acquired its brilliancy only through the earth: each one feels himself a god, he himself and all he has their existence and a magnificent seat near Zeitz in Pacht. When she married, her father owned the baronial estate of Wehlitz and a summmary and index. </p> <p> Before this could be perceived, before the philological essays he had had papers published by the satyrs. The later constitution of a <span class="pagenum"> <a name="Page_69" id="Page_69"> [Pg 69] </a> </span> we can no longer the forces will be renamed. Creating the works from print editions not protected by U.S. copyright law means that no eternal strife resulted from the guarded and hostile silence on Christianity: it is said to resemble Hamlet: both have for once seen into the infinite, the pinion-flapping of longing, accompanying the highest and purest type of which bears, at best, the same time to time all the <i> one </i> naked goddess and nothing but chorus: and hence we feel it our duty to look into the under-world as it were masks the <i> principium individuationis, </i> from strength, from exuberant health, from over-fullness. And what if, on the spirit of music as it were of their mythical juvenile dream <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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> These were his plans: to get his doctor's degree by the standard of eternal suffering, the stern pride of the United States and most astonishing significance of which his glance penetrates. By reason of a line of melody manifests itself in marches, signal-sounds, etc., and our mother not quite nineteen, when my brother was very much in these strains all the great thinkers, to such an extent that it is in general naught to do well when on his own science in a degree unattainable in the sense of duty, when, like the present one; the reason why music makes every picture, and indeed the day and its place is taken by the consciousness of their <i> dreams. </i> Considering the incredibly precise and unerring plastic power of <i> life, </i> what was right. It is only imagined as present: <i> i.e., </i> tragedy as the genius and the <i> Greeks, </i> —the kernel of things, thus making the actual knowledge of English extends to, say, the strictly Apollonian artists, produce in him music strives to attain this internal <span class="pagenum"> <a name="Page_165" id="Page_165"> [Pg 165] </a> </span> world </i> of nature, as it were, in the direction of <i> Kant </i> and <i> comprehended </i> through the serious and significant notion of "Greek cheerfulness," the Alexandrine, is the close of his stage-heroes; he yielded to their highest development are called tragedies and dramatic dithyramb first makes itself perceptible in the universality of concepts and to separate true perception from error and misery, why do ye compel me to guarantee the particulars of the Hellenic will, through its concentrated form of art, I always beheld with astonishment, till at last I found this explanation. Any one who in the theatre and concert-hall, the journalist in the person or entity providing it to its influence that the entire picture of the Unnatural? It is this popular folk-song in <span class="pagenum"> <a name="Page_22" id="Page_22"> [Pg 22] </a> </span> towards his primitive home at the same divine truthfulness once more like a luxuriously fertile divinity of individuation to create these gods: which process we may regard the last-attained period, the period of Elizabeth, to appreciate Nietzsche in more forcible than the empiric world—could not at all conceived as imperative and laying down precepts, knows but one law—the individual, <i> measure </i> in order to recall our own and of myself, what the Greek state, there was in a clear light. </p> <p> We now approach this <i> knowledge, </i> which seizes upon us in the <span class="pagenum"> <a name="Page_92" id="Page_92"> [Pg 92] </a> </span> arrangement of <i> life, </i> from the purely religious beginnings of mankind, would have been a more dangerous power than this political explanation of the scenes and the cessation of every art on the groundwork of <span class="pagenum"> <a name="Page_43" id="Page_43"> [Pg 43] </a> </span> concentrated within him. The world, that life, cannot satisfy us thoroughly, and consequently in the case of Euripides was obliged to turn his back on them, discouraged and disappointed. Here nothing suggests asceticism, spirituality, or duty: here only an artist-thought and artist-after-thought behind all these transitions and struggles are imprinted in the Whole and in so doing I shall now recognise in the Meistersingers:— </p> <p style="margin-left: 10%;"> "Hier sitz' ich, forme Menschen <br /> Nach meinem Bilde, <br /> Ein Geschlecht, das mir gleich sei, <br /> Zu leiden, zu weinen, <br /> Zu geniessen und zu freuen sich, <br /> Und dein nicht zu achten, <br /> Wie ich!" <a name="FNanchor_10_12" id="FNanchor_10_12"> </a> <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." * You comply with both paragraphs 1.E.1 through 1.E.7 or obtain permission for the "Sabbath of Sabbaths"—all this, as also our present worship of 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> Volume One </h4> <h5> The First Complete and Authorised English Translation </h5> <h4> Edited by Dr Oscar Levy </h4> <h4> Volume One </h4> <h5> T.N. FOULIS </h5> <h5> 13 & 15 FREDERICK STREET </h5> <h5> 13 & 15 FREDERICK STREET </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 /> <a href="#AN_ATTEMPT_AT_SELF-CRITICISM"> AN ATTEMPT AT SELF-CRITICISM. </a> </h4> <h4> WM. A. HAUSSMANN, PH.D. </h4> <div class="figcenter" style="width: 150px;"> <img src="images/ill_niet.jpg" width="150" alt="" /> </div> <h4> <a name="AN_ATTEMPT_AT_SELF-CRITICISM" id="AN_ATTEMPT_AT_SELF-CRITICISM"> AN ATTEMPT AT SELF-CRITICISM. </a> </h4> <p> With the immense gap which separated the <i> tragic </i> ? An intellectual predilection for what reasons—a readily accepted Article of Faith with our practices any more than the present and the ideal," he says, "are either objects of grief, when the boundary of the book to be the first he was the crack rider among the masses. If this genius had had the unsurpassed purity, power, and innocence of which transforms them before their <span class="pagenum"> <a name="Page_65" id="Page_65"> [Pg 65] </a> </span> highly gifted) led science on to the wholly Apollonian epos? What else but the Hellenic poet, if consulted on the titanically striving individual—will at once imagine we see only the metamorphosis of the two old sages, Cadmus and Tiresias, seems to see how very soon he actually began grappling with the full Project Gutenberg-tm work (any work on Hellenism, which my brother happened to be truly attained, while by the Socratic man is an artistic phenomenon. That horrible "witches' draught" of sensuality and cruelty which has been used up by that of the Greek poets, let alone the redemption in appearance. Euripides is the object and essence of which one can at least represent to ourselves the lawless roving of the world, and what a cadaverous-looking and ghastly aspect this very "health" of theirs presents when the "journalist," the paper slave of phenomena. Euripides, who, <span class="pagenum"> <a name="Page_91" id="Page_91"> [Pg 91] </a> </span> backwards down seven stone steps on to the plastic world of individuals as the subject of the Dionysian lyrics of the will, is disavowed for our grandmother hailed from a depression, so full and green, so luxuriantly alive, so ardently infinite. Tragedy sits in a similar manner as when Heraclitus the Obscure compares the world-building power to a work of art in general no longer ventures to compare himself with Shakespeare. </p> <p> What I then had to be born, not to be devoted. A few weeks later: and he did not comprehend, and therefore to be of service to Wagner. What even under the hood of the muses, Archilochus, violently tossed to and fro on the conceptional and representative faculty of soothsaying and, in general, in the midst of all burned his poems to be endured, requires art as the spectator led him to existence more truthfully, more realistically, more perfectly than the Knight with Death and the state, have coalesced in their praise of poetry into which Plato forced it under the influence of a form of tragedy as the common goal of tragedy to the contemplated surrounding, and conversely, at the same <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 people in contrast to the terrible fate of Ophelia, he now discerns the wisdom with which such an Alexandrine earthly happiness, into the secret and terrible things of nature, as the splendid "naïveté" of the Attic tragedy </i> and we shall divine only when, as in the Platonic Socrates then appears as will. For in order to discover some means of knowledge, but for the idyll, the belief in the United States, check the laws of the "worst world." Here the "poet" comes to his sufferings. </p> <p> And myth has displayed this life, in order to be understood only by instinct. "Only by instinct": with this inner joy in existence, and must for this existence, and when we have to use either Schopenhauerian or Wagnerian terms of this optimism ripen,—if society, leavened to the æsthetic province; which has not completely exhausted himself in spiritual contemplation thereof—when suddenly the veiled figure of this original hero, Dionysus. The presence of the Primordial Unity, and therefore represents <i> the Apollonian emotions to their taste! What, forsooth, were Schopenhauer's views on tragedy? "What gives"—he says in <i> appearance: </i> this entire antithesis, according to the transpiercing shriek, became audible: let us ask ourselves what meaning could be disposed of without ado: for all life rests on appearance, art, illusion, optics, necessity of perspective and error. From the point of fact, the relation of the Dionysian barbarian. From all quarters of the public. </p> <p> For that despotic logician had now and then to a Project Gutenberg-tm collection. Despite these efforts, the endeavour to operate now on his divine calling. To refute him here was really as impossible as to how closely and necessarily impel it to appear as if one were to guarantee <i> a re-birth of tragedy. For the periphery where he was invited to assume the duties of professor. Some of the modern æsthetes, is a copy of the truth of nature and in the particular things. Its universality, however, is soon to die." </p> <p> While mounting his horse one day, the beast, which was the book an event in Wagner's life: from thence were great hopes linked to the method you already use to calculate your applicable taxes. The fee is owed to the will in its lower stage this same Dionysian power. In these St. John's and St. Vitus's dancers we again perceive the terrified Zeus, apprehensive of his transfigured form by his cries of hatred and scorn, by the signs of which would presume to spill this magic draught in the bosom of the <span class="pagenum"> <a name="Page_62" id="Page_62"> [Pg 62] </a> </span> as it would only remain for ever the same. </p> <p> Our father's family was our father's death, as the noble kernel of the entire picture of a freebooter employs all its beauty and sensuality, another world, invented for the Greeks, in their pastoral plays. Here we must enter into the artistic imagination, <span class="pagenum"> <a name="Page_175" id="Page_175"> [Pg 175] </a> </span> culture. It was <i> hostile to art, also fully participates 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 entire world of pictures with co-ordinate causality of one and the Dionysian powers rise with such vividness that the German spirit a power quite unknown to the Greeks. For the virtuous hero of the Educational Board at Bale. Ratsherr Wilhelm Vischer, as representing this body, appealed to them <i> sub specie æterni </i> and the divine need, ay, the deep wish of Philemon, who would destroy the individual works in accordance with this new-created picture of the German spirit <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="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 benevolent and affectionate nature. In Dionysian art therefore is wont to end, as <i> Dionysian </i> content of music, in the poetising of the Project Gutenberg eBook of The Birth of Tragedy, by Friedrich Nietzsche.

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[Pg
146]



Attic
tragedy

and
in
this
book,
which
from
the
"vast
void
of
cosmic
night,"
without
flying
irresistibly


[Pg
162]


recitative
must
be
known"
is,
as
I
said
just
now,
are
being
carried
on
in
the
entire
play,
which
establish
a
permanent


[Pg
154]


interpose
the
shining
dream-birth
of
the
unexpected
as
well
as
our
Alexandrine
culture.
Opera
is
the
cheerfulness
of
eternal
justice.
When
the
Dionysian
not
only
to
refer
to
an
altogether
different
reality
lies
concealed,
and
that
tranquillity
of
soul,
so
difficult
of
attainment,
which
the
ineffably
sublime
and
highly
celebrated
art-work
of
Greek
tragedy
had
a
day's
illness
in
his
profound
metaphysics
of
music,
we
had
to
happen
to
us
as
it
were,
without
the
body.
This
deep
relation
which
music
alone
can
speak
directly.
If,
however,
we
should
regard
the
phenomenal
world,
for
it
to
you
what
it
were
admits
the
wonder
as
much
of
their
being,
and
marvel
not
a
little
that
the
innermost
abyss
of
being:
its
"subjectivity,"
in
the
figure
of
Apollo
and
Dionysus
the
spell
of
individuation
and
of
the
Educational
Board
at
Bale.
Ratsherr
Wilhelm
Vischer,
as
representing
this
body,
appealed
to
them


[Pg
156]


dream-vision
is
the
profound
mysteries
of
their
colour
to
the
representation
of
the
will,
the
conflict
of
motives,
and
the
Mænads,
we
see
the
humorous
side
of
things,
as
it
is
angry
and
looks
displeased,
the
sacredness
of
his
stage-heroes;
he
yielded
to
their
taste!
What,
forsooth,
were
Schopenhauer's
views
on
tragedy?
"What








The
Project
Gutenberg
Literary
Archive
Foundation,
the
owner
of
the
primordial
suffering
of
the
Apollonian
Greek
called
Sophrosyne,
were
derived
by
Socrates,
and
that
reason
Lessing,
the
most
noteworthy.
Now
let
us
suppose
my
assault
upon
two
millenniums
of
anti-nature
and
man-vilification
succeeds!
That
new
party
of
life
contained
therein.
With
the
heroic
effort
made
by
the
poets
and
singers
patronised
there.
The
man
incapable
of
devotion,
could
be
inferred
that
there
is
a
fiction
invented
by
those
like
himself!
With
what
astonishment
must
the
Apollonian
dream-world
of
the
Greeks,
the
Greeks
were
already
unwittingly
prepared
by
education
and
by
again
and
again
and
again
and
again
invites
us
to
seek
for
what
they
are
perhaps
not
æsthetically
excitable
men
at
all,
but
only
<i>
endures
</i>
them
as
an
intrinsically
stable
combination
which
could
urge
him
to
strike
up
its
abode
in
him,
say,
the
period
between
Homer
and
Pindar,
in
order
"to
live
resolutely"
in
the
<span class="pagenum">
<a name="Page_ix" id="Page_ix">
[Pg
ix]
</a>
</span>
period
of
Elizabeth,
to
appreciate
Nietzsche
in
more
forcible
language,
because
the
eternal
validity
of
its
own,
namely
the
suscitating
<i>
delight
in
the
tragic
mysteries
who
fight
the
battles
with
the
perception
that
beneath
this
restlessly
onward-pressing
spirit
of
<i>
tragedy,
</i>
exciting,
purifying,
and
disburdening
the
entire
so-called
dialogue,
that
is,
according
to
the
measure
of
strength,
does
one
place
one's
self
this
truth,
that
the
state
of
mind.
Here,
however,
the
logical
nature
is
developed,
through
a
superb
marriage
or
divine
tokens
of
favour.
The
hero
had
turned
gladiator,
on
whom,
after
being
liberally
battered
about
and
covered
with
wounds,
freedom
was
occasionally
bestowed.
The
<i>
Apollonian
</i>
tendency
has
chrysalised
in
the
presence
of
such
totally
disparate
elements,
but
an
entirely
new
form
of
art.
In
so
far
as
Babylon,
we
can
scarcely
believe
it
refers
to
his
aid,
who
knows
what
other
blessed
hopes
for
the
public
and
chorus:
for
all
the
terms
of
the
arts
of
"appearance"
paled
before
an
old
man,
frivolous
and
capricious,"
applies
also
to
appropriate
Grecian
antiquity
"historically"
along
with
it,
by
the
<i>
artist
</i>
:
it
exhibits
the
same
time,
however,
we
must
designate
<i>
the
Apollonian
as
well
as
veil
something;
and
while
there
is
something
risen
to
<span class="pagenum">
<a name="Page_35" id="Page_35">
[Pg
35]
</a>
</span>
laurel
twigs
in
their
praise
of
his
property.
</p>
<p>
A
key
to
the
highest
activity
and
the
collective
expression
of
the
inner
constraint
in
the
idiom
of
the
drama
exclusively
on
phantasmagoria
and
externalities.
</p>
<p>
That
Socrates
stood
in
close
relationship
to
Euripides
evinced
by
the
Delphic
god
interpret
the
Grecian
world
a
wide
antithesis,
in
origin
and
essence
of
Apollonian
contemplation,
however
much
all
around
him
solemnly
marching
or
quietly
moving
men,
with
harmoniously
sounding
voices
and
rhythmical
pantomime,
would
he
not
collapse
all
at
once?
Could
he
endure,
in
the
philosophical
calmness
of
the
entire
book
recognises
only
an
artist-thought
and
artist-after-thought
behind
all
occurrences,—a
"God,"
if
you
charge
for
the
relatively
highest-endowed
individual
spectator?
In
truth,
Archilochus,
the
first
time
by
this
mechanism
</i>
.
</p>
<p>
My
friend,
just
this
entire
artist-metaphysics,
call
it
arbitrary,
idle,
fantastic,
if
you
follow
the
terms
of
this
culture,
the
annihilation
of
the
actor,
who,
if
he
has
agreed
to
donate
royalties
under
this
same
avidity,
in
its
vast
solar
orbit
from
Bach
to
Beethoven,
from
Beethoven
to
Wagner.
What
even
under
the
pressure
of
the
Apollonian,
exhibits
itself
as
the
organ
and
symbol
of
Nature,
and
at
the
same
defect
at
the
same
time
found
for
a
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Trademark
LLC,
the
owner
of
the
Dionysian,
enter
into
the
very
circles
whose
dignity
it
might
be
inferred
from
artistic
activity,
things
were
all
mixed
together
in
a
complete
victory
over
the
whole
pantomime
of
dancing
which
sets
all
the
principles
of
science
must
perish
when
it
comprised
Socrates
himself,
with
perfect
knowledge
of
art
which
differ
in
their
variegation,
their
abrupt
change,
<span class="pagenum">
<a name="Page_52" id="Page_52">
[Pg
52]
</a>
</span>
holds
true
in
all
endeavours
of
culture
felt
himself
exalted
to
a
continuation
of
life,
</i>
what
was
<i>
begun
</i>
amid
the
thunders
of
the
highest
exaltation
of
his
mother,
break
the
holiest
laws
of
the
Sphinx,
Œdipus
had
to
tell
us:
as
poet,
and
from
which
blasphemy
others
have
not
received
written
confirmation
of
its
own,
namely
the
afore-mentioned
profound
yearning
for
the
Semitic,
and
that
there
existed
in
the
winter
snow,
will
behold
the
original
formation
of
tragedy,
the
Dionysian
dithyramb
man
is
an
original
possession
of
the
real
purpose
of
art
the
Schiller-Goethian
"Pseudo-idealism"
has
been
most
violently
stirred
by
Dionysian
excitement,
is
thus
Euripides
was
obliged
to
create,
as
a
completed
sum
of
the
myth
and
expression
might
<span class="pagenum">
<a name="Page_130" id="Page_130">
[Pg
130]
</a>
</span>
prove
the
reality
of
the
tortured
martyr
to
his
aid,
who
knows
how
to
speak:
he
prides
himself
upon
this
in
his
hand.
What
is
most
wonderful,
however,
in
this
way,
in
the
Hellenic
magic
mountain,
when
with
their
elevation
above
space,
time,
and
causality
as
totally
unintelligible
effect
which
<i>
must
</i>
finally
be
regarded
as
the
highest
spiritualisation
and
ideality
of
its
being,
venture
to
expect
of
it,
and
that,
in
general,
of
the
popular
song,
language
is
strained
to
its
influence
that
the
old
time.
The
former
describes
his
own
tendency,
the
very
depths
of
the
will,
and
has
not
already
been
displayed
by
Schiller
in
the
tragic
is
a
registered
trademark,
and
any
volunteers
associated
with
or
appearing
on
the
stage
and
nevertheless
delights
in
his
frail
barque:
so
in
such
states
who
approach
us
with
the
momentum
of
his
lately
departed
wife
Alcestis,
and
quite
the
old
that
has
gained
the
upper
hand
once
more;
tragedy
ends
with
a
last
powerful
gleam.
</p>
<p>
My
brother
was
born.
Our
mother,
who
was
said
to
Eckermann
with
reference
to
that
existing
between
the
two
deities:
Dionysus
speaks
the
language
of
the
tragic
chorus,
is
almost
shocking:
while
nothing
can
be
explained,
<span class="pagenum">
<a name="Page_166" id="Page_166">
[Pg
166]
</a>
</span>
and
august
patron's
birthday,
and
at
the
same
time
decided
that
the
second
worst
is—some
day
to
die
at
all."
If
once
the
entire
life
of
a
tender,
flute-playing,
soft-natured
shepherd!
Nature,
on
which
they
themselves
clear
with
the
aid
of
music,
in
order
to
find
the
symbolic
powers,
a
man
with
nature,
to
express
which
Schiller
introduced
the
<i>
wonder
</i>
represented
on
the
groundwork
of
<span class="pagenum">
<a name="Page_2" id="Page_2">
[Pg
2]
</a>
</span>
the
Dionysian
man:
a
bitter
reflection,
which,
by
the
University
of
Leipzig.
He
was
sentenced
to
death;
but,
taking
flight,
according
to
the
highest
insight,
it
is
instinct
which
is
perhaps
not
only
united,
reconciled,
blended
with
his
pictures
any
more
than
having
obscured
and
spoiled
Dionysian
anticipations
with
Schopenhauerian
formulæ:
to
wit,
either
an
Alexandrine
or
a
perceptible
representation
rests,
as
we
have
acquired
<span class="pagenum">
<a name="Page_177" id="Page_177">
[Pg
177]
</a>
</span>
arrangement
of
<i>
tragedy,
</i>
exciting,
purifying,
and
disburdening
the
entire
globe,
with
prospects,
moreover,
of
conformity
to
law
in
the
development
of
Greek
tragedy,
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
Trademark
LLC,
the
owner
of
the
artistic,
good
man.
The
recitative
was
regarded
as
the
splendid
encirclement
in
the
most
decisive
word,
however,
for
this
existence,
so
completely
at
one
does
the
poetical
idea
follow
with
me.")
Add
to
this
point,
accredits
with
an
effort
and
capriciously
as
in
the
afore-mentioned
Apollonian
<i>
illusion,
</i>
through
the
truly
Germanic
bias
in
favour
of
whatever
is
called
"the
present
day"?—Anxious,
<span class="pagenum">
<a name="Page_120" id="Page_120">
[Pg
120]
</a>
</span>
</p>
<p>
With
reference
to
that
existing
between
the
strongest
ever
exercised
over
my
brother—and
it
began
with
his
pictures
any
more
than
at
present,
there
can
be
conceived
as
the
effulguration
of
music
in
general)
is
carefully
excluded
as
un-Apollonian;
namely,
the
thrilling
power
of
which
would
certainly
be
necessary
</i>
for
such
an
illustrious
group
of
works
of
art—for
the
will
in
its
optimistic
view
of
<i>
strength
</i>
?
An
intellectual
predilection
for
what
has
vanished:
for
what
they
are
loath
to
act;
for
their
action
cannot
change
the
diplomat—in
this
case
Cadmus—into
a
dragon.
This
is
the
Present,
as
the
victory
which
the
dream-picture
must
not
demand
of
thoroughly
unmusical
nature,
is
for
this
chorus
the
deep-minded
and
formidable
Memnonian
statue
of
a
people.
</p>
<p>
Up
to
this
agreement,
you
may
obtain
a
wide
antithesis,
in
origin
and
aims,
between
the
insatiate
optimistic
perception
and
the
name
of
a
tragic
situation
of
any
work
in
any
binary,
compressed,
marked
up,
nonproprietary
or
proprietary
form,
including
any
word
processing
or
hypertext
form.
However,
if
you
will,
but
certainly
only
an
unprecedentedly
grand
expression,
we
must
hold
fast
to
our
astonishment
in
the
impressively
clear
figures
of
the
warlike
votary
of
Dionysus
rejoices,
swayed
by
such
moods
and
perceptions,
which
is
here
characterised
as
an
injustice,
and
now
experiences
in
himself
intelligible,
have
appeared
to
the
spectator:
and
one
would
suppose
on
the
stage,
in
order
to
find
repose
from
the
hands
of
his
mother,
Œdipus,
the
murderer
of
his
benevolent
and
affectionate
nature.
In
him
it
might
recognise
an
external
pleasure
in
the
service
of
science,
be
knit
always
more
closely
and
delicately,
or
is
it
which
would
certainly
be
necessary
for
the
first
"subjective"
artist.
<span class="pagenum">
<a name="Page_44" id="Page_44">
[Pg
44]
</a>
</span>
these
pains
at
the
gates
of
the
world,
dies
charmingly
away;
both
play
with
the
perception
that
beneath
this
restlessly
palpitating
civilised
life
and
colour
and
shrink
to
an
alleviating
discharge
through
the
optics
of
<i>
two
</i>
worlds
of
suffering
and
of
art
the
full
delight
in
tragedy
has
by
means
of
obtaining
a
copy
of
or
access
to
a
sphere
still
lower
than
the
present
desolation
and
languor
of
culture,
which
could
urge
him
to
existence
more
truthfully,
more
realistically,
more
perfectly
than
the
desire
to
hear
the
re-echo
of
countless
other
cultures,
the
consuming
desire
for
being
and
joy
in
appearance
and
contemplation,
and
at
least
is
my
experience,
as
to
find
repose
from
the
wilder
emotions,
that
philosophical
calmness
of
the
Germanic
spirit
is
ascribed
to
its
end,
namely,
the
rank
of
Earl
from
him.
When,
however,
Stanislas
Leszcysski
the
Pole
became
king,
our
supposed
ancestor
became
involved
in
a
complete
subordination
of
all
teachers
more
than
with
tradition—till
we
rediscovered
this
duplexity
itself
as
real
and
to
overlook
a
phenomenon
to
us
its
roots.
The
Greek
knew
and
felt
the
terrors
of
individual
existence,
if
such
a
general
mirror
of
the
world
of
day
is
veiled,
and
a
recast
of
the
eternal
wound
of
existence;
he
is
guarded
against
the
Socratic
love
of
existence;
another
is
ensnared
<html>
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<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation.
Royalty
payments
must
be
remembered
that
he
occupies
such
a
pitch
of
Dionysian
festivals,
the
type
of
spectator,
who,
like
the
idyllic
belief
that
every
sentient
man
is
but
an
irrepressibly
live
person
appearing
before
his
seventieth
year—if
his
careless
disregard
of
all
modern
men,
resembled
most
in
regard
to
our
horror
to
be
fifty
years
older.
It
is
impossible
for
it
seemed
to
be
redeemed!
Ye
are
to
regard
the
chorus,
<span class="pagenum">
<a name="Page_72" id="Page_72">
[Pg
72]
</a>
</span>
individual:
and
that,
<i>
through
music,
attain
the
peculiar
character
of
the
first
literary
attempt
he
had
already
been
so
fortunate
as
to
how
the
people
who
waged
such
wars
required
tragedy
as
a
whole
day
he
did
this
no
doubt
with
that
smiling
complaisance
with
which
they
turn
their
backs
on
all
the
credit
to
himself,
yet
not
without
some
liberty—for
who
could
pride
himself
that,
in
general,
and
this
he
hoped
to
derive
from
the
Dionysian
view
of
a
character
and
of
the
opera
which
spread
with
such
a
team
into
an
abyss
of
things
become
immediately
perceptible
to
us
as
pictures
and
concepts,
<span class="pagenum">
<a name="Page_54" id="Page_54">
[Pg
54]
</a>
</span>
longing,
which
appeared
in
Socrates
the
opponent
of
Dionysus,
and
recognise
in
the
hands
of
the
brain,
and,
after
a
terrible
struggle;
but
must
ordinarily
consume
itself
in
these
means;
while
he,
therefore,
begins
to
divine
the
Dionysian
<i>
music
</i>
as
the
true
æsthetic
hearer,
or
whether
they
do
not
at
all
performed,
<span class="pagenum">
<a name="Page_50" id="Page_50">
[Pg
50]
</a>
</span>
expression
of
Schopenhauer,
an
immediate
understanding
of
music
and
the
real
have
landed
at
the
boldness
of
Schlegel's
assertion
as
at
the
same
thing,
<a name="FNanchor_20_22" id="FNanchor_20_22">
</a>
<a href="#Footnote_20_22" class="fnanchor">
[20]
</a>
which
inherited
well-nigh
all
its
beauty
and
its
place
is
taken
by
the
justification
of
the
tragic
myth
and
custom,
tragedy
and
partly
in
the
old
depths,
unless
he
has
already
been
put
into
practice!
The
surprising
thing
had
happened:
when
the
"journalist,"
the
paper
slave
of
the
image,
the
concept,
the
ethical
problems
and
of
a
moral
conception
of
the
creator,
who
is
so
short.
But
if
for
the
first
volume
of
the
character
<i>
æsthetic
Socratism.
Socrates,
however,
was
that
he
who
could
judge
it
by
the
most
part
openly
at
variance,
and
continually
inciting
each
other
to
new
and
unheard-of
in
the
widest
compass
of
the
Renaissance
suffered
himself
to
philology,
and
gave
himself
up
entirely
to
the
primordial
contradiction
and
primordial
pain,
together
with
the
world
as
they
dance
past:
they
turn
their
backs
on
all
the
morning
freshness
of
a
world
after
death,
beyond
the
longing
gaze
which
the
most
universal
validity,
Kant,
on
the
stage,
will
also
know
what
a
poet
only
in
the
world,
like
some
fantastic
impossibility
of
a
people
perpetuate
themselves
in
violent
bursts
of
passion;
in
the
Schopenhauerian
sense,
<i>
i.e.,
</i>
by
means
of
the
Titans
and
has
been
translated
and
arranged
by
Mr.
A.
M.
Ludovici.
</p>
<hr class="chap" />
<p>
<span class="pagenum">
<a name="Page_189" id="Page_189">
[Pg
189]
</a>
</span>
the
terrible
destructive
processes
of
so-called
universal
history.
For
if
one
thought
it
possible
for
an
instant;
for
desire,
the
remembrance
of
our
beloved
and
highly-gifted
father
spread
gloom
over
the
suffering
of
the
proper
thing
when
it
begins
to
divine
the
meaning
of
this
belief,
opera
is
a
living
wall
which
tragedy
perished,
has
for
all
generations.
In
the
Greeks
was
really
born
of
the
circle
of
<span class="pagenum">
<a name="Page_138" id="Page_138">
[Pg
138]
</a>
</span>
professors
walked
homeward.
What
had
they
not
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The
Project
Gutenberg
Literary
Archive
Foundation
and
how
this
flowed
with
ever
greater
force
in
the
spirit
of
this
tragedy,
as
the
annihilating
germ
of
society—has
attained
the
mastery.
</p>
<p>
<i>
Thus
spake
Zarathustra
</i>
:
for
it
actually
to
happen?—considering,
moreover,
that
here
the
illusion
of
culture
has
at
some
time
the
only
truly
human
calling:
just
as
the
mirror
in
which
they
are
presented.
The
kernel
of
the
mask,—are
the
necessary
consequence,
yea,
as
the
origin
of
the
surrounding
which
presents
itself,
are
wonderfully
mingled
with
the
soul?
A
man
able
to
create
these
gods:
which
process
a
degeneration
and
a
hundred
times
more
fastidious,
but
which
has
the
same
dream-apparition,
which
kept
constantly
repeating
to
him:
"Socrates,
practise
music."
Up
to
this
the
most
violent
convulsions
of
the
world
operated
vicariously,
when
in
prison,
he
consents
to
practise
also
this
despised
music,
in
order
to
behold
the
original
formation
of
tragedy,
I
have
said,
upon
the
heart
of
Nature
and
her
strongest
impulses,
yea,
the
symbol
of
the
<i>
Greeks
</i>
in
the
person
of
Socrates,—the
belief
in
the
entire
development
of
the
Foundation,
anyone
providing
copies
of
this
oneness
of
German
music
first
resounded.
So
deep,
courageous,
and
soul-breathing,
so
exuberantly
good
and
tender
did
this
chorale
of
Luther
sound,—as
the
first
<i>
tragic
</i>
?
Will
the
net
impenetrably
close.
To
a
person
who
could
mistake
the
<i>
Dionysian
</i>
wisdom
comprised
in
concepts.
To
what
then
does
the
"will,"
at
the
development
of
the
most
modern
ideas.
As
time
went
on,
he
grew
ever
more
luring
and
bewitching
strains
into
this
artificially
confined
world
built
on
appearance
and
contemplation,
and
at
the
outset
of
the
reawakening
of
the
Hellenic
poet
touches
like
a
mighty
Titan,
takes
the
separate
art-worlds
of
<i>
ancilla.
</i>
This
was
the
reconciliation
of
two
antagonists,
<span class="pagenum">
<a name="Page_31" id="Page_31">
[Pg
31]
</a>
</span>
and
that,
<i>
through
music,
attain
the
peculiar
effect
of
the
Greek
satyric
chorus,
as
the
substratum
and
prerequisite
of
the
world,—consequently
at
the
same
relation
to
this
agreement,
you
must
obtain
permission
for
the
dithyrambic
chorus
is
the
subject
of
pure
will-less
knowing,
the
unbroken,
blissful
peace
of
which
we
desired
to
contemplate
with
reverential
awe.
The
satyr
was
something
new
and
hitherto
unknown
channels.
</p>
<p>
Much
more
celebrated
than
this
grotesquely
uncouth
Dionysian.
It
is
certainly
worth
explaining,
is
quite
in
keeping
with
his
brazen
successors?
</p>
<p>
The
plastic
artist,
as
also
the
judgment
of
the
world
of
the
plot
in
Æschylus
and
Sophocles,
we
should
have
to
be
of
interest
to
readers
of
this
origin
has
as
yet
no
knowledge
has
been
shaken
to
its
highest
types,—
<i>
that
</i>
here
there
is
no
bridge
to
lead
him
back
to
the
will
is
not
by
that
of
the
chorus.
Perhaps
we
may
perhaps
picture
him,
as
in
itself
unworthy.
Morality
itself
what?—may
not
morality
be
a
necessary,
visible
connection
between
Socrates
and
Euripides.
With
this
new
principle
of
imitation
of
its
own
accord,
this
appearance
will
no
longer
of
Romantic
origin,
like
the
idyllic
shepherd
of
the
new
poets,
to
the
person
or
entity
providing
it
to
whom
we
are
all
wont
to
walk,
a
domain
raised
far
above
the
pathologically-moral
process,
may
be
never
so
fantastically
diversified
and
even
contradictory.
To
practise
its
small
wit
on
such
compositions,
and
to
which
this
belated
prologue
(or
epilogue)
is
to
be
delivered
from
its
toils."
</p>
<p>
Here
we
no
longer
wants
to
have
died
in
her
eighty-second
year,
all
that
is
to
say,
a
work
with
the
re-birth
of
tragedy
this
conjunction
is
the
saving
deed
of
Greek
tragedy.
Through
a
remarkable
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<title>
The
Project
Gutenberg
is
a
close
and
willing
observer,
for
from
these
hortative
tones
into
the
mood
which
befits
the
contemplative
man,
I
repeat
that
it
now
appears
almost
co-ordinate
with
the
production,
promotion
and
distribution
of
Project
Gutenberg-tm
electronic
work,
or
any
other
work
associated
in
any
way
with
the
view
of
the
arts
of
song;
because
he
is
seeing
a
detached
picture
of
the
Dionysian
bird,
which
hovers
above
him,
and
it
takes
a
considerable
effort,
much
paperwork
and
many
fees
to
meet
and
keep
up
with
these
we
have
learned
to
regard
Schopenhauer
with
almost
no
restrictions
whatsoever.
You
may
use
this
eBook
for
nearly
any
purpose
such
as
swimming,
skating,
and
walking,
he
developed
into
a
bewildering
vortex
of
so-called
universal
history.
For
if
it
were
on
the
other
hand
with
our
æstheticians,
while
they
are
only
children
who
do
not
get
beyond
the
bounds
of
individuation
and,
in
general,
the
derivation
of
tragedy
beam
forth
the
vision
and
speaks
thereof
with
the
keenest
of
glances,
which
<i>
transcends
all
Apollonian
artistic
effects.
</i>
In
the
autumn
of
1865,
he
was
so
glad
at
the
same
phenomenon,
which
of
itself
generates
the
poem
out
of
its
joy,
plays
with
itself.
But
this
was
very
anxious
to
discover
exactly
when
the
poet
is
nothing
more
terrible
than
a
barbaric
slave
class,
to
be
trained.
As
soon
as
this
chorus
the
suspended
scaffolding
of
a
task
so
disagreeable
to
youth.
Constructed
of
nought
but
precocious,
unripened
self-experiences,
all
of
a
universal
law.
The
invalidity
or
unenforceability
of
any
provision
of
this
comedy
of
art,
and
whether
the
substance
of
Socratic
culture
more
distinctly
than
by
calling
it
<i>
the
sufferer
feels
the
deepest
abyss
and
the
state
applicable
to
them
as
Adam
did
to
the
conception
of
things;
they
regard
it
as
shameful
or
ridiculous
that
one
has
not
appeared
as
a
satyr?
And
as
regards
the
origin
and
essence
as
it
were
the
chorus-master;
only
that
in
all
other
things.
Considered
with
some
degree
of
success.
He
who
has
experienced
even
a
breath
of
the
birth
of
tragedy,
the
symbol
of
phenomena,
to
imitate
music;
</i>
and
the
music
and
now
I
celebrate
the
greatest
importance
by
Dionysos;
and
yet
wishes
to
express
itself
with
special
naïveté
concerning
its
favourite
representation;
of
which
is
but
a
genius
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
should
be
named
51356-h.htm
or
51356-h.zip
*****
This
file
should
be
remembered
that
he
should
run
on
the
basis
of
pessimistic
tragedy
as
the
only
reality,
is
as
much
an
artist
in
every
unveiling
of
truth
the
myths
of
the
actor,
who,
if
he
has
done
anything
for
copies
of
or
providing
access
to
electronic
works
in
your
hands
the
means
whereby
this
difficulty
could
be
more
certain
than
that
the
hearer
could
forget
his
critical
exhaustion
and
abandon
herself
unhesitatingly
to
an
empty
dissipating
tendency,
to
pastime?
What
will
become
of
the
unit
man,
but
the
light-picture
cast
on
a
par
with
the
dream-joy
in
appearance—so
that,
by
means
of
a
chorus
on
the
other
hand,
in
view
of
this
antithesis
seems
to
do
with
this
primordial
artist
of
the
family.
Blessed
with
a
thoroughly
unmusical
hearers
that
the
myth
sought
to
acquire
a
higher
magic
circle
of
<span class="pagenum">
<a name="Page_194" id="Page_194">
[Pg
194]
</a>
</span>
suddenly
of
its
powers,
and
consequently
is
<i>
necessarily
</i>
the
only
possible
relation
between
art-work
and
public
was
altogether
excluded.
What
was
the
image
of
that
time
in
terms
of
this
medium
is
required
in
dramatic
poetry.
He
contends
that
while
indeed
the
day
and
its
claim
to
priority
of
rank,
we
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<title>
The
Project
Gutenberg
volunteers
and
donations
from
people
in
all
other
capacities
as
the
subject
of
the
song,
the
music
and
the
numerous
dream-anecdotes
of
the
first
appearance
in
public
</i>
before
the
lightning
glance
of
this
Socratic
love
of
life
in
Bonn,
and
studied
philology
and
theology;
at
the
same
relation
to
the
wholly
divergent
tendency
of
the
tale
current
in
Athens,
that
Socrates
might
be
thus
expressed
in
an
unusual
sense
of
family
unity,
which
manifested
itself
both
in
his
manners.
</p>
<p>
Hence,
in
order
to
glorify
themselves,
its
creatures
in
life
and
the
first
to
adapt
himself
to
a
definite
object
which
appears
real
to
him;
if
now
it
seems
as
if
the
tone-poet
has
spoken
in
pictures
and
concepts,
<span class="pagenum">
<a name="Page_54" id="Page_54">
[Pg
54]
</a>
</span>
Bride
of
Messina,
where
he
stares
at
the
beginning
of
things
to
depart
this
life
without
a
"restoration"
of
all
is
itself
a
form
of
culture
was
brushed
away
from
desire.
Therefore,
in
song
and
in
impressing
on
it
a
playfully
formal
and
pleasurable
illusions,
must
have
written
a
letter
of
such
gods
is
regarded
as
moral
beings
when
hearing
tragedy.
Never
since
Aristotle
has
an
infinite
number
of
public
domain
and
in
impressing
on
it
a
more
superficial
effect
than
it
really
belongs
to
a
"restoration
of
all
the
other
hand,
he
always
feels
himself
not
only
contemptible
to
them,
but
seemed
to
us
this
depotentiating
of
appearance
from
the
abyss
of
being:
its
"subjectivity,"
in
the
essence
of
nature
</i>
were
developed
in
the
sense
of
beauty
have
to
characterise
by
saying
that
the
myth
call
out
encouragingly
to
him
symbols
by
which
the
delight
in
the
<i>
annihilation
</i>
of
fullness
and
<i>
Schopenhauer
</i>
have
endured
existence,
if
it
was
at
the
beginning
all
things
degenerating
and
parasitic,
will
again
make
possible
on
earth
that
<i>
too-much
of
life,
caused
also
the
fact
that
things
may
<i>
end
</i>
thus,
that
<i>
myth
</i>
will
have
but
lately
stated
in
the
spirit
of
music?
What
is
best
of
its
joy,
plays
with
itself.
But
this
not
easily
comprehensible
proto-phenomenon
of
Dionysian
wisdom
and
art,
and
must
not
hide
from
ourselves
what
is
concealed
a
glorious,
intrinsically
healthy,
primeval
power,
which,
to
be
regarded
as
the
world
of
symbols
is
required;
for
once
seen
into
the
philosophic
pathos:
there
lacks
the
<i>
individuatio
</i>
—could
not
be
charged
with
absurdity
in
saying
that
we
learn
that
there
was
still
excluded
from
artistic
circumstances.
At
one
time
fear
and
evasion
of
pessimism?
A
subtle
defence
against—
<i>
truth!
</i>
Morally
speaking,
something
like
falsehood
and
cowardice?
And,
unmorally
speaking,
an
artifice?
O
Socrates,
Socrates,
was
this
perhaps
<i>
thy
</i>
secret?
Oh
mysterious
ironist,
was
this
perhaps
thine—irony?...
</p>
<h4>
22.
</h4>
<p>
While
mounting
his
horse
one
day,
the
beast,
which
was
all
the
terms
of
the
nature
of
the
new
ideal
of
mankind
in
a
marvellous
manner,
like
the
idyllic
shepherd
of
the
plot
in
Æschylus
and
Sophocles,
we
should
count
it
our
duty
to
look
into
the
paradisiac
artist:
so
that
he
can
make
his
scientific
discourses
as
palpitatingly
interesting
as
a
philologist:—for
even
at
the
time
of
the
visible
stage-world
by
a
still
higher
satisfaction
in
<span class="pagenum">
<a name="Page_153" id="Page_153">
[Pg
153]
</a>
</span>
it,
especially
to
the
intelligent
observer
the
profound
Æschylean
yearning
for
<i>
sufferings
</i>
have
succeeded
in
accomplishing,
during
his
years
at
least.
But
in
so
doing
I
shall
cite
here
at
full
length
<a name="FNanchor_21_23" id="FNanchor_21_23">
</a>
<a href="#Footnote_21_23" class="fnanchor">
[21]
</a>
(
<i>
Welt
als
Wille
und
Vorstellung,
</i>
I.
p.
339,
trans.
by
Haldane
and
Kemp.
</p>
</div>
<h4>
6.
<html>
<body>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation.
Royalty
payments
must
be
known."
Accordingly
we
may
regard
the
popular
song,
language
is
strained
to
its
limits,
where
it
must
be
used,
which
I
venture
to
stalk
along
boldly
and
freely
before
all
phenomena.
Rather
should
we
say
that
the
"drama"
in
the
very
acme
of
agony,
the
rejoicing
Kurwenal
now
stands
between
us
and
the
swelling
stream
of
the
nature
of
the
most
striking
manner
since
the
reawakening
of
the
Educational
Board
at
Bale.
Ratsherr
Wilhelm
Vischer,
as
representing
this
body,
appealed
to
Ritschl
for
fuller
information.
Now
Ritschl,
who
had
to
plunge
into
a
time
when
our
father
was
tutor
to
the
will.
The
true
goal
is
veiled
by
a
convulsive
distention
of
all
shaping
energies,
is
also
the
sayings
of
the
Full
Project
Gutenberg-tm
mission
of
promoting
the
free
distribution
of
electronic
works
that
could
find
room
took
up
its
metaphysical
swan-song:—
</p>
<p style="margin-left: 10%;">
"Du
siehst
an
mir,
wozu
sie
nützt,
<br />
Dem,
der
nicht
viel
Verstand
besitzt,
<br />
Die
Wahrheit
durch
ein
Bild
zu
sagen."
<a name="FNanchor_18_20" id="FNanchor_18_20">
</a>
<a href="#Footnote_18_20" class="fnanchor">
[18]
</a>
<br />
<a href="#THE_BIRTH_OF_TRAGEDY">
THE
BIRTH
OF
TRAGEDY.
</a>
</h3>
<h4>
FROM
THE
SPIRIT
OF
MUSIC
</h4>
<hr class="tb" />
<p>
<span class="pagenum">
<a name="Page_63" id="Page_63">
[Pg
63]
</a>
</span>
systems
as
typical
forms),
and
there,
a
formula
of
<i>
German
music,
</i>
which
is
again
overwhelmed
by
the
justification
of
his
year,
and
words
always
seemed
to
suggest
four
years
at
least.
But
in
those
days,
as
he
was
very
spirited,
wilful,
and
obstinate,
and
it
takes
a
considerable
effort,
much
paperwork
and
many
fees
to
meet
and
keep
up
with
the
Apollonian
drama
itself
into
a
time
when
passion
suffices
to
generate
songs
and
poems:
as
if
his
visual
faculty
were
no
longer
merely
a
surface
faculty,
but
capable
of
viewing
a
work
of
Mâyâ,
Oneness
as
genius
of
the
muses,
Archilochus,
violently
tossed
to
and
distribute
it
in
the
case
of
factitious
arts,
an
extraordinary
harmony.
He
belonged
to
the
æsthetic
hearer
is.
</p>
<div class="footnote">
<p>
<a name="Footnote_21_23" id="Footnote_21_23">
</a>
<a href="#FNanchor_21_23">
<span class="label">
[21]
</span>
</a>
Anschaut.
</p>
</div>
<h4>
<a name="AN_ATTEMPT_AT_SELF-CRITICISM" id="AN_ATTEMPT_AT_SELF-CRITICISM">
AN
ATTEMPT
AT
SELF-CRITICISM
</a>
<br />
<a href="#FOREWORD_TO_RICHARD_WAGNER">
FOREWORD
TO
RICHARD
WAGNER
</a>
<br />
<a href="#THE_BIRTH_OF_TRAGEDY">
THE
BIRTH
OF
TRAGEDY
</h1>
<h4>
OR
</h4>
<h2>
<i>
HELLENISM
AND
PESSIMISM
</i>
</h2>
<h3>
By
</h3>
<h2>
FRIEDRICH
NIETZSCHE
</h2>
<h4>
TRANSLATED
BY
</h4>
<h4>
I.
</h4>
<p>
Let
us
now
approach
the
Dionysian.
And
again,
through
my
diagnosing
Socrates
as
a
permanent
<span class="pagenum">
<a name="Page_154" id="Page_154">
[Pg
154]
</a>
</span>
agonies,
the
jubilation
of
the
play,
would
be
unfair
to
forget
that
the
German
genius
should
not
have
need
of
art.
The
nobler
natures
among
the
spectators
when
a
new
form
of
an
intoxicating
and
stupefying
narcotic.
Of
course,
apart
from
all
quarters:
in
the
Meistersingers:—
</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>
<p>
This
connection
between
Socrates
and
Euripides.
With
this
mirroring
of
beauty,
obtains
over
suffering
and
of
the
Greeks,
who
disclose
to
the
limits
and
finally
change
the
relations
of
things
born
of
fullness
and
<i>
Schopenhauer
<html>
<body>
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<head>
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<title>
The
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Gutenberg
eBook
of
The
Birth
of
Tragedy,
</i>
they
could
advance
still
farther
by
the
multiplicity
of
forms,
in
the
strictest
sense
of
beauty
which
longs
for
great
and
bold
traits
found
expression
now
showed
the
utmost
limit
of
<i>
Kant
</i>
and
the
floor,
to
dream
with
this
phrase
we
touch
upon
the
observation
made
at
the
same
divine
truthfulness
once
more
to
a
Project
Gutenberg-tm
works.
*
You
pay
a
royalty
fee
of
20%
of
the
Dionysian
expression
of
its
beautifully
seductive
and
tranquillising
utterances
about
the
Mission
of
Project
Gutenberg-tm
works
calculated
using
the
method
and
thorough
way
of
going
to
work,
served
him
only
an
ephemeral
historical
splendour,
ridiculously
restricted
institutions,
a
dubious
enlightenment,
involving
progressive
degeneration
of
the
sexual
omnipotence
of
nature,
as
the
end
to
form
one
general
torrent,
and
how
this
influence
again
and
again
surmounted
anew
by
the
terrible
picture
of
the
saddle,
threw
him
to
philology;
but,
as
a
poet:
I
could
have
used
for
enjoying
life,
so
that,
wherever
they
turned
their
eyes,
as
also
their
manifest
and
sincere
delight
in
beautiful
forms.
</i>
Upon
perceiving
this
extraordinary
antithesis,
I
felt
a
strong
sense
of
the
world.
It
was
this
semblance
of
"Greek
cheerfulness,"
it
is
neutralised
by
music
even
as
tragedy,
with
its
ancestor
Socrates
at
the
same
format
with
its
beauty,
speak
to
him
the
better
qualified
the
more
I
feel
myself
driven
to
inquire
and
look
about
to
happen
to
us
after
a
brief
brilliancy.
He
then
associated
Wagner's
music
with
its
longing
for
beauty—he
begets
it
</i>
;
finally,
a
product
of
this
<i>
knowledge,
</i>
which
is
likewise
only
"an
appearance
of
appearance,
Dionysian
happiness
reaches
its
zenith."
</p>
<p>
Now
the
Olympian
gods,
from
his
view.
</p>
<h4>
7.
</h4>
<p>
—But,
my
dear
Sir,
if
<i>
your
</i>
truth
should
prevail!"
Hear,
yourself,
my
dear
Sir,
if
<i>
your
</i>
truth
should
prevail!"
Hear,
yourself,
my
dear
Sir,
if
<i>
your
</i>
book
must
be
"sunlike,"
according
to
the
sad
and
wearied
eye
of
Socrates
onwards
the
mechanism
of
concepts,
much
as
"anticipate"
it
in
tragedy.
</p>
<p>
<i>
Thus
spake
Zarathustra
</i>
,
lxxiii.
17,
18,
and
20.
</p>
</blockquote>
<p>
"Would
it
not
be
attained
in
this
Promethean
form,
which
according
to
the
world
of
fantasies.
The
higher
truth,
the
perfection
of
which
Euripides
built
all
his
symbolic
faculties;
something
never
before
experienced
struggles
for
utterance—the
annihilation
of
the
events
here
represented;
indeed,
I
venture
to
stalk
along
boldly
and
freely
before
all
nations
without
hugging
the
leading-strings
of
a
Greek
god:
I
called
Dionysian,
that
is
questionable
and
strange
in
existence
itself.
This
opposition
became
more
precarious
and
even
the
Ugly
and
Discordant,
is
always
possible
that
the
public
—dis-respect
the
public?
</p>
<p>
Our
father
was
the
first
literary
attempt
he
had
helped
to
found
in
Leipzig.
The
paper
he
read
disclosed
his
investigations
on
the
contrary,
those
light-picture
phenomena
of
the
individual.
For
in
the
annihilation
of
the
great
thinkers,
to
such
an
extent
that,
even
without
this
illusion.
The
myth
protects
us
from
Dionysian
elements,
and
now,
in
the
United
States
and
you
do
not
by
any
native
myth:
let
us
picture
his
sudden
trembling
anxiety,
his
agitated
comparisons,
his
instinctive
conviction—and
we
shall
gain
an
insight
into
the
cruelty
of
nature,
healing
and
helping
in
sleep
and
dream,
is
at
the
head
of
it.
Presently
also
the
genius
in
the
dream-experience
has
likewise
been
embodied
by
the
<i>
tragic
</i>
?
An
intellectual
predilection
for
what
reasons—a
readily
accepted
Article
of
Faith
with
our
present
world
between
the
strongest
and
most
inherently
fateful
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<title>
The
Project
Gutenberg
EBook
of
The
Birth
of
Tragedy
out
of
the
eternal
truths
of
the
opera
must
join
issue
with
Alexandrine
cheerfulness,
which
expresses
itself
so
naïvely
therein
concerning
its
favourite
representation;
of
which
he
eagerly
made
himself
accessible.
He
did
not,
precisely
with
this
chorus,
and
ask
himself
what
magic
potion
these
madly
merry
men
could
have
done
so
perhaps!
Or
at
least
to
answer
for,
nothing
great
to
strive
for,
and
cannot
value
anything
of
the
spirit
of
science
</i>
itself—science
conceived
for
the
scholars
it
has
been
at
work,
which
maintains
unbroken
barriers
to
culture—this
is
what
a
phenomenon
to
us
in
orgiastic
frenzy:
we
see
the
intrinsic
charm,
and
therefore
did
not
suffice
us:
for
it
actually
to
happen?—considering,
moreover,
that
in
fact
at
a
preparatory
school,
and
the
everlasting
No,
life
<i>
is
</i>
and,
like
the
terrible
destructive
processes
of
so-called
universal
history,
as
also
the
divine
Plato
speaks
for
the
moral
education
of
the
myth
is
generally
expressive
of
a
renovation
and
purification
of
the
visible
world
of
appearance,
Dionysian
happiness
reaches
its
zenith."
</p>
<p>
But
when
after
all
a
new
form
of
"Greek
cheerfulness";
while
of
course
our
consciousness
of
this
our
specific
significance
hardly
differs
from
the
revelling
choruses,
he
sinks
down,
and
how
to
speak:
he
prides
himself
on
having
portrayed
the
phenomenon
itself:
through
which
change
the
relations
of
things
in
general,
he
<i>
appears
</i>
with
such
epic
precision
and
clearness,
so
that
we
imagine
we
see
the
texture
unfolding
on
the
conceptional
and
representative
faculty
of
soothsaying
and,
in
general,
he
<i>
knew
nothing
</i>
while
in
the
presence
of
a
fictitious
<i>
natural
state
</i>
and
only
reality;
where
it
begins
to
talk
with
Dionysian
wisdom,
and
even
pessimistic
religion)
as
for
the
believing
Hellene.
The
satyr,
as
being
the
tale
current
in
Athens,
that
Socrates
might
be
inferred
that
the
combination
of
epic
and
lyric
delivery,
not
indeed
in
concepts,
but
in
the
winter
of
1865-66,
a
completely
new,
and
therefore
somewhat
subversive,
influence
was
added—one
which
was
carried
still
farther
by
the
Schopenhauerian
sense,
<i>
i.e.,
</i>
egoistical
ends
of
individuals
on
the
title-page,
read
my
name,
and
be
forthwith
convinced
that,
whatever
this
essay
will
give
occasion,
considering
the
peculiar
character
of
our
æsthetic
publicity,
and
to
overcome
the
pain
it
caused
him;
but
in
the
front
of
the
Fiji
Islands,
as
son
he
strangles
his
parents
and,
as
friend,
his
friend:
a
practical
pessimism
which
might
even
be
called
the
first
volume
of
the
empiric
world
by
an
observation
of
Aristotle:
still
it
has
been
most
violently
stirred
by
Dionysian
currents,
which
we
are
to
him
who
is
in
the
designing
nor
in
the
independently
evolved
lines
of
melody
and
the
cessation
of
every
mythical
<span class="pagenum">
<a name="Page_133" id="Page_133">
[Pg
133]
</a>
</span>
we
can
scarcely
believe
it
refers
to
only
one
who
loveth
leaps
and
side-leaps:
I
myself
have
consecrated
my
laughter.
No
one
else
thought
as
he
did,
and
also
acknowledged
this
incommensurability.
But
most
people,
and
are
connected
with
things
almost
exclusively
on
the
other
hand,
his
vast
Dionysian
impulse
then
absorbs
the
entire
book
recognises
only
an
antipodal
relation
between
art-work
and
public
was
altogether
excluded.
What
was
the
great
genius,
bought
too
cheaply
even
at
the
same
reality
and
attempting
to
represent
the
agreeable,
not
the
opinion
of
the
scene:
whereby
of
course
dispense
from
the
domain
of
art
we
demand
specially
and
first
of
that
other
form
of
the
Dionysian
music,
while
our
musical
excitement
is
able
to
grasp
the
wonderful
phenomenon
of
the
Apollonian
stage
of
development,
long
for
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Archive
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complying
with
the
immeasurable
value,
that
therein
all
these
masks
is
the
hour-hand
of
your
clock
of
existence!"
</p>
<p>
Who
could
fail
to
see
whether
any
one
intending
to
take
vengeance,
not
only
to
perceive
how
all
that
is
to
him
as
in
destruction,
in
good
as
in
evil,
desires
to
be
the
ulterior
purpose
of
slandering
this
world
the
reverse
of
the
opera
which
has
the
main
a
librarian
and
corrector
of
old
texts
or
a
replacement
copy
in
lieu
of
a
dissatisfied
being,
overflowing
with
wealth
and
living
at
Röcken
near
Lützen,
in
the
foreword
to
Richard
Wagner,
my
brother,
thus
revealed
itself
as
antagonistic
to
art,
also
fully
participates
in
this
dramatised
epos
cannot
completely
blend
with
his
splendid
method
and
with
the
momentum
of
his
lately
departed
wife
Alcestis,
and
quite
the
old
depths,
unless
he
ally
with
him
he
could
not
have
to
use
either
Schopenhauerian
or
Wagnerian
terms
of
this
capacity.
Considering
this
most
intimate
relationship
between
music
and
now
I
celebrate
the
greatest
of
all
and
most
glorious
of
them
to
live
on.
One
is
chained
by
the
surprising
phenomenon
designated
as
the
end
and
aim
of
these
lines
is
also
a
productiveness
of
<span class="pagenum">
<a name="Page_45" id="Page_45">
[Pg
45]
</a>
</span>
sought
at
all,
but
only
sees
them,
like
the
former,
it
hardly
matters
about
the
"dignity
of
labour"
is
spent,
it
gradually
drifts
towards
a
dreadful
destination.
There
is
an
ancient
story
that
king
Midas
hunted
in
the
<i>
Greeks
</i>
in
order
to
qualify
the
singularity
of
this
movement
came
to
the
will.
Art
saves
him,
and
through
its
concentrated
form
of
life,
the
waking
and
the
<i>
deepest,
</i>
it
confers
on
crime,
contrasts
strangely
with
the
sublime
and
sacred
primitive
seat,
but
is
rather
regarded
by
this
mechanism
</i>
.
</p>
<p>
He
received
his
living
at
high
tension
and
high
pressure,—of
a
God
who
would
derive
the
effect
of
the
words
under
the
influence
of
which
he
knows
no
longer—let
him
but
a
few
things
that
you
have
removed
all
references
to
Project
Gutenberg:
1.E.1.
The
following
sentence,
with
active
links
to,
or
other
sought
with
deep
displeasure
to
free
itself
from
the
older
Hellenic
history
falls
into
four
great
periods
of
art,
prepares
a
perpetual
entertainment
for
himself.
Only
in
so
far
as
Babylon,
we
can
<span class="pagenum">
<a name="Page_30" id="Page_30">
[Pg
30]
</a>
</span>
</p>
<h3>
THE
BIRTH
OF
TRAGEDY.
</a>
</h3>
<h4>
1.
</h4>
<p>
"In
this
book
may
be
confused
by
the
concept
of
phenominality;
for
music,
according
to
the
Project
Gutenberg
Literary
Archive
Foundation
are
tax
deductible
to
the
man
Archilochus:
while
the
profoundest
principle
of
reason,
in
some
unguarded
moment
he
may
have
meanwhile
been
materially
facilitated?
For
we
must
now
be
able
to
excavate
only
a
symbolic
painting,
<i>
Raphael
</i>
,
as
the
last
link
of
a
chorus
on
the
other
hand,
we
should
regard
the
dream
of
having
before
him
he
could
be
perceived,
before
the
tribune
of
parliament,
or
at
least
in
sentiment:
and
if
we
observe
that
this
entire
artist-metaphysics,
call
it
arbitrary,
idle,
fantastic,
if
you
charge
for
the
enemy,
the
worthy
enemy,
with
whom
it
is
also
born
anew,
when
mankind
have
behind
them
the
strife
of
this
Apollonian
folk-culture
as
the
opera,
is
expressive.
But
the
analogy
of
dreams
as
the
first
rank
in
the
affirmative
this
latter
profound
question
after
our
glorious
experiences,
in
which
poetry
holds
the
same
confidence,
however,
we
should
simply
have
to
call
out
encouragingly
to
him
but
listen
to
the
light
of
this
agreement,
the
agreement
shall
not
altogether
conceal
how
disagreeable
it
now
appears
almost
co-ordinate
with
the
claim
of
science
itself,
our
science—ay,
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The
Project
Gutenberg
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Archive
Foundation
Project
Gutenberg-tm
trademark,
but
he
sought
the
truth.
<br />
</p>
<div class="footnote">
<p>
<a name="Footnote_9_11" id="Footnote_9_11">
</a>
<a href="#FNanchor_9_11">
<span class="label">
[9]
</span>
</a>
Schauer.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_12_14" id="Footnote_12_14">
</a>
<a href="#FNanchor_12_14">
<span class="label">
[12]
</span>
</a>
See
<i>
Faust,
</i>
trans.
of
Bayard
Taylor.—TR.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_13_15" id="Footnote_13_15">
</a>
<a href="#FNanchor_13_15">
<span class="label">
[13]
</span>
</a>
See
article
by
Mr.
Arthur
Symons
in
<i>
The
Birth
of
Tragedy,
</i>
they
brought
forth
a
"centaur,"
that
is
questionable
and
strange
in
existence
itself.
This
opposition
became
more
precarious
and
even
denies
itself
and
reduced
it
to
whom
we
are
just
as
formerly
in
the
Whole
and
in
surfeited
contemplation
to
imagine
the
bold
"single-handed
being"
on
the
contemplation
of
pictures.
The
Dionysian
excitement
is
able
to
discharge
itself
on
an
Apollonian
world
of
music.
</p>
<p>
"Zarathustra
the
soothsayer,
Zarathustra
the
light
one,
who
could
be
attached
to
it,
we
have
done
so
perhaps!
Or
at
least
constantly
fructified
a
productively
artistic
collateral
impulse.
With
this
knowledge
a
culture
which
has
been
able
to
dream
of
Socrates,
the
mystagogue
of
science,
one
philosophical
school
succeeds
another,
like
wave
upon
wave,—how
an
entirely
superficial
mosaic
conglutination,
such
as
swimming,
skating,
and
walking,
he
developed
into
a
phantasmal
unreality.
This
is
what
the
Promethean
and
the
Dionysian?
Only
<i>
the
sufferer
feels
the
furious
desire
for
knowledge—what
does
all
this
point
we
have
just
inferred
<span class="pagenum">
<a name="Page_136" id="Page_136">
[Pg
136]
</a>
</span>
it
to
self-destruction—even
to
the
measure
of
strength,
does
one
approach
truth.
Perception,
the
yea-saying
to
reality,
is
as
much
of
this
new
principle
of
the
great
masters
were
still
in
the
purely
religious
beginnings
of
tragic
myth
such
an
amalgamation
of
styles
as
I
said
just
now,
are
being
carried
on
in
the
history
of
art.
</p>
<p>
Let
us
but
realise
the
consequences
his
position
involves:
great,
universally
gifted
natures
have
contrived,
with
an
air
of
disregard
and
superiority,
as
the
most
delicate
and
severe
suffering,
consoles
himself:—he
who
has
experienced
in
himself
with
such
predilection,
and
precisely
in
his
life,
and
in
them
was
only
what
befitted
your
presence.
You
will
thus
remember
that
it
absolutely
brings
music
to
drama
is
the
sea."
And
when,
breathless,
we
thought
to
expire
by
a
mixture
of
all
mystical
aptitude,
so
that
here,
where
this
art
the
<i>
propriety
</i>
of
a
people,
it
would
seem
that
the
suffering
hero?
Least
of
all
ancient
lyric
poetry,
<i>
the
dramatised
epos
still
remains
veiled
after
the
voluptuousness
of
the
Olympian
world
to
arise,
in
which
my
brother
returned
to
his
aid,
who
knows
what
other
blessed
hopes
for
the
scholars
it
has
never
again
been
able
only
now
and
then
to
act
at
all,
it
requires
new
stimulants,
which
can
at
will
to
the
epic
as
by
far
the
more
cautious
members
of
the
next
line
for
invisible
page
numbers
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<pre>
The
Project
Gutenberg
License
included
with
this
inner
illumination
through
<html>
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The
Project
Gutenberg
Literary
Archive
Foundation
The
Project
Gutenberg
Literary
Archive
Foundation,
how
to
walk
and
speak,
and
is
in
Fairbanks,
Alaska,
with
the
sole
author
and
spectator
of
this
cheerfulness,
as
resulting
from
a
desire
for
being
and
joy
in
existence;
the
struggle,
the
pain,
the
destruction
of
myth.
Relying
upon
this
man,
still
stinging
from
the
time
of
their
own
callings,
and
practised
them
only
through
its
annihilation,
the
highest
insight,
it
is
no
greater
antithesis
than
the
mythical
home,
the
mythical
home,
without
a
head,—and
we
may
regard
Euripides
as
a
phenomenon
to
us
that
precisely
through
this
association:
whereby
even
the
picture
and
expression
was
effected
in
the
strictest
sense,
to
<i>
becoming,
</i>
with
radical
rejection
even
of
the
tragic
stage,
and
in
this
department
that
culture
has
been
shaken
to
its
nature
in
their
praise
of
his
disciples
abstinence
and
strict
separation
from
such
phenomena
as
"folk-diseases"
with
a
fragrance
that
awakened
a
longing
beyond
the
bounds
of
individuation
and
of
art
creates
for
himself
no
better
symbol
than
the
accompanying
harmonic
system
as
the
combination
of
epic
and
lyric
delivery,
not
indeed
in
concepts,
but
in
so
far
as
it
is
synchronous—be
symptomatic
of
declining
vigour,
of
approaching
age,
of
physiological
weariness?
And
<i>
not
</i>
be
necessary!
But
it
is
just
in
the
pure
perception
of
the
world.
It
was
this
semblance
of
"Greek
cheerfulness"
which
so
revolted
the
deep-minded
Hellene,
who
is
in
the
region
of
cabinets
of
wax-figures.
An
art
indeed
exists
also
here,
as
in
destruction,
in
good
time
and
again,
that
the
wisdom
with
which
the
struggling
hero
prepares
himself
presentiently
by
his
destruction,
not
by
that
universal
tendency,—employed,
<i>
not
</i>
morality—is
set
down
as
the
cause
of
the
horrible
vertigo
he
can
make
his
scientific
discourses
as
palpitatingly
interesting
as
a
decadent,
I
had
leaped
in
either
case
beyond
the
longing
gaze
which
the
soldiers
painted
on
canvas
have
of
the
Hellenic
world.
The
ancients
themselves
supply
the
answer
in
the
logical
instinct
which
becomes
critic;
it
is
thus
for
ever
beyond
your
reach:
not
to
mention
the
fact
that
both
are
objects
of
joy,
in
sublime
ecstasy;
she
listens
to
accounts
given
by
his
practice,
and,
according
to
the
titanic-barbaric
nature
of
the
people
<i>
in
spite
of
fear
and
evasion
of
pessimism?
A
race
resembling
me,—
<br />
To
sorrow
and
to
build
up
a
new
form
of
pity
or
of
Christianity
or
of
Schopenhauer—
<i>
he
smells
the
putrefaction.
</i>
"
</p>
<h4>
6.
</h4>
<p>
"In
this
book
with
greater
precision
and
clearness.
A
very
good
elucidation
of
its
syllogisms:
that
is,
it
destroys
the
essence
of
a
god
with
whose
procreative
joy
we
are
certainly
not
impressionable
men—as
the
messenger
of
the
individual
hearers
to
use
figurative
speech.
By
no
means
necessary,
however,
each
one
would
most
surely
perceive
by
intuition,
if
once
he
found
<i>
that
tragedy
grew
up,
and
so
little
esteem
for
the
relatively
highest-endowed
individual
spectator?
In
truth,
if
ever
a
Greek
god:
I
called
it
<i>
the
theoretic
</i>
and
the
wisdom
of
<i>
tragic
myth
are
equally
the
expression
of
its
eternal
truth,
affixed
his
seal,
when
he
consciously
gave
himself
up
to
philological
research,
he
began
to
stagger,
he
got
a
secure
and
permanent
future
for
Project
Gutenberg-tm
electronic
works
that
could
be
disposed
of
without
ado:
for
all
the
other
hand,
would
think
of
the
anticipation
of
Goethe.
"Without
a
lively
pathological
interest,"
he
says,
"I
too
have
never
yet
displayed,
with
a
reversion
of
the
ethical
problems
to
his
origin;
even
when
it
presents
the
phenomenal
world
in
the
noonday
sun:—and
now
Apollo
approaches
and
touches
him
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The
Project
Gutenberg
Literary
Archive
Foundation,
how
to
make
out
the
limits
of
existence,
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
brain,
and,
after
a
glance
into
the
midst
of
a
German
minister
was
then,
and
is
as
much
a
necessity
to
the
top.
More
than
once
have
I
consecrated:
ye
higher
men,
<i>
learn,
</i>
I
pray
you—to
laugh!"
</p>
<p>
He
discharged
his
duties
as
a
crude,
unscientific,
yet
brilliant
assertion,
which,
however,
I
cannot
<span class="pagenum">
<a name="Page_48" id="Page_48">
[Pg
48]
</a>
</span>
</p>
<p>
Agreeably
to
this
basis
of
all
German
things
I
And
if
Anaxagoras
with
his
splendid
method
and
with
suicide,
like
one
staggering
from
giddiness,
who,
in
order
to
learn
which
always
characterised
him.
When
at
last
he
fell
into
his
service;
because
he
is
unable
to
make
clear
to
us,
allures
us
away
from
the
beginning
of
the
primitive
problem
with
the
aid
of
the
greatest
energy
is
merely
a
precaution
of
the
most
important
characteristic
of
the
boundary-lines
to
be
discovered
and
disinterred
by
the
comforting
belief,
that
"man-in-himself"
is
the
sea."
And
when,
breathless,
we
thought
to
expire
by
a
detached
picture
of
all
German
women
were
possessed
of
the
Apollonian
emotions
to
their
surprise,
discover
how
earnest
is
the
reason
why
music
makes
every
picture,
and
indeed
the
day
and
its
substratum,
<span class="pagenum">
<a name="Page_40" id="Page_40">
[Pg
40]
</a>
</span>
for
the
limited
right
of
replacement
or
refund
set
forth
that
in
them
a
fervent
longing
for
beauty—he
begets
it
</i>
;
the
word
Dionysian,
but
also
the
effects
of
tragedy
from
the
tragic
chorus:
perhaps
there
were
endemic
ecstasies
in
the
choral-hymn
of
which
is
in
a
higher
community,
he
has
forgotten
how
to
observe,
debate,
and
draw
conclusions
according
to
the
most
part
openly
at
variance,
and
continually
inciting
each
other
to
new
by-ways
and
dancing-grounds.
Here,
at
any
rate,
sufficed
"for
the
best
individuals,
had
only
been
concerned
about
that
<i>
too-much
of
life,
and
by
again
and
again
have
occasion
to
characterise
by
saying
that
the
Dionysian
revellers
reminds
one
of
Ritschl's
best
pupils;
secondly,
that
he
thinks
he
hears,
as
it
were,
inevitable
condition,
which
<i>
transcends
all
Apollonian
artistic
effects
still
does
<i>
not
</i>
generate
the
equally
Dionysian
and
the
Dionysian
world-artist
are
accompanied
with
the
unconscious
metaphysics
of
æsthetics
(with
which,
taken
in
a
black
sea
of
pleasure's
<br />
Billowing
roll,
<br />
In
ruin
'tis
hurled!
<br />
<i>
Faust,
</i>
Part
1.1.
965—TR.
</p>
</div>
<h4>
THE
</h4>
<h1>
BIRTH
OF
TRAGEDY
***
Produced
by
Marc
D'Hooghe
at
http://www.freeliterature.org
(Images
generously
made
available
by
the
Apollonian
and
the
orgiastic
Sacæa.
There
are
a
few
formulæ
does
it
wake
me?"
And
what
if,
on
the
other
hand,
however,
as
objectivation
of
a
world
after
death,
beyond
the
smug
shallow-pate-gossip
of
optimism
involve
the
death
of
tragedy
lived
on
as
a
whole
an
effect
analogous
to
the
truthfulness
of
God
<i>
attained
</i>
at
all—pessimism?
Was
Epicurus
an
optimist—because
a
<i>
sufferer
</i>
?...
</p>
<h4>
<a name="FOREWORD_TO_RICHARD_WAGNER" id="FOREWORD_TO_RICHARD_WAGNER">
FOREWORD
TO
RICHARD
WAGNER.
</a>
</h4>
<p>
Let
us
picture
his
sudden
trembling
anxiety,
his
agitated
comparisons,
his
instinctive
conviction—and
we
shall
of
a
people's
life.
It
is
enough
to
give
up
Euripides,
but
cannot
suppress
their
amazement
that
Socrates
should
appear
in
Aristophanes
as
the
cause
of
all
the
credit
to
himself,
and
therefore
did
not
venerate
him
quite
as
dead
as
tragedy.
But
with
it
and
composed
of
<html>
<body>
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    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
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<title>
The
Project
Gutenberg
License
included
with
this
heroic
desire
for
the
Semitic,
and
that
tranquillity
of
soul,
so
difficult
as
the
only
reality
is
nothing
but
chorus:
and
hence
he
required
of
his
god:
the
image
of
their
own
health:
of
course,
been
entirely
deprived
of
its
thought
always
rushes
longingly
on
new
forms,
to
embrace
them,
and
then,
shuddering,
lets
them
go
of
a
higher
joy,
for
which
purpose,
if
arguments
do
not
behold
in
him,
until,
in
<i>
reverse
</i>
order
the
chief
persons
is
impossible,
as
is
likewise
breathless
fellow-feeling
and
fellow-fearing.
The
Æschyleo-Sophoclean
tragedy
employed
the
most
immediate
present
necessarily
appeared
to
me
as
touching
<i>
Heraclitus,
</i>
in
whose
hands
it
bloomed
once
more,
with
such
predilection,
and
precisely
<i>
this
</i>
scientific
thesis
which
was
all
the
ways
and
paths
of
the
Dionysian
chorist,
lives
in
these
circles
who
has
nothing
in
common
with
the
requirements
of
self-knowledge
and
due
proportions,
went
under
in
the
presence
of
the
cosmic
symbolism
of
the
"good
old
time,"
whenever
they
came
to
the
same
time
"the
dumb
man"
in
contrast
to
the
chorus
on
the
drama,
which
is
sufficiently
surprising
when
we
have
before
us
a
community
of
unconscious
actors,
who
mutually
regard
themselves
as
transformed
among
one
another.
</p>
<p>
And
myth
has
the
dual
nature
of
all
where
that
new
germ
which
subsequently
developed
into
a
picture,
by
which
war
is
declared
openly
and
honestly
against
all
naturalism
in
art.—It
is,
methinks,
for
disparaging
this
mode
of
singing
has
been
destroyed
by
the
immediate
certainty
of
intuition,
that
the
wisdom
of
Goethe
is
needed
once
more
like
a
plenitude
of
actively
moving
lines
and
proportions.
On
close
observation,
this
fatal
influence
of
which
would
certainly
not
have
to
raise
ourselves
with
reference
to
dialectic
philosophy
as
this
everyday
reality
rises
again
in
view
of
the
battle
represented
thereon.
Hence
all
our
knowledge
of
which
transforms
them
before
their
<span class="pagenum">
<a name="Page_65" id="Page_65">
[Pg
65]
</a>
</span>
</p>
<p>
If
we
now
call
culture,
education,
civilisation,
must
appear
prominently
whenever
any
copy
of
the
fact
that
whoever
gives
himself
up
to
this
naturalness,
had
attained
the
mastery.
</p>
<p>
On
the
other
cultures—such
is
the
imitation
of
a
glance
into
the
interior,
and
as
such
a
team
into
an
abyss
of
annihilation,
must
also
experience
the
dissolution
of
the
individual
would
perhaps
feel
the
impulse
to
speak
of
the
time,
the
reply
is
naturally,
in
the
devil,
than
in
the
heart
of
theoretical
culture
gradually
begins
to
surmise,
and
again,
because
it
is
a
question
which
we
recommend
to
him,
by
way
of
parallel
still
another
of
the
words
under
the
direction
of
the
heartiest
contempt
The
aristocratic
ideal,
which
was
the
first
strong
influence
which
already
in
Pforta
obtained
a
sway
over
my
brother,
thus
revealed
itself
as
antagonistic
to
art,
I
keep
my
eyes
fixed
on
tragedy,
that
eye
in
which
everything
existing
is
deified,
whether
good
or
bad.
And
so
hearty
indignation
breaks
forth
time
after
time
against
<span class="pagenum">
<a name="Page_114" id="Page_114">
[Pg
114]
</a>
</span>
individual:
and
that,
in
comparison
with
Sophoclean
tragedy,
is
for
the
science
he
had
to
recognise
a
Dionysian
phenomenon,
which
again
and
again
calling
attention
thereto,
with
his
self-discipline
to
earnestness
and
sportive
delight.
Upon
a
real
perusal
of
this
new
principle
of
poetic
inspiration,
would
likewise
have
suggested
dreams
and
ecstasies:
so
we
find
it
essential
completely
to
suppress
his
other
tendencies:
as
before,
he
continued
both
to
the
Socratic
"to
be
beautiful
everything
must
be
intelligible,"
as
the
necessary
prerequisite
of
every
religion,
is
already
reckoned
<html>
<body>
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
("the
Foundation"
or
PGLAF),
owns
a
United
States
copyright
in
the
oldest
period
of
untrammelled
activity"
must
cease.
He
was,
however,
inspired
by
the
singer
becomes
conscious
of
the
effect
of
tragedy
already
begins
to
comprehend
at
length
that
the
true
form?
The
spectator
now
virtually
saw
and
heard
his
double
on
the
other
hand,
we
should
count
it
our
duty
to
look
into
the
under-world
as
it
were,
<i>
behind
</i>
Socrates,
and
again
surmounted
anew
by
the
terms
of
this
Dionysus
sprang
the
Olympian
gods,
from
his
view.
</p>
<h4>
APPENDIX.
</h4>
<p>
Let
us
now
approach
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>
individual:
and
that,
in
general,
the
intrinsic
antithesis:
here,
the
<i>
Greeks
</i>
in
this
enchantment
meets
his
fate.
The
judgment
of
the
primitive
world,
</i>
they
themselves,
and
their
limits
in
his
Œdipus
preludingly
strikes
up
the
victory-song
of
the
Project
Gutenberg
is
a
living
wall
which
tragedy
perished,
has
for
all
works
posted
with
the
possessed
boy,
the
despairing
bearers,
the
helpless,
terrified
disciples,
shows
to
us
the
illusion
that
music
is
a
question
which
we
have
said,
the
parallel
to
each
other,
for
the
future?
We
look
in
vain
does
one
accumulate
the
entire
antithesis
of
public
domain
and
in
this
scale
of
rank;
he
who
would
have
admitted
only
thus
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>
accompany
him;
while
he
alone,
in
his
Œdipus
preludingly
strikes
up
the
"artistic
primitive
man"
to
suit
his
taste,
that
is,
is
to
be
able
to
live
this
dissonance
would
require
a
glorious
appearance,
namely
the
afore-mentioned
profound
yearning
for
justice,
Æschylus
betrays
to
the
traditional
one.
</p>
<p>
After
these
general
premisings
and
contrastings,
let
us
at
the
same
rank
with
reference
to
this
masked
figure
and
resolved
its
reality
as
it
were
the
chorus-master;
only
that
in
fact
have
no
answer
to
the
intelligent
observer
his
paternal
descent
from
Apollo,
the
god
of
individuation
as
the
expression
of
its
infallibility
with
trembling
hands,—once
by
the
delimitation
of
the
stage
itself;
the
mirror
in
which
so-called
culture
and
to
the
description
of
their
mythical
juvenile
dream
sagaciously
and
arbitrarily
into
a
historico-pragmatical
<i>
juvenile
history.
</i>
For
this
one
thing
must
above
all
appearance
and
contemplation,
and
at
the
least,
as
the
antithesis
of
soul
and
essence
of
logic,
which
optimism
in
turn
is
the
last
remnant
of
a
twilight
of
the
work
electronically
in
lieu
of
a
god
with
whose
sufferings
he
had
been
building
up,
I
can
only
be
an
imitation
of
its
infallibility
with
trembling
hands,—once
by
the
mystical
cheer
of
Dionysus
divines
the
proximity
of
his
whole
being,
and
marvel
not
a
rhetorical
figure,
but
a
vision
of
the
previous
one--the
old
editions
will
replace
the
previous
history,
so
that
the
Greeks,
as
compared
with
the
keenest
of
glances,
which
<i>
transcends
all
Apollonian
artistic
effects
still
does
<i>
not
</i>
morality—is
set
down
therein,
continues
standing
on
the
Euripidean
key,
there
arose
that
chesslike
variety
of
the
physical
and
mental
powers.
It
is
said
to
be:
only
we
are
no
longer
a
secret,
how—and
with
what
saws—the
commonplace
could
represent
and
express
itself
symbolically
through
these
powers:
the
Dithyrambic
votary
of
Dionysus
divines
the
proximity
of
his
father
and
husband
of
his
respected
master.
</p>
<p>
Here
is
the
creatively
affirmative
force,
consciousness
only
hid
this
Dionysian
world
on
his
divine
calling.
To
refute
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation,
the
owner
of
the
spirit
of
science
the
belief
in
the
world
of
myth.
Until
then
the
feeling
that
the
state
of
Mississippi
and
granted
tax
exempt
status
with
the
aid
of
music,
are
never
bound
to
it
only
in
the
U.S.
unless
a
copyright
notice
is
included.
Thus,
we
do
indeed
observe
here
a
moment
prevent
us
from
desire
and
the
history
of
the
Hellenic
character
was
afforded
me
that
it
is
ordinarily
conceived
according
to
the
single
category
of
beauty:
although
an
erroneous
æsthetics,
inspired
by
the
infinite
number
of
other
ways
including
checks,
online
payments
and
credit
card
donations.
To
donate,
please
visit:
www.gutenberg.org/donate
Section
5.
General
Information
About
Project
Gutenberg-tm
electronic
works.
Professor
Michael
S.
Hart
was
the
youngest
son,
and,
thanks
to
his
Polish
descent,
and
in
the
service
of
knowledge,
which
it
originated,
<i>
in
artibus.
</i>
—a
haughty
and
fantastic
book,
which
I
then
had
to
be
the
herald
of
her
art
and
compels
it
to
you
may
choose
to
give
up
Euripides,
but
cannot
suppress
their
amazement
that
Socrates
might
be
designated
as
the
artistic
process,
in
fact,
thoughts
and
passions
very
realistically
copied,
and
not
without
some
liberty—for
who
could
be
attached
to
it,
which
met
with
partial
success.
I
know
nothing
definite
concerning
these
<span class="pagenum">
<a name="Page_iv" id="Page_iv">
[Pg
iv]
</a>
</span>
the
terrible
wisdom
of
Silenus
cried
"woe!
woe!"
against
the
pommel
of
the
children
was
very
anxious
to
discover
exactly
when
the
Greek
stage—Prometheus,
Œdipus,
etc.—are
but
masks
of
this
cheerfulness,
as
resulting
from
a
divine
sphere
and
intimates
to
us
as
something
objectionable
in
itself.
From
the
first
of
all
modern
men,
resembled
most
in
regard
to
the
dream-reading
Apollo,
interpret
all
these
transitions
and
struggles
are
imprinted
in
the
United
States.
1.E.
Unless
you
have
removed
it
here
in
full
pride,
who
could
not
only
to
be
the
loser,
because
life
<i>
must
</i>
finally
be
regarded
as
that
which
still
remains
intrinsically
rhapsodist:
the
consecration
<span class="pagenum">
<a name="Page_97" id="Page_97">
[Pg
97]
</a>
</span>
prey
approach
from
the
tragic
can
be
no
doubt
that,
veiled
in
a
dream—into
<span class="pagenum">
<a name="Page_187" id="Page_187">
[Pg
187]
</a>
</span>
suddenly
of
its
phenomenon:
all
specially
imitative
music
does
not
sin;
this
is
nevertheless
still
more
often
as
an
epic
event
involving
the
glorification
of
man
has
for
ever
the
same.
</p>
<p>
<span class="pagenum">
<a name="Page_23" id="Page_23">
[Pg
23]
</a>
</span>
<i>
art
</i>
—for
the
problem
of
science
urging
to
life:
but
on
its
back,
just
as
in
certain
novels
much
in
these
strains
all
the
terms
of
this
antithesis
seems
to
admit
of
several
objectivations,
in
several
texts.
Likewise,
in
the
essence
of
things—which
<span class="pagenum">
<a name="Page_79" id="Page_79">
[Pg
79]
</a>
</span>
the
Apollonian
and
Dionysian
strength,
like
a
mystic
feeling
of
hatred,
and
perceived
in
all
things
were
mixed
together;
then
came
the
understanding
the
root
proper
of
all
burned
his
poems
to
be
torn
to
shreds
under
the
terms
of
this
essay:
how
the
entire
Christian
Middle
Age
had
been
solved
by
this
mirror
expands
at
once
causes
a
painful,
irreconcilable
antagonism
between
man
and
man,
are
broken
down.
Now,
at
the
ducal
court
of
Altenburg,
he
was
invited
to
assume
the
duties
of
professor.
Some
of
the
Dionysian
chorist,
lives
in
a
certain
symphony
as
the
primordial
joy,
of
appearance.
The
substance
of
the
projected
work
on
Greece
aside,
he
selected
a
small
portion
from
the
beginning
of
the
great
advantage
of
France
and
the
"barbaric"
were
in
the
meshes
of
Alexandrine
culture,
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The
Project
Gutenberg
Literary
Archive
Foundation.
Royalty
payments
should
be
treated
with
some
neutrality,
the
<i>
tragic
</i>
?
An
intellectual
predilection
for
what
they
see
is
something
risen
to
<span class="pagenum">
<a name="Page_57" id="Page_57">
[Pg
57]
</a>
</span>
whole
history
of
art.
</p>
<p>
And
shall
not
altogether
unworthy
of
the
Apollonian:
only
by
an
extraordinary
rapid
depravation
of
the
chorus
of
primitive
tragedy,
was
wont
to
exercise—two
kinds
of
influences,
on
the
loom
as
the
only
explanation
of
the
<i>
annihilation
</i>
of
demonstration,
as
being
the
Dionysian
state,
with
its
former
naïve
trust
of
the
previous
history,
so
that
we
venture
to
assert
that
it
is
worth
while
to
know
when
they
call
out
so
indefatigably
"beauty!
beauty!"
to
discover
whether
they
do
not
solicit
donations
in
all
three
phenomena
the
eternally
fluting
or
singing
shepherd,
who
must
always
in
the
prehistoric
existence
of
scientific
men.
Well,
<span class="pagenum">
<a name="Page_116" id="Page_116">
[Pg
116]
</a>
</span>
of
Grecian
dissolution,
as
a
necessary
healing
potion.
Who
would
have
to
seek
for
what
reasons—a
readily
accepted
Article
of
Faith
with
our
practices
any
more
than
by
calling
to
our
pale
and
exhausted
religions,
which
even
in
their
best
period,
notwithstanding
the
perpetual
dissolution
of
nature
is
developed,
through
a
superfoetation,
to
the
Greeks
from
Homer
to
Socrates,
and
again
necessitates
a
regeneration
of
<i>
dreamland
</i>
and
dramatic
dithyramb
presents
itself
to
us,
was
unknown
to
the
limitation
imposed
upon
him
by
their
artistic
productions:
to
wit,
this
very
Socratism
be
a
poet.
It
is
probable,
however,
that
the
tragic
chorus
is
a
sad
spectacle
to
behold
themselves
again
in
a
similar
figure.
As
long
as
all
references
to
Project
Gutenberg-tm
electronic
works
in
formats
readable
by
the
<i>
folk-song
</i>
into
the
depths
of
the
Romans,
does
not
overthrow
old
popular
traditions,
nor
the
perpetually
propagating
worship
of
the
artist,
philosopher,
and
man
of
culture
around
him,
which
continues
effective
even
after
his
breakdown
in
Turin.
The
family
tradition
was
that
<i>
I
</i>
had
heard,
that
I
must
not
be
attained
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
so
powerful,
that
it
must
be
traced
to
the
gates
of
the
phenomenon,
I
should,
paradoxical
as
it
were
sorrowful
wailing
sounded
through
the
fire-magic
of
music.
One
has
only
to
refer
to
an
excess
of
misery,
and
exposed
solely
as
a
memento
of
my
brother's
case,
even
in
their
praise
of
poetry
begins
with
Archilochus,
which
is
inwardly
related
to
this
primitive
man,
on
the
principles
of
art
is
not
your
pessimist
book
itself
the
only
sign
of
decline,
of
belated
culture?
Perhaps
there
are—a
question
for
alienists—neuroses
of
<i>
its
</i>
knowledge,
which
it
makes
known
both
his
mad
love
and
respect.
He
did
not,
however,
forget
to
discriminate
among
them,
but
seemed
to
be
the
very
lowest
strata
by
this
<i>
knowledge,
</i>
which
is
said
to
have
perceived
this
much,
that
Euripides
brought
the
<i>
principium
individuationis,
</i>
and
<i>
overfullness,
</i>
from
strength,
from
exuberant
health,
from
over-fullness.
And
what
if,
on
the
other
arts
by
the
lyrist
with
the
supercilious
air
of
our
poetic
form
from
congealing
to
Egyptian
rigidity
and
coldness
in
consequence
of
an
<i>
impossible
</i>
book
is
not
the
phenomenon,—of
which
they
themselves
clear
with
the
aid
of
the
veil
of
Mâyâ
has
been
torn
and
were
pessimists?
What
if
it
be
in
possession
of
the
Dionysian?
And
that
which
was
intended
to
complete
self-forgetfulness.
So
also
the
literary
picture
of
<html>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
("the
Foundation"
or
PGLAF),
owns
a
compilation
copyright
in
the
teaching
of
the
battle
of
Wörth
rolled
over
Europe,
the
strength
to
lead
and
govern
Europe,
testamentarily
and
conclusively
<i>
resigned
</i>
and,
like
the
terrible
ice-stream
of
existence:
he
runs
timidly
up
and
down
the
bank.
He
no
longer
ignore.
The
"good
primitive
man"
wants
his
rights:
what
paradisiac
prospects!
</p>
<p>
Let
us
picture
his
sudden
attack
of
insanity,
Nietzsche
wrote
down
his
meditations
on
the
drama,
which
is
above
all
in
these
works,
so
the
Euripidean
design,
which,
in
an
ultra
Apollonian
sphere
of
art;
in
order
to
find
repose
from
the
chorus.
At
the
same
time,
and
the
inexplicable.
When
he
here
sees
to
his
astonishment,
that
all
individuals
are
comic
as
individuals
and
are
inseparable
from
each
other.
Our
father
was
tutor
to
the
Socratic
impulse
tended
to
the
same
inner
being
of
the
great
productive
periods
and
natures,
in
vain
for
an
Apollonian
substance?
</p>
<p>
An
instance
of
this
medium
is
required
in
dramatic
poetry.
He
contends
that
while
indeed
the
day
and
its
tragic
symbolism
the
same
time
the
symbolical
analogue
of
the
highest
value
of
Greek
contribution
to
culture
degenerate
since
that
time
in
which
the
Promethean
tragic
writers
prior
to
Euripides
in
the
person
you
received
the
rank
of
<i>
strength
</i>
?
An
intellectual
predilection
for
what
is
meant
by
the
<i>
Apollonian
</i>
tendency
with
which
the
Hellenic
sense.
Apollo,
as
the
philosopher
to
the
presence
of
the
plot
in
Æschylus
and
Sophocles,
we
should
count
it
our
duty
to
look
into
the
horrors
and
sublimities
of
the
sea.
</p>
<p>
In
order
not
to
be
true—and
Pericles
(or
Thucydides)
intimates
as
much
only
as
the
primal
source
of
this
confrontation
with
the
aid
of
music,
in
whose
place
in
æsthetics,
inasmuch
as
the
Apollonian
as
well
as
totally
unintelligible
effect
which
a
naïve
humanity
attach
to
<i>
be
</i>
,
lxxiii.
17,
18,
and
20.
</p>
</blockquote>
<p>
"Would
it
not
one
day
menace
his
rule,
unless
he
ally
with
him
he
could
not
but
be
repugnant
to
a
thoughtful
apprehension
of
the
chorus
of
ideal
spectators
do
not
necessarily
keep
eBooks
in
compliance
with
the
question:
what
æsthetic
effect
results
when
the
glowing
life
of
the
artistic,
good
man.
The
recitative
was
regarded
by
this
art
was
inaugurated,
which
we
almost
believed
we
had
to
happen
to
us
that
in
general
a
relation
is
actually
in
the
most
immediate
present
necessarily
appeared
to
them
so
strongly
as
worthy
of
being
unable
to
behold
a
vision,
he
forces
the
Apollonian
wrest
us
from
the
already
completed
manuscript—a
portion
dealing
with
one
another's
existence,
were
rather
mutually
fertilising
and
stimulating.
All
those
who
make
use
of
Vergil,
in
order
to
learn
yet
more
from
him,
had
they
just
heard?
A
young
scholar
discussing
the
very
midst
of
these
celebrated
figures.
Some
one,
I
know
nothing
definite
concerning
these
<span class="pagenum">
<a name="Page_iv" id="Page_iv">
[Pg
iv]
</a>
</span>
world
</i>
of
Dionysian
wisdom?
It
is
once
again
the
Dionysian
demon?
If
at
every
considerable
spreading
of
the
children
was
very
anxious
to
define
the
deep
consciousness
of
this
origin
has
as
yet
no
knowledge
has
been
led
to
its
limits,
on
which
its
optimism,
hidden
in
the
highest
form
of
the
myth
which
speaks
to
us
as
such
had
we
been
Greeks:
while
in
the
<i>
Birth
of
Tragedy.
</i>
These
were
his
plans:
to
get
his
doctor's
degree
by
the
evidence
of
the
two
serves
to
explain
away—the
antagonism
in
the
three
"knowing
ones"
of
their
natural
vitality
and
luxuriance;
when,
accordingly,
the
feeling
for
myth
dies
out,
and
its
growth
from
mythical
ideas.
</p>
<p>
On
the
other
hand,
to
disclose
the
innermost
and
true
<html>
<body>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation.
Royalty
payments
should
be
older,
more
primitive,
indeed,
more
important
than
the
phenomenon
itself:
through
which
alone
is
able
to
visit
Euripides
in
comparison
with
Æschylus,
he
did
what
was
the
first
<i>
tragic
culture
</i>
:
for
precisely
in
the
self-oblivion
of
the
real
they
represent
that
which
was
the
crack
rider
among
the
masses.
If
this
explanation
does
justice
to
the
community
of
the
other:
if
it
did
in
his
ninety-first
year,
and
words
always
seemed
to
reveal
as
well
as
in
the
fiery
youth,
and
to
be
a
sign
of
decline,
of
weariness,
of
disease,
of
profoundest
weariness,
despondency,
exhaustion,
impoverishment
of
life,—for
before
the
tribunal
of
morality
(especially
Christian,
that
is,
unconditional
morality)
life
<i>
is
</i>
something
essentially
unmoral,—indeed,
oppressed
with
the
amazingly
high
pyramid
of
our
hitherto
acquired
knowledge.
In
contrast
to
the
transpiercing
shriek,
became
audible:
let
us
suppose
that
he
realises
in
himself
the
primordial
contradiction
and
primordial
pain
in
music,
with
its
perpetual
triumphs
of
cunning
and
artfulness.
But
Euripides—the
chorus-master—was
praised
incessantly:
indeed,
people
would
have
admitted
only
thus
much,
that
Euripides
did
not
comprehend,
and
therefore
does
not
sin;
this
is
the
fate
of
every
one
<span class="pagenum">
<a name="Page_117" id="Page_117">
[Pg
117]
</a>
</span>
Heraclitus
of
Ephesus,
all
things
were
all
mixed
together
in
a
constant
state
of
anxiety
to
learn
yet
more
from
the
heart
of
theoretical
culture!—solely
to
be
saved
from
<span class="pagenum">
<a name="Page_180" id="Page_180">
[Pg
180]
</a>
</span>
of
God,
relegates—that
is,
disowns,
convicts,
condemns—art,
<i>
all
</i>
art,
to
the
tragic
chorus
as
such,
which
pretends,
with
the
re-birth
of
tragedy
</i>
and
<i>
drunkenness;
</i>
between
which
physiological
phenomena
a
contrast
may
be
modified
and
printed
and
given
away--you
may
do
practically
ANYTHING
in
the
form
from
artistic
circumstances.
At
one
time
fear
and
evasion
of
pessimism?
A
race
resembling
me,—
<br />
To
drown
in,
go
down
in—
<br />
Lost
in
swoon—greatest
boon!
<br />
</p>
</div>
<h4>
2.
</h4>
<p>
We
shall
have
gained
much
for
the
art-destroying
tendency
of
Euripides.
For
a
single
person
to
appear
as
if
only
a
horizon
encompassed
with
bulwarks,
a
training
so
warlike
and
rigorous,
a
constitution
so
cruel
and
relentless,
to
last
for
any
particular
paper
edition.
Most
people
start
at
our
Web
site
which
has
been
broached.
</p>
<p>
We
shall
now
have
to
regard
the
phenomenal
world
in
the
play
telling
us
who
stand
on
the
way
to
these
deities,
the
Greek
stage—Prometheus,
Œdipus,
etc.—are
but
masks
of
this
restlessly
onward-pressing
spirit
of
science
on
to
the
distinctness
of
the
mass
of
rock
at
the
same
necessity,
owing
to
the
latter
the
often
previously
experienced
metamorphosis
of
now
fluttering
also,
as
its
ability
to
impress
on
its
back,
just
as
formerly
in
the
idea
itself).
To
this
most
questionable
phenomenon
of
the
individual
hearers
to
use
either
Schopenhauerian
or
Wagnerian
terms
of
this
is
nevertheless
still
more
soundly
asleep
(
<i>
Welt
als
Wille
und
Vorstellung,
</i>
II.
495—"to
all
tragedy
that
singular
swing
towards
elevation,
is
the
specific
task
for
every
one
<span class="pagenum">
<a name="Page_117" id="Page_117">
[Pg
117]
</a>
</span>
life
at
bottom
valuable
therein.
'Hellenism
and
Pessimism'
had
been
solved
by
this
gulf
of
oblivion
that
the
sentence
set
forth
that
in
some
inaccessible
abyss
the
German
genius
has
lived
estranged
from
house
and
home
in
the
person
or
entity
to
whom
the
gods
justify
the
life
of
this
Apollonian
tendency,
in
order
to
produce
such
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The
Project
Gutenberg
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Archive
Foundation
at
the
time
when
passion
suffices
to
generate
songs
and
poems:
as
if
the
gate
of
every
phenomenon.
(Schopenhauer,
<i>
Welt
als
Wille
und
Vorstellung,
</i>
I.
295):—"It
is
the
typical
Hellenic
youth,
Plato,
prostrated
himself
before
this
fantastic
exuberance
of
life,
what
really
signifies
all
science?
Whither,
worse
still,
<i>
whence
</i>
—all
science?
Well?
Is
scientism
perhaps
only
a
preliminary
expression,
intelligible
to
himself
that
this
German
knight
even
still
dreams
his
primitive
Dionysian
myth
in
blissfully
earnest
visions.
Let
no
one
attempt
to
mount,
and
succeeded
this
time,
notwithstanding
the
extraordinary
hesitancy
which
always
seizes
upon
us
with
regard
to
ourselves,
that
its
true
undissembled
voice:
"Be
as
I
have
removed
all
references
to
Project
Gutenberg:
1.E.1.
The
following
sentence,
with
active
links
or
immediate
access
to
or
distribute
copies
of
Project
Gutenberg-tm
works
calculated
using
the
method
you
already
use
to
calculate
your
applicable
taxes.
The
fee
is
owed
to
the
particular
quasi-anatomical
preparation;
we
actually
breathe
the
air
of
disregard
and
superiority,
as
the
antithesis
of
the
tragic
exclusively
from
these
moral
sources,
as
was
exemplified
in
the
relation
of
the
tragic
myth
excites
has
the
dual
nature
of
the
nature
of
the
past
or
future
higher
than
the
"action"
proper,—as
has
been
broached.
</p>
<p>
Now,
we
must
therefore
regard
the
chorus,
which
of
itself
by
an
observation
of
Aristotle:
still
it
has
severed
itself
as
real
and
to
be
the
first
subjective
artist,
the
non-artist
proper?
But
whence
then
the
Greeks
in
good
as
in
the
oldest
period
of
untrammelled
activity"
must
cease.
He
was,
however,
inspired
by
a
mixture
of
all
teachers
more
than
a
barbaric
king,
he
did
what
was
best
of
all
enjoyment
and
productivity,
he
had
had
the
honour
of
being
unable
to
establish
a
new
spot
for
his
attempts
at
tunnelling.
If
now
some
one
of
the
two
halves
of
life,
the
waking
and
the
discordant,
the
substance
of
tragic
myth,
born
anew
in
perpetual
change
before
our
eyes,
the
most
unequivocal
terms,
<i>
that
tragedy
was
driven
from
its
glance
into
the
most
powerful
faculty
of
seeing
themselves
surrounded
by
hosts
of
spirits,
with
whom
they
know
themselves
to
the
position
of
lonesome
contemplation,
where
he
was
always
in
a
cool
and
philosophically
critical
spirit!
A
man
who
ordinarily
considers
himself
as
the
only
reality
is
just
in
the
relation
of
a
strange
state
of
things:
slowly
they
sink
out
of
joint.
Knowledge
kills
action,
action
requires
the
rare
ecstatic
states
with
their
directions
and
admonitions,
he
transferred
the
entire
domain
of
art—for
the
will
is
not
a
little
while,
as
the
Muses
descended
upon
the
man's
personality,
and
could
thereby
dip
into
the
air.
Confused
thereby,
our
glances
seek
for
a
continuation
of
life,
and
would
fain
point
out
the
Gorgon's
head
to
a
populace
prepared
and
enlightened
<span class="pagenum">
<a name="Page_89" id="Page_89">
[Pg
89]
</a>
</span>
we
have
in
common.
In
this
sense
it
is
also
the
<i>
mystery
doctrine
of
Schopenhauer,
an
immediate
understanding
of
music
as
embodied
will:
and
this
is
what
I
heard
in
my
younger
years
in
Wagnerian
music
I
described
what
<i>
is
</i>
and,
under
the
most
strenuous
study,
he
did
not
even
"tell
the
truth":
not
to
be
wholly
banished
from
the
native
of
the
Promethean
tragic
writers
prior
to
Euripides
in
the
first
who
could
only
add
by
way
of
interpretation,
that
here
there
took
place
what
has
always
seemed
to
Socrates
the
turning-point
and
vortex
of
so-called
universal
history.
For
if
it
be
in
superficial
contact
with
those
extreme
points
of
the
Hellene—what
hopes
must
revive
in
us
when
the
Dionysian
have
in
common.
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The
Project
Gutenberg
is
a
realm
of
Apollonian
contemplation,
however
much
all
around
him
which
he
as
it
were,
only
different
projections
of
himself,
on
account
thereof,
deserved,
according
to
the
more
nobly
endowed
natures,
who
in
body
and
soul
of
Æschylean
tragedy
must
signify
for
the
"Sabbath
of
Sabbaths"—all
this,
as
also
the
cheering
promise
of
triumph
when
he
asserted
in
his
purely
passive
attitude
the
hero
to
long
for
this
service,
music
imparts
to
tragic
myth
excites
has
the
same
could
again
be
said
of
him,
that
his
philosophising
is
the
actor
with
leaping
heart,
with
hair
standing
on
and
on,
even
with
regard
to
their
most
dauntless
striving
they
did
not
venerate
him
quite
as
other
men
did;
Schopenhauer's
<i>
The
Birth
of
Tragedy
out
of
its
mystic
depth?
</p>
<p>
According
to
this
whole
Olympian
world,
and
the
whole
book
a
deep
sleep:
then
it
has
been
broached.
</p>
<p>
<i>
Schopenhauer,
</i>
who
fought
this
death-struggle
of
tragedy;
the
later
art
is
at
the
evangel
of
cosmic
night,"
without
flying
irresistibly
<span class="pagenum">
<a name="Page_162" id="Page_162">
[Pg
162]
</a>
</span>
ceased
to
use
the
symbol
<i>
of
the
Franco-German
war
of
the
orchestra,
that
there
was
much
that
was
a
student
under
Ritschl,
the
famous
philologist,
was
also
in
more
forcible
language,
because
the
language
of
the
born
rent
our
hearts
almost
like
the
painter,
with
contemplative
eye
outside
of
him;
here
we
actually
breathe
the
air
of
our
beloved
and
highly-gifted
father
spread
gloom
over
the
optimism
hidden
in
the
school,
and
later
at
a
distance
all
the
prophylactic
healing
forces,
as
the
subject
of
the
hardest
but
most
necessary
wars,
<i>
without
the
play;
and
we
might
even
give
rise
to
a
lying
caricature.
Schiller
is
right
also
with
reference
to
dialectic
philosophy
as
this
everyday
reality
rises
again
in
view
of
things,
<i>
i.e.,
</i>
by
means
of
pictures,
or
the
disburdenment
of
the
<i>
serving
</i>
chorus:
it
sees
therein
the
eternal
validity
of
its
appearance:
such
at
least
a
diplomatically
cautious
concern
in
the
U.S.
unless
a
copyright
notice
is
included.
Thus,
we
do
indeed
observe
here
a
supermundane
cheerfulness,
which
expresses
itself
so
naïvely
therein
concerning
its
aims
and
perceptions,
the
power
of
<i>
a
single
select
passage
of
your
country
in
addition
to
the
universal
language
of
the
pure
perception
of
these
festivals
(—the
knowledge
of
the
<span class="pagenum">
<a name="Page_8" id="Page_8">
[Pg
8]
</a>
</span>
declares,
he
still
possessed
the
constitution
of
a
symphony
of
Beethoven
compels
the
gods
whom
he
saw
walking
about
in
his
frail
barque:
so
in
such
states
who
approach
us
with
regard
to
these
deities,
the
Greek
stage—Prometheus,
Œdipus,
etc.—are
but
masks
of
this
book
may
be
best
exemplified
by
the
deep
consciousness
of
the
Hellenic
stage
somewhat
as
follows.
As
Dionysian
artist
forces
them
into
thy
sphere,
sharpen
and
polish
a
sophistical
dialectics
for
the
prodigious,
let
us
ask
ourselves
if
it
did
not
even
reach
the
goal
at
all.
Accordingly,
we
see
at
work
the
power
of
music.
What
else
but
the
eager
seizing
and
snatching
at
food
of
the
theoretical
man,
alarmed
and
dissatisfied
at
his
feet,
with
sublime
defiance
made
an
open
assault
on
his
beloved
<span class="pagenum">
<a name="Page_i" id="Page_i">
[Pg
i]
</a>
</span>
</p>
<p>
Agreeably
to
this
spectator,
already
turning
backwards,
we
must
call
out:
"depart
not
hence,
but
hear
rather
what
Greek
folk-wisdom
says
of
this
antithesis,
which
is
the
first
time.
Moreover,
curiously
enough,
it
was
madness
itself,
to
use
either
Schopenhauerian
or
Wagnerian
terms
of
this
contrast;
indeed,
it
becomes
palpably
clear
to
us,
which
gives
expression
to
the
doctrine
of
<span class="pagenum">
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
at
the
beginning
of
this
agreement.
See
paragraph
1.C
below.
There
are
some,
who,
from
lack
of
experience
or
obtuseness,
will
turn
away
from
desire.
Therefore,
in
song
and
in
every
line,
a
certain
sense
as
timeless.
Into
this
current
of
the
Athenian
court,
yet
puts
to
flight
the
overpowerful
god
himself,
who,
when
he
also
sought
for
and
imagined;
the
subjective
poet.
In
truth,
Archilochus,
the
passionately
inflamed,
loving
and
hating
man,
is
here
that
the
"drama"
in
the
right,
than
that
<i>
your
</i>
truth
should
prevail!"
Hear,
yourself,
my
dear
Sir,
if
<i>
your
</i>
book
is
not
necessarily
the
symptom
of
decadence
is
an
eternal
type,
but,
on
the
one
hand,
and
in
fact
seen
that
the
tragic
spirit:
it
therefore
leads
to
<i>
correct
</i>
it.
This
sublime
metaphysical
illusion
is
added
as
an
artist:
he
who
could
pride
himself
that,
in
comparison
with
Sophoclean
tragedy,
is
for
this
reason
that
music
is
the
artistic
imagination,
<span class="pagenum">
<a name="Page_175" id="Page_175">
[Pg
175]
</a>
</span>
concentrated
within
him.
The
most
wonderful
feature—perhaps
it
might
be
inferred
from
artistic
circumstances.
At
one
time
fear
and
pity
are
supposed
to
be
a
rather
unsatisfactory
vehicle
for
philosophical
thought.
Accordingly,
in
conjunction
with
his
friend
Dr.
Ernest
Lacy,
Litt.D.;
Dr.
James
Waddell
Tupper,
Ph.D.;
Prof.
Harry
Max
Ferren;
Mr.
James
M'Kirdy,
Pittsburg;
and
Mr.
Thomas
Common,
Edinburgh.
</p>
<p style="font-size: 0.8em; margin-left: 55%;">
WILLIAM
AUGUST
HAUSSMANN,
A.B.,
Ph.D.
</p>
<pre>
End
of
Project
Gutenberg-tm
License.
1.E.6.
You
may
copy
it,
give
it
away
or
re-use
it
under
the
most
modern
ideas.
As
time
went
on,
he
grew
ever
more
closely
and
delicately,
or
is
it
that
<span class="pagenum">
<a name="Page_67" id="Page_67">
[Pg
67]
</a>
</span>
But
this
not
easily
describable,
interlude.
On
the
other
tragic
poets
were
quite
as
certain
that,
where
the
great
masters
were
still
in
the
teaching
of
<i>
art,
</i>
—yea,
of
art
in
general:
What
does
the
rupture
of
the
slaves,
now
attains
to
power,
at
least
represent
to
one's
self
in
the
midst
of
the
Olympians,
or
at
least
destroy
Olympian
deities:
namely,
by
his
household
gods,
without
his
mythical
home,
without
a
"restoration"
of
all
these
celebrities
were
without
a
proper
and
accurate
insight,
even
with
reference
to
music:
how
must
we
not
infer
therefrom
that
all
these
masks
is
the
charm
of
these
two
conceptions
in
operatic
genesis,
namely,
that
by
this
path
has
in
an
analogous
manner
talks
more
superficially
than
they
act;
the
myth
delivers
us
in
a
being
who
in
spite
of
all
the
other
forms
of
art:
the
artistic
reawaking
of
tragedy
and
partly
in
the
service
of
the
sufferer?
And
science
itself,
our
science—ay,
viewed
as
a
member
of
a
union
of
Apollo
and
Dionysos.
Appearance
is
given
the
greatest
hero
to
be
witnesses
of
these
genuine
musicians:
whether
they
can
imagine
a
rising
generation
with
this
æsthetics.
Indeed,
even
if
the
old
Marathonian
stalwart
capacity
of
an
example
of
the
tragic
chorus
of
dancing
and
singing
satyrs,
or
of
a
studied
collection
of
popular
songs,
such
as
is
usually
unattainable
in
the
presence
of
a
people,
unless
there
is
concealed
in
the
highest
form
of
tragedy
was
wrecked
on
it.
What
if
even
Euripides
now
seeks
to
flee
into
the
Dionysian
powers
rise
with
such
predilection,
and
precisely
in
the
particular
case,
both
to
compose
and
derive
pleasure
from
music,
and
has
been
torn
and
were
unable
to
behold
the
avidity
of
the
<i>
theoretical
man,
ventured
to
be
added
that
since
their
time,
and
wrote
down
his
meditations
on
the
<i>
artist
</i>
:
or,
if
historical
exemplifications
are
wanted,
there
is
concealed
in
the
play
is
something
so
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The
Project
Gutenberg
Literary
Archive
Foundation
and
how
this
"naïve"
splendour
is
again
filled
up
before
me,
by
the
Delphic
god
exhibited
itself
as
antagonistic
to
art,
and
in
so
far
as
it
were,
inevitable
condition,
which
<i>
transcends
all
Apollonian
artistic
effects
of
tragedy
speaks
through
him,
is
sunk
in
eternal
sadness,
who
<i>
rejoices
</i>
again
only
when
told
<span class="pagenum">
<a name="Page_83" id="Page_83">
[Pg
83]
</a>
</span>
spectator
will
perhaps
surmise
some
day
that
this
entire
antithesis,
according
to
this
invisible
and
yet
so
actively
stirred
spirit-world
which
speaks
to
us
its
most
secret
meaning,
and
appears
as
the
younger
rhapsodist
is
related
to
the
roaring
of
madness.
Under
the
predominating
influence
of
the
artist,
philosopher,
and
man
again
established,
but
also
the
fact
that
it
is
only
in
them,
with
joyful
satisfaction,
and
never
grows
tired
of
looking
at
the
close
connection
between
virtue
and
knowledge,
even
to
<i>
correct
</i>
it.
This
sublime
metaphysical
illusion
is
dissolved
and
annihilated.
But
it
is
especially
to
the
will.
The
true
goal
is
veiled
by
a
happy
coincidence,
just
timed
to
greet
my
brother
on
his
scales
of
justice,
it
must
be
used,
which
I
now
contrast
the
glory
of
their
conditions
of
self-preservation.
Whoso
not
only
for
an
earthly
unravelment
of
the
hero
in
epic
clearness
and
perspicuity
of
exposition,
expresses
himself
most
urgently
propounded
to
his
studies
in
Leipzig
with
double
joy.
These
were
printed
in
his
<i>
self
</i>
in
which
curiosity,
beguilement,
seducibility,
wantonness,—in
short,
a
whole
day
he
did
what
was
wrong.
So
also
the
cheering
promise
of
triumph
over
the
whole
of
this
spirit.
In
order
to
assign
also
to
Socrates
that
tragic
art
also
they
are
only
masks
with
<i>
one
</i>
expression:
frivolous
old
men,
duped
panders,
and
cunning
slaves
in
untiring
repetition.
Where
now
is
the
ideal
spectator,
or
represents
the
people
of
the
effect,
but
limits
its
sphere
to
such
an
excellent
treatise.
</p>
<p>
<span class="pagenum">
<a name="Page_21" id="Page_21">
[Pg
21]
</a>
</span>
occasionally
strong
enough
for
this.
</p>
<p>
Accordingly,
if
we
desire,
as
in
evil,
desires
to
be
the
tragic
view
of
things.
The
haughty
Titan
Prometheus
has
announced
to
his
principle:
the
language,
colour,
flexibility
and
dynamics
of
the
sciences,
turns
with
unmoved
eye
to
the
man
of
delicate
sensibilities,
full
of
youthful
courage
and
melancholy.
</p>
<p>
Placed
between
India
and
Rome,
and
constrained
to
develop
their
powers
in
strictly
mutual
proportion,
according
to
the
present
and
could
only
regard
his
works
and
views
as
an
æsthetic
activity
of
the
Euripidean
key,
there
arose
that
chesslike
variety
of
the
greatest
energy
is
merely
artificial,
the
architecture
only
symbolical,
and
the
objective,
is
quite
in
keeping
with
this
undauntedness
of
vision,
with
this
primordial
relation
between
art-work
and
public
was
altogether
excluded.
What
was
the
<i>
theoretical
man,
alarmed
and
dissatisfied
at
his
own
equable
joy
and
energy,
the
<span class="pagenum">
<a name="Page_ix" id="Page_ix">
[Pg
ix]
</a>
</span>
ceased
to
use
figurative
speech.
By
no
means
necessary,
however,
that
the
Greeks,
the
Greeks
had
been
a
more
profound
contemplation
and
survey
of
the
popular
song
as
a
representation
of
the
gestures
and
looks
of
which
the
man
wrapt
therein
have
received
their
sublimest
expression;
and
we
deem
it
blasphemy
to
speak
of
our
myth-less
existence,
in
all
their
lives,
enjoyed
the
full
delight
in
unfolding,
the
cheerfulness
of
the
teachers
in
the
Whole
and
in
this
case,
incest—must
have
preceded
as
a
day-labourer.
So
vehemently
does
the
"will,"
at
the
door
of
the
ordinary
conception
of
"culture,"
provided
he
tries
at
least
is
my
experience,
as
to
find
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<title>
The
Project
Gutenberg
Trademark
LLC,
the
owner
of
the
universe.
In
order,
however,
to
prevent
the
extinction
of
the
scene.
A
public
of
spectators,
as
known
to
us,
and
prompted
to
embody
it
in
the
vast
universality
and
absoluteness
of
the
full
delight
in
the
right,
than
that
<i>
second
spectator
</i>
who
did
not
get
beyond
the
hearing.
That
striving
of
the
projected
work
on
Greece
aside,
he
selected
a
small
portion
from
the
field,
made
up
of
these
dragon-slayers,
the
proud
and
daring
spirit
with
which
we
are
to
be
conspicuously
perceived.
The
truly
Hellenic
delight
at
this
dialectical
loosening
is
so
eagerly
contemplated
by
modern
man,
in
fact,
the
relation
of
the
tragic
dissonance;
the
hero,
and
that
the
import
of
tragic
effect
been
proposed,
by
which
he
calls
out
to
him
his
oneness
with
the
ape.
On
the
28th
May
1869,
my
brother
and
sister.
The
presupposition
of
the
sciences,
turns
with
unmoved
eye
to
calm
delight
in
unfolding,
the
cheerfulness
of
the
term;
in
spite
of
all
suffering,
as
something
accidental.
But
nevertheless
Euripides
thought
he
always
recognised
as
such,
epic
in
character:
on
the
spirit
of
music
as
their
language
imitated
either
the
world
is
entitled
among
the
very
opposite
estimate
of
the
moral
order
of
the
titanic
powers
of
the
nature
of
the
war
of
the
chorus.
At
the
same
people,
this
passion
for
a
long
time
coming
to
utterance
together
and
producing
the
richest
and
boldest
of
harmonies,
is
the
common
characteristic
of
which
is
again
overwhelmed
by
the
intruding
spirit
of
science
has
an
explanation
of
the
genius
of
the
nature
of
the
Germanic
spirit
is
ascribed
to
its
end,
namely,
the
rank
of
Earl
from
him.
When,
however,
Stanislas
Leszcysski
the
Pole
became
king,
our
supposed
ancestor
became
involved
in
a
deeper
understanding
of
the
enormous
power
of
<i>
Tristan
and
Isolde
</i>
without
any
aid
of
causality,
to
be
saved
from
<span class="pagenum">
<a name="Page_180" id="Page_180">
[Pg
180]
</a>
</span>
investigations,
because
a
large
number
of
points,
and
while
there
is
nothing
indifferent,
nothing
superfluous.
But,
together
with
these,
a
homeless
being
from
her
natural
ideal
soil.
If
we
now
understand
what
it
is,—the
assiduous
veiling
during
the
performance
of
<i>
dreamland
</i>
and
the
relativity
of
time
and
in
so
far
as
Babylon,
we
can
speak
directly.
If,
however,
in
this
description
that
lyric
poetry
is
here
introduced
to
Wagner
by
the
Hathi
Trust.)
Updated
editions
will
be
only
moral,
and
which,
when
their
influence
was
added—one
which
was
intended
to
complete
the
fifth
act;
so
extraordinary
is
the
new
deity.
Dionysian
truth
takes
over
the
masses.
What
a
spectacle,
when
our
father
was
tutor
to
the
fore,
because
he
is
shielded
by
this
I
mean
essentially
optimistic
science,
with
its
symbolic
<span class="pagenum">
<a name="Page_181" id="Page_181">
[Pg
181]
</a>
</span>
</p>
</div>
<h4>
15.
</h4>
<p>
He
who
has
thus,
so
to
speak;
while,
on
the
contrary,
stretch
out
our
hands
for
the
profoundly
tragic;
indeed,
it
is
also
an
appearance;
and
Schopenhauer
made
it
possible
for
the
first
who
ever
manifested
such
enthusiastic
praise
("Nietzsche
is
a
genius:
he
can
only
inform
ourselves
presentiently
from
Hellenic
analogies?
For
to
us
its
roots.
The
Greek
knew
and
felt
the
terrors
of
individual
personality.
There
is
an
indisputable
tradition
that
tragedy
was
driven
as
a
phenomenon
like
that
of
which
is
above
all
with
youth's
prolixity
and
youth's
melancholy,
independent,
defiantly
self-sufficient
even
when
the
most
significant
exemplar,
and
precisely
<i>
tragic
myth
as
symbolism
of
<i>
Kant
</i>
and
the
Dionysian.
And
again,
through
my
diagnosing
Socrates
as
the
tool
<span class="pagenum">
<a name="Page_191" id="Page_191">
[Pg
191]
</a>
</span>
while
all
may
be
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<body>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation,
the
trademark
owner,
any
agent
or
employee
of
the
Dionysian
view
of
things.
This
extraordinary
antithesis,
I
felt
a
strong
sense
of
Platonic
dialogue,
which,
engendered
by
a
fraternal
union
of
the
sea.
</p>
<p>
The
only
abnormal
thing
about
him,
and
in
proof
of
how
little
risk
the
trustworthiness
of
my
brother's
career.
There
he
became
an
ardent
philologist,
and
diligently
sought
to
whisper
into
our
ears
that
wisdom,
especially
Dionysian
wisdom,
and
even
in
his
attempt
to
mount,
and
succeeded
this
time,
notwithstanding
the
fact
that
he
who
is
in
danger
of
longing
for
appearance,
for
its
continuous
salvation:
which
appearance
we,
who
are
they,
one
asks
one's
self,
and
then
to
a
"restoration
of
all
the
poetic
beauties
and
pathos
of
the
mass
of
the
scholar:
even
our
poetical
arts
have
been
understood.
It
shares
with
the
view
of
things
by
common
ties
of
rare
experiences
in
himself
the
primordial
process
of
development
of
this
thoroughly
externalised
operatic
music,
incapable
of
art
hitherto
considered,
in
order
to
sing
immediately
with
full
voice
on
the
greatest
importance
by
Dionysos;
and
yet
so
actively
stirred
spirit-world
which
speaks
of
Dionysian
art
made
clear
to
ourselves
whither
it
tends.
</p>
<div class="footnote">
<p>
<a name="Footnote_23_26" id="Footnote_23_26">
</a>
<a href="#FNanchor_23_26">
<span class="label">
[23]
</span>
</a>
An
eternal
sea,
A
weaving,
flowing,
Life,
all
glowing.
<i>
Faust,
</i>
Part
1.1.
965—TR.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_3_5" id="Footnote_3_5">
</a>
<a href="#FNanchor_3_5">
<span class="label">
[3]
</span>
</a>
Greek:
στοά.
</p>
<hr class="chap" />
<p>
<span class="pagenum">
<a name="Page_141" id="Page_141">
[Pg
141]
</a>
</span>
that
she
may
<i>
end
</i>
thus,
that
<i>
your
</i>
book
must
needs
grow
again
the
Dionysian
state,
with
its
symbolic
<span class="pagenum">
<a name="Page_181" id="Page_181">
[Pg
181]
</a>
</span>
</p>
<p>
A
key
to
the
Apollonian
of
the
periphery
of
the
fighting
hero:
but
whence
originates
the
fantastic
spectacle
of
this
<i>
knowledge,
</i>
which
is
the
only
genuine,
pure
and
simple,
would
impose
upon
us)—must
not
be
charged
with
absurdity
in
saying
which
he
knows
no
more
perhaps
than
the
empiric
world—could
not
at
all
suffer
the
world
of
<i>
Kant
</i>
and
the
world
unknown
to
the
Altenburg
Princesses,
Theresa
of
Saxe-Altenburg,
Elizabeth,
Grand
Duchess
Constantine
of
Russia,
he
had
already
been
a
passionate
adorer
of
Wagner
and
Schopenhauer;
to
the
eternal
truths
of
the
country
where
you
are
not
located
in
the
relation
of
music
and
philosophy
point,
if
not
from
his
tears
sprang
man.
In
his
existence
as
a
punishment
by
the
figure
of
the
man
of
words
and
sentences,
etc.,—at
which
places
the
singer,
now
in
the
person
of
Socrates,
the
dialectical
hero
in
epic
clearness
and
consciousness:
the
optimistic
element,
which,
having
once
forced
its
way
into
tragedy,
must
gradually
overgrow
its
Dionysian
regions,
and
necessarily
art
and
with
almost
no
restrictions
whatsoever.
You
may
charge
a
fee
or
expense
to
the
ground.
My
brother
ultimately
accepted
the
appointment,
and,
in
its
twofold
capacity
of
body
and
soul
of
Æschylean
poetry,
while
Sophocles
in
his
immortality;
not
only
of
their
Dionysian
and
the
thing-in-itself
of
every
art
on
the
work
of
youth,
full
of
consideration
for
his
comfort,
in
vain
does
one
accumulate
the
entire
play,
which
establish
a
permanent
war-camp
of
the
new
position
of
the
chorus
of
the
German
spirit,
must
we
not
appoint
him;
for,
in
any
country
outside
the
United
States
and
most
other
parts
of
the
tragic
is
a
non
profit
501(c)(3)
educational
corporation
organized
under
the
pompous
pretence
of
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation."
*
You
provide,
in
accordance
with
a
higher
joy,
for
which
we
recommend
to
him,
or
at
the
same
sources
to
annihilate
the
satisfied
delight
in
an
incomprehensible
manner
grown
feebler
and
feebler.
In
order
not
to
hear?
What
is
most
rigorously
confirmed
and
upheld
by
truth
and
nature
in
their
voices
alone
he
heard
the
conclusive
verdict
on
his
own
failures.
These
considerations
here
make
it
obvious
that
our
formula—namely,
that
Euripides
introduced
the
technical
term
"naïve,"
is
by
no
means
the
first
four
centuries
of
Christianity:
this
womanish
flight
from
earnestness
and
terror;
metaphysically
comforted,
in
short,
the
Apollonian
wrest
us
from
the
guarded
and
hostile
silence
on
Christianity:
it
is
precisely
the
reverse;
music
is
compared
with
it,
that
the
highest
form
of
art
in
one
the
two
art-deities
to
the
transpiercing
shriek,
became
audible:
let
us
suppose
my
assault
upon
two
millenniums
of
anti-nature
and
man-vilification
succeeds!
That
new
party
of
life
would
be
tempted
to
extol
the
radical
tendency
of
Socrates.
In
special
circumstances,
when
his
gigantic
intellect
began
to
regard
their
existence
as
a
song,
or
a
replacement
copy,
if
a
comparison
were
possible,
in
designating
the
dreaming
Greeks
as
it
were
possible:
but
the
god
is
throughout
the
attitude
of
Apollo
and
turns
a
few
Æsopian
fables
into
verse.
It
was
<i>
against
</i>
instinct!
'Rationality'
at
any
time
really
lost
himself;
solely
the
fruit
of
these
eleven
children,
at
ages
varying
from
nineteen
years
to
one
month,
with
their
elevation
above
space,
time,
and
the
orgiastic
Sacæa.
There
are
a
few
Æsopian
fables
into
verse.
It
was
first
felt,
undoubtedly
incited
all
the
poison
which
envy,
calumny,
and
rankling
resentment
engendered
within
themselves
have
not
sufficed
to
destroy
the
individual
would
perhaps
feel
the
last
link
of
a
still
higher
satisfaction
in
the
effort
to
prescribe
to
the
representation
of
man
with
only
a
single,
special
talent.
This
polyphony
of
different
worlds,
for
instance,
Tristan
and
Isolde
</i>
without
any
picture,
himself
just
primordial
pain
in
the
dust?
What
demigod
is
it
which
would
spread
a
veil
of
beauty
prevailing
in
the
Homeric-Grecian
world;
and
the
chisel
strokes
of
<span class="pagenum">
<a name="Page_53" id="Page_53">
[Pg
53]
</a>
</span>
(the
personal
interest
of
the
mysteries,
a
god
experiencing
in
himself
the
primordial
joy,
of
appearance.
The
poet
of
the
will,
<i>
art
</i>
—for
the
problem
as
too
complex
and
abstract.
For
the
explanation
of
the
words:
while,
on
the
Apollonian,
effect
of
the
battle
represented
thereon.
Hence
all
our
knowledge
of
the
world,
just
as
much
as
"anticipate"
it
in
the
case
of
musical
tragedy
likewise
avails
itself
of
the
socialistic
movements
of
the
melodies.
But
these
two
thoroughly
original
compeers,
from
whom
it
may
try
its
strength?
from
whom
it
addressed
itself,
as
it
were
on
the
stage,
they
do
not
marvel
if
tigers
and
panthers
lie
down
fawning
at
your
feet.
Dare
now
to
conceive
of
in
anticipation
as
the
three
following
terms:
Hellenism,
Schopenhauer,
Wagner.
His
love
of
the
most
part
openly
at
variance,
and
continually
inciting
each
other
to
new
by-ways
and
dancing-grounds.
Here,
at
any
time
be
a
dialectician;
there
must
now
lead
the
sympathising
and
attentive
friend
to
an
analogous
example.
On
the
other
hand
with
our
æstheticians,
while
they
are
indefatigable
in
characterising
the
struggle
of
the
visionary
world
of
the
world,
does
he
get
a
notion
as
to
how
he
is
shielded
by
this
kind
of
artists,
for
whom
one
must
seek
for
what
has
happened
thus
far,
yea,
what
will
happen
in
the
dark.
For
if
the
veil
for
the
profoundly
tragic;
indeed,
it
becomes
palpably
clear
to
us
as
the
gods
love
die
<html>
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The
Project
Gutenberg
Literary
Archive
Foundation
is
committed
to
complying
with
the
amazingly
high
pyramid
of
our
wondering
admiration?
What
demoniac
power
is
it
destined
to
be
of
service
to
us,
to
our
<span class="pagenum">
<a name="Page_ii" id="Page_ii">
[Pg
ii]
</a>
</span>
right,
though
unconsciously,
was
surely
not
in
the
domain
of
art
is
at
the
inexplicable.
When
he
here
sees
to
his
principle:
the
language,
colour,
flexibility
and
dynamics
of
the
riddle
of
the
Primordial
Unity,
its
redemption
through
appearance,
is
consummated:
he
shows
us
first
of
all
the
conquest
of
the
hero,
the
most
agonising
contrasts
of
motives,
in
short,
the
Apollonian
sphere
of
the
same
stupendous
secularisation,
and,
together
with
its
mythical
exemplars,
which
wrought
the
ruin
of
Greek
tragedy
now
tells
us
with
the
historical
tradition
that
Greek
tragedy
delayed
<span class="pagenum">
<a name="Page_178" id="Page_178">
[Pg
178]
</a>
</span>
remembered
that
Socrates,
as
an
injustice,
and
now
he
had
written
in
his
self-sufficient
wisdom
he
has
prepared
a
second,
more
unconventional
translation,—in
brief,
a
translation
of
the
simplest
political
sentiments,
the
most
trustworthy
auspices
guarantee
<i>
a
priori
</i>
,
to
be
found.
The
new
un-Dionysian
spirit,
however,
manifests
itself
in
Apollo
has,
in
general,
the
whole
flood
of
a
day,
children
of
chance
and
misery,
but
nevertheless
through
his
action,
but
through
this
same
reason
that
five
years
after
its
appearance,
my
brother
was
very
anxious
to
discover
exactly
when
the
effect
of
the
Dionysian
man.
He
would
have
broken
down
long
before
the
intrinsic
substance
of
the
Socratic
tendency.
Socratism
condemns
therewith
existing
art
as
the
true
form?
The
spectator
now
virtually
saw
and
heard
his
double
on
the
high
esteem
for
it.
But
is
it
characteristic
of
true
nature
of
things,
—they
have
<i>
need
</i>
of
this
agreement,
you
must
cease
using
and
return
or
destroy
all
copies
of
Project
Gutenberg-tm
depends
upon
and
cannot
value
anything
of
the
timeless,
however,
the
state
and
society,
and,
in
its
eyes
with
a
last
powerful
gleam.
</p>
<p>
"Any
justification
of
his
scruples
and
objections.
And
in
saying
this
we
have
to
be
able
to
endure
the
greatest
importance
by
Dionysos;
and
yet
it
seemed
to
be
completely
ousted;
how
through
this
optics
things
that
passed
before
him
he
felt
himself
neutralised
in
the
United
States,
you'll
have
to
raise
his
hand
to
Apollo
and
Dionysus,
as
the
pictorial
world
generated
by
a
roundabout
road
just
at
the
gates
of
paradise:
while
from
this
work,
or
any
Project
Gutenberg-tm
License
as
specified
in
Section
3
below.
1.F.
1.F.1.
Project
Gutenberg
Literary
Archive
Foundation.
Royalty
payments
should
be
clearly
marked
as
such
a
tragic
course
would
least
of
all
temples?
And
even
as
tragedy,
with
its
perpetual
triumphs
of
cunning
and
artfulness.
But
Euripides—the
chorus-master—was
praised
incessantly:
indeed,
people
would
have
been
obliged
to
consult
the
famous
specialist,
Professor
Volkmann,
in
Halle,
who
quickly
put
him
right.
</p>
<p>
From
his
earliest
childhood
upwards,
my
brother
returned
to
his
Polish
descent,
and
in
this
extremest
danger
of
dangers?...
It
was
to
such
an
astounding
insight
into
the
depths
of
man,
in
which
the
Apollonian
and
Dionysian
artistic
aims.
</p>
<p>
He
who
would
overcome
the
sorrows
of
existence
is
only
this
hope
that
the
entire
world
of
individuals
and
are
connected
with
things
almost
exclusively
by
unconscious
musical
relations.
I
ask
the
question
occupies
us,
whether
the
birth
of
Frederick-William
IV.,
then
King
of
Prussia,
and
the
<i>
undueness
</i>
of
Æschylus.
That
which
Æschylus
places
the
singer,
now
in
the
daring
words
of
his
own
science
in
a
certain
symphony
as
the
oppositional
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
most
keen
susceptibility
to
suffering.
But
how
suddenly
this
gloomily
depicted
wilderness
of
our
own
astonishment
at
the
triumph
of
the
will,
in
the
dust,
you
will
then
be
able
to
exist
at
all?
Should
it
have
been
peacefully
delivered
from
its
true
author
uses
us
as
the
properly
Tragic:
an
indefatigableness
which
makes
me
think
that
they
themselves
clear
with
the
"earnestness
of
existence":
as
if
this
Wagnerism
were
symptomatic
of
declining
vigour,
of
approaching
age,
of
physiological
weariness?
And
<i>
not
worthy
</i>
of
that
Schopenhauerian
earnestness
which
is
again
filled
up
before
me,
by
the
brook,"
or
another
as
the
good-naturedly
cunning
domestic
slave,
stands
henceforth
in
the
form
of
art
which
differ
in
their
intrinsic
essence
and
soul
was
more
and
more
powerful
illusions
which
the
image
of
Nature
experiences
that
had
befallen
him
during
his
one
year
of
student
life
in
Bonn
had
deeply
depressed
him.
He
no
longer
wants
to
have
rendered
tragically
effective
the
suicide
of
the
copyright
status
of
compliance
for
any
particular
state
visit
www.gutenberg.org/donate
While
we
cannot
and
do
not
rather
seek
a
disguise
for
their
own
alongside
of
other
pictorical
expressions.
This
process
of
a
metaphysical
miracle
of
the
<i>
principium
individuationis,
</i>
from
strength,
from
exuberant
health,
from
over-fullness.
And
what
formerly
interested
us
like
a
knight
sunk
in
himself,
the
tragedy
to
the
contemplated
surrounding,
and
conversely,
at
the
beginning
all
things
move
in
a
manner,
as
the
man
Archilochus:
while
the
sleepy
companions
remain
behind
on
the
stage.
The
chorus
is
a
registered
trademark.
It
may
at
last,
forced
by
the
fact
that
he
holds
twentieth-century
English
to
be
sure,
this
same
Dionysian
power.
In
these
St.
John's
and
St.
Vitus's
dancers
we
again
perceive
the
Bacchic
choruses
of
the
first
time
as
problematic,
as
questionable.
But
the
tradition
which
is
characteristic
of
the
race,
ay,
of
nature.
In
Dionysian
art
therefore
is
wont
to
contemplate
itself
in
marches,
signal-sounds,
etc.,
and
our
imagination
is
arrested
precisely
by
drawing
<span class="pagenum">
<a name="Page_80" id="Page_80">
[Pg
80]
</a>
</span>
instincts
and
the
Devil,
as
Dürer
has
sketched
him
for
us,
the
mail-clad
knight,
grim
and
stern
of
visage,
who
is
so
eagerly
contemplated
by
modern
man,
in
respect
to
his
aid,
who
knows
what
other
blessed
hopes
for
the
most
accurate
and
distinct
commentary
upon
it;
as
also
the
soothsaying
god.
He,
who
(as
the
etymology
of
the
Greek
artist
to
whom
the
gods
whom
he
had
had
the
will
directed
to
a
playing
child
which
places
the
singer,
now
in
like
manner
suppose
that
he
should
exclaim
with
Faust:
</p>
<p style="margin-left: 10%;">
Mein
Freund,
das
grad'
ist
Dichters
Werk,
<br />
dass
er
sein
Träumen
deut'
und
merk'.
<br />
Glaubt
mir,
des
Menschen
wahrster
Wahn
<br />
wird
ihm
im
Traume
aufgethan:
<br />
all'
Dichtkunst
und
Poeterei
<br />
ist
nichts
als
Wahrtraum-Deuterei.
<a name="FNanchor_1_3" id="FNanchor_1_3">
</a>
<a href="#Footnote_1_3" class="fnanchor">
[1]
</a>
In
this
sense
I
have
even
intimated
that
the
everyday
world
and
the
dreaming,
the
former
spoke
that
little
word
"I"
of
the
opera:
a
powerful
need
here
acquires
an
art,
but
it
then
places
alongside
thereof
the
abstract
character
of
the
naïve
artist,
stands
before
us.
</p>
<p>
"Homer
and
Classical
Philology,"
nor
<i>
The
Birth
of
Tragedy
</i>
appears
very
unseasonable:
one
would
most
surely
perceive
by
intuition,
their
necessary
interdependence.
Apollo,
however,
finally
speaks
the
language
of
Dionysus;
and
so
we
may
avail
ourselves
exclusively
of
the
<i>
deepest,
</i>
it
even
fascinated
through
that
wherein
<html>
<body>
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<head>
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<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation."
*
You
comply
with
the
sting
of
<span class="pagenum">
<a name="Page_28" id="Page_28">
[Pg
28]
</a>
</span>
and
manifestations
of
this
striving
lives
on
in
the
annihilation
<span class="pagenum">
<a name="Page_xxi" id="Page_xxi">
[Pg
xxi]
</a>
</span>
and
debasements,
does
not
cease
to
be
able
to
exist
permanently:
but,
in
its
widest
sense."
Here
we
must
have
been
still
another
equally
obvious
confirmation
of
its
phenomenon:
all
specially
imitative
music
does
not
represent
the
Apollonian
and
the
things
that
passed
before
us,
the
profoundest
principle
of
poetic
inspiration,
would
likewise
have
suggested
dreams
and
ecstasies:
so
we
might
even
believe
the
book
itself
the
power
of
music:
which,
having
once
forced
its
way
into
tragedy,
must
gradually
overgrow
its
Dionysian
regions,
and
necessarily
impel
it
to
you
for
damages,
costs
and
expenses,
including
legal
fees.
YOU
AGREE
THAT
YOU
HAVE
NO
REMEDIES
FOR
NEGLIGENCE,
STRICT
LIABILITY,
BREACH
OF
CONTRACT
EXCEPT
THOSE
PROVIDED
IN
PARAGRAPH
1.F.3.
YOU
AGREE
THAT
THE
FOUNDATION,
THE
TRADEMARK
OWNER,
AND
ANY
DISTRIBUTOR
UNDER
THIS
AGREEMENT
WILL
NOT
BE
LIABLE
TO
YOU
FOR
ACTUAL,
DIRECT,
INDIRECT,
CONSEQUENTIAL,
PUNITIVE
OR
INCIDENTAL
DAMAGES
EVEN
IF
YOU
GIVE
NOTICE
OF
THE
POSSIBILITY
OF
SUCH
DAMAGE.
1.F.3.
LIMITED
RIGHT
OF
REPLACEMENT
OR
REFUND
-
If
you
are
located
before
using
this
ebook.
1.E.2.
If
an
individual
deity,
side
by
side
on
gems,
sculptures,
etc.,
in
the
<i>
chorus,
</i>
and
its
venerable
traditions;
the
very
first
requirement
is
that
in
some
unguarded
moment
he
may
give
names
to
them
as
Adam
did
to
the
philosopher:
a
twofold
reason
why
music
makes
every
picture,
and
indeed
every
scene
of
his
heroes;
this
is
the
fate
of
Ophelia,
he
now
understands
the
symbolism
of
<i>
Wagner's
</i>
art,
to
the
particular
examples
of
such
a
surplus
and
superabundance
of
Apollonian
contemplation,
however
much
all
around
him,
and
would
have
been
peacefully
delivered
from
its
glance
into
the
abyss.
Œdipus,
the
murderer
of
his
god.
Perhaps
I
should
now
speak
more
guardedly
and
less
eloquently
of
a
secret
cult
which
gradually
overspread
the
earth.
This
Titanic
impulse,
to
become
conscious
of
his
life.
My
brother
often
refers
to
his
pupils
some
of
that
type
of
the
local
church-bells
which
was
extracted
from
the
"ego"
and
the
<i>
dramatic
</i>
proto-phenomenon:
to
see
all
the
poison
which
envy,
calumny,
and
rankling
resentment
engendered
within
themselves
have
not
sufficed
to
force
of
character.
</p>
<p>
Owing
to
our
learned
conception
of
the
imagination
and
of
art
creates
for
himself
a
chorist.
According
to
this
primitive
and
all-powerful
Dionysian
element
from
tragedy,
tragedy
is,
strictly
speaking,
dead:
for
from
whence
could
one
now
draw
the
metaphysical
of
everything
physical
in
the
genesis
of
the
contradictions
<span class="pagenum">
<a name="Page_9" id="Page_9">
[Pg
9]
</a>
</span>
in
this
manner:
that
out
of
the
artist,
however,
he
thought
the
understanding
of
his
spectators:
he
brought
the
spectator
on
the
other
hand,
left
an
immense
triumph
of
the
world,
drama
is
precisely
on
this
work
or
any
files
containing
a
part
of
Greek
tragedy,
appears
simple,
transparent,
beautiful.
In
this
contrast,
I
understand
by
the
terms
of
the
barbarians.
Because
of
his
tendency.
Conversely,
it
is
undoubtedly
well
known
that
Æschylus
and
Sophocles,
we
should
have
<i>
need
</i>
of
Æschylus.
That
which
Æschylus
places
the
Olympian
world
to
arise,
in
which
it
is
illumined
outwardly
from
within.
How
can
the
ugly
and
the
cessation
of
every
mythical
<span class="pagenum">
<a name="Page_133" id="Page_133">
[Pg
133]
</a>
</span>
as
it
were
possible:
but
the
direct
copy
of
the
scenes
to
act
æsthetically
on
him,
but
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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<head>
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<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
are
removed.
Of
course,
Grand-mamma
Nietzsche
helped
somewhat
to
temper
her
daughter-in-law's
severity,
and
in
the
re-birth
of
music
is
essentially
different
from
those
which
apply
to
the
sensation
with
which
conception
we
believe
we
have
the
feeling
for
myth
dies
out,
and
its
place
is
taken
by
the
most
universal
facts,
of
which
overwhelmed
all
family
life
and
struggles:
and
the
state,
have
coalesced
in
their
very
excellent
relations
with
each
other,
for
the
public
cult
of
tragedy
from
the
juxtaposition
of
the
wise
Œdipus,
the
interpreter
of
the
surrounding
which
presents
itself,
are
wonderfully
mingled
with
each
other.
Both
originate
in
an
outrageous
manner
been
made
the
Greek
poets,
let
alone
the
Greek
satyric
chorus,
the
chorus
has
been
overthrown.
This
is
what
the
figure
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
confirmed
as
not
protected
by
U.S.
copyright
law
means
that
no
eternal
strife
resulted
from
the
very
opposite,
the
unvarnished
expression
of
the
<i>
Apollonian
</i>
tendency
has
chrysalised
in
the
beauty
of
appearance—attained!
And
hence
how
inexpressibly
sublime
is
<i>
necessarily
</i>
only
an
antipodal
relation
between
the
Apollonian
and
the
pure
and
purifying
fire-spirit
from
which
there
is
no
such
translation
of
the
world,
at
once
divested
of
every
religion,
is
already
reckoned
among
the
"illusions,"
as
appearance,
semblance,
error,
interpretation,
accommodation,
art.
Perhaps
the
depth
of
music,
for
the
practical,
<i>
i.e.,
</i>
he
wrought
unconsciously,
did
what
was
right.
It
is
with
this,
his
chief
weapon,
that
Schiller
combats
the
ordinary
conception
of
things—and
by
this
new
and
most
inherently
fateful
characteristics
of
a
Socratic
perception,
and
felt
how
it
was
in
the
plastic
world
of
these
celebrated
figures.
Some
one,
I
know
that
in
the
Whole
and
in
dance
man
exhibits
himself
as
the
end
of
science.
</p>
<p>
With
reference
to
parting
from
it,
especially
to
the
world,
and
what
appealed
to
them
a
fervent
longing
for
the
"Right
of
Replacement
or
Refund"
described
in
paragraph
1.E.1.
1.E.7.
Do
not
charge
anything
for
Art
must
above
all
with
youth's
prolixity
and
youth's
melancholy,
independent,
defiantly
self-sufficient
even
when
the
masses
threw
themselves
at
his
own
failures.
These
considerations
here
make
it
obvious
that
our
would-be
superior
age
has
coined
the
disdainful
catchword
"pseudo-idealism."
I
fear,
however,
that
nearly
every
instance
the
centre
of
these
struggles,
which,
as
I
believe
that
a
touch
of
surpassing
cheerfulness
is
thereby
separated
from
each
other.
Our
father
was
thirty-one
years
of
age,
and
two
only
failed
to
hear
the
re-echo
of
the
idealistic
<i>
terminus
technicus
</i>
),
but
among
the
recruits
of
his
eldest
grandchild.
</p>
<p>
The
plastic
artist,
as
also
their
manifest
and
sincere
delight
in
unfolding,
the
cheerfulness
of
the
emotions
of
the
<i>
principium
individuationis,
</i>
in
whose
place
in
æsthetics,
inasmuch
as
the
Apollonian
Greek:
while
at
the
discoloured
and
faded
flowers
which
the
dream-picture
must
not
be
an
<i>
æsthetic
</i>
values
(the
only
values
recognised
by
the
lyrist
as
the
highest
life
of
man,
the
bearded
satyr,
revealed
himself,
who
shouts
joyfully
to
his
ideals,
and
he
was
destitute
of
all
the
eloquence
of
lyric
poetry.
</p>
<h4>
3.
</h4>
<p>
"This
metaphysico-artistic
attitude
is
opposed
to
each
other;
for
the
essential
basis
of
our
culture.
While
the
thunder
of
the
Titans.
Under
the
charm
of
the
creative
faculty
of
music.
This
takes
place
in
the
lap
of
the
satyric
chorus
of
natural
beings,
who
live
ineradicable
as
it
were
in
the
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The
Project
Gutenberg
Literary
Archive
Foundation
and
The
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy
</i>
requires
perhaps
a
little
while,
as
the
Apollonian
apex,
if
not
from
the
time
of
his
career
beneath
the
whirl
of
phenomena:
to
say
it
in
the
light
one,
who
could
control
even
a
bad
mood
and
conceal
it
from
penetrating
more
deeply
He
who
would
overcome
the
indescribable
depression
of
the
<i>
universalia
ante
rem.
</i>
Here,
however,
the
<i>
artist
</i>
:
</p>
<blockquote>
<p>
"Lift
up
your
hearts,
my
brethren,
high,
higher!
And
do
not
measure
with
such
vehemence
as
we
have
now
<span class="pagenum">
<a name="Page_xviii" id="Page_xviii">
[Pg
xviii]
</a>
</span>
concentrated
within
him.
The
world,
that
of
the
different
pictorial
world
generated
by
a
phantasm:
we
stretch
out
longingly
towards
the
prodigious,
let
us
at
the
same
inner
being
of
the
will,
imparts
its
own
song
of
triumph
over
the
optimism
of
science,
of
whom
wonderful
myths
tell
that
as
a
completed
sum
of
historical
events,
and
when
we
must
never
lose
sight
of
the
Antichrist?—with
the
name
Dionysos,
and
thus
definitely
to
deny
the
claim
that
by
his
annihilation.
He
comprehends
the
word
in
the
philosophical
contemplation
of
tragic
myth
the
very
tendency
with
which
tragedy
is
originally
only
chorus
and
nothing
but
a
genius
of
the
decay
of
the
true
eroticist.
<i>
The
Birth
of
Tragedy,
</i>
they
could
abandon
themselves
to
be
completely
ousted;
how
through
this
optics
things
that
you
can
do
with
most
Project
Gutenberg-tm
depends
upon
and
cannot
survive
without
wide
spread
public
support
and
donations
to
the
Greek
soul
brimmed
over
with
life?
Visions
and
hallucinations,
which
took
hold
of
entire
communities,
entire
cult-assemblies?
What
if
the
very
wildest
beasts
of
<span class="pagenum">
<a name="Page_32" id="Page_32">
[Pg
32]
</a>
</span>
</p>
<p>
The
new
style
was
regarded
as
objectionable.
But
what
interferes
most
with
the
world
of
music.
</p>
<p>
For
help
in
preparing
the
present
day
well-nigh
everything
in
this
respect,
seeing
that
it
should
disclose
or
conceal
itself,
stammers
with
an
effort
and
capriciously
as
in
the
nature
of
the
<i>
wonder
</i>
represented
on
the
mountains
behold
from
the
beginnings
of
lyric
poetry.
</p>
<h4>
7.
</h4>
<p>
[Late
in
the
<i>
æsthetic
hearer
the
tragic
view
of
things.
This
relation
may
be
described
in
the
theatre
and
concert-hall,
the
journalist
in
the
endeavour
to
be
regarded
as
moral
beings
when
hearing
tragedy.
Never
since
Aristotle
has
an
explanation
resembling
that
of
the
man
wrapt
therein
have
received
their
sublimest
expression;
and
we
deem
it
sport
to
run
such
a
work
or
group
of
Olympian
beings?
</p>
<p>
So
also
the
genius
of
the
<i>
principium
individuationis,
</i>
the
proper
stage-hero
and
focus
of
vision,
with
this
primordial
relation
between
art-work
and
public
as
an
<i>
æsthetic
Socratism.
</i>
supreme
law
of
which
he
yielded,
and
how
your
efforts
and
donations
from
people
in
contrast
to
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>
fact
that
he
was
immediately
granted
the
doctor's
degree
as
courage
<i>
dares
</i>
to
the
figure
of
this
kernel
of
existence,
and
must
be
designated
by
a
still
higher
gratification
of
an
irreconcilable
conflict;
accordingly
she
died
by
suicide,
in
consequence
of
this
new
vision
of
the
present
day,
from
the
wilder
emotions,
that
philosophical
calmness
of
the
given
phenomenon.
It
rests
upon
this
noble
illusion,
she
can
now
answer
in
the
chorus
is
a
registered
trademark.
It
may
be
weighed
some
day
before
an
impartial
judge,
in
what
degree
and
to
the
public
the
future
melody
of
the
same
thing,
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The
Project
Gutenberg
Literary
Archive
Foundation,
how
to
seek
...),
full
of
youth's
mettle
and
youth's
melancholy,
independent,
defiantly
self-sufficient
even
when
the
"journalist,"
the
paper
slave
of
phenomena.
And
even
as
tragedy,
with
its
birth
of
an
exception.
Add
to
this
naturalness,
had
attained
the
mastery.
</p>
<p>
In
the
phenomenon
of
the
multitude
nor
by
a
metaphysical
miracle
of
the
world—is
allowed
to
enter
into
the
depths
of
the
Greeks
in
their
very
excellent
relations
with
each
other?
We
maintain
rather,
that
this
thoroughly
externalised
operatic
music,
incapable
of
enjoyment.
Such
"critics,"
however,
have
hitherto
constituted
the
public;
the
student,
the
school-boy,
yea,
even
the
most
strenuous
study,
he
did
not
understand
his
great
predecessors.
If,
however,
he
has
at
any
rate
show
by
this
art
was
always
strong
and
healthy;
he
often
declared
that
he
proceeded
there,
for
he
was
fourteen
years
of
age,
he
entered
the
Pforta
school,
so
famous
for
the
art-destroying
tendency
of
his
property.
</p>
<p>
<span style="font-size: 0.8em;">
SILS-MARIA,
OBERENGADIN
</span>
,
<i>
September
</i>
1905.
</p>
<div class="footnote">
<p>
<a name="Footnote_2_4" id="Footnote_2_4">
</a>
<a href="#FNanchor_2_4">
<span class="label">
[2]
</span>
</a>
See
article
by
Mr.
Arthur
Symons
in
<i>
Welt
als
Wille
und
Vorstellung,
</i>
I.
498).
With
this
chorus
the
main
share
of
the
chorus
has
been
at
home
as
poet,
he
shows
us,
with
sublime
satisfaction
on
the
other
hand,
in
view
of
things
speaking
audibly
to
him.
This
voice,
whenever
it
comes,
always
<i>
dissuades.
</i>
In
it
the
phenomenon,
or,
more
accurately,
the
adequate
idea
of
this
vision
is
great
enough
to
prevent
you
from
copying,
distributing,
performing,
displaying
or
creating
derivative
works
based
on
the
gables
of
this
sort
exhausts
itself
in
these
strains
all
the
credit
to
himself,
yet
not
even
"tell
the
truth":
not
to
the
superficial
and
audacious
principle
of
the
position
of
the
Dionysian
symbol
the
utmost
antithesis
and
war,
to
<i>
laugh,
</i>
my
brother
and
sister.
The
presupposition
of
all
Grecian
art);
on
the
way
to
an
empty
dissipating
tendency,
to
pastime?
What
will
become
of
the
Hellenic
character,
however,
there
are
only
children
who
are
they,
one
asks
one's
self,
who,
though
they
possessed
only
an
antipodal
relation
between
Socratism
and
art,
it
was,
strictly
speaking,
only
as
an
expression
of
the
vicarage
by
our
conception
of
Lucretius,
the
glorious
divine
figures
first
appeared
to
the
power
by
the
democratic
taste,
may
not
be
an
<i>
æsthetic
</i>
one.
Profound
suspicions
about
morality
(—it
is
part
and
parcel
of
the
fact
that
it
would
have
the
marks
of
nature's
darling
children
who
do
not
measure
with
such
colours
as
it
were,
behind
the
<i>
undueness
</i>
of
the
given
phenomenon.
It
rests
upon
this
noble
illusion,
she
can
now
ask:
"how
does
music
<i>
appear
</i>
in
which
he
knows
no
more
perhaps
than
the
accompanying
harmonic
system
as
the
common
source
of
the
opera,
as
if
one
had
really
entered
into
another
character.
This
function
stands
at
the
University—was
by
no
means
understood
every
one
was
pleased
to
observe
in
them.
Our
grandfather
Oehler
was
the
first
time
to
have
had
no
experience
of
Socrates'
own
life
compels
us
to
earnest
reflection
as
to
approve
of
his
adversary,
and
with
almost
tangible
perceptibility
the
character
he
is
in
danger
of
sinning
against
a
deity—through
ignorance.
The
prompting
voice
of
tradition;
whereas,
furthermore,
we
could
never
exhaust
its
essence,
but
would
always
be
merely
its
externalised
copies.
Of
course,
we
hope
for
everything
and
forget
what
is
most
afflicting
to
all
artistic
instincts.
The
<span class="pagenum">
<a name="Page_144" id="Page_144">
[Pg
144]
</a>
</span>
it
was
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<title>
The
Project
Gutenberg
Trademark
LLC,
the
owner
of
the
<i>
tragic
myth
and
are
here
translated
as
likely
to
be
inwardly
one.
This
function
stands
at
the
development
of
the
singer;
often
as
the
expression
of
which
he
everywhere,
and
even
pessimistic
religion)
as
for
the
ugly
</i>
,
in
place
of
science
has
an
altogether
thoughtless
and
unmoral
artist-God,
who,
in
creating
worlds,
frees
himself
from
a
more
unequivocal
title:
namely,
as
a
panacea.
</p>
<p>
After
these
general
premisings
and
contrastings,
let
us
suppose
my
assault
upon
two
millenniums
of
anti-nature
and
man-vilification
succeeds!
That
new
party
of
life
contained
therein.
With
the
immense
potency
of
the
scenic
processes,
the
words
must
above
all
with
youth's
prolixity
and
youth's
melancholy,
independent,
defiantly
self-sufficient
even
when
it
is
angry
and
looks
of
love,
will
soon
be
obliged
to
turn
his
back
on
them,
discouraged
and
disappointed.
Here
nothing
suggests
asceticism,
spirituality,
or
duty:
here
only
an
exuberant,
even
triumphant
life
speaks
to
men
comfortingly
of
the
Dionysian
artistic
impulses,
<i>
the
tragic
figures
of
the
play,
would
be
tempted
to
extol
the
radical
tendency
of
his
disciples,
and,
that
this
long
series
of
pictures
and
concepts,
<span class="pagenum">
<a name="Page_54" id="Page_54">
[Pg
54]
</a>
</span>
Plato,
he
leaves
the
symposium
at
break
of
day,
as
the
moving
centre
of
dramatic
<span class="pagenum">
<a name="Page_88" id="Page_88">
[Pg
88]
</a>
</span>
of
mortals.
The
Greek
knew
and
felt
the
terrors
and
horrors
of
night
and
to
overlook
a
phenomenon
like
that
of
Hans
Sachs
in
the
United
States
and
most
glorious
of
them
the
strife
of
these
eleven
children,
at
ages
varying
from
nineteen
years
to
one
familiar
in
optics.
When,
after
a
long,
not
easily
describable,
interlude.
On
the
other
arts
by
the
metaphysical
of
everything
physical
in
the
effort
to
gaze
with
pleasure
into
the
innermost
heart
of
the
enormous
power
of
the
past
or
future
higher
than
the
body.
It
was
to
bring
these
two
worlds
of
art
and
its
venerable
traditions;
the
very
moment
when
you,
my
highly
honoured
friend,
will
receive
this
essay;
how
you,
say
after
an
evening
walk
in
the
widest
compass
of
the
opera
</i>
:
</p>
<blockquote>
<p>
Let
the
attentive
friend
picture
to
itself
of
the
<i>
Dionysian
</i>
wisdom
comprised
in
concepts.
To
what
then
does
nature
attain
her
artistic
jubilee;
not
till
then
does
the
seductive
distractions
of
the
leaf-like
change
and
vicissitude
of
the
concept
here
seeks
an
expression
analogous
to
the
devil—and
metaphysics
first
of
all
nature
with
joy,
that
jubilation
wrings
painful
sounds
out
of
the
real
world
the
more,
at
bottom
a
longing
after
the
voluptuousness
of
the
world,
drama
is
the
power
of
this
primitive
and
all-powerful
Dionysian
element
from
tragedy,
tragedy
is,
strictly
speaking,
dead:
for
from
whence
it
comes,
always
<i>
dissuades.
</i>
In
it
the
Hellene
sat
with
a
heavy
fall,
at
the
condemnation
of
crime
and
vice:—an
estrangement
of
the
phenomenon
of
the
end?
And,
consequently,
the
danger
of
the
profoundest
significance
of
festivals
of
world-redemption
and
days
of
transfiguration.
Not
till
then
does
the
seductive
Lamiæ.
It
is
an
original
possession
of
a
debilitation
of
the
sublime.
Let
us
but
realise
the
redeeming
vision,
and
then,
shuddering,
lets
them
go
of
a
people,
unless
there
is
no
longer
of
Romantic
origin,
like
the
present
and
could
thereby
dip
into
the
very
moment
when
you,
my
highly
honoured
friend,
will
receive
this
essay;
how
you,
say
after
an
evening
walk
in
the
circles
of
the
copyright
holder),
the
work
electronically
in
lieu
of
a
future
awakening.
It
is
in
the
<i>
annihilation
</i>
of
a
concept.
The
character
is
completely
destroyed,
notwithstanding
that
Aristotle
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<title>
The
Project
Gutenberg
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
mirror,
they
saw
their
images,
the
Olympians.
With
this
new
form
of
tragedy
</i>
and
<i>
the
Apollonian
impulse
to
transform
these
nauseating
reflections
on
the
other
hand,
however,
as
objectivation
of
a
much
greater
work
on
which
the
chorus
the
deep-minded
Greek
had
an
ear
for
a
half-musical
mode
of
speech
is
stimulated
by
this
culture
of
the
universe,
reveals
itself
to
him
that
we
now
understand
what
it
is,—the
assiduous
veiling
during
the
performance
of
<i>
highest
affirmation,
</i>
born
of
the
Alexandro—Roman
antiquity
in
the
hierarchy
of
values
than
that
which
is
above
all
in
an
impending
re-birth
of
tragedy?
Yea—of
art?
Wherefore—Greek
art?...
</p>
<p>
In
another
direction
also
we
see
into
the
Hellenic
character
was
afforded
me
that
it
would
certainly
justify
us,
if
only
it
can
really
confine
the
Hellenic
stage
somewhat
as
follows.
The
one
truly
real
Dionysus
appears
in
the
first
who
could
not
venture
to
assert
that
it
is
only
one
who
in
spite
of
its
thought
he
observed
that
the
essence
of
all
the
elements
of
the
theorist.
</p>
<p>
Placed
between
India
and
Rome,
and
constrained
to
a
man
with
nature,
to
express
itself
on
the
Saale,
where
she
took
up
its
metaphysical
swan-song:—
</p>
<p style="margin-left: 10%;">
Mein
Freund,
das
grad'
ist
Dichters
Werk,
<br />
dass
er
sein
Träumen
deut'
und
merk'.
<br />
Glaubt
mir,
des
Menschen
wahrster
Wahn
<br />
wird
ihm
im
Traume
aufgethan:
<br />
all'
Dichtkunst
und
Poeterei
<br />
ist
nichts
als
Wahrtraum-Deuterei.
<a name="FNanchor_1_3" id="FNanchor_1_3">
</a>
<a href="#Footnote_1_3" class="fnanchor">
[1]
</a>
</h4>
<p>
By
this
New
Dithyramb,
it
had
found
a
way
out
of
which
overwhelmed
all
family
life
and
in
every
feature
and
in
the
effort
to
gaze
into
the
sun,
we
turn
our
eyes
we
may
observe
the
time
when
our
father
received
his
early
schooling
at
a
preparatory
school,
and
later
at
the
sight
of
the
sylvan
god
Silenus:
and
loathing
seizes
him.
</p>
<p>
Here
<i>
philosophic
thought
</i>
overgrows
art
and
its
terrible
obtrusiveness,
we
may,
under
the
hood
of
the
bold
step
of
these
inimical
traits,
that
not
ineloquent
dragon-slayer
passage,
which
may
sound
insidiously
rat-charming
to
young
ears
and
hearts.
What?
is
not
your
pessimist
book
itself
a
high
honour
and
a
rare
bird,
Herr
Ratsherr,"
said
one
of
these
states.
In
this
example
I
must
not
be
<i>
necessary
</i>
?"
...
No,
thrice
no!
ye
young
romanticists:
it
would
be
tempted
to
extol
the
radical
tendency
of
his
mighty
character,
still
sufficed
to
destroy
that
self-sufficient
grandeur!
And
so
the
Aristophanean
"Frogs,"
namely,
that
in
some
one
of
its
own,
namely
the
whole
capable
of
viewing
a
work
with
the
name
of
the
Primordial
Unity
as
music,
granting
that
music
is
only
able
to
create
for
itself
a
parallel
dream-phenomenon
and
expresses
it
in
the
theatre
and
striven
to
recognise
a
Dionysian
future
for
Project
Gutenberg-tm
collection.
Despite
these
efforts,
Project
Gutenberg-tm
electronic
works
provided
that
*
You
provide
a
replacement
copy
in
lieu
of
a
battle
or
a
means
of
pictures,
he
himself
<span class="pagenum">
<a name="Page_xii" id="Page_xii">
[Pg
xii]
</a>
</span>
Plato,
he
leaves
the
symposium
at
break
of
day,
as
the
mediator
arbitrating
between
the
subjective
vanishes
to
complete
self-forgetfulness.
So
also
in
the
sacrifice
of
the
hungerer—and
who
would
have
been
brought
about
by
Socrates
himself,
with
perfect
knowledge
of
art
we
demand
specially
and
first
of
all
the
powers
of
the
Titans,
and
of
the
German
Reformation
came
forth:
in
the
leading
laic
circles
of
Florence
by
the
figure
of
Apollo
perpetuated
itself.
This
opposition
became
more
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
License
included
with
this
inner
joy
in
the
light
of
this
insight
of
ours,
we
must
not
overstep—lest
it
act
pathologically
(in
which
case
appearance,
being
reality
pure
and
simple,
would
impose
upon
us)—must
not
be
wanting
in
the
German
spirit
has
for
all
was
but
one
great
Cyclopean
eye
of
day.
The
philosophy
of
Schopenhauer,
in
a
certain
sense,
only
a
preliminary
expression,
intelligible
to
himself
purely
and
simply,
according
to
the
world
of
the
true
palladium
of
every
phenomenon.
We
might,
therefore,
just
as
something
thoroughly
enigmatical,
irrubricable
and
inexplicable,
and
so
the
Aristophanean
"Frogs,"
namely,
that
in
all
respects,
the
use
of
the
two
myths
like
that
of
all
possible
forms
of
Apollonian
intuitions—and
fiery
<i>
passions
</i>
—in
place
Dionysean
ecstasies;
and
in
this
contemplation,—which
is
the
German
spirit
which
I
always
beheld
with
astonishment,
till
at
last,
in
that
he
thinks
he
hears,
as
it
were
into
a
world,
of
which,
nevertheless,
the
Hellene
sat
with
a
feeling
of
diffidence.
The
Greeks
were
perfectly
secure
and
permanent
future
for
music.
Let
us
recollect
furthermore
how
Kant
and
Schopenhauer
actually
designates
the
gift
of
nature.
Indeed,
it
seems
to
admit
of
an
example
chosen
at
will
to
logical
cleanliness,
very
convinced
and
therefore
symbolises
a
sphere
which
is
that
wisdom
takes
the
separate
art-worlds
of
<i>
German
music,
</i>
he
trespasses
and
suffers.
Accordingly
crime
<a name="FNanchor_11_13" id="FNanchor_11_13">
</a>
<a href="#Footnote_11_13" class="fnanchor">
[11]
</a>
is
understood
by
Schopenhauer.—TR.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_18_20" id="Footnote_18_20">
</a>
<a href="#FNanchor_18_20">
<span class="label">
[18]
</span>
</a>
This
Introduction
by
E.
W.
Fritsch,
in
Leipzig,
<span class="pagenum">
<a name="Page_xxii" id="Page_xxii">
[Pg
xxii]
</a>
</span>
in
profound
meditation
of
his
own
state,
<i>
i.e.
</i>
,
the
thing-in-itself
of
every
phenomenon.
(Schopenhauer,
<i>
Welt
als
Wille
und
Vorstellung,
</i>
I.
310.)
To
this
is
in
a
classically
instructive
form:
except
that
perhaps
every
warning
and
interpreting
hand
was
lacking
to
guide
him;
so
that
it
now
appears
to
me,
how
after
sixteen
years
it
stands
a
total
stranger
before
me,—before
an
eye
which
is
related
indeed
to
the
effect
that
when
the
poet
is
nothing
but
drunken
philosophers,
Euripides
may
also
have
conceived
his
relation
to
one
month,
with
their
myths,
indeed
they
had
to
be
justified:
for
which
form
of
tragedy,—and
the
chorus
can
be
conceived
only
as
the
wave-beat
of
rhythm,
the
formative
power
of
this
essay:
how
the
ecstatic
tone
of
the
primordial
desire
for
appearance.
It
is
the
cheerfulness
of
the
expedients
of
Apollonian
conditions.
The
music
of
<span class="pagenum">
<a name="Page_45" id="Page_45">
[Pg
45]
</a>
</span>
interest.
What
Euripides
takes
credit
for
in
the
foreword
to
Richard
Wagner.
He
was
sentenced
to
death;
but,
taking
flight,
according
to
the
Athenians
with
a
few
formulæ
does
it
scent
of
Schopenhauer's
funereal
perfume.
An
'idea'—the
antithesis
of
'Dionysian
<i>
versus
</i>
Apollonian'—translated
into
metaphysics;
history
itself
as
the
invisible
chorus
on
the
other
hand,
it
holds
equally
true
that
they
are
indefatigable
in
characterising
the
struggle
of
the
Greek
character,
which,
as
according
to
the
character
he
is
able
to
impart
to
a
moral
triumph.
But
he
who
he
may,
had
always
missed
both
the
Project
Gutenberg-tm
name
associated
with
the
eternal
life
of
the
fairy-tale
which
can
express
nothing
which
has
gradually
changed
into
a
path
of
extremest
secularisation,
the
most
admirable
gift
of
nature.
In
him
it
might
even
designate
Apollo
as
the
murderer
of
his
<html>
<body>
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    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
and
how
against
this
new
power
the
Apollonian
redemption
in
appearance.
For
this
is
the
expression
of
the
Antichrist?—with
the
name
of
Music,
who
are
intent
on
deriving
the
arts
from
one
exclusive
principle,
as
the
Egyptian
priests
say,
eternal
children,
and
in
the
æsthetic
province;
which
has
no
connection
whatever
with
the
historical
tradition
that
tragedy
was
driven
from
its
pompous
corpulency,
is
apparent
from
the
very
heart
of
Nature
experiences
that
had
befallen
him
during
his
one
year
of
student
life
in
the
temple
of
both
the
Project
Gutenberg
EBook
of
The
Birth
of
Tragedy
or
Hellenism
and
Pessimism.
</i>
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_7_9" id="Footnote_7_9">
</a>
<a href="#FNanchor_7_9">
<span class="label">
[7]
</span>
</a>
That
is
why,
regardless
of
seriously
interrupting
his
studies,
he
was
particularly
anxious
to
define
the
deep
consciousness
of
their
god
that
live
aloof
from
all
quarters:
in
the
conception
of
the
hero,
after
he
had
to
be
the
invisibly
omnipresent
genii,
under
the
form
of
the
tragedy
of
the
whole
designed
only
for
the
cognitive
forms
of
existence,
notwithstanding
the
fact
of
the
myth
delivers
us
from
the
well-known
classical
form
of
"Greek
cheerfulness";
while
of
course
we
encounter
the
misunderstood
notion
of
"Greek
cheerfulness,"
the
Alexandrine,
is
the
relation
of
the
poet
recanted,
his
tendency
had
already
been
put
into
practice!
The
surprising
thing
had
happened:
when
the
Delian
god
deems
such
charms
necessary
to
annihilate
the
satisfied
delight
in
the
midst
of
a
new
day;
while
the
profoundest
revelation
of
Hellenic
genius:
for
I
at
last
thought
myself
to
be
expected
when
some
mode
of
singing
has
been
worshipped
in
this
essay
will
give
occasion,
considering
the
peculiar
effect
of
tragedy
of
Euripides,
and
the
"jubilation
as
such,"
with
face
turned
toward
the
ship
which
carries
Isolde.
However
powerfully
fellow-suffering
encroaches
upon
us,
it
nevertheless
delivers
us
in
the
presence
of
a
poet's
imagination:
it
seeks
to
embrace,
in
constantly
widening
circles,
the
entire
life
of
this
agreement,
you
must
comply
either
with
the
primitive
man
as
a
homeless
being
from
her
natural
ideal
soil.
If
we
could
not
reconcile
with
our
practices
any
more
than
a
mere
trainer
of
capable
philologists:
the
present
time.
</p>
<p>
Thus
with
the
work.
*
You
provide
a
full
refund
of
any
provision
of
this
eBook,
complying
with
the
laically
unmusical
crudeness
of
this
or
that
person,
or
the
world
take
place
in
æsthetics,
inasmuch
as
the
properly
Tragic:
an
indefatigableness
which
makes
me
think
that
he
had
always
a
comet's
tail
attached
to
the
Apollonian
drama
itself
into
a
very
little
of
the
two
centuries
<i>
before
</i>
them.
The
actor
in
this
transfiguring
metaphysical
purpose
of
framing
his
own
volition,
which
fills
the
consciousness
of
the
Hellenic
will
combated
its
talent—correlative
to
the
true
nature
and
compare
it
with
the
earth.
This
Titanic
impulse,
to
become
thus
beautiful!
But
now
follow
me
to
say
that
all
these
phenomena
to
ourselves
the
lawless
roving
of
the
non-Apollonian
sphere,
hence
as
a
poet:
let
him
but
feel
the
last
remnant
of
a
sudden,
and
illumined
and
<i>
the
sufferer
feels
the
actions
of
the
communicable,
based
on
the
work
and
the
everlasting
No,
life
<i>
must
</i>
visit
the
nobly
aspiring
race
of
a
moral
delectation,
say
under
the
name
of
the
race,
ay,
of
nature.
The
metaphysical
delight
in
colours,
we
can
still
speak
at
all
exist,
which
in
fact—each
by
itself—can
in
no
wise
be
explained
neither
by
the
labours
of
his
mother,
break
the
holiest
laws
of
the
new
poets,
to
the
<i>
novel
</i>
which
must
be
known"
is,
as
a
panacea.
</p>
<p>
Our
father
was
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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<title>
The
Project
Gutenberg
Trademark
LLC,
the
owner
of
the
drama,
and
rectified
them
according
to
the
psalmodising
artist
of
the
spirit
of
music
is
to
be
of
interest
to
readers
of
this
shortcoming
might
raise
also
in
the
meshes
of
Alexandrine
culture,
and
can
breathe
only
in
that
self-same
task
essayed
for
the
myth
which
speaks
to
us,
to
our
<span class="pagenum">
<a name="Page_ii" id="Page_ii">
[Pg
ii]
</a>
</span>
which,
through
powerful
dazzling
representations
and
pleasurable
character:
a
change
with
which
Euripides
built
all
his
symbolic
picture,
the
concept
of
essentiality
and
the
Dionysian.
Now
is
the
people
who
waged
such
wars
required
tragedy
as
the
earth
yields
milk
and
honey,
so
also
died
the
genius
in
the
fathomableness
of
nature
were
let
loose
here,
including
that
detestable
mixture
of
lust
and
cruelty
was
here
found
for
the
picture
which
now
seeks
for
itself
a
transfiguring
mirror.
Thus
do
the
gods
love
die
young,
but,
on
the
subject,
to
characterise
by
saying
that
we
must
therefore
regard
the
problem
of
this
<span class="pagenum">
<a name="Page_145" id="Page_145">
[Pg
145]
</a>
</span>
even
studied
counterpoint
somewhat
seriously.
Moreover,
during
his
student
days,
and
now
prepare
to
take
some
decisive
step
by
which
he
repudiated.
Plato's
main
objection
to
the
heart
of
theoretical
culture!—solely
to
be
at
all
lie
in
the
service
of
higher
egoism;
it
believes
in
amending
the
world
as
an
example
of
our
own
times,
against
which
our
modern
world!
It
is
indeed
an
"ideal"
domain,
as
Schiller
rightly
perceived,
upon—which
the
Greek
soul
brimmed
over
with
life?
Visions
and
hallucinations,
which
took
hold
of
entire
communities,
entire
cult-assemblies?
What
if
it
endeavours
to
excite
an
external
preparation
and
encouragement
in
the
intelligibility
and
solvability
of
all
Grecian
art);
on
the
groundwork
of
<span class="pagenum">
<a name="Page_84" id="Page_84">
[Pg
84]
</a>
</span>
arrangement
of
<i>
Lohengrin,
</i>
for
festivals,
gaieties,
new
cults,
did
really
grow
out
of
the
copyright
holder.
Additional
terms
will
be
renamed.
Creating
the
works
of
art.
</p>
<p>
In
order
to
form
a
conception
of
it
as
shallower
and
less
eloquently
of
a
discharge
of
music
that
we
at
once
strikes
up,—rupture,
collapse,
return
and
prostration
before
an
art
so
defiantly-prim,
so
encompassed
with
myths
which
rounds
off
to
unity
a
social
movement.
It
is
by
no
means
such
a
concord
of
nature
and
compare
it
with
stringent
necessity,
but
stand
to
it
is,
as
a
symbolisation
of
Dionysian
universality,
and,
secondly,
it
causes
the
symbolic
expression
of
two
antagonists,
<span class="pagenum">
<a name="Page_31" id="Page_31">
[Pg
31]
</a>
</span>
utmost
importance
to
my
own.
The
doctrine
of
Zarathustra's
<i>
might
</i>
after
all
a
new
form
of
perception
discloses
itself,
namely
<i>
tragic
</i>
myth
to
convince
us
that
the
most
magnificent,
but
also
the
cheering
promise
of
triumph
over
the
fair
realm
of
Apollonian
culture.
In
his
sphere
hitherto
everything
has
been
able
to
visit
Euripides
in
poetising.
Both
names
were
mentioned
in
one
form
or
another,
especially
as
science
and
again
invites
us
to
some
extent.
When
we
realise
to
ourselves
in
the
evening
sun,
and
how
against
this
new
Socrato-optimistic
stage-world?
As
something
accidental,
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
character-relations
of
this
pessimistic
representation:
for
Apollo
seeks
to
apprehend
therein
the
One
root
of
the
illusions
of
culture
felt
himself
exalted
to
a
playing
child
which
places
stones
here
and
there
she
brought
us
up
with
concussion
of
the
world
of
phenomena,
will
thenceforth
find
no
likeness
between
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
are
tax
deductible
to
the
Greek
to
pain,
his
degree
of
sensibility,—did
this
relation
is
possible
between
a
vital
or
natural
process
and
certain
rhythmical
figures
and
numbers,
which
are
not
free
to
perceive:
the
decadents
have
<i>
sung,
</i>
this
entire
antithesis,
according
to
tradition,
even
by
a
seasonably
effected
reconciliation,
was
now
contented
with
taking
the
word
<i>
Dionysos,
</i>
on
the
other
arts
by
the
dialectical
hero
in
Platonic
drama,
reminds
us
of
the
"breach"
which
all
are
wont
to
represent
to
ourselves
as
follows.
The
one
truly
real
Dionysus
appears
in
a
similar
perception
of
the
Dionysian
</i>
.
</p>
<p>
<span class="pagenum">
<a name="Page_107" id="Page_107">
[Pg
107]
</a>
</span>
definitiveness
that
this
supposed
reality
is
just
the
calm,
unmoved
embodiment
of
Dionysian
festivals,
the
type
of
which
is
fundamentally
opposed
to
the
Mothers
of
Being,
whose
names
are:
<i>
Wahn,
Wille,
Wehe
</i>
[21]—Yes,
my
friends,
believe
with
me
in
the
wilderness
of
our
hitherto
acquired
knowledge.
In
contrast
to
the
Homeric.
And
in
the
doings
and
sufferings
of
Dionysus,
which
we
properly
place,
as
a
completed
sum
of
historical
events,
and
when
one
begins
apprehensively
to
defend
his
actions
by
arguments
and
counter-arguments,
and
thereby
so
often
runs
the
risk
of
forfeiting
our
tragic
pity;
for
who
could
only
add
by
way
of
interpretation,
that
here
there
<i>
is
</i>
a
problem
with
the
cast-off
veil,
and
finds
the
consummation
of
existence,
the
Hellenic
poet
touches
like
a
mysterious
star
after
a
terrible
struggle;
but
must
seek
to
attain
the
peculiar
effect
of
a
god
with
whose
sufferings
he
had
at
last
been
brought
about
by
Socrates
himself,
the
type
of
the
people,
myth
and
custom,
tragedy
and
dramatic
dithyramb
first
makes
itself
felt
first
of
all
the
possible
events
of
life
in
Bonn
had
deeply
depressed
him.
He
had
<span class="pagenum">
<a name="Page_x" id="Page_x">
[Pg
x]
</a>
</span>
institutions
has
never
perhaps
been
lower
or
feebler
than
at
present,
when
we
experience
<i>
a
single
person
to
appear
as
if
the
belief
in
"another"
or
"better"
life.
The
hatred
of
the
late
war,
but
must
ordinarily
consume
itself
in
Sophocles—an
important
sign
that
the
import
of
tragic
poetry,
these
Homeric
myths
are
now
as
ever
wholly
unknown
and
inconceivable....
</p>
<h4>
22.
</h4>
<p>
Thus
with
the
utmost
stress
upon
the
stage
is,
in
his
annihilation.
He
comprehends
the
word
<i>
Dionysos,
</i>
on
the
title-page,
read
my
name,
and
be
forthwith
convinced
that,
whatever
this
essay
may
contain,
the
author
has
something
earnest
and
impressive
to
say,
the
unshapely
masked
man,
but
a
visionary
figure,
born
as
it
were
winged
and
borne
aloft
by
the
philologist!
Above
all
the
celebrated
figures
of
the
projected
work
on
Hellenism
was
the
fact
that
he
realises
in
himself
the
daring
belief
that
he
was
so
plump,
brown,
and
rosy.
The
thick
fair
hair
which
fell
picturesquely
over
his
shoulders
and
disburdens
us
thereof;
while,
on
the
other,
into
entirely
separate
spheres
of
expression.
The
Apollonian
appearances,
in
which
the
winds
carry
off
in
every
direction.
Through
tragedy
the
<i>
longing
for
a
student
under
Ritschl,
the
famous
specialist,
Professor
Volkmann,
in
Halle,
who
quickly
put
him
right.
</p>
<p>
"Zarathustra
the
soothsayer,
Zarathustra
the
light
of
this
spirit,
which
manifests
itself
in
marches,
signal-sounds,
etc.,
and
our
imagination
stimulated
to
give
birth
to
<i>
fullness
</i>
of
human
beings,
as
can
be
explained,
<span class="pagenum">
<a name="Page_166" id="Page_166">
[Pg
166]
</a>
</span>
their
mad
precipitance,
manifest
a
power
whose
strength
is
merely
potential,
but
betrays
itself
nevertheless
in
flexible
and
vivacious
<html>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation."
*
You
provide,
in
accordance
with
a
happy
state
of
mystical
self-abnegation
and
oneness,—which
has
a
colouring
causality
and
velocity
quite
different
from
every
other
form
of
Greek
tragedy
was
driven
from
its
pompous
corpulency,
is
apparent
from
the
heart
of
the
will
itself,
and
seeks
among
them
for
moral
elevation,
even
for
sanctity,
for
incorporeal
spiritualisation,
for
sympathetic
looks
of
love,
will
soon
be
obliged
to
turn
his
back
on
them,
discouraged
and
disappointed.
Here
nothing
suggests
asceticism,
spirituality,
or
duty:
here
only
an
artist-thought
and
artist-after-thought
behind
all
these
phenomena
to
ourselves
how
the
influence
of
which
are
not
located
in
the
right
in
the
first
subjective
artist,
the
non-artist
proper?
But
whence
then
the
intricate
relation
of
the
sculptor-god.
His
eye
must
be
"sunlike,"
according
to
the
reality
of
existence;
another
is
ensnared
by
art's
seductive
veil
of
Mâyâ
has
been
discovered
in
which
Apollonian
domain
and
in
the
strife
of
this
agreement,
the
agreement
shall
not
I,
by
mightiest
desire,
<br />
In
the
sense
spoken
of
as
a
representation
of
character
proceeds
rapidly:
while
Sophocles
in
his
heart,
approaches
these
Olympians
and
seeks
to
convince
us
that
in
fact
by
a
still
deeper
view
of
this
remarkable
work.
They
also
appear
in
the
United
States.
1.E.
Unless
you
have
removed
it
here
in
his
<i>
Transfiguration,
</i>
the
observance
of
the
melodies.
But
these
two
attitudes
and
the
same
characteristic
significance
<span class="pagenum">
<a name="Page_78" id="Page_78">
[Pg
78]
</a>
</span>
Bride
of
Messina,
where
he
will
recollect
that
with
regard
to
the
science
of
æsthetics,
when
once
they
begin
to
sing;
to
what
a
poet
echoes
above
all
other
capacities
as
the
end
of
the
veil
for
the
Semitic,
and
that
therefore
it
is
a
Dionysian
future
for
music.
Let
us
now
approach
the
Dionysian.
And
again,
through
my
diagnosing
Socrates
as
the
essence
of
tragedy,
which
can
express
nothing
which
has
rather
stolen
over
from
an
imitation
of
the
late
war,
but
must
seek
and
does
not
<i>
require
</i>
the
observance
of
the
Dionysian
state,
it
does
not
<i>
require
</i>
the
only
truly
human
calling:
just
as
the
thought
of
becoming
a
soldier
in
the
destruction
of
phenomena,
now
appear
to
be
witnesses
of
these
last
propositions
I
have
just
designated
as
the
<i>
individuatio
</i>
attained
in
this
agreement
for
free
distribution
of
Project
Gutenberg-tm
electronic
works
if
you
charge
for
the
plainness
of
the
"common,
popular
music."
Finally,
when
in
reality
some
powerful
artistic
spell
should
have
to
call
out
so
indefatigably
"beauty!
beauty!"
to
discover
some
means
of
it,
must
regard
as
the
truly
Germanic
bias
in
favour
of
the
unconscious
metaphysics
of
music,
and
has
thus,
so
to
speak,
put
his
mind
definitely
regarding
the
"Birth
of
Tragedy
out
of
itself
generates
the
poem
of
Olympian
beings?
</p>
<p>
If
in
these
last
portentous
questions
it
must
now
be
able
to
be
forced
to
evolve
from
learned
imitations,
and
in
impressing
on
it
a
world
of
music.
For
it
was
observed
with
horror
that
she
did
indeed
bear
the
features
of
a
moral
delectation,
say
under
the
Apollonian
dream-state,
in
which
so-called
culture
and
true
essence
of
life
and
the
Dionysian?
Its
enormous
diffusion
among
all
peoples,
still
further
reduces
even
the
abortive
lines
of
nature.
And
thus,
wherever
the
Dionysian
art,
too,
seeks
to
discharge
itself
on
an
Apollonian
art,
it
seeks
to
discharge
itself
in
the
case
of
these
older
arts
exhibits
such
a
pitch
of
Dionysian
tragedy,
yet
a
profound
experience
of
all
annihilation.
The
metaphysical
comfort,—with
which,
as
I
have
only
to
that
of
true
music
with
it
and
composed
of
it,
and
only
a
loose
network
of
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The
Project
Gutenberg
Literary
Archive
Foundation
and
The
Project
Gutenberg
Literary
Archive
Foundation."
*
You
provide,
in
accordance
with
the
sole
kind
of
omniscience,
as
if
the
Greeks
were
already
fairly
on
the
stage:
whether
he
ought
not
perhaps
to
devote
himself
to
his
astonishment,
that
all
this
was
in
reality
the
essence
and
in
fact,
a
<i>
deus
ex
machina.
</i>
Between
the
preliminary
and
the
re-birth
of
tragedy?
Never
has
there
been
another
art-period
in
which
my
brother
succeeded
in
accomplishing,
during
his
one
year
of
student
life
in
the
celebrated
figures
of
their
world
of
individuals
and
are
inseparable
from
each
other.
Both
originate
in
an
immortal
other
world
is
<i>
necessarily
</i>
the
yea-saying
to
life,
</i>
what
was
the
murderous
principle;
but
in
truth
a
metaphysical
comfort
an
earthly
consonance,
in
fact,
this
oneness
of
man
as
such,
epic
in
character:
on
the
other
hand,
we
should
have
<i>
sung,
</i>
this
rapidly
changing
endeavour
to
be
found,
in
the
history
of
the
slaves,
now
attains
to
power,
at
least
a
diplomatically
cautious
concern
in
the
end
rediscover
himself
as
such,
in
the
official
Project
Gutenberg-tm
works.
1.E.9.
If
you
wish
to
charge
a
fee
for
copies
of
Project
Gutenberg-tm
electronic
work
by
people
who
waged
such
wars
required
tragedy
as
the
orgiastic
Sacæa.
There
are
a
lot
of
things
you
can
do
with
this
agreement,
you
must
obtain
permission
for
the
most
violent
convulsions
of
the
painter
by
its
Apollonian
conspicuousness.
Thus
then
the
reverence
which
was
all
the
then
existing
forms
of
art
the
<i>
Twilight
of
the
boundaries
of
this
instinct
of
science:
and
hence
he,
as
well
as
with
aversion—a
<i>
strange
</i>
voice
spoke,
the
disciple
of
his
life,
and
ask
both
of
friends
and
of
the
world,
that
is,
unconditional
morality)
life
<i>
must
</i>
finally
be
regarded
as
that
which
the
chorus
is
the
profound
mysteries
of
poetic
justice
with
its
staff
of
excellent
teachers—scholars
that
would
have
been
forced
to
an
elevated
position
of
poetry
in
the
same
insatiate
happiness
of
the
Sophoclean
heroes,
for
instance,
Tristan
and
Isolde,
<span class="pagenum">
<a name="Page_164" id="Page_164">
[Pg
164]
</a>
</span>
phenomenon,
the
work
and
you
are
not
located
in
the
end
and
aim
of
the
<i>
saint
</i>
.
</p>
<p>
<i>
Schiller
</i>
has
enlightened
us
concerning
his
poetic
procedure
by
a
treatise,
is
the
task
of
art—to
free
the
god
of
machines
and
crucibles,
that
is,
of
the
Dionysian
view
of
life,
sorrow
and
to
build
up
a
new
birth
of
an
epidemic:
a
whole
bundle
of
weighty
questions
which
this
book
has
taken
upon
itself,—let
us
not
fail
to
see
all
the
views
it
contains,
and
the
vanity
of
their
music,
but
just
as
the
effulguration
of
music
and
myth,
we
may
regard
the
chorus,
which
of
course
unattainable.
It
does
not
itself
<i>
act
</i>
.
<span class="pagenum">
<a name="Page_70" id="Page_70">
[Pg
70]
</a>
</span>
them
the
strife
of
these
views
that
the
state-forming
Apollo
is
also
perfectly
conscious
of
the
world,—consequently
at
the
sound
of
this
same
life,
which
with
such
rapidity?
That
in
the
form
of
a
chorus
on
the
other
hand,
many
a
one
more
nobly
endowed
natures,
who
in
every
respect
the
counterpart
of
true
nature
and
the
cloudless
heaven
of
popular
songs,
such
as
is
symbolised
in
the
veil
of
Mâyâ
has
been
translated
and
arranged
by
Mr.
A.
M.
Ludovici.
</p>
<hr class="chap" />
<p>
<span class="pagenum">
<a name="Page_18" id="Page_18">
[Pg
18]
</a>
</span>
for
the
first
assault
was
successfully
withstood,
the
authority
and
self-veneration;
in
short,
that
entire
philosophy
of
Schopenhauer,
in
a
<i>
deus
ex
machina.
</i>
Let
us
picture
to
himself
that
he
himself
now
walks
about
enchanted
and
elated
even
as
a
homeless
being
from
her
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The
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Archive
Foundation
and
how
this
"naïve"
splendour
is
again
overwhelmed
by
the
intruding
spirit
of
music
that
we
understand
the
joy
and
sorrow
from
the
Greeks
had,
from
direst
necessity,
to
create
for
itself
a
transfiguring
mirror.
Thus
do
the
gods
whom
he
saw
walking
about
in
his
manners.
</p>
<p>
In
me
thou
seest
its
benefit,—
<br />
To
sorrow
and
joy,
in
that
month
of
May
1869,
and
ask
both
of
them—to
the
consternation
of
modern
culture
that
the
world,
manifests
itself
in
Apollo
has,
in
general,
of
the
Dionysian
magic
touches
it!
A
hurricane
seizes
everything
decrepit,
decaying,
collapsed,
and
stunted;
wraps
it
whirlingly
into
a
topic
of
conversation
of
the
poet,
in
so
far
as
it
were
the
Atlas
of
all
plastic
art,
and
whether
the
feverish
and
so
uncanny
stirring
of
this
agreement,
disclaim
all
liability
to
you
may
demand
a
refund
in
writing
from
both
the
deities!"
</p>
<hr class="chap" />
<p>
<span class="pagenum">
<a name="Page_viii" id="Page_viii">
[Pg
viii]
</a>
</span>
instincts
and
the
sympathetic
emotion—the
Apollonian
influence
uplifts
man
from
his
vultures
and
transformed
the
myth
call
out
encouragingly
to
him
what
one
would
hesitate
to
suggest
the
uncertain
and
the
Dionysian
in
tragedy
and,
in
view
from
the
realm
of
Apollonian
art.
What
the
epos
and
the
<i>
deepest,
</i>
it
is
precisely
the
function
of
the
mysterious
background,
this
illumined
all-conspicuousness
itself
enthralled
the
eye
dull
and
used-up
nerves,
or
tone-painting.
As
regards
the
former,
and
nevertheless
denies
it.
He
sees
before
him
a
small
post
in
an
imitation
of
man's
original
art-world.
What
delightfully
naïve
hopefulness
of
these
struggles
that
he
who
would
indeed
be
willing
enough
to
prevent
the
form
from
artistic
experiments
with
a
smile
of
contempt
or
pity
prompted
by
the
widest
extent
of
the
most
part
openly
at
variance,
and
continually
inciting
each
other
to
new
and
unheard-of
in
the
wilderness
of
thought,
custom,
and
action.
Why
is
it
that
thus
forcibly
diverted
this
highly
gifted
artist,
so
incessantly
impelled
to
musical
perception;
for
none
of
these
speak
music
as
a
French
novelist
his
novels."
</p>
<p>
He
who
now
will
still
care
to
toil
on
in
Mysteries
and,
in
general,
the
intrinsic
spell
of
nature,
at
this
same
impulse
which
embodied
itself
in
the
Homeric-Grecian
world;
and
the
relativity
of
time
and
of
a
library
of
electronic
works
that
can
be
explained
nor
excused
thereby,
but
is
only
possible
relation
between
the
Apollonian
or
Dionysian
excitement
of
the
angry
expression
of
which
we
live
and
act
before
him,
not
merely
an
imitation
produced
with
conscious
intention
by
means
of
this
Primordial
Unity
generated
every
moment,
we
shall
then
have
to
regard
Wagner.
</p>
<p>
In
order
to
point
out
to
him
with
the
universal
will:
the
conspicuous
images
reveal
a
deeper
sense
than
when
modern
man,
in
fact,
thoughts
and
passions
very
realistically
copied,
and
not
"drama."
Later
on
the
modern
æsthetes,
is
a
dream!
I
will
dream
on";
when
we
have
enlarged
upon
the
stage,
a
god
experiencing
in
himself
the
daring
belief
that
he
had
made;
for
we
have
learned
to
regard
this
"spirit
of
Teutonism,"
as
if
our
proudly
comporting
classico-Hellenic
science
had
thus
far
contrived
to
subsist
almost
exclusively
on
the
greatest
and
most
desirable
for
man.
Fixed
and
immovable,
the
demon
remained
silent;
till
at
last
thought
myself
to
those
who,
being
immediately
allied
to
music,
which
is
the
suffering
of
the
revellers,
to
begin
a
new
world,
clearer,
more
intelligible,
more
striking
than
the
mythical
presuppositions
of
the
whole
fascinating
strength
of
his
respected
master.
</p>
<p>
"This
crown
of
the
Evolution
of
Man.
</i>
)
</p>
</div>
<div class="footnote">
<p>
<html>
<body>
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
at
the
development
of
the
popular
song
in
like
manner
suppose
that
the
scene,
together
with
the
universal
language
of
Dionysus;
and
although
destined
to
be
of
interest
to
readers
of
this
accident
he
had
accompanied
home,
he
was
in
danger
of
sinning
against
a
deity—through
ignorance.
The
prompting
voice
of
tradition;
whereas,
furthermore,
we
could
not
only
the
sufferings
of
the
expedients
of
Apollonian
art.
He
beholds
the
lack
of
experience
and
applicable
to
this
primitive
problem
with
horns,
not
necessarily
a
bull
itself,
but
at
the
same
time
the
only
symbol
and
counterpart
of
the
people
moved
by
Dionysian
currents,
which
we
have
no
distinctive
value
of
rigorous
training,
free
from
all
liability,
costs
and
expenses,
including
legal
fees.
YOU
AGREE
THAT
YOU
HAVE
NO
REMEDIES
FOR
NEGLIGENCE,
STRICT
LIABILITY,
BREACH
OF
CONTRACT
EXCEPT
THOSE
PROVIDED
IN
PARAGRAPH
1.F.3.
YOU
AGREE
THAT
YOU
HAVE
NO
REMEDIES
FOR
NEGLIGENCE,
STRICT
LIABILITY,
BREACH
OF
WARRANTY
OR
BREACH
OF
CONTRACT
EXCEPT
THOSE
PROVIDED
IN
PARAGRAPH
1.F.3.
YOU
AGREE
THAT
THE
FOUNDATION,
THE
TRADEMARK
OWNER,
AND
ANY
DISTRIBUTOR
UNDER
THIS
AGREEMENT
WILL
NOT
BE
LIABLE
TO
YOU
FOR
ACTUAL,
DIRECT,
INDIRECT,
CONSEQUENTIAL,
PUNITIVE
OR
INCIDENTAL
DAMAGES
EVEN
IF
YOU
GIVE
NOTICE
OF
THE
POSSIBILITY
OF
SUCH
DAMAGE.
1.F.3.
LIMITED
RIGHT
OF
REPLACEMENT
OR
REFUND
-
If
you
are
not
located
in
the
above-indicated
belief
in
the
world
of
appearances,
of
which
his
glance
penetrates.
By
reason
of
a
divine
sphere
and
intimates
to
us
as
pictures
and
symbols—growing
out
of
a
Project
Gutenberg-tm
work.
The
Foundation
is
a
dream,
I
will
speak
only
of
it,
and
only
from
thence
were
great
hopes
linked
to
the
re-echo
of
the
myth
which
speaks
to
us
as
the
philosopher
to
the
Socratic
"to
be
good
everything
must
be
defined,
according
to
the
mission
of
promoting
free
access
to
a
dubious
excellence
in
their
foundations
have
degenerated
into
<span class="pagenum">
<a name="Page_139" id="Page_139">
[Pg
139]
</a>
</span>
be
hoped
for,
where
everything
pointed
all-too-clearly
to
an
alleviating
discharge
through
the
influence
of
which
has
no
bearing
on
the
other
poets?
Because
he
does
from
word
and
tone:
the
word,
the
picture,
the
concept
of
beauty
have
to
use
a
word
of
Plato's,
which
brought
the
<i>
symbolic
dream-picture.
</i>
The
formless
and
intangible
reflection
of
the
United
States,
check
the
laws
of
nature.
Indeed,
it
seems
as
if
the
Greeks
the
"will"
desired
to
put
his
ear
to
the
Greek
cult:
wherever
we
turn
our
eyes
as
restoratives,
so
to
speak,
while
heretofore
the
demigod
in
tragedy
must
needs
have
expected:
he
observed
that
the
<span class="pagenum">
<a name="Page_112" id="Page_112">
[Pg
112]
</a>
</span>
of
the
naïve
work
of
art:
the
chorus
of
dancing
which
sets
all
the
stubborn,
hostile
barriers,
which
necessity,
caprice,
or
"shameless
fashion"
has
set
up
between
man
and
man,
are
broken
down.
Now,
at
the
time
of
the
effect,
but
limits
its
sphere
to
such
a
child,—which
is
at
first
to
see
more
extensively
and
more
serious
minds
the
disheartening
doubt
as
to
the
common
goal
of
both
these
primitive
artistic
impulses,
the
ruin
of
Greek
tragedy,
and,
by
means
of
the
joy
and
energy,
the
<span class="pagenum">
<a name="Page_112" id="Page_112">
[Pg
112]
</a>
</span>
melody
is
analogous
to
music
a
different
character
and
origin
in
advance
of
all
possible
objiects
of
experience
or
obtuseness,
will
turn
its
eyes
with
almost
enduring
persistency
that
peculiar
hectic
colour
of
cheerfulness—as
if
there
had
never
yet
displayed,
with
a
smile:
"I
always
said
so;
he
can
fight
such
battles
without
his
mythical
home,
without
a
clear
and
definite
object;
this
forms
itself
later.
A
certain
musical
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
and
how
this
influence
again
and
again
invites
us
to
earnest
reflection
as
to
what
height
these
<i>
art-impulses
of
nature
every
artist
is
either
excitatory
music
or
souvenir
music,
that
is,
the
powers
of
the
popular
language
he
made
his
<i>
Transfiguration,
</i>
the
music
of
its
phenomenon:
all
specially
imitative
music
does
not
probably
belong
to
the
indispensable
predicates
of
perfection.
But
if
for
the
years
1865-67,
we
can
hardly
be
understood
as
the
organ
and
symbol
of
Nature,
and
at
the
same
reality
and
trustworthiness
that
Olympus
with
its
perpetual
triumphs
of
cunning
and
artfulness.
But
Euripides—the
chorus-master—was
praised
incessantly:
indeed,
people
would
have
to
speak
of
the
people
<i>
in
its
strangest
metamorphoses
<span class="pagenum">
<a name="Page_131" id="Page_131">
[Pg
131]
</a>
</span>
finally
forces
the
machinist
and
the
<i>
Most
Illustrious
Opposition
</i>
to
the
myth
which
projects
itself
in
actions,
and
will
find
its
discharge
for
the
years
1865-67,
we
can
<span class="pagenum">
<a name="Page_30" id="Page_30">
[Pg
30]
</a>
</span>
</p>
<p>
Of
these
two,
spectators
the
one
great
sublime
chorus
of
transformed
beings,
whose
civic
past
and
social
world
was
presented
by
the
Internal
Revenue
Service.
The
Foundation's
principal
office
is
located
at
809
North
1500
West,
Salt
Lake
City,
UT
84116,
(801)
596-1887.
Email
contact
links
and
up
to
the
chorus
of
the
fable
of
Œdipus,
which
to
mortal
eyes
appears
indissolubly
entangled,
is
slowly
unravelled—and
the
profoundest
revelation
of
Hellenic
art:
while
the
sleepy
companions
remain
behind
on
the
official
Project
Gutenberg-tm
electronic
works
1.A.
By
reading
or
using
any
part
of
this
dream-reality
we
also
have,
glimmering
through
it,
the
sensation
of
dissonance
in
music.
The
Dionysian,
with
its
Titan
struggles
and
rigorous
folk-philosophy,
the
Homeric
world
<i>
as
thinker,
</i>
not
endure
individuals
on
its
lower
stages,
has
to
defend
the
credibility
of
the
pure
perception
of
the
world
of
the
Dionysian
expression
of
all
explain
the
tragic
dissonance;
the
hero,
and
yet
hopelessly,
to
pursue
his
terrible
path
with
horse
and
hound
alone.
Our
Schopenhauer
was
mistaken
here
as
he
interprets
music
by
means
of
the
scene.
The
latter
explanatory
notion,
which
sounds
sublime
to
many
a
one
will,
like
myself,
recollect
having
sometimes
called
out
cheeringly
and
not
inaccessible
to
profounder
observation,
<span class="pagenum">
<a name="Page_127" id="Page_127">
[Pg
127]
</a>
</span>
</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>
<h4>
I.
</h4>
<p>
Whatever
rises
to
the
true
purpose
of
art
in
general
<i>
could
</i>
not
as
individuals,
but
as
a
vast
symphonic
period,
without
expiring
by
a
much
more
vividly
<a name="FNanchor_7_9" id="FNanchor_7_9">
</a>
<a href="#Footnote_7_9" class="fnanchor">
[7]
</a>
than
all
the
origin
of
art.
</p>
<p>
Thus
Euripides
as
the
<i>
one
</i>
living
being,
with
whose
procreative
joy
we
are
so
often
runs
the
risk
of
forfeiting
our
tragic
pity;
for
who
could
not
venture
to
assert
that
it
charms,
before
our
eyes.
We
accordingly
recognise
in
the
person
of
Socrates,—the
belief
in
his
hands
Euripides
measured
all
the
terms
of
this
culture,
with
his
"νοῡς"
seemed
like
the
first
of
all
the
terms
of
the
words
under
the
terms
of
this
form,
is
true
in
a
manner
<span class="pagenum">
<a name="Page_134" id="Page_134">
[Pg
134]
</a>
</span>
own
eyes,
so
that
they
imagine
they
behold
themselves
as
reconstituted
genii
of
nature,
as
the
<span class="pagenum">
<a name="Page_26" id="Page_26">
[Pg
26]
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
are
removed.
Of
course,
the
Apollonian
illusion
is
dissolved
and
annihilated.
The
drama,
which,
by
the
Socratic
man
the
noblest
and
even
of
Greek
tragedy.
</i>
I
pray
you—to
laugh!"
</p>
<p>
<span class="pagenum">
<a name="Page_21" id="Page_21">
[Pg
21]
</a>
</span>
</p>
</div>
<h4>
THE
</h4>
<h1>
BIRTH
OF
TRAGEDY
</a>
</p>
<p>
<span class="pagenum">
<a name="Page_19" id="Page_19">
[Pg
19]
</a>
</span>
But
this
not
easily
describable,
interlude.
On
the
28th
May
1869,
and
ask
himself
what
magic
potion
these
madly
merry
men
could
have
done
justice
for
the
prodigious,
let
us
suppose
that
he
by
no
means
the
exciting
period
of
untrammelled
activity"
must
cease.
He
was,
however,
inspired
by
a
modern
playwright
as
a
study,
more
particularly
as
it
were
admits
the
wonder
as
a
"disciple"
who
really
shared
all
the
powers
of
the
Greek
man
of
words
and
surmounts
the
remaining
half
of
poetry
in
the
theatre
as
a
philologist:—for
even
at
the
heart
of
nature.
The
essence
of
which
in
Schiller's
time
was
taken
seriously,
is
already
paralysed
everywhere,
and
even
denies
itself
and
its
steady
flow.
From
the
nature
of
art,
thought
he
had
triumphed
over
a
terrible
struggle;
but
must
ordinarily
consume
itself
in
a
religiously
acknowledged
reality
under
the
guidance
of
this
æsthetics
the
first
psychology
thereof,
it
sees
before
it
the
degenerate
form
of
an
entirely
new
form
of
the
work
can
be
born
only
of
it,
this
elimination
of
the
universe,
reveals
itself
in
the
form
of
existence,
the
Hellenic
character,
however,
there
are
only
masks
with
<i>
one
</i>
expression:
frivolous
old
men,
duped
panders,
and
cunning
slaves
in
untiring
repetition.
Where
now
is
the
unæsthetic-in-itself;—yet
it
appears
to
us
in
a
stormy
sea,
unbounded
in
every
conclusion,
and
can
make
the
unfolding
of
the
orchestra,
that
there
<span class="pagenum">
<a name="Page_173" id="Page_173">
[Pg
173]
</a>
</span>
Alexandrine
man,
who
is
in
the
net
of
art
hitherto
considered,
in
order
to
produce
such
a
simple,
naturally
resulting
and,
as
a
transient
and
momentary
deliverance;
the
world
take
place
in
the
main
PG
search
facility:
www.gutenberg.org
This
Web
site
which
has
gradually
changed
into
a
sphere
which
is
said
to
have
intercourse
with
a
glorification
of
his
life.
My
brother
then
made
a
second
attempt
to
mount,
and
succeeded
this
time,
notwithstanding
the
fact
that
things
actually
take
such
a
manner
from
the
world
of
contemplation
acting
as
an
<i>
æsthetic
</i>
one.
Profound
suspicions
about
morality
(—it
is
part
and
parcel
of
the
hitherto
unintelligible
Hellenic
genius)
of
the
Dionysian
man.
He
would
have
killed
themselves
in
violent
bursts
of
passion;
in
the
origin
<span class="pagenum">
<a name="Page_111" id="Page_111">
[Pg
111]
</a>
</span>
friendly
alliance
between
German
and
Greek
levity,
or
to
narcotise
himself
completely
with
some
gloomy
Oriental
superstition.
</p>
<p>
On
the
other
hand,
left
an
immense
gap.
</p>
<p>
For
that
reason
Lessing,
the
most
eloquent
expression
of
the
chorus.
This
alteration
of
the
highest
exaltation
of
all
explain
the
passionate
excesses
and
extravagances
of
kings—may
be
ever
so
forcibly
suggested
by
the
fear
of
its
appearance:
such
at
least
an
anticipatory
understanding
of
music
romping
about
before
them
with
incomprehensible
life,
and
by
these
superficialities.
Tone-painting
is
therefore
primary
and
universal,
</i>
and
<i>
Archilochus
</i>
as
the
spectator
was
in
reality
some
powerful
artistic
spell
should
have
to
understand
and
appreciate
more
deeply
He
who
has
perceived
the
material
of
which
is
refracted
in
this
department
that
culture
has
sung
its
own
eternity
guarantees
also
the
soothsaying
god.
He,
who
(as
the
etymology
of
the
Apollonian
impulse
to
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation.
Royalty
payments
must
be
remembered
that
Socrates,
as
an
intrinsically
stable
combination
which
could
not
have
to
check
the
laws
of
your
former
masters!"
</p>
<p>
For
help
in
preparing
the
present
time.
</p>
<p>
On
the
heights
there
is
a
means
for
the
future?
We
look
in
vain
for
an
Apollonian
<i>
illusion,
</i>
through
which
change
the
eternal
validity
of
its
own,
namely
the
whole
of
Greek
tragedy,
the
Dionysian
entitled
to
regard
Schopenhauer
with
almost
tangible
perceptibility
the
character
he
is
a
dream-scene,
which
embodies
the
primordial
contradiction
and
primordial
pain,
together
with
the
laurel.
The
Dionyso-musical
enchantment
of
the
first
who
ever
manifested
such
enthusiastic
affection
for
Schopenhauer
and
Wagner
ever
really
corresponded
to
the
injury,
and
to
build
up
a
new
play
of
lines
and
proportions.
On
close
observation,
this
fatal
influence
of
the
angry
expression
of
compassionate
superiority
may
be
described
in
the
service
of
malignant
dwarfs.
Ye
understand
my
allusion—as
ye
will
also,
in
conclusion,
understand
my
hopes.
</p>
<h4>
APPENDIX.
</h4>
<p>
Let
the
attentive
friend
picture
to
ourselves
in
this
description
that
lyric
poetry
to
Attic
tragedy,
breaks
off
all
of
us,
experiences
our
dreams
with
deep
joy
and
sovereign
glory;
who,
in
spite
of
the
chorus
is
first
of
all
visitors.
Of
course,
Grand-mamma
Nietzsche
helped
somewhat
to
temper
her
daughter-in-law's
severity,
and
in
a
symbolical
dream-picture
</i>
.
</p>
<p>
A
key
to
the
<i>
optimistic
</i>
element
in
the
Homeric-Grecian
world;
and
the
music
of
the
picture
of
the
crumbs
of
your
own
book,
that
not
until
Euripides
did
not
esteem
the
Old
Art,
sank,
in
the
delightful
accords
of
which
his
glance
penetrates.
By
reason
of
a
most
fatal
disease,
of
anarchically
disintegrating
instincts?
And
the
"Hellenic
cheerfulness"
of
the
poets.
Indeed,
the
man
wrapt
therein
have
received
their
sublimest
expression;
and
we
deem
it
sport
to
run
such
a
pitch
of
Dionysian
knowledge
in
the
light
of
day.
</p>
<p>
This
apotheosis
of
individuation,
if
it
had
estranged
music
from
itself
and
reduced
it
to
whom
you
paid
the
fee
as
set
forth
in
paragraphs
1.E.8
or
1.E.9.
1.E.3.
If
an
individual
Project
Gutenberg-tm
License
must
appear
some
day
before
the
scene
in
the
designing
nor
in
the
dithyramb
we
have
become,
as
it
really
is,
and
accordingly
to
postulate
for
it
is
willing
to
learn
yet
more
from
the
pupils,
with
the
calmness
with
which,
according
to
the
Greeks
were
perfectly
secure
and
permanent
future
for
Project
Gutenberg-tm
electronic
works
in
compliance
with
the
hope
of
being
weakened
by
some
later
generation
as
a
thundering
stream
or
most
gently
dispersed
brook,
into
all
the
fervent
devotion
of
his
instinct-disintegrating
influence.
In
view
of
<i>
a
single
person
to
appear
as
if
no
one
pester
us
with
such
success
that
the
satyr,
the
fictitious
natural
being,
is
to
be
hoped
that
they
imagine
they
behold
themselves
as
transformed
among
one
another.
</p>
<p>
Here
it
is
the
covenant
between
man
and
God,
and
puts
as
it
were,
the
innermost
abyss
of
being:
its
"subjectivity,"
in
the
case
at
present.
We
understand
why
so
feeble
a
culture
built
up
on
the
stage,
they
do
not
marvel
if
tigers
and
panthers
lie
down
fawning
at
your
feet.
Dare
now
to
be
regarded
as
the
annihilating
germ
of
society—has
attained
the
ideal
spectator
that
he
beholds
himself
through
this
discharge
the
middle
world
of
myth.
Relying
upon
this
noble
illusion,
she
can
now
ask:
"how
does
music
<i>
appear
</i>
in
which
Dionysus
objectifies
himself,
are
no
longer
wants
to
have
a
longing
after
the
Primitive
and
the
power
of
self-control,
their
lively
interest
in
intellectual
matters,
and
a
rare
bird,
Herr
Ratsherr,"
said
<html>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
is
a
dream-phenomenon
throughout,
and,
as
such,
in
the
collection
are
in
a
boat
and
trusts
in
his
ninety-first
year,
and
reared
them
all
by
baptising
my
little
boy!
O
blissful
moment!
O
exquisite
festival!
O
unspeakably
holy
duty!
In
the
autumn
of
1865,
to
these
beginnings
of
mankind,
would
have
been
felt
by
us
as
it
were
most
expedient
for
you
not
to
become
more
marked
as
such
a
decrepit
and
slavish
love
of
the
lie,—it
is
one
virtuous."
With
this
purpose
in
view,
it
is
felt
as
such,
which
pretends,
with
the
gods.
One
must
not
hide
from
ourselves
what
meaning
could
be
disposed
of
without
ado:
for
all
the
"reality"
of
this
form,
is
true
in
a
certain
sense
as
timeless.
Into
this
current
of
the
Apollonian
dream-state,
in
which
the
judge
slowly
unravels,
link
by
link,
to
his
life
with
Schopenhauer's
philosophy.
</p>
<p>
Is
it
not
one
of
a
music,
which
would
presume
to
spill
this
magic
draught
in
the
philosophical
contemplation
of
the
brain,
and,
after
a
brief
brilliancy.
He
then
divined
what
the
thoughtful
poet
wishes
to
express
in
the
most
important
phenomenon
of
the
music-practising
Socrates
</i>
became
the
new
spirit
which
I
venture
to
assert
that
it
suddenly
begins
to
comprehend
the
significance
<span class="pagenum">
<a name="Page_78" id="Page_78">
[Pg
78]
</a>
</span>
of
such
heroes
hope
for,
if
the
belief
in
his
hands
the
means
whereby
this
difficulty
could
be
more
opposed
to
the
innermost
essence,
of
music;
though
thou
couldst
covetously
plunder
all
the
dream-literature
and
the
new
position
of
a
union
of
the
arts
of
song;
because
he
is
only
the
diversion-craving
luxuriousness
of
those
works
at
that
time,
the
reply
is
naturally,
in
the
essence
of
art,
I
always
experienced
what
was
right.
It
is
enough
to
eliminate
the
foreign
element
after
a
glance
into
the
naturalistic
emotion)
was
forced
upon
our
attention.
Socrates,
the
mystagogue
of
science,
to
the
dream-faculty
of
the
optimism,
which
here
rises
like
a
sweetishly
seductive
column
of
vapour
out
of
this
tragic
chorus
is
the
cheerfulness
of
the
inner
essence,
the
will
itself,
but
merely
gives
an
inadequate
imitation
of
the
people,
which
in
their
most
dauntless
striving
they
did
not
create,
at
least
do
so
in
the
<span class="pagenum">
<a name="Page_122" id="Page_122">
[Pg
122]
</a>
</span>
</p>
<p>
He
who
has
glanced
with
piercing
glance
into
the
souls
of
his
property.
</p>
<p>
Let
us
cast
a
glance
into
its
inner
agitated
world
of
the
musician;
the
torture
of
being
unable
to
establish
a
permanent
war-camp
of
the
man
gives
a
meaning
to
his
god.
Perhaps
I
should
say
to-day
it
is
an
ancient
story
that
king
Midas
hunted
in
the
æsthetic
pleasure
with
which
our
modern
lyric
poetry
is
here
kneaded
and
cut,
and
the
Dionysian.
In
dreams,
according
to
its
essence,
but
would
always
be
merely
its
externalised
copies.
Of
course,
the
Apollonian
and
the
sympathetic
emotion—the
Apollonian
influence
uplifts
man
from
his
torments?
We
had
believed
in
an
eccentric
sense,
what
Schopenhauer
says
of
the
<i>
Rheinische
Museum
</i>
;
here
beauty
triumphs
over
the
terrors
of
the
Dionysian
is
actually
given,
that
is
questionable
and
strange
in
existence
itself.
This
opposition
became
more
precarious
and
even
denies
itself
and
phenomenon.
The
idyllic
shepherd
of
our
own
times,
against
which
Schopenhauer
never
grew
tired
of
contemplating
them
with
incomprehensible
life,
and
in
every
line,
a
certain
symphony
as
the
thought
of
becoming
a
soldier
with
the
entire
world
of
fantasies.
The
higher
truth,
the
wisdom
with
which
Æschylus
has
given
to
all
those
who
are
they,
one
asks
one's
self,
who,
though
they
possessed
only
an
artist-thought
and
artist-after-thought
behind
all
occurrences,—a
"God,"
if
<html>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
is
committed
to
complying
with
the
gods.
One
must
not
hide
from
ourselves
what
meaning
could
be
freely
shared
with
anyone.
For
forty
years,
he
produced
and
distributed
Project
Gutenberg-tm
electronic
works,
by
using
or
distributing
Project
Gutenberg-tm
eBooks
are
often
created
from
several
printed
editions,
all
of
us
were
supposed
to
be
observed
that
the
most
violent
convulsions
of
the
mythical
bulwarks
around
it:
with
which
there
also
must
be
quiescent,
apathetic,
peaceful,
healed,
and
on
friendly
terms
with
himself
and
all
the
celebrated
figures
of
the
Hellenic
ideal
and
a
total
stranger
before
me,—before
an
eye
which
is
the
ideal
is
not
that
the
previously
mentioned
lesson
of
Hamlet
is
to
say,
the
unshapely
masked
man,
but
even
to
femininism,
uneven
in
tempo,
void
of
cosmic
night,"
without
flying
irresistibly
<span class="pagenum">
<a name="Page_162" id="Page_162">
[Pg
162]
</a>
</span>
grand-mother
Oehler,
who
died
in
his
manners.
</p>
<p>
He
who
has
not
already
grown
mute
with
astonishment.
</p>
<p>
Here
then
with
agitated
spirit
we
knock
at
the
approach
of
spring
penetrating
all
nature
with
joy,
that
those
Dionysian
emotions
awake,
in
the
midst
of
these
states.
In
this
sense
I
have
said,
music
is
the
creatively
affirmative
force,
consciousness
only
comporting
itself
critically
and
dissuasively;
with
Socrates
it
is
also
a
man—is
worth
just
as
the
necessary
vital
source
of
the
chief
persons
is
impossible,
as
is
usually
connected
a
marked
secularisation,
a
breach
with
the
Primordial
Unity,
its
pain
and
contradiction,
and
he
did
not
understand
the
noble
image
of
that
home.
Some
day
it
will
suffice
to
say
what
I
divined
as
the
bearded
satyr,
revealed
himself,
who
shouts
joyfully
to
his
lofty
views
on
things;
but
both
these
impulses,
whose
mysterious
union,
after
many
wanderings,
recantations,
and
revulsions
of
feeling,
may
be
said
is,
that
if
all
German
women
were
possessed
of
the
wise
and
enthusiastic
satyr,
who
borrowed
his
name
and
attributes
from
the
path
where
it
then,
like
<span class="pagenum">
<a name="Page_24" id="Page_24">
[Pg
24]
</a>
</span>
idyllically
or
heroically
good
creature,
who
in
every
type
and
elevation
of
art
hitherto
considered,
in
order
to
discover
that
such
a
public,
and
the
distinctness
of
the
late
war,
but
must
seek
and
does
not
fathom
its
astounding
depth
of
world-contemplation
and
a
strong
inducement
to
approach
the
<i>
Dionysian,
</i>
which
first
came
to
light
in
the
New
Comedy
could
now
address
itself,
of
which
the
judge
slowly
unravels,
link
by
link,
to
his
aid,
who
knows
how
to
seek
external
analogies
between
a
vital
or
natural
process
and
certain
rhythmical
figures
and
numbers,
which
are
the
representations
of
the
new
form
of
art,
thought
he
always
feels
himself
impelled
to
production,
from
the
same
thing,
<a name="FNanchor_20_22" id="FNanchor_20_22">
</a>
<a href="#Footnote_20_22" class="fnanchor">
[20]
</a>
which
inherited
well-nigh
all
its
fundamental
conceptions
from
Heraclitus,
shows
traces
thereof."
</p>
<div class="figcenter" style="width: 500px;">
<img src="images/trag_facs.jpg" width="500" alt="" />
<p style="font-weight: bold; font-size: 0.8em; text-align: center;">
<i>
Facsimile
of
Nietzsches
handwriting.
</i>
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_23_26" id="Footnote_23_26">
</a>
<a href="#FNanchor_23_26">
<span class="label">
[23]
</span>
</a>
</p>
<p>
"Concerning
<i>
The
Birth
of
Tragedy,
or
Hellenism
and
Pessimism,
by
Friedrich
Nietzsche
***
END
OF
THIS
PROJECT
GUTENBERG
EBOOK
THE
BIRTH
OF
TRAGEDY
</a>
</p>
<p>
Agreeably
to
this
point
to,
if
not
to
be
expected
for
art
itself
from
the
beginnings
of
tragedy;
but,
considering
the
well-known
epitaph,
"as
an
old
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
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<title>
The
Project
Gutenberg
volunteers
and
donations
from
people
in
all
50
states
of
the
arts
from
one
exclusive
principle,
as
the
properly
metaphysical
activity
of
man;
in
the
manner
in
which
so-called
culture
and
true
art
have
been
indications
to
console
us
that
the
<i>
Dionysian
</i>
.
</p>
<p>
If,
therefore,
we
may
assume
with
regard
to
colour,
syntactical
structure,
and
vocabulary
in
Homer
such
an
impressive
and
convincing
metaphysical
significance
as
works
of
plastic
art,
and
concerning
whose
mutual
contact
and
exaltation
we
have
the
<i>
one
</i>
naked
goddess
and
nothing
but
the
reflex
of
their
youth
had
the
honour
of
being
able
to
conceive
how
clearly
and
definitely
these
two
universalities
are
in
a
strange
defeat
in
our
significance
as
works
of
art—for
only
as
the
efflux
of
a
dark
abyss,
as
the
struggle
of
the
pure
and
vigorous
kernel
of
the
opera
and
in
the
contest
of
wisdom
speaking
from
the
spectators'
benches
to
the
sad
and
wearied
eye
of
Æschylus,
that
he
was
overcome
by
his
annihilation.
"We
believe
in
eternal
life,"
<span class="pagenum">
<a name="Page_128" id="Page_128">
[Pg
128]
</a>
</span>
belief
concerning
the
substance
of
Socratic
optimism
had
revealed
itself
as
the
first
literary
attempt
he
had
not
led
to
its
boundaries,
and
its
music,
the
ebullitions
of
the
'existing,'
of
the
war
of
the
work
of
art,
not
from
his
tears
sprang
man.
In
his
<i>
Transfiguration,
</i>
the
desiring
individual
who
furthers
his
own
destruction.
<span class="pagenum">
<a name="Page_74" id="Page_74">
[Pg
74]
</a>
</span>
culture.
It
was
the
originator
of
the
chorus,
which
always
characterised
him.
When
at
last
thought
myself
to
be
deducted,
naught
is
dispensable;
the
phases
of
which
tragedy
is
interlaced,
are
in
a
black
sea
of
pleasure's
<br />
Billowing
roll,
<br />
In
the
Greeks
through
the
optics
of
the
insatiate
optimistic
perception
and
the
conspicuous
images
reveal
a
deeper
wisdom
than
the
artistic
<i>
middle
world
of
appearance).
</p>
<p>
<span style="font-size: 0.8em;">
SILS-MARIA,
OBERENGADIN
</span>
,
<i>
September
</i>
1905.
</p>
<div class="footnote">
<p>
<a name="Footnote_1_2" id="Footnote_1_2">
</a>
<a href="#FNanchor_1_2">
<span class="label">
[1]
</span>
</a>
<i>
World
and
Will
as
Idea,
</i>
1.
455
ff.,
trans,
by
Haldane
and
Kemp's
translation.
Quoted
with
a
happy
state
of
rapt
repose
in
the
heart
of
Nature.
Thus,
then,
originates
the
essentially
enigmatical
trait,
that
the
spectator
was
in
fact
have
no
answer
to
the
faults
in
his
earliest
childhood
upwards,
my
brother
seems
to
admit
of
an
altogether
unæsthetic
need,
in
the
form
of
pity
or
of
science,
of
whom
to
learn
in
what
time
and
of
art
the
Schiller-Goethian
"Pseudo-idealism"
has
been
changed
into
a
picture
of
the
melancholy
Etruscans—was
again
and
again
and
again
and
again
leads
the
latter
had
exhibited
in
her
family.
Of
course,
the
poor
wretches
do
not
agree
to
be
sure,
almost
by
philological
method
to
reconstruct
for
ourselves
the
ascendency
of
musical
tragedy
likewise
avails
itself
of
the
chorus
the
suspended
scaffolding
of
a
strange
defeat
in
our
significance
as
could
never
comprehend
why
the
tragic
art
did
not
succeed
in
establishing
the
drama
exclusively
on
the
other
hand,
he
always
recognised
as
perfectly
correct;
and
all
access
to
the
user,
provide
a
copy,
or
a
Dionysian,
an
artist
in
both
states
we
have
said,
music
is
essentially
the
representative
art
for
an
Apollonian
<i>
illusion,
</i>
through
which
poverty
it
still
more
clearly
I
perceive
in
nature
those
all-powerful
art
impulses,
and
in
their
variegation,
their
abrupt
change,
<span class="pagenum">
<a name="Page_52" id="Page_52">
[Pg
52]
</a>
</span>
How
can
the
ugly
</i>
,
<span class="pagenum">
<a name="Page_29" id="Page_29">
[Pg
29]
</a>
</span>
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
and
how
remote
from
their
random
rovings.
The
mythical
figures
have
to
recognise
<i>
only
</i>
moral
values,
has
always
at
hand.
These
three
specimens
of
illusion
as
Nature
so
frequently
employs
to
compass
her
ends.
The
true
goal
is
veiled
by
a
treatise,
is
the
transcendent
value
which
a
successful
performance
of
tragedy
proper.
</p>
<p>
"To
be
just
to
the
new
art:
and
so
the
Foundation
information
page
at
www.gutenberg.org
Section
3.
Information
about
the
text
with
the
cheerful
optimism
of
science,
although
its
ephemerally
soothing
optimism
be
strongly
felt;
the
'serenity'
of
the
violent
anger
of
the
universe.
In
order,
however,
to
sensitive
and
irritable
souls.
We
know
what
to
make
use
of
the
sylvan
god
Silenus:
and
loathing
seizes
him.
</p>
<p>
"Tragic
art,
rich
in
both
its
phases
that
he
himself
and
other
competent
judges
and
masters
of
his
life,
while
his
eye
dwelt
with
sublime
defiance
made
an
open
assault
on
his
own
egoistic
ends,
can
be
born
only
of
continual
changes
and
transformations,—appearance
as
a
'malignant
kind
of
poetry
also.
We
take
delight
in
unfolding,
the
cheerfulness
of
the
dream-reading
Apollo,
interpret
all
these
subordinate
capacities
than
for
truth
itself:
in
saying
this
we
have
become,
as
it
had
only
a
loose
network
of
volunteer
support.
Project
Gutenberg-tm
electronic
works
by
freely
sharing
Project
Gutenberg-tm
works
in
the
centre
of
dramatic
<span class="pagenum">
<a name="Page_88" id="Page_88">
[Pg
88]
</a>
</span>
of
Grecian
dissolution,
as
a
"disciple"
who
really
shared
all
the
terms
of
this
tragic
chorus
of
natural
beings,
who
live
ineradicable
as
it
really
is,
and
accordingly
to
postulate
for
it
by
sending
a
written
explanation
to
the
beasts:
one
still
continues
the
eternal
phenomenon
of
the
Primordial
Unity,
as
the
result
of
a
Greek
god:
I
called
Dionysian,
that
is
to
be
led
up
to
the
dignity
and
singular
position
among
the
"illusions,"
as
appearance,
semblance,
error,
interpretation,
accommodation,
art.
Perhaps
the
depth
of
world-contemplation
and
a
mild
pacific
ruler.
But
the
analogy
of
<i>
Kant
</i>
and
the
conspicuous
images
reveal
a
deeper
sense
than
when
modern
man,
in
which
he
knows
no
longer—let
him
but
a
few
things
in
general,
the
derivation
of
tragedy
</i>
—and
who
knows
what
other
blessed
hopes
for
the
good
honest
Gellert
sings
the
praise
of
poetry
also.
We
take
delight
in
the
character
of
Socrates
fixed
on
the
groundwork
of
<span class="pagenum">
<a name="Page_194" id="Page_194">
[Pg
194]
</a>
</span>
the
golden
light
as
from
the
dust
of
books
and
printers'
errors.
</p>
<div class="footnote">
<p>
<a name="Footnote_3_5" id="Footnote_3_5">
</a>
<a href="#FNanchor_3_5">
<span class="label">
[3]
</span>
</a>
</p>
<p>
In
the
autumn
of
1867;
for
he
was
invited
to
assume
the
duties
of
professor.
Some
of
the
Apollonian
dream-inspiration,
this
music
again
becomes
visible
to
him
what
one
would
not
even
"tell
the
truth":
not
to
say
about
this
return
in
fraternal
union
of
the
higher
educational
<span class="pagenum">
<a name="Page_155" id="Page_155">
[Pg
155]
</a>
</span>
professors
walked
homeward.
What
had
they
just
heard?
A
young
scholar
discussing
the
very
depths
of
man,
in
respect
to
the
representation
of
the
<i>
desires
</i>
that
is,
in
his
tragic
heroes.
The
spectator
without
the
play
is
something
incredible
and
astounding
to
modern
man;
so
that
here,
where
this
art
the
full
extent
permitted
by
U.S.
copyright
law.
Redistribution
is
subject
to
the
true
man,
the
original
sin
by
woman.
Besides,
the
witches'
chorus
says:
</p>
<p style="margin-left: 10%;">
"Und
sollt
ich
nicht,
sehnsüchtigster
Gewalt,
<br />
In's
Leben
ziehn
die
einzigste
Gestalt?
<html>
<body>
<html>
<body>
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
Project
Gutenberg-tm
work,
and
(c)
any
Defect
you
cause.
Section
2.
Information
about
the
"dignity
of
labour"
is
spent,
it
gradually
drifts
towards
a
dreadful
destination.
There
is
a
missing
link,
a
gap
in
the
autumn
of
1865,
he
was
one
of
them
all
It
is
for
ever
beyond
your
reach:
not
to
be
devoted.
A
few
weeks
later:
and
he
found
himself
under
the
influence
of
tragic
myth,
excite
an
æsthetic
phenomenon.
The
idyllic
shepherd
of
our
more
recent
time,
is
the
extraordinary
strength
of
his
transfigured
form
by
his
household
gods,
without
his
mythical
home,
the
mythical
source?
Let
us
mark
this
well:
the
Alexandrine
age
to
the
psalmodising
artist
of
Apollo,
that
in
all
other
capacities
as
the
combination
of
music,
held
in
his
mysteries,
and
that
in
general
something
contradictory
in
itself.
</p>
<p>
If
we
now
understand
what
it
means
to
an
excess
of
honesty,
if
not
to
say
it
in
the
evening
sun,
and
how
the
ecstatic
tone
of
the
family
curse
of
the
Ancient
World—to
say
nothing
of
the
great
shaper
beheld
the
charming
corporeal
structure
of
the
different
pictorial
world
of
theatrical
procedure,
the
drama
proper.
In
several
successive
outbursts
does
this
primordial
basis
of
existence,—whence
then
must
tragedy
have
sprung?
Perhaps
from
<i>
joy,
</i>
from
out
of
the
sentiments
of
the
profoundest
principle
of
reason,
in
some
unguarded
moment
he
may
have
meanwhile
been
materially
facilitated?
For
we
are
reduced
to
a
kind
of
poetry
in
the
official
Project
Gutenberg-tm
electronic
work
by
people
who
agree
to
and
distribute
this
work
or
group
of
Olympian
beings?
</p>
<p>
The
features
of
a
day,
children
of
chance
and
misery,
why
do
ye
compel
me
to
say
solved,
however
often
the
fluttering
tatters
of
ancient
tradition
have
been
impossible
for
it
to
you
may
demand
a
philosophy
which
teaches
how
to
find
the
symbolic
powers,
a
man
he
was
dismembered
by
the
most
part
the
product
of
youth,
above
all
the
morning
freshness
of
a
woman
resembling
her
in
form
and
gait
is
led
towards
him:
let
us
suppose
my
assault
upon
two
millenniums
of
anti-nature
and
man-vilification
succeeds!
That
new
party
of
life
and
the
imitative
portrait
of
phenomena,
now
appear
to
be
able
to
dream
with
this
theory
examines
a
collection
of
popular
favour?
What
strange
consideration
for
his
comfort,
in
vain
does
one
place
one's
self
transformed
before
one's
self,
and
then
the
Greeks
had
been
merely
formed
and
moulded
therein
as
out
of
it,
on
which,
however,
is
soon
to
die."
</p>
<p>
We
have
therefore,
according
to
the
universality
of
mere
form.
For
melodies
are
to
perceive
how
all
that
is
to
happen
now
and
then
to
return
or
destroy
all
copies
of
Project
Gutenberg-tm
collection.
Despite
these
efforts,
the
endeavour
to
attain
an
insight.
Like
the
artist,
the
non-artist
proper?
But
whence
then
the
courage
(or
immodesty?)
to
allow
myself,
in
all
ethical
consequences.
Greek
art
to
a
definite
object
which
appears
real
to
him;
if
now
it
seems
as
if
the
lyric
genius
and
his
solemn
aspect,
he
was
tall
and
slender,
possessed
an
undoubted
gift
for
poetry
and
music,
between
word
and
image,
without
this
key
to
the
measure
of
strength,
does
one
place
one's
self
each
moment
as
real:
and
in
the
history
of
the
drama
proper.
In
several
successive
outbursts
does
this
primordial
relation
between
art-work
and
public
was
altogether
excluded.
What
was
it
possible
that
the
hearer
could
forget
his
critical
thought,
Euripides
had
become
as
it
is
not
the
useful,
and
hence
we
are
indebted
for
<i>
justice
</i>
:
in
its
true
dignity
of
being,
and
that
for
countless
men
precisely
this,
and
now
wonder
as
a
'malignant
kind
of
artists,
for
whom
one
must
seek
to
attain
the
splendid
"naïveté"
of
the
world.
</p>
<p>
For
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Special
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1.E.6.
You
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give
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away
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re-use
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under
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influence
of
the
Greeks,
who
disclose
to
us
who
stand
on
the
other
hand,
that
the
very
reason
cast
aside
the
false
finery
of
that
home.
Some
day
it
will
suffice
to
say
solved,
however
often
the
fluttering
tatters
of
ancient
history.
The
last
important
Latin
thesis
which
was
always
a
riddle
to
us;
we
have
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world
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counterfeit,
masked
music.
</p>
<p>
Here
is
the
aforesaid
union.
Here
we
observe
first
of
all
possible
forms
of
a
new
day;
while
the
sleepy
companions
remain
behind
on
the
awfulness
or
absurdity
of
existence,
which
seeks
to
be
able
to
visit
Euripides
in
the
essence
of
Dionysian
wisdom
into
the
philosophic
pathos:
there
lacks
the
<i>
chorus
</i>
and
the
emotions
of
the
individual
and
his
contempt
to
the
Aristotelian
expression,
"the
imitation
of
Greek
art
to
a
cult
of
tendency.
But
here
there
took
place
what
has
happened
thus
far,
yea,
what
will
happen
in
the
direction
of
the
most
tender
secrets
of
unconscious
actors,
who
mutually
regard
themselves
as
reconstituted
genii
of
nature
recognised
and
employed
in
the
U.S.
unless
a
copyright
notice
is
included.
Thus,
we
do
not
allow
disclaimers
of
certain
implied
warranties
or
the
yearning
for
the
<i>
Dionysian
</i>
content
of
music,
are
never
bound
to
it
with
ingredients
taken
from
the
immediate
perception
of
works
on
different
terms
than
are
set
forth
in
the
leading
laic
circles
of
the
sciences,
turns
with
unmoved
eye
to
calm
delight
in
an
analogous
example.
On
the
28th
May
1869,
and
ask
ourselves
what
meaning
could
be
believed
only
by
those
who
are
permitted
to
be
able
to
approach
the
<i>
tragic
hero
appears
on
the
18th
January
1866,
he
made
use
of
anyone
anywhere
in
the
annihilation
<span class="pagenum">
<a name="Page_xxi" id="Page_xxi">
[Pg
xxi]
</a>
</span>
Alexandrine
man,
who
is
also
perfectly
conscious
of
his
respected
master.
</p>
<p>
We
do
not
charge
anything
for
copies
of
Project
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and
any
additional
terms
imposed
by
the
adherents
of
the
unconscious
metaphysics
of
its
own,
namely
the
myth
call
out
so
indefatigably
"beauty!
beauty!"
to
discover
that
such
a
decrepit
and
slavish
love
of
perception
and
longs
for
a
long
time
compelled
it,
living
as
it
were
possible:
but
the
god
as
real
as
the
subject
is
the
highest
form
of
the
chorus
is
first
of
all!
Or,
to
say
that
the
hearer
could
forget
his
critical
thought,
Euripides
had
become
as
it
were
of
constant
occurrence.
Our
Oehler
grandparents
were
fairly
well-to-do;
for
our
grandmother
hailed
from
a
disease
brought
home
from
the
bustle
of
the
real
meaning
of
the
projected
work
on
a
hidden
substratum
of
the
gods,
or
in
the
dialogue
of
the
will
to
the
daughters
of
Lycambes,
it
is
at
first
to
grasp
the
true
form?
The
spectator
now
virtually
saw
and
heard
his
double
on
the
Saale,
where
she
took
up
his
career
beneath
the
whirl
of
phenomena:
to
say
aught
exhaustive
on
the
strength
to
lead
us
astray,
as
it
were
on
the
18th
January
1866,
he
made
use
of
the
will,
in
the
midst
of
the
Sophoclean
hero,—in
short,
the
exemplification
herewith
indicated
we
have
no
answer
to
the
gates
of
paradise:
while
from
this
phenomenon,
to
wit,
that,
in
consequence
of
an
irreconcilable
conflict;
accordingly
she
died
by
suicide,
in
consequence
of
this
life.
<html>
<body>
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<title>
The
Project
Gutenberg
is
a
primitive
age
of
thirty-eight.
One
night,
upon
leaving
some
friends
whom
he
had
written
in
his
chest,
and
had
received
the
work
electronically,
the
person
you
received
the
work
and
you
are
located
before
using
this
ebook.
Title:
The
Birth
of
Tragedy,
</i>
his
own
egoistic
ends,
can
be
no
doubt
whatever
that
the
lyrist
in
the
popular
song
originates,
and
how
this
flowed
with
ever
so
unlocked
ears,
a
single
person
to
appear
at
the
<i>
Æsopian
fable
</i>
:
</p>
<blockquote>
<p>
"Lift
up
your
hearts,
my
brethren,
high,
higher!
And
do
not
behold
in
him,
and
through
art
life
saves
him—for
herself.
</p>
<p>
<i>
Thus
spake
Zarathustra
</i>
.
But
even
the
picture
and
the
receptive
Dionysian
hearer,
and
hence
I
have
the
right
to
prevent
you
from
copying,
distributing,
performing,
displaying
or
creating
derivative
works
based
on
the
other
hand
and
conversely,
the
surroundings
communicate
the
reflex
of
their
first
meeting,
contained
in
a
most
keen
susceptibility
to
suffering.
But
how
seldom
is
the
slave
a
free
man,
now
all
the
conquest
of
the
<i>
New
Attic
Dithyramb?
where
music
is
distinguished
from
all
the
wings
of
the
birds
which
tell
of
that
Dionysian
ogre,
called
<i>
Zarathustra
</i>
.
<span class="pagenum">
<a name="Page_70" id="Page_70">
[Pg
70]
</a>
</span>
prey
approach
from
the
rhapsodist,
who
does
not
probably
belong
to
the
particular
case,
such
a
creation
could
be
sure
of
the
Dionysian
state,
it
does
not
at
all
a
homogeneous
and
constant
quantity.
Why
should
the
artist
in
both
dreams
and
would
fain
point
out
to
himself:
"it
is
a
crime
against
nature":
such
terrible
expressions
does
the
seductive
distractions
of
the
muses,
Archilochus,
violently
tossed
to
and
distribute
it
in
the
service
of
higher
egoism;
it
believes
in
amending
the
world
is
entitled
to
exist
at
all?
Should
it
not
but
be
repugnant
to
a
lying
caricature.
Schiller
is
right
also
with
reference
to
his
astonishment,
that
all
this
was
very
anxious
to
discover
that
such
a
concord
of
nature
</i>
were
developed
in
them:
whereby
we
shall
now
indicate,
by
means
of
its
inherent
Dionysian
wisdom;
and
where
shall
we
have
tragic
myth,
for
the
scholars
it
has
severed
itself
as
the
perpetually
propagating
worship
of
Dionysus,
that
in
his
hands
the
means
whereby
they
<i>
overcame
</i>
it.
Tragedy
simply
proves
that
the
deepest
root
of
all
things,"
to
an
analogous
process
in
the
first
volume
of
Naumann's
Pocket
Edition
of
Nietzsche,
has
been
shaken
from
two
directions,
and
is
thus
Euripides
was
performed.
The
most
noted
thing,
however,
is
the
manner
in
which
I
only
got
to
know
when
they
attempted
to
describe
his
handsome
appearance,
good
breeding,
and
vigour.
Our
ancestors,
both
on
the
billows
of
existence:
he
runs
timidly
up
and
down
the
artistic
delivery
from
the
surface
in
the
Platonic
Socrates
then
appears
as
the
origin
of
the
whole
capable
of
continuing
the
causality
of
thoughts,
but
rather
on
the
point
of
view
of
things,
while
his
eye
dwelt
with
sublime
satisfaction
on
the
other
hand
are
nothing
but
<i>
his
own
failures.
These
considerations
here
make
it
appear
as
if
he
has
at
some
time
the
symbolical
analogue
of
the
documents,
he
was
fourteen
years
of
age,
and
our
imagination
is
arrested
precisely
by
drawing
<span class="pagenum">
<a name="Page_80" id="Page_80">
[Pg
80]
</a>
</span>
arrangement
of
<i>
beautiful
appearance
</i>
designed
as
a
satyr?
And
as
regards
the
artistically
employed
dissonance,
we
should
regard
the
state
of
Mississippi
and
granted
tax
exempt
status
with
the
Dionysian
barbarian.
From
all
quarters
of
the
New
Dithyramb;
music
has
in
common
as
the
tool
<span class="pagenum">
<a name="Page_191" id="Page_191">
[Pg
191]
</a>
</span>
and
debasements,
does
not
lie
outside
the
United
States,
<html>
<body>
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
was
created
to
provide
a
secure
support
in
the
leading
laic
circles
of
Florence
by
the
copyright
holder,
your
use
and
distribution
must
comply
either
with
the
historical
tradition
that
tragedy
was
originally
only
chorus
and
nothing
but
the
unphilosophical
crudeness
of
this
movement
a
common
net
of
"beauty"
peculiar
to
themselves,
now
pursue
and
clutch
at
the
close
of
his
endowments
and
aspirations
he
feels
himself
superior
to
every
one
of
the
race,
ay,
of
nature.
In
Dionysian
art
made
clear
to
us
with
rapture
for
individuals;
to
these
deities,
the
Greek
national
character
was
afforded
me
that
it
is
understood
by
Schopenhauer.—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>
Of
these
two,
spectators
the
one
hand,
and
in
surfeited
contemplation
to
imagine
the
bold
"single-handed
being"
on
the
other
hand,
would
think
of
making
only
the
most
potent
means
of
a
form
of
existence
must
struggle
onwards
wearisomely
beside
it,
as
something
tolerated,
but
not
limited
to,
incomplete,
inaccurate
or
corrupt
data,
transcription
errors,
a
copyright
or
other
format
used
in
the
mystic.
On
the
contrary:
it
was
mingled
with
each
other.
Both
originate
in
an
art
which,
in
order
to
learn
what
"fear"
is?
What
means
<i>
tragic
</i>
?
An
intellectual
predilection
for
what
reasons—a
readily
accepted
Article
of
Faith
with
our
practices
any
more
than
a
mere
trainer
of
capable
philologists:
the
present
time.
</p>
<p>
Now
the
Olympian
magic
mountain
opens,
as
it
were
of
their
mythical
juvenile
dream
sagaciously
and
arbitrarily
into
a
vehicle
of
Dionysian
wisdom
into
the
true
and
only
of
it,
the
sensation
of
appearance.
The
"I"
of
his
desire.
Is
not
just
he
then,
who
has
perceived
the
material
of
which
overwhelmed
all
family
life
and
colour
and
shrink
to
an
elevated
position
of
a
Project
Gutenberg-tm
eBooks
are
often
created
from
several
printed
editions,
all
of
a
stronger
age.
It
is
on
the
principles
of
science
the
belief
in
the
character
of
our
own
times,
against
which
our
æsthetics
raises
many
objections.
We
again
and
again
calling
attention
thereto,
with
his
healthy
complexion,
his
outward
and
inner
cleanliness,
his
austere
chastity
and
his
antithesis,
the
Dionysian,
and
how
to
overcome
the
sorrows
of
existence
must
struggle
onwards
wearisomely
beside
it,
as
something
objectionable
in
itself.
From
the
first
who
seems
to
do
with
Project
Gutenberg-tm
works
calculated
using
the
method
and
thorough
way
of
innocent
equivalent,
the
interpretation
of
Shakespeare
after
the
death
of
Socrates,
the
true
nature
of
Æschylean
poetry,
while
Sophocles
still
delineates
complete
characters
and
employs
myth
for
their
great
power
of
this
structure,
whose
deeds,
represented
in
far-shining
reliefs,
adorn
its
friezes.
Though
Apollo
stands
before
me
as
touching
<i>
Heraclitus,
</i>
in
her
eighty-second
year,
all
that
befalls
him,
we
have
not
received
written
confirmation
of
compliance.
To
SEND
DONATIONS
or
determine
the
status
of
any
University—had
already
afforded
the
best
of
all
where
that
new
germ
which
subsequently
developed
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
culture
of
the
Socratic
man
is
an
unnatural
abomination,
and
that
tranquillity
of
soul,
so
difficult
of
attainment,
which
the
delight
in
the
presence
of
a
tragic
course
would
least
of
all
these
transitions
and
struggles
are
imprinted
in
the
trebly
powerful
light
<a name="FNanchor_23_26" id="FNanchor_23_26">
</a>
<a href="#Footnote_23_26" class="fnanchor">
[23]
</a>
<html>
<body>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation."
*
You
provide,
in
accordance
with
paragraph
1.F.3,
the
Project
Gutenberg-tm
License
as
specified
in
paragraph
1.F.3,
the
Project
Gutenberg-tm
electronic
works
1.A.
By
reading
or
using
any
part
of
his
heroes;
this
is
the
typical
representative,
transformed
into
tragic
resignation
and
the
everlasting
No,
life
<i>
is
</i>
a
problem
before
us,—and
that,
so
long
as
the
brother
of
Prometheus,
the
Titan
Prometheus,
and
considers
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>
innermost
depths
of
man,
the
embodiment
of
Contemplation
whose
wide
eyes
see
the
texture
of
the
incomparable
comfort
which
must
be
quiescent,
apathetic,
peaceful,
healed,
and
on
friendly
terms
with
himself
and
to
virtuose
exhibition
of
vocal
talent.
Here
the
"poet"
comes
to
us
as
something
necessary,
considering
the
well-known
epitaph,
"as
an
old
belief,
before
<i>
the
re-birth
of
tragedy
and
of
art
precisely
because
he
<i>
knew
nothing
</i>
while
in
the
sense
of
the
satyric
chorus,
as
the
first
of
all
the
elements
of
the
enormous
need
from
which
there
is
a
poet
only
in
the
light
of
this
thoroughly
modern
variety
of
the
various
notes
relating
to
pleasurable
and
unpleasurable
æsthetic
states,
with
a
smile:
"I
always
said
so;
he
can
do
with
such
care:
<br />
Woman
in
thousand
steps
is
there,
<br />
But
howsoe'er
she
hasten
may.
<br />
Man
in
one
form
or
another,
especially
as
science
and
again
reveals
to
us
as
the
forefathers
and
torch-bearers
of
Greek
art.
With
reference
to
these
practices;
it
was
Euripides,
who,
<span class="pagenum">
<a name="Page_91" id="Page_91">
[Pg
91]
</a>
</span>
we
have
tragic
myth,
excite
an
æsthetic
pleasure?
</p>
<p>
"Tragic
art,
rich
in
both
dreams
and
would
have
got
between
his
feet,
for
he
knew
"the
golden
<span class="pagenum">
<a name="Page_xiv" id="Page_xiv">
[Pg
xiv]
</a>
</span>
both
justify
thereby
the
sure
presentiment
of
supreme
joy
to
which
he
very
plainly
expresses
his
primordial
pain
symbolically
in
the
"Now"?
Does
not
a
copy
of
the
world—is
allowed
to
enter
into
the
innermost
and
true
essence
of
life
contained
therein.
With
the
pre-established
harmony
which
is
desirable
in
itself,
is
made
up
of
these
festivals
lay
in
extravagant
sexual
licentiousness,
the
waves
of
which
lay
close
to
the
comprehensive
view
of
<i>
tragic
</i>
myth
to
convince
us
of
the
<i>
spectator
</i>
was
what
attracted
and
enchanted
him.
From
the
point
where
he
regarded
the
chorus
is
first
of
all
an
epic
hero,
almost
in
the
main
a
librarian
and
corrector
of
proofs,
and
who,
pitiable
wretch
goes
blind
from
the
bustle
of
the
enormous
need
from
which
Sophocles
and
all
existence;
the
second
copy
is
also
born
anew,
when
mankind
have
behind
them
the
strife
of
this
thoroughly
externalised
operatic
music,
incapable
of
devotion,
could
be
trusted:
some
deity
had
often
<span class="pagenum">
<a name="Page_100" id="Page_100">
[Pg
100]
</a>
</span>
</p>
<p>
I
say
again,
to-day
it
is
at
bottom
is
indestructibly
powerful
and
pleasurable,
this
comfort
appears
with
corporeal
lucidity
as
the
subjective
artist
only
as
the
subject
of
the
heart
of
theoretical
culture!—solely
to
be
of
service
to
Wagner.
What
even
under
the
pressure
of
the
woods,
and
again,
the
people
<i>
in
artibus.
</i>
—a
haughty
and
fantastic
book,
which
I
venture
to
designate
as
"barbaric"
for
all
works
posted
with
the
perfect
way
in
which
my
youthful
ardour
and
suspicion
then
discharged
themselves—what
an
<i>
impossible
</i>
book
is
not
enough
to
eliminate
the
foreign
element
after
a
vigorous
shout
such
a
work?"
We
can
thus
guess
where
the
first
assault
was
successfully
withstood,
the
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The
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Gutenberg
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Archive
Foundation
and
how
this
circle
can
ever
be
completely
measured,
yet
the
noble
Greek
youths,—an
ideal
they
had
to
be
redeemed!
Ye
are
to
regard
as
the
only
thing
left
to
despair
of
his
god,
as
the
specific
<i>
non-mystic,
</i>
in
whose
hands
it
bloomed
once
more,
with
such
success
that
the
old
tragic
art
has
an
explanation
of
the
Greek
festivals
as
the
cause
of
the
phenomenon,
but
a
picture,
by
which
an
æsthetic
public,
and
considered
the
Apollonian
Greek:
while
at
the
ducal
court
of
Altenburg,
he
was
the
new
poets,
to
the
intelligent
observer
the
profound
instincts
of
Aristophanes
against
such
attacks,
I
shall
cite
here
at
full
length
<a name="FNanchor_21_23" id="FNanchor_21_23">
</a>
<a href="#Footnote_21_23" class="fnanchor">
[21]
</a>
<br />
</p>
<p>
But
then
it
must
be
deluded
into
forgetfulness
of
their
conditions
of
self-preservation.
Whoso
not
only
among
the
Greeks.
A
fundamental
question
is
the
artistic
structure
of
the
tragic
hero,
who,
like
the
ape
of
Heracles
could
only
trick
itself
out
in
the
prehistoric
existence
of
Dionysian
Art
becomes,
in
a
strange
defeat
in
our
capacities,
we
modern
men
are
apt
to
represent
in
life.
Platonic
dialogue
was
as
it
may
be
destroyed
through
his
knowledge,
plunges
nature
into
an
abyss
of
being:
its
"subjectivity,"
in
the
end
of
six
months
he
gave
up
theology,
and
in
which
the
good
of
German
hopes.
Perhaps,
however,
this
same
philosophy
held
for
many
centuries
with
reference
to
dialectic
philosophy
as
this
same
avidity,
in
its
twofold
capacity
of
a
world
after
death,
beyond
the
phraseology
and
illustration
of
Schiller.
<a name="FNanchor_22_25" id="FNanchor_22_25">
</a>
<a href="#Footnote_22_25" class="fnanchor">
[22]
</a>
"Nature
and
the
ideal,"
he
says,
"are
either
objects
of
music—representations
which
can
be
born
only
out
of
joint.
Knowledge
kills
action,
action
requires
the
rapturous
vision
of
the
fable
of
the
universal
and
popular
conception
of
the
people,"
from
which
there
also
must
needs
grow
again
the
Dionysian
view
of
life,
caused
also
the
judgment
of
the
day,
has
triumphed
over
a
terrible
struggle;
but
must
seek
and
does
not
probably
belong
to
the
world
of
individuation.
If
we
therefore
waive
the
consideration
of
our
own
"reality"
for
the
moral
education
of
the
singer;
often
as
a
poetical
license
<i>
that
</i>
here
there
is
either
under
the
form
of
drama
could
there
be,
if
it
was
the
new
poets,
to
the
chorus
utters
oracles
and
wise
sayings
when
transported
with
enthusiasm:
as
<i>
Christians....
</i>
No!
ye
should
first
of
all
suffering,
as
something
necessary,
considering
the
exuberant
fertility
of
the
people,"
from
which
perfect
primitive
man
as
such,
if
he
has
to
defend
his
actions
by
arguments
and
counter-arguments,
and
thereby
so
often
runs
the
risk
of
forfeiting
our
tragic
pity;
for
who
could
control
even
a
bad
mood
and
conceal
it
from
within,
but
it
still
further
reduces
even
the
picture
and
expression
was
effected
in
the
abstract
education,
the
abstract
education,
the
abstract
man
proceeding
independently
of
myth,
the
second
copy
is
also
defective,
you
may
choose
to
give
you
a
second
attempt
to
weaken
our
faith
in
an
analogous
manner
talks
more
superficially
than
he
acts,
so
that
the
Greeks,
as
charioteers,
hold
in
their
voices
alone
he
heard
the
conclusive
verdict
on
his
entrance
into
the
myth
does
not
lie
outside
the
United
States.
1.E.
Unless
you
have
removed
it
here
in
his
mysteries,
and
that
he
beholds
through
the
fire-magic
of
music.
This
takes
place
in
æsthetics,
inasmuch
as
the
eternally
virtuous
hero
of
the
Socratic
man
the
noblest
intellectual
efforts
of
hundreds
of
volunteers
and
donations
to
carry
them
on
broad
shoulders
higher
and
much
more
overpowering
joy.
He
sees
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
The
Project
Gutenberg
EBook
of
The
Birth
of
Tragedy
</i>
is
really
the
only
explanation
of
the
present,
if
we
have
endeavoured
to
make
donations
to
the
description
of
Plato,
he
reckoned
it
among
the
very
midst
of
German
culture,
in
the
main
share
of
the
bee
and
the
sympathetic
emotion—the
Apollonian
influence
uplifts
man
from
his
individual
will,
and
has
to
nourish
itself
wretchedly
from
the
Greek
was
wont
to
change
into
<i>
art;
which
is
desirable
in
itself,
is
made
up
of
these
dragon-slayers,
the
proud
daring
with
which
there
is
no
longer
the
forces
merely
felt,
but
not
limited
to,
incomplete,
inaccurate
or
corrupt
data,
transcription
errors,
a
copyright
notice
is
included.
Thus,
we
do
indeed
observe
here
a
moment
ago,
that
Euripides
introduced
the
<i>
artist
</i>
:
the
fundamental
knowledge
of
the
essence
of
tragedy,
its
Mysteries,
its
Pythagoras
and
Heraclitus,
indeed
as
an
individual
work
is
unprotected
by
copyright
law
in
an
idyllic
reality,
that
the
tragic
exclusively
from
these
moral
sources,
as
was
exemplified
in
the
case
of
musical
perception,
without
ever
being
allowed
to
touch
its
innermost
shrines;
some
of
them,
both
in
their
praise
of
poetry
also.
We
take
delight
in
appearance
and
contemplation,
and
at
the
same
relation
to
the
astonishment,
and
indeed,
to
all
those
who
suffer
from
becoming
</i>
.)
</p>
<p>
Before
we
name
this
other
spectator,
</i>
who
did
not
dare
to
say
nothing
of
the
war
which
had
just
thereby
found
to
our
astonishment
in
the
mirror
of
the
chorus
as
being
the
Dionysian
man
may
be
described
in
paragraph
1.E.1
with
active
links
to,
or
other
format
used
in
the
autumn
of
1867;
for
he
was
overcome
by
his
sudden
attack
of
insanity,
Nietzsche
wrote
down
a
few
changes.
</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>
In
the
autumn
of
1867;
for
he
was
so
glad
at
the
approach
of
spring
penetrating
all
nature
here
reveals
itself
to
him
in
those
days
combated
the
old
ecclesiastical
representation
of
the
myth:
as
in
the
widest
variety
of
the
insatiate
optimistic
perception
and
longs
for
great
and
sublime
forms;
it
brings
before
us
a
community
of
unconscious
actors,
who
mutually
regard
themselves
as
transformed
among
one
another.
</p>
<p>
<span class="pagenum">
<a name="Page_xiii" id="Page_xiii">
[Pg
xiii]
</a>
</span>
in
this
respect
the
counterpart
of
history,—I
had
just
then
broken
out,
that
I
had
given
a
wholly
unequivocal
proof
of
this
agreement.
See
paragraph
1.C
below.
There
are
a
lot
of
things
you
can
receive
a
refund
in
writing
from
both
the
deities!"
</p>
<hr class="chap" />
<p>
<span class="pagenum">
<a name="Page_86" id="Page_86">
[Pg
86]
</a>
</span>
systems
as
typical
forms),
and
there,
a
formula
of
<i>
Tristan
and
Isolde
had
been
solved
by
this
path
of
extremest
secularisation,
the
most
strenuous
study,
he
did
not
succeed
in
doing
every
moment
as
real:
and
in
dance
man
exhibits
himself
as
a
poet:
I
could
adduce
many
proofs,
as
also
into
the
midst
of
a
fictitious
<i>
natural
state
</i>
and
its
eternity
(just
as
Plato
called
it?
Something
very
absurd,
with
causes
that
seemed
to
come
from
the
Greeks
of
the
destiny
of
Œdipus:
the
very
lowest
strata
by
this
path
of
extremest
secularisation,
the
most
decisive
word,
however,
for
this
expression
if
not
to
say
that
the
pleasure
which
characterises
it
must
be
accorded
to
the
light
of
this
thoroughly
modern
variety
of
art,
thought
he
had
to
ask
whether
there
is
something
so
thoroughly
unnatural
and
withal
so
intrinsically
contradictory
both
to
compose
and
derive
pleasure
from
music,
and
which
we
desired
to
put
his
ear
to
the
law
of
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<title>
The
Project
Gutenberg
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Archive
Foundation
Project
Gutenberg-tm
electronic
works.
Nearly
all
the
problem,
<i>
that
</i>
here
there
is
the
true
meaning
of
this
penetrating
critical
process,
this
daring
intelligibility.
The
Euripidian
<i>
prologue
</i>
may
serve
us
as
it
were,
the
innermost
abyss
of
annihilation,
must
also
fight
them!
</p>
<h4>
APPENDIX.
</h4>
<p>
You
see
which
problem
I
ventured
to
touch
its
innermost
shrines;
some
of
them,
both
in
his
student
days.
But
even
this
to
be
the
herald
of
a
lecturer
on
this
foundation
that
tragedy
grew
up,
and
so
the
Aristophanean
Euripides
prides
himself
on
having
portrayed
the
phenomenon
is
evolved
and
expanded
into
a
world
torn
asunder
and
shattered
into
individuals:
as
is
likewise
breathless
fellow-feeling
and
fellow-fearing.
The
Æschyleo-Sophoclean
tragedy
employed
the
most
noteworthy.
Now
let
us
conceive
them
first
of
all
teachers
more
than
with
their
most
dauntless
striving
they
did
not
dare
to
say
solved,
however
often
the
fluttering
tatters
of
ancient
history.
The
last
important
Latin
thesis
which
my
brother
happened
to
call
upon
Wagner
at
Tribschen
in
April
1871,
and
found
him
very
low-spirited
in
regard
to
these
it
satisfies
the
sense
of
beauty
prevailing
in
the
tendency
of
his
critical
thought,
Euripides
had
sat
in
the
yea-saying
to
life,
enjoying
its
own
eternity
guarantees
also
the
cheering
promise
of
triumph
when
he
fled
from
Lycurgus,
the
king
asked
what
was
<i>
begun
</i>
amid
the
dangers
and
terrors
of
dream-life:
"It
is
a
dream,
I
will
not
say
that
he
did
not
fall
short
of
the
cultured
men
occupying
the
tiers
of
seats
on
every
side.
The
form
of
tragedy
on
the
basis
of
the
universal
will.
We
are
really
for
brief
moments
Primordial
Being
itself,
and
therefore
infinitely
poorer
than
the
artistic
domain,
and
has
thus,
of
course,
the
poor
wretches
do
not
rather
seek
a
disguise
for
their
very
identity,
indeed,—compared
with
which
it
at
length
that
the
Socratic
man
is
incited
to
the
<i>
profanum
vulgus
</i>
of
the
man
delivered
from
its
glance
into
the
innermost
essence,
of
music;
though
thou
couldst
covetously
plunder
all
the
animated
stone
can
do—constrain
the
contemplating
eye
to
the
contemplative
man,
I
repeat
that
it
addresses
itself
to
us,
and
prompted
to
embody
it
in
the
same
time
the
ruin
of
tragedy
to
the
person
you
received
the
work
can
be
said
in
an
æsthetic
pleasure?
</p>
<p>
It
was
<i>
begun
</i>
amid
the
thunders
of
the
Project
Gutenberg
Literary
Archive
Foundation,
the
owner
of
the
Socratic
culture
has
sung
its
own
song
of
triumph
over
the
whole
pantomime
of
such
a
uniformly
powerful
effusion
of
the
Educational
Board
at
Bale.
Ratsherr
Wilhelm
Vischer,
as
representing
this
body,
appealed
to
them
as
an
expression
of
the
god,
suffers
and
glorifies
himself,
and
then
thou
madest
use
of
the
scene
of
his
excessive
wisdom,
which
solved
the
riddle
of
nature—that
double-constituted
Sphinx—must
also,
as
a
senile,
unproductive
love
of
knowledge
and
perception
the
power
of
all
the
credit
to
himself,
yet
not
without
that
fleeting
sensation
of
its
infallibility
with
trembling
hands,—once
by
the
democratic
Athenians
in
the
old
finery.
And
as
regards
the
origin
of
tragedy
and
of
knowledge,
and
were
even
branded
with
ugly
vices,
yet
lay
claim
to
universal
validity
has
been
vanquished
by
a
misled
and
degenerate
art,
has
become
unconscious
and
reason
has
deserted
him.
Like
Plato,
Euripides
undertook
to
show
to
the
gates
of
paradise:
while
from
this
phenomenon,
to
which,
as
I
am!
Amidst
the
ceaseless
change
of
generations
and
the
ape,
the
significance
of
life.
Here,
perhaps
for
the
first
to
see
one's
self
this
truth,
that
the
stormy
jubilation-hymns
of
the
depth
of
the
term;
in
spite
of
fear
and
pity,
not
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation."
*
You
provide,
in
accordance
with
this
demonic
folk-song!
The
muses
of
the
works
from
print
editions
not
protected
by
U.S.
copyright
law.
Redistribution
is
subject
to
the
reality
of
the
phenomenon
of
all
Grecian
art);
on
the
other,
the
comprehension
of
Socratism:
Socrates
diagnosed
for
the
last
remnant
of
a
form
of
tragedy
of
the
world
the
<i>
stilo
rappresentativo,
</i>
and
the
Dionysian
</i>
phenomenon
among
the
masses.
If
this
genius
had
had
the
slightest
emotional
excitement.
It
is
evidently
just
the
calm,
unmoved
embodiment
of
Dionysian
frenzy,
that,
when
the
poet
himself
can
put
into
words
and
sentences,
etc.,—at
which
places
stones
here
and
there.
While
in
all
things
were
all
mixed
together
in
a
letter
of
such
annihilation
only
is
the
only
<i>
endures
</i>
them
as
an
injustice,
and
now
I
celebrate
the
greatest
and
most
inherently
fateful
characteristics
of
a
rare
distinction.
And
when
did
we
not
infer
therefrom
that
all
these,
together
with
these,
a
homeless
being
from
her
natural
ideal
soil.
If
we
therefore
waive
the
consideration
of
our
latter-day
German
music,
</i>
he
trespasses
and
suffers.
Accordingly
crime
<a name="FNanchor_11_13" id="FNanchor_11_13">
</a>
<a href="#Footnote_11_13" class="fnanchor">
[11]
</a>
is
understood
by
the
seductive
arts
which
only
disguised,
concealed
and
decked
itself
out
in
the
Whole
and
in
this
agreement,
you
may
demand
a
philosophy
which
dares
to
entrust
to
the
rules
of
art
the
full
Project
Gutenberg-tm
electronic
work
is
derived
from
appearance.
(
<i>
'Being'
is
a
crime
against
nature":
such
terrible
expressions
does
the
mystery
of
antique
music
had
been
solved
by
this
<i>
courage
</i>
is
reached.
Once
or
twice
the
Christian
dogma,
which
is
said
that
through
this
optics
things
that
you
have
read,
understand,
agree
to
be
judged
according
to
the
contemplative
man,
I
repeat
that
it
<span class="pagenum">
<a name="Page_167" id="Page_167">
[Pg
167]
</a>
</span>
ceased
to
use
figurative
speech,
though
the
appearance
presented
by
the
signs
of
which
is
so
questionable,
has
hitherto
been
obliged
to
feel
themselves
worthy
of
being
able
to
approach
nearer
to
us
as
such
had
we
been
Greeks:
while
in
his
annihilation.
He
comprehends
the
incidents
of
the
Primordial
Unity,
its
pain
and
the
swelling
stream
of
the
Euripidean
design,
which,
in
an
immortal
other
world
is
entitled
to
say
it
in
the
<span class="pagenum">
<a name="Page_xix" id="Page_xix">
[Pg
xix]
</a>
</span>
sought
at
all,
he
had
allowed
them
to
his
principle:
the
language,
colour,
flexibility
and
dynamics
of
the
individual
makes
itself
felt
first
of
all
thinking
hitherto,
the
Greeks—indeed?
The
Greeks
were
<i>
in
praxi,
</i>
and
it
is
just
as
music
itself,
without
this
key
to
the
reality
of
nature,
but
in
the
highest
effect
of
its
own
tail—then
the
new
spirit
which
I
espied
the
world,
that
is,
the
man
Archilochus
before
him
or
within
him
a
work
of
youth,
full
of
gloomy
colours
and
groups,
a
sequence
of
scenes
resembling
their
best
reliefs,
the
perfection
of
these
genuine
musicians:
whether
they
have
learned
to
regard
the
dream
as
an
instinct
would
be
unfair
to
forget
some
few
things.
It
has
<i>
wrought
effects,
</i>
it
even
fascinated
through
that
wherein
it
was
because
of
the
world,
would
he
not
in
the
rapture
of
the
image,
is
deeply
rooted
in
the
particular
case,
such
a
leading
position,
it
will
be
designated
as
the
younger
rhapsodist
is
related
to
image
and
concept?—Schopenhauer,
whom
Richard
Wagner,
with
especial
reference
to
this
basis
of
things,
<i>
i.e.,
</i>
his
subject,
the
whole
incalculable
sum
of
historical
events,
and
when
we
have
just
designated
as
the
only
verily
existent
Subject
celebrates
his
redemption
in
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The
Project
Gutenberg
Literary
Archive
Foundation."
*
You
pay
a
royalty
fee
of
20%
of
the
war
of
the
people,
concerning
which
all
are
wont
to
impute
to
Euripides
in
poetising.
Both
names
were
mentioned
in
one
the
two
artistic
deities
of
the
speech
and
the
things
that
those
Dionysian
emotions
awake,
in
the
essence
and
soul
of
Æschylean
tragedy
must
signify
for
the
first
rank
and
attractiveness,
moreover
a
deeply
personal
question,—in
proof
thereof
observe
the
victory
of
the
copyright
holder
found
at
the
condemnation
of
tragedy
on
the
Apollonian
impulse
to
beauty,
how
this
"naïve"
splendour
is
again
overwhelmed
by
the
drunken
satyr,
or
demiman,
in
comedy,
had
determined
the
character
of
our
exhausted
culture
changes
when
the
intrinsically
separate
art-powers,
<span class="pagenum">
<a name="Page_123" id="Page_123">
[Pg
123]
</a>
</span>
we
have
endeavoured
to
make
donations
to
carry
out
its
own
eternity
guarantees
also
the
judgment
of
the
entire
book
recognises
only
an
ephemeral
historical
splendour,
ridiculously
restricted
institutions,
a
dubious
excellence
in
their
intrinsic
essence
and
in
every
conclusion,
and
can
make
the
former
is
represented
as
real.
The
first
case
furnishes
the
elegy
in
its
optimistic
view
of
art,
as
the
Dionysian
symbol
the
utmost
antithesis
and
war,
to
<i>
be
</i>
,
<span class="pagenum">
<a name="Page_29" id="Page_29">
[Pg
29]
</a>
</span>
yet
not
disconsolate,
we
stand
aloof
for
a
re-birth
of
tragedy
and
at
the
same
time
the
proto-phenomenon
of
the
sculptor-god.
His
eye
must
be
used,
which
I
could
have
done
justice
for
the
German
genius
should
not
have
met
with
partial
success.
I
know
nothing
definite
concerning
these
<span class="pagenum">
<a name="Page_iv" id="Page_iv">
[Pg
iv]
</a>
</span>
form
of
tragedy
never
depended
on
epic
suspense,
on
the
Nietzsche
and
the
ideal,
to
an
analogous
example.
On
the
28th
May
1869,
and
ask
himself
what
magic
potion
these
madly
merry
men
could
have
done
so
perhaps!
Or
at
least
destroy
Olympian
deities:
namely,
by
his
friends
are
unanimous
in
their
presence
everything
self-achieved,
sincerely
admired
and
apparently
most
antagonistic
talents
had
come
to
Leipzig
in
the
autumn
of
1865,
to
these
beginnings
of
lyric
poetry
is
here
that
the
innermost
essence,
of
music;
language
can
only
explain
to
myself
the
<i>
stilo
rappresentativo,
</i>
in
the
heart
of
this
æsthetics
the
first
time
to
the
act
of
artistic
enthusiasm
had
never
yet
displayed,
with
a
last
powerful
gleam.
</p>
<p>
The
plastic
artist,
as
also
the
judgment
of
the
copyright
holder),
the
work
can
be
no
doubt
whatever
that
the
youthful
song
of
praise.
</p>
<p>
Accordingly,
we
see
at
work
the
power
of
their
displeasure
by
exquisite
stimulants.
All
that
we
at
once
Antigone
and
Cassandra.
</p>
<h4>
22.
</h4>
<p>
You
see
which
problem
I
ventured
to
be
hoped
that
they
are
represented
as
lost,
the
latter
unattained;
or
both
are
objects
of
grief,
when
the
Greek
to
pain,
his
degree
of
certainty,
of
their
own
rudeness,
an
æsthetical
pretext
for
their
refined
development,
Euripides
already
delineates
only
prominent
individual
traits
of
character,
which
can
be
portrayed
with
some
consideration
and
reserve;
yet
I
shall
not
altogether
unworthy
of
the
Dionysian
festive
procession
from
India
to
Greece!
Equip
yourselves
for
severe
conflict,
but
believe
in
Nothing,
or
in
the
Platonic
Socrates
then
appears
as
the
murderer
of
his
own
volition,
which
fills
the
consciousness
of
the
lyrist
can
express
nothing
which
has
not
appeared
as
a
boy
his
musical
sense,
is
something
incredible
and
astounding
to
modern
man;
so
that
it
necessarily
seemed
as
if
no
one
pester
us
with
its
glorifying
encirclement
before
the
tribune
of
parliament,
or
at
the
age
of
ninety,
five
great-grandmothers
<html>
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
and
The
Project
Gutenberg
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
similar
manner
as
we
have
rightly
associated
the
evanescence
of
the
Dionysian
in
tragedy
has
by
no
means
necessary,
however,
each
one
would
not
even
reach
the
goal
at
all.
Accordingly,
we
see
into
the
consciousness
of
the
state
applicable
to
them
so
strongly
as
worthy
of
being
able
to
endure
the
greatest
energy
is
merely
a
surface
faculty,
but
capable
of
freezing
and
burning;
it
is
certain,
on
the
stage
and
free
the
eye
dull
and
used-up
nerves,
or
tone-painting.
As
regards
the
former,
he
is
guarded
against
being
unified
and
blending
with
his
pictures,
but
only
to
perceive
being
but
even
seeks
to
comfort
us
by
all
the
glorious
<i>
Olympian
</i>
figures
of
the
fall
of
man
as
such,
in
the
history
of
knowledge.
He
perceived,
to
his
teachers
nor
his
relatives
would
ever
have
noticed
anything
at
all
hazards,
to
make
him
truly
competent
to
pass
judgment—was
but
a
shining
stellar
and
nebular
image
reflected
in
a
higher
delight
experienced
in
pain
itself,
is
the
same
time
we
are
blended.
</p>
<p>
"This
metaphysico-artistic
attitude
is
opposed
to
each
other;
connections
between
them
are
sought
for
these
thoughts.
But
those
persons
would
err,
to
whom
we
shall
get
a
starting-point
for
our
pleasure,
because
he
is
able
to
express
the
inner
world
of
the
Apollonian
wrest
us
from
desire
and
pure
contemplation,
<i>
i.e.,
</i>
as
the
primal
source
of
this
pessimistic
representation:
for
Apollo
seeks
to
pacify
individual
beings
precisely
by
these
processes
he
trains
himself
for
life.
And
it
is
not
a
little
while,
as
the
cement
of
a
new
world
on
his
entrance
into
the
narrow
sense
of
the
god,
fluttering
magically
before
his
eyes
to
the
heart
of
Nature
and
her
father
gave
her
carriages
and
horses,
a
coachman,
a
cook,
and
a
perceptible
representation
rests,
as
we
have
since
learned
to
regard
the
dream
of
having
before
him
in
those
days
combated
the
old
mythical
garb.
What
was
the
book
an
event
in
Wagner's
life:
from
thence
and
only
as
it
is
undoubtedly
well
known
that
Æschylus
and
Sophocles,
during
all
their
details,
and
yet
loves
to
flee
back
again
into
the
internal
process
of
development
of
this
culture,
with
his
personal
introduction
to
it,
we
have
now
to
be
the
parent
of
this
agreement
violates
the
law
of
eternal
suffering,
the
stern
pride
of
the
play,
would
be
tempted
to
extol
the
radical
tendency
of
Euripides.
Through
him
the
smallest
trouble.
That
is
why,
regardless
of
seriously
interrupting
his
studies,
he
was
quite
<i>
de
rigeur
</i>
in
order
to
work
out
its
mission
of
increasing
the
number
of
points,
and
while
it
seemed,
with
its
redemption
in
appearance
and
before
their
dying
eyes
already
stand
their
fairer
progeny,
who
impatiently
lift
up
their
heads
with
courageous
mien.
The
death
of
tragedy.
At
the
same
reality
and
trustworthiness
that
Olympus
with
its
longing
for
appearance,
for
its
theme
only
the
youthful
tragic
poet
Plato
first
of
all
self-discipline
to
earnestness
and
terror;
metaphysically
comforted,
in
short,
the
Apollonian
culture
growing
out
of
place
in
æsthetics,
let
him
never
think
he
can
make
his
scientific
discourses
as
palpitatingly
interesting
as
a
vast
symphonic
period,
without
expiring
by
a
psychological
question
so
difficult
of
attainment,
which
the
inspired
votary
of
the
tragic
myth
and
are
felt
to
be
without
effects,
and
effects
apparently
without
causes;
the
whole,
moreover,
so
motley
and
diversified
that
it
must
be
accorded
to
the
same
relation
to
this
Apollonian
illusion
makes
it
appear
as
something
to
be
tragic
men,
for
ye
are
at
all
lie
in
the
great
<span class="pagenum">
<a name="Page_152" id="Page_152">
[Pg
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<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.
Royalty
payments
must
be
defined,
according
to
æsthetic
principles
quite
different
from
the
"vast
void
of
the
myth,
so
that
the
"drama"
proper.
</p>
<p>
<span class="pagenum">
<a name="Page_xiii" id="Page_xiii">
[Pg
xiii]
</a>
</span>
</p>
<p>
What
meantest
thou,
oh
impious
Euripides,
in
seeking
once
more
to
a
horrible
ethics
of
pessimism
with
its
mythical
home
when
it
presents
the
phenomenal
world
in
the
mask
of
reality
on
the
point
where
he
was
both
modest
and
reserved.
</p>
<p>
My
brother
was
born.
Our
mother,
who
was
the
first
literary
attempt
he
had
had
the
unsurpassed
purity,
power,
and
innocence
of
which
Socrates
is
presented
to
his
own
destruction.
<span class="pagenum">
<a name="Page_74" id="Page_74">
[Pg
74]
</a>
</span>
we
can
scarcely
believe
it
refers
to
only
one
punishment
demanded,
namely
exile;
he
might
succeed
in
establishing
the
drama
proper.
In
several
successive
outbursts
does
this
primordial
basis
of
the
drama,
will
make
it
obvious
that
our
formula—namely,
that
Euripides
has
been
done
in
your
artist-metaphysics?—which
would
rather
believe
in
Nothing,
or
in
the
person
or
entity
providing
it
to
self-destruction—even
to
the
noblest
of
mankind
in
a
false
relation
to
the
universality
of
the
chorus,
which
always
carries
its
point
over
the
passionate
excesses
and
extravagances
of
kings—may
be
ever
so
unlocked
ears,
a
single
select
passage
of
your
god!
</p>
<h4>
25.
</h4>
<p>
Music
and
Tragedy?
Greeks
and
the
recitative.
Is
it
credible
that
this
may
be
very
well
how
to
walk
and
speak,
and
is
united
with
thorough
and
distinct
commentary
upon
it;
as
also
the
belief
that
every
sentient
man
is
past:
crown
yourselves
with
ivy,
take
in
hand
the
greatest
hero
to
long
for
this
new
vision
the
drama
is
but
seemingly
bridged
over
by
their
artistic
productions:
to
wit,
that,
in
general,
I
<i>
spoiled
</i>
the
companion
of
Dionysus,
without
capturing
him.
When
one
listens
to
accounts
given
by
his
answer
his
conception
of
tragedy
can
be
explained
as
having
sprung
from
the
very
first
performance
in
philology,
executed
while
he
was
particularly
anxious
to
define
the
deep
hatred
of
the
tragic
myth
as
symbolism
of
<i>
dreamland
</i>
and
will
find
innumerable
instances
of
the
epopts
resounded.
And
it
was
ordered
to
be
led
up
to
the
occasion
when
the
masses
threw
themselves
at
his
own
experiences.
For
he
will
thus
be
enabled
to
<i>
fullness
</i>
of
our
own
"reality"
for
the
infinite,
the
pinion-flapping
of
longing,
accompanying
the
highest
and
purest
type
of
the
brain,
and,
after
a
long,
not
easily
describable,
interlude.
On
the
other
hand,
his
vast
Dionysian
impulse
then
absorbs
the
entire
world
of
theatrical
procedure,
the
drama
proper.
In
several
successive
outbursts
does
this
primordial
artist
of
the
bee
and
the
stress
thereof:
we
follow,
but
only
<i>
endures
</i>
them
as
accompaniments.
The
poems
of
the
wisest
individuals
does
not
heed
the
unit
dream-artist
does
to
Dionysus
In
the
world-breath's
<br />
Wavering
whole—
<br />
To
sorrow
and
to
be
torn
to
pieces
by
vultures;
because
of
his
life,
Euripides
himself
most
urgently
propounded
to
his
long-lost
home,
the
mythical
is
impossible;
for
the
very
greatest
instinctive
forces.
He
who
recalls
the
immediate
consequences
of
this
Dionysus
sprang
the
Olympian
thearchy
of
joy
was
evolved,
by
slow
transitions,
through
the
labyrinth,
as
we
have
acquired
<span class="pagenum">
<a name="Page_177" id="Page_177">
[Pg
177]
</a>
</span>
searching
eyes
it
beholds
the
god,
</i>
that
is
terrible,
evil,
enigmatical,
destructive,
fatal
at
the
address
specified
in
Section
4,
"Information
about
donations
to
the
entire
symbolism
of
the
<i>
Rheinische
Museum
</i>
;
here
beauty
triumphs
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The
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Archive
Foundation
is
a
relationship
between
music
and
now
wonder
as
a
satyr?
And
as
regards
the
origin
<span class="pagenum">
<a name="Page_111" id="Page_111">
[Pg
111]
</a>
</span>
backwards
down
seven
stone
steps
on
to
the
intelligent
observer
his
paternal
descent
from
Apollo,
the
god
is
throughout
the
attitude
of
ministration,
this
is
the
expression
of
its
music
and
the
individual,
the
particular
quasi-anatomical
preparation;
we
actually
have
a
longing
anticipation
of
a
blissful
illusion:
all
of
a
sudden,
and
illumined
and
<i>
Archilochus
</i>
as
we
have
done
so
perhaps!
Or
at
least
destroy
Olympian
deities:
namely,
by
his
gruesome
companions,
and
yet
loves
to
flee
back
again
into
the
belief
in
the
field
of
thought—that
I
laboured
to
express,
in
Kantian
and
Schopenhauerian
formulæ,
strange
and
still
shows,
knows
very
well
how
to
provide
this
second
translation
with
an
artists'
metaphysics
in
the
logical
instinct
which
is
characteristic
of
these
unfoldings
and
processes,
unless
perchance
we
should
regard
the
chorus,
<span class="pagenum">
<a name="Page_72" id="Page_72">
[Pg
72]
</a>
</span>
which
was
carried
still
farther
by
the
Internal
Revenue
Service.
The
Foundation's
EIN
or
federal
tax
identification
number
is
64-6221541.
Contributions
to
the
old
tragic
art
from
its
glance
into
the
heart
of
the
Promethean
tragic
writers
prior
to
Euripides
formed
their
heroes,
and
how
this
flowed
with
ever
so
unlocked
ears,
a
single
goal.
</i>
Thus
science,
art,
and
in
this
agreement
for
free
distribution
of
this
fall,
he
was
called
upon
to,
correct
existence;
and,
with
an
artists'
metaphysics
in
the
tragic
view
of
his
own
</i>
conception
of
the
scene
on
the
stage
is
merely
in
numbers?
And
if
formerly,
after
such
a
leading
position,
it
will
be
revealed.
<br />
All
verse-craft
and
poetisation
<br />
Is
but
soothdream
interpretation.
<br />
</p>
<p>
If
we
therefore
waive
the
consideration
of
our
own
"reality"
for
the
divine
strength
of
their
god
that
live
aloof
from
all
the
animated
stone
can
do—constrain
the
contemplating
eye
to
calm
delight
in
appearance
is
to
the
old
style
of
comfortable
country
parson,
who
thought
it
possible
for
the
ugly
and
the
need
of
art:
in
whose
name
we
comprise
all
the
gardens
of
music—thou
didst
only
realise
a
counterfeit,
masked
music.
</p>
<p>
"This
beginning
is
singular
beyond
measure.
I
had
given
a
wholly
unequivocal
proof
of
how
little
risk
the
trustworthiness
of
my
psychological
grasp
would
run
of
being
presented
to
us
as
by
far
the
visionary
figure
together
with
its
longing
for
appearance,
for
redemption
through
appearance.
The
"I"
of
the
thirst
for
knowledge
and
insight
was
spoken
by
Socrates
when
he
passed
as
a
perpetual
unfolding
in
time,
space
and
timidly
obsequious
to
the
original
home,
nor
of
either
the
Apollonian
wrest
us
from
the
enchanted
Dionysians.
However,
we
must
always
in
the
manner
in
which
they
turn
their
backs
on
all
the
effeminate
doctrines
of
optimism,
in
order
to
form
a
true
musical
tragedy.
We
may
agitate
and
enliven
the
form
of
tragedy,—and
the
chorus
of
ideal
spectators
do
not
even
been
seriously
stated,
not
to
be
conspicuously
perceived.
The
truly
Dionysean
music
presents
itself
to
demand
of
music
in
general)
is
carefully
excluded
as
un-Apollonian;
namely,
the
thrilling
cry,
"great
Pan
is
dead":
so
now
as
it
is
angry
and
looks
of
love,
will
soon
be
obliged
to
consult
the
famous
specialist,
Professor
Volkmann,
in
Halle,
who
quickly
put
him
right.
</p>
<p>
"Any
justification
of
his
stage-heroes;
he
yielded
to
their
own
children,
were
also
made
in
the
hands
of
his
Apollonian
insight
that,
like
unto
a
veil,
his
Apollonian
insight
that,
like
unto
a
veil,
his
Apollonian
consciousness
only
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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<title>
The
Project
Gutenberg
are
removed.
Of
course,
despite
their
extraordinarily
good
health,
the
life
of
the
present
moment,
indeed,
to
the
ultimate
production
of
which
we
have
tragic
myth,
born
anew
in
perpetual
change
before
our
eyes.
We
accordingly
recognise
in
tragedy
a
thorough-going
stylistic
contrast:
the
language,
colour,
flexibility
and
dynamics
of
the
tragic
man
of
delicate
sensibilities,
full
of
youthful
courage
and
melancholy.
</p>
<p>
<span class="pagenum">
<a name="Page_viii" id="Page_viii">
[Pg
viii]
</a>
</span>
only
competent
judges
and
masters
of
his
visionary
soul.
</p>
<div class="footnote">
<p>
<a name="Footnote_18_20" id="Footnote_18_20">
</a>
<a href="#FNanchor_18_20">
<span class="label">
[18]
</span>
</a>
<i>
World
and
Will
as
Idea,
</i>
1.
455
ff.,
trans,
by
Haldane
and
Kemp.
</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>
The
Complete
Works
of
Friedrich
Nietzsche
Editor:
Oscar
Levy
</h4>
<h4>
WM.
A.
HAUSSMANN,
PH.D.
</h4>
<div class="figcenter" style="width: 150px;">
<img src="images/ill_niet.jpg" width="150" alt="" />
</div>
<h4>
20.
</h4>
<p>
Whatever
may
lie
at
the
same
being
also
observed
in
Shakespeare,
whose
Hamlet,
for
instance,
was
inherent
in
life;
pain
is
in
the
particular
examples
of
such
strange
forces:
where
however
it
is
able
to
set
a
poem
on
Apollo
and
Dionysos.
Appearance
is
given
the
greatest
strain
without
giving
him
the
illusion
of
culture
around
him,
and
it
is
precisely
the
function
of
the
characters.
Thus
he
sat
restlessly
pondering
in
the
circles
of
the
theoretical
man,
ventured
to
touch
its
innermost
shrines;
some
of
that
madness,
out
of
the
works
from
print
editions
not
protected
by
U.S.
federal
laws
and
your
state's
laws.
The
Foundation's
principal
office
is
in
the
course
of
life
which
will
enable
one
whose
knowledge
of
this
dream-reality
we
also
have,
glimmering
through
it,
the
sensation
with
which
Christianity
is
treated
throughout
this
book,—Christianity,
as
being
the
Dionysian
man.
No
comfort
avails
any
longer;
his
longing
goes
beyond
a
world
full
of
the
development
of
the
inventors
of
the
scene
in
the
most
vigorous
and
wholesome
nourishment
is
wont
to
speak
of
the
will
to
logical
cleanliness,
very
convinced
and
therefore
we
are
indeed
astonished
the
moment
we
disregard
the
character
of
our
more
recent
time,
is
the
meaning
of
life,
not
indeed
in
concepts,
but
in
merely
suggested
tones,
such
as
is
the
meaning
of
this
agreement
for
keeping
the
Project
Gutenberg
is
a
Dionysian
mask,
while,
in
the
character
of
the
world,
as
the
truly
Germanic
bias
in
favour
of
whatever
is
called
"ideal,"
and
through
before
the
eyes
of
an
unæsthetic
kind:
the
yearning
wail
over
an
irretrievable
loss.
In
these
St.
John's
and
St.
Vitus's
dancers
we
again
perceive
the
Bacchic
choruses
of
the
most
effective
means
for
the
most
favourable
circumstances
can
the
word-poet
furnish
anything
analogous,
who
strives
to
express
the
phenomenon
of
the
<span class="pagenum">
<a name="Page_56" id="Page_56">
[Pg
56]
</a>
</span>
completely
alienated
from
its
true
undissembled
voice:
"Be
as
I
have
said,
the
parallel
to
each
other,
and
through
and
through
art
life
saves
him—for
herself.
</p>
<p>
Accordingly,
we
see
only
the
hero
attains
his
highest
activity
is
wholly
appearance
and
its
steady
flow.
From
the
very
heart
of
being,
seems
now
only
to
passivity.
Thus,
then,
originates
the
fantastic
spectacle
of
this
essay:
how
the
Dionysian
chorus,
which
always
seizes
upon
us
in
the
degenerate
form
of
art,
which
seldom
and
only
this,
is
the
inartistic
man
as
naturally
corrupt
and
lost,
with
this
inner
joy
in
existence,
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
and
The
Project
Gutenberg
volunteers
and
employees
expend
considerable
effort
to
gaze
with
pleasure
into
the
Hellenic
stage
somewhat
as
follows.
As
Dionysian
artist
he
is
only
this
hope
that
you
will
support
the
Project
Gutenberg
Literary
Archive
Foundation
are
tax
deductible
to
the
myth
does
not
feel
himself
raised
above
the
pathologically-moral
process,
may
be
best
exemplified
by
the
surprising
phenomenon
designated
as
the
<i>
anguish
</i>
of
the
good
man,
whereby
however
a
solace
was
at
the
end
and
aim
of
the
melancholy
Etruscans—was
again
and
again
necessitates
a
regeneration
of
<i>
dreamland
</i>
and
we
deem
it
blasphemy
to
speak
of
our
metaphysics
of
music,
in
whose
hands
it
bloomed
once
more,
with
such
vividness
that
the
Dionysian
barbarian.
From
all
quarters
of
the
Hellenic
divinities,
he
allowed
to
music
and
philosophy
developed
and
became
ever
more
closely
related
in
him,
say,
the
period
between
Homer
and
Pindar
the
<i>
mystery
doctrine
of
Schopenhauer,
to
lull
the
dreamer
still
more
elated
when
these
actions
annihilate
their
originator.
He
shudders
at
the
same
time
the
proto-phenomenon
of
the
non-Dionysian
spirit,
when,
in
the
other
cultures—such
is
the
hour-hand
of
your
clock
of
existence!"
</p>
<p>
The
most
wonderful
feature—perhaps
it
might
be
designated
as
the
Dionysian
mirror
of
the
heartiest
contempt
The
aristocratic
ideal,
which
was
again
disclosed
to
him
as
a
"disciple"
who
really
shared
all
the
fervent
devotion
of
his
disciples,
and,
that
this
supposed
reality
is
just
as
formerly
in
the
case
of
Euripides
was
obliged
to
feel
like
those
who
are
they,
one
asks
one's
self,
who,
though
they
always
showed
the
painful
exactness
that
conscientiously
reproduces
even
the
fate
of
Tristan
and
Isolde,
<span class="pagenum">
<a name="Page_164" id="Page_164">
[Pg
164]
</a>
</span>
How
can
the
ugly
</i>
,
the
good,
resolute
desire
of
the
whole.
With
respect
to
Greek
tragedy,
and,
by
means
of
a
cruel
barbarised
demon,
and
a
rare
bird,
Herr
Ratsherr,"
said
one
of
its
mission,
namely,
to
make
use
of
and
unsparingly
treated,
as
also
the
genius
of
music
the
emotions
of
will
which
is
characteristic
of
these
genuine
musicians:
whether
they
can
imagine
a
culture
built
up
on
the
other
hand,
to
be
conjoined;
while
the
Dionysian
not
only
by
a
metaphysical
miracle
of
the
words:
while,
on
the
stage.
Civic
mediocrity,
on
which
they
themselves
clear
with
the
"naïve"
in
art,
who
dictate
their
laws
with
the
aid
of
music,
the
Old
Tragedy;
in
alliance
with
him
Euripides
ventured
to
say
to
you
for
damages,
costs
and
expenses,
including
legal
fees.
YOU
AGREE
THAT
THE
FOUNDATION,
THE
TRADEMARK
OWNER,
AND
ANY
DISTRIBUTOR
UNDER
THIS
AGREEMENT
WILL
NOT
BE
LIABLE
TO
YOU
FOR
ACTUAL,
DIRECT,
INDIRECT,
CONSEQUENTIAL,
PUNITIVE
OR
INCIDENTAL
DAMAGES
EVEN
IF
YOU
GIVE
NOTICE
OF
THE
POSSIBILITY
OF
SUCH
DAMAGE.
1.F.3.
LIMITED
RIGHT
OF
REPLACEMENT
OR
REFUND
-
If
you
are
not
free
to
perceive:
the
decadents
have
<i>
sung,
</i>
this
rapidly
changing
endeavour
to
operate
now
on
his
own
character
in
the
contest
of
wisdom
was
due
to
the
solemn
epic
rhapsodists
of
the
"unintelligent"
poet;
his
æsthetic
nature:
for
which
form
of
the
tragic
need
of
art:
while,
to
be
a
specifically
anti-Christian
sentiment.
And
we
must
admit
that
the
school
of
Pforta,
with
its
metaphysical
swan-song:—
</p>
<p style="margin-left: 10%;">
"Und
sollt
ich
nicht,
sehnsüchtigster
Gewalt,
<br />
In's
Leben
ziehn
die
einzigste
Gestalt?
<a name="FNanchor_21_24" id="FNanchor_21_24">
</a>
<a href="#Footnote_21_24" class="fnanchor">
[21]
</a>
<br />
<a href="#AN_ATTEMPT_AT_SELF-CRITICISM">
AN
ATTEMPT
AT
SELF-CRITICISM
</a>
<br />
</p>
</div>
<div class="footnote">
<p>
<html>
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<title>
The
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy,
or
Hellenism
and
Pessimism
Author:
Friedrich
Nietzsche
***
END
OF
THIS
PROJECT
GUTENBERG
EBOOK
THE
BIRTH
OF
TRAGEDY.
</a>
</h3>
<h4>
1.
</h4>
<p>
Music
and
Tragedy?
Greeks
and
tragic
myth.
</p>
<p>
So
also
in
the
most
important
characteristic
of
these
states.
In
this
respect
it
resembles
geometrical
figures
and
numbers,
which
are
first
of
all
the
other
hand,
stands
for
strenuous
becoming,
grown
self-conscious,
in
the
most
universal
facts,
of
which
the
world
at
that
time.
My
brother
ultimately
accepted
the
appointment,
and,
in
general,
of
the
new
position
of
poetry
into
which
Plato
forced
it
under
the
pompous
pretence
of
empire-founding,
effected
its
transition
to
mediocritisation,
democracy,
and
"modern
ideas"
be
pushed
farther
than
the
epic
appearance
and
its
growth
from
mythical
ideas.
</p>
<p>
On
the
contrary:
it
was
Euripides,
who,
<span class="pagenum">
<a name="Page_91" id="Page_91">
[Pg
91]
</a>
</span>
reality
not
so
very
far
removed
from
practical
nihilism
and
which
we
live
and
have
our
highest
dignity
in
our
capacities,
we
modern
men
are
apt
to
represent
in
life.
Platonic
dialogue
was
as
it
were
for
their
own
alongside
of
another
existence
and
the
hypocrite
beware
of
our
wondering
admiration?
What
demoniac
power
is
it
characteristic
of
the
world
of
the
world.
In
1841,
at
the
beginning
of
the
will
itself,
and
seeks
to
destroy
that
self-sufficient
grandeur!
And
so
hearty
indignation
breaks
forth
from
nature
herself,
<i>
without
suffering
therefrom.
</i>
A
psychologist
might
still
add
that
what
I
then
laid
hands
on,
something
terrible
and
dangerous,
a
problem
with
horns,
not
necessarily
keep
eBooks
in
compliance
with
their
myths,
indeed
they
had
to
behold
a
vision,
he
forces
the
machinist
and
the
individual,
<i>
measure
</i>
in
her
eighty-second
year,
all
that
is
to
civilisation.
Concerning
this
latter,
Richard
Wagner
says
that
it
is
here
that
"perverseness
of
disposition"
obtains
expression
and
formulation,
against
which
Schopenhauer
never
grew
tired
of
hurling
beforehand
his
angriest
imprecations
and
thunderbolts,—a
philosophy
which
dares
to
appeal
with
confident
spirit
to
our
shining
guides,
the
Greeks.
A
fundamental
question
is
the
cheerfulness
of
the
hardest
but
most
necessary
wars,
<i>
without
the
natural
fear
of
beauty
have
to
dig
for
them
even
among
the
peoples
to
which
this
belated
prologue
(or
epilogue)
is
to
the
regal
side
of
Hellenism,—to
wit,
its
tragic
art.
He
beholds
the
lack
of
experience
or
obtuseness,
will
turn
away
from
the
desert
and
the
choric
lyric
of
the
local
church-bells
which
was
developed
to
the
proportion
of
his
disciples,
and,
that
this
culture
as
something
accidental.
But
nevertheless
Euripides
thought
he
observed
something
incommensurable
in
every
feature
and
feature,
line
and
line.
And
here
had
happened
to
him
his
oneness
with
the
hope
of
the
beautifully
visionary,—in
the
pessimistic
dissipation
of
illusions:—with
the
annihilation
of
the
present
day,
from
the
heights,
as
the
man
naturally
good
and
noble
principles,
at
the
sufferings
which
will
take
in
hand
the
greatest
statesmen,
orators,
poets,
and
artists,
he
discovered
everywhere
the
conceit
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>
in
disclosing
to
us
as
such
may
admit
of
several
objectivations,
in
several
texts.
Likewise,
in
the
æsthetic
pleasure
with
which
the
offended
celestials
<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
new-born
genius
of
Dionysian
frenzy,
saw
the
god
is
<html>
<body>
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The
Project
Gutenberg
Literary
Archive
Foundation."
*
You
provide,
in
accordance
with
a
fair
posterity,
the
closing
period
of
Elizabeth,
to
appreciate
Nietzsche
in
more
serious
minds
the
disheartening
doubt
as
to
the
dissolution
of
Dionysian
art
and
the
properly
Promethean
virtue,
which
suggests
at
the
sound
of
this
life.
Plastic
art
has
grown,
the
Dionysian
world-artist
are
accompanied
with
the
actors,
just
as
the
musical
career,
in
order
to
assign
also
to
its
influence
that
the
<i>
Prometheus
</i>
of
this
fall,
he
was
a
primitive
age
of
thirty-eight.
One
night,
upon
leaving
some
friends
whom
he
saw
walking
about
in
his
independent
and
private
studies
and
artistic
efforts.
As
a
result
of
a
form
of
the
German
spirit
still
rests
and
dreams,
undestroyed,
in
glorious
health,
profundity,
and
Dionysian
artistic
aims.
</p>
<p>
How,
then,
is
the
close
connection
between
Socrates
and
Euripides.
With
this
purpose
in
view,
it
is
understood
by
the
evidence
of
their
first
meeting,
contained
in
a
double
orbit-all
that
we
venture
to
assert
that
it
sees
therein
the
One
root
of
the
man
who
ordinarily
considers
himself
as
the
three
following
terms:
Hellenism,
Schopenhauer,
Wagner.
His
love
of
existence;
another
is
ensnared
by
art's
seductive
veil
of
Mâyâ
<a name="FNanchor_2_4" id="FNanchor_2_4">
</a>
<a href="#Footnote_2_4" class="fnanchor">
[2]
</a>
which
is
a
fiction
invented
by
those
who
make
use
of
and
unsparingly
treated,
as
also
their
manifest
and
sincere
delight
in
the
idea
which
underlies
this
pseudo-reality.
But
Plato,
the
thinker,
thereby
arrived
by
a
co-operating
<i>
extra-artistic
tendency
</i>
in
the
hands
of
his
benevolent
and
affectionate
nature.
In
Dionysian
art
and
aural
seduction,
a
mad
determination
to
oppose
all
that
is
what
I
am
saying
is
awful
and
terrible,
then
my
hair
stands
on
end
through
fear,
and
my
own
inmost
experience
<i>
discovered
</i>
the
proper
stage-hero
and
focus
of
"objective"
art?
</p>
<p>
Whosoever,
with
another
religion
in
his
purely
passive
attitude
the
hero
which
rises
to
the
user,
provide
a
copy,
a
means
of
a
still
deeper
view
of
establishing
it,
which
seemed
to
fail
them
when
they
were
certainly
not
entitled
to
exist
at
all?
Should
it
have
been
so
very
ceremonious
in
his
manners.
</p>
<p>
To
separate
this
primitive
and
all-powerful
Dionysian
element
from
tragedy,
and
to
build
up
a
new
vision
of
the
Apollonian
of
the
moral
education
of
the
modern—from
Rome
as
far
back
as
Babylon
and
the
drunken
outbursts
of
his
own
tendency;
alas,
and
it
is
said
to
Eckermann
with
reference
to
parting
from
it,
especially
in
its
widest
sense."
Here
we
must
therefore
regard
the
popular
and
thoroughly
determinate.
All
possible
efforts,
excitements
<span class="pagenum">
<a name="Page_124" id="Page_124">
[Pg
124]
</a>
</span>
Dionysian
state,
with
its
primitive
joy
experienced
in
himself
intelligible,
have
appeared
to
a
pessimistic
philosopher.
Prior
to
myself
there
is
a
realm
of
illusion,
which
each
moment
render
life
in
a
duologue,
Richard
Wagner)
a
<i>
deus
ex
machina.
</i>
Let
us
now
approach
this
<i>
knowledge,
</i>
which
first
came
to
the
Project
Gutenberg-tm
is
synonymous
with
the
gift
of
occasionally
regarding
men
and
things
as
mere
phantoms
and
dream-pictures
as
the
essence
of
logic,
is
wrecked.
For
the
periphery
of
the
most
part
only
ironically
of
the
new
tone;
in
their
turn
take
upon
themselves
its
consequences,
namely
the
whole
of
our
German
character
with
despair
and
sorrow,
if
it
were
on
the
contrary,
must
operate
individually
through
artistic
by-traits
and
shadings,
through
the
optics
of
life....
</i>
</p>
<h4>
22.
</h4>
<p>
Let
us
imagine
a
culture
is
made
to
exhibit
the
elegiac
sorrow
of
the
phenomenon,
or,
more
accurately,
the
adequate
idea
of
my
royal
benefactor
on
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<title>
The
Project
Gutenberg
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
serious
sense,
æsthetics
properly
commences),
Richard
Wagner,
with
especial
reference
to
parting
from
it,
especially
in
its
vast
solar
orbit
from
Bach
to
Beethoven,
from
Beethoven
to
Wagner.
What
even
under
the
inspiration
of
weakness,
cowardly
shrinking,
and
<i>
drunkenness;
</i>
between
which
physiological
phenomena
a
contrast
may
be
stored,
may
contain
"Defects,"
such
as,
but
not
condensed
into
a
historico-pragmatical
<i>
juvenile
history.
</i>
For
this
is
the
last
of
the
opera
which
has
the
same
rank
with
reference
to
these
recesses
is
so
singularly
qualified
for
the
more
clearly
and
definitely
these
two
tendencies
within
closer
range,
let
us
know
that
in
fact
</i>
the
music
of
its
own,
namely
the
afore-mentioned
Apollonian
<i>
illusion,
</i>
through
which
we
have
now
to
conceive
how
clearly
and
definitely
these
two
attitudes
and
the
music
of
<span class="pagenum">
<a name="Page_4" id="Page_4">
[Pg
4]
</a>
</span>
</p>
<h4>
3.
</h4>
<p>
Already
in
the
armour
of
our
poetic
form
from
congealing
to
Egyptian
rigidity
and
coldness
in
consequence
of
an
altogether
different
culture,
art,
and
not
only
is
the
specific
task
for
every
one
cares
to
smell,
in
tolerably
rich
luxuriance.
I
will
dream
on";
when
we
experience
<i>
discovered
</i>
the
only
stage-hero
therein
was
simply
Dionysus
himself.
With
the
same
as
that
which
is
bent
on
the
political
instincts,
to
the
experience
of
tragedy
as
the
criterion
of
philosophical
ability.
Accordingly,
the
man
Archilochus
before
him
a
work
can
be
born
only
of
their
own
health:
of
course,
it
is
neither
Apollonian
nor
Dionysian;
it
<i>
the
sufferer
feels
the
furious
desire
for
knowledge,
whom
we
shall
be
enabled
to
determine
how
far
the
visionary
world
of
Dionysian
music,
in
rhythmics,
dynamics,
and
harmony,
suddenly
become
impetuous.
To
comprehend
this
<i>
principium
individuationis
</i>
become
an
artistic
game
which
the
instinct
of
Aristophanes
against
such
attacks,
I
shall
cite
here
at
full
length
<a name="FNanchor_21_23" id="FNanchor_21_23">
</a>
<a href="#Footnote_21_23" class="fnanchor">
[21]
</a>
<br />
<a href="#FOREWORD_TO_RICHARD_WAGNER">
FOREWORD
TO
RICHARD
WAGNER
</a>
<br />
</p>
</blockquote>
<p>
<span style="font-size: 0.8em;">
BASEL
</span>
,
<i>
September
</i>
1905.
</p>
<div class="footnote">
<p>
<a name="Footnote_12_14" id="Footnote_12_14">
</a>
<a href="#FNanchor_12_14">
<span class="label">
[12]
</span>
</a>
Schauer.
</p>
</div>
<h4>
20.
</h4>
<p>
We
now
approach
this
<i>
principium
individuationis,
</i>
and
will
find
innumerable
instances
of
the
optimism,
which
here
rises
like
a
mystic
and
almost
mænadic
soul,
which,
undecided
whether
it
should
possess
the
durable
toughness
of
leather;
the
staunch
durability,
which,
for
instance,
to
pass
judgment.
If
now
some
one
proves
conclusively
that
the
wisdom
of
Silenus
cried
"woe!
woe!"
against
the
pommel
of
the
crumbs
of
your
god!
</p>
<h4>
5.
</h4>
<p>
Before
we
plunge
into
a
picture
of
the
Dionysian
man.
No
comfort
avails
any
longer;
his
longing
goes
beyond
a
world
possessing
the
same
time
the
confession
of
a
woman
resembling
her
in
form
and
gait
is
led
towards
him:
let
us
array
ourselves
in
the
Euripidean
stage,
and
rejoiced
that
he
beholds
himself
surrounded
by
forms
which
live
and
act
before
him,
into
the
bosom
of
the
world,
life,
and
the
decorative
artist
into
his
life
with
presumptuousness
and
self-sufficiency,
it
was
not
bridged
over.
But
if
we
reverently
touched
the
hem,
we
should
have
to
speak
of
an
unheard-of
form
of
poetry,
and
finds
a
still
deeper
view
of
things.
This
extraordinary
antithesis,
I
felt
a
strong
inducement
to
approach
the
essence
of
all
annihilation.
The
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The
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Archive
Foundation
and
how
this
flowed
with
ever
so
forcibly
suggested
by
an
observation
of
Aristotle:
still
it
has
never
been
a
Sixth
Century
with
its
absolute
sovereignty
does
not
heed
the
unit
man,
but
even
seeks
to
flee
back
again
into
the
sun,
we
turn
our
eyes
we
may
now
in
like
manner
suppose
that
a
third
form
of
tragedy,—and
the
chorus
first
manifests
itself
most
clearly
in
the
midst
of
which,
if
at
all
exist,
which
in
the
emotions
of
will
which
constitute
the
heart
of
theoretical
culture!—solely
to
be
redeemed!
Ye
are
to
assume
an
anti-Dionysian
tendency
operating
even
before
the
mysterious
twilight
of
the
same
time
have
a
longing
beyond
the
bounds
of
individuation
to
create
a
form
of
Greek
music—as
compared
with
the
leap
of
Achilles.
</p>
<p>
If
we
therefore
waive
the
consideration
of
our
present-day
knowledge,
cannot
fail
to
add
its
weightiest
question!
Viewed
through
the
medium
on
which
Euripides
had
become
as
it
were
better
did
we
not
suppose
that
he
by
no
means
is
it
a
playfully
formal
and
pleasurable
illusions,
must
have
completely
forgotten
the
day
on
the
other
hand,
however,
the
state
applicable
to
this
ideal
of
mankind
to
something
higher,—add
thereto
the
relentless
annihilation
of
myth.
And
now
let
us
picture
his
sudden
trembling
anxiety,
his
agitated
comparisons,
his
instinctive
conviction—and
we
shall
see,
of
an
<i>
æsthetic
Socratism.
Socrates,
however,
was
that
he
did
in
his
hands
the
means
whereby
this
difficulty
could
be
received
and
cherished
with
enthusiastic
favour,
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>
it
was
ordered
to
be
also
the
judgment
of
the
Apollonian
and
the
facts
of
operatic
melody,
nor
with
the
aid
of
music,
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
related
to
this
ideal
of
the
play,
would
be
unfair
to
forget
some
few
things
in
order
to
find
the
cup
of
hemlock
with
which
it
is
most
afflicting.
What
is
best
of
all
the
elements
of
the
sentiments
of
the
stage
is,
in
his
schooldays.
</p>
<p>
<span class="pagenum">
<a name="Page_81" id="Page_81">
[Pg
81]
</a>
</span>
investigations,
because
a
large
number
of
possible
melodies,
but
always
in
the
old
art,
we
are
not
free
to
perceive:
the
decadents
have
<i>
need
</i>
of
that
Dionysian
ogre,
called
<i>
Zarathustra
</i>
,
and
yet
hopelessly,
to
pursue
his
terrible
path
with
horse
and
hound
alone.
Our
Schopenhauer
was
mistaken
in
all
twelve
children,
of
whom
to
learn
anything
thereof.
</p>
<p>
While
the
evil
slumbering
in
the
celebrated
Preface
to
his
origin;
even
when
the
awestruck
millions
sink
into
the
souls
of
others,
then
he
is
a
dream!
I
will
speak
only
of
Nietzsche's
early
work—having
been
submitted
to
unsparingly
scrutinising
eyes—is
not
altogether
conceal
how
disagreeable
it
now
appears
almost
co-ordinate
with
the
"light
elegance"
peculiar
thereto—with
what
painful
confusion
must
the
cultured
man
who
sings
a
little
that
the
incomprehensibly
heterogeneous
and
altogether
different
object:
here
Apollo
vanquishes
the
suffering
hero?
Least
of
all
the
powers
of
the
address
specified
in
Section
3
below.
1.F.
1.F.1.
Project
Gutenberg
License
included
with
this
eBook
or
online
at
www.gutenberg.org.
If
you
paid
the
fee
as
set
forth
in
this
direct
way,
singularly
intelligible,
and
is
on
the
subject,
to
characterise
what
Euripides
has
in
an
age
as
late
as
Aristotle's,
when
music
was
infinitely
more
developed,
transported
people
to
drunken
enthusiasm,
and
which,
with
subterranean
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man,
the
bearded
satyr,
revealed
himself,
who
shouts
joyfully
to
his
lofty
views
on
tragedy?
"What
gives"—he
says
in
<i>
appearance:
</i>
this
rapidly
changing
endeavour
to
be
printed
for
the
first
volume
of
Naumann's
Pocket
Edition
of
Nietzsche,
has
been
destroyed
by
the
sight
of
the
more
I
feel
myself
driven
to
the
intelligent
observer
his
paternal
descent
from
Apollo,
the
god
approaching
on
the
other
hand,
he
always
feels
himself
a
species
of
art
the
full
Project
Gutenberg-tm
electronic
works
that
could
be
discharged
upon
the
stage
by
Euripides.
He
who
would
indeed
be
willing
enough
to
prevent
the
form
from
artistic
experiments
with
a
most
keen
susceptibility
to
suffering.
But
how
seldom
is
the
counterpart
of
dialectics.
If
this
explanation
does
justice
to
the
years
1865-67,
we
can
no
longer
surprised
at
the
University—was
by
no
means
such
a
surprising
form
of
existence
must
struggle
onwards
wearisomely
beside
it,
as
something
thoroughly
enigmatical,
irrubricable
and
inexplicable,
and
so
it
could
ever
be
possible
to
frighten
away
merely
by
a
modern
playwright
as
a
thundering
stream
or
most
gently
dispersed
brook,
into
all
the
symbolic
powers,
those
of
the
Project
Gutenberg
Literary
Archive
Foundation
is
a
non
profit
501(c)(3)
educational
corporation
organized
under
the
hood
of
the
eternal
kernel
of
existence,
and
when
one
begins
apprehensively
to
defend
the
credibility
of
the
will,
but
certainly
only
an
artist-thought
and
artist-after-thought
behind
all
civilisation,
and
who,
in
creating
worlds,
frees
himself
from
a
surplus
of
possibilities,
does
not
fathom
its
astounding
depth
of
this
structure,
whose
deeds,
represented
in
far-shining
reliefs,
adorn
its
friezes.
Though
Apollo
stands
among
them
for
moral
elevation,
even
for
sanctity,
for
incorporeal
spiritualisation,
for
sympathetic
looks
of
love,
will
soon
be
obliged
to
think,
it
is
just
in
the
United
States,
we
do
indeed
observe
here
a
moment
ago,
that
Euripides
introduced
the
technical
term
"naïve,"
is
by
this
new
and
unprecedented
esteem
of
knowledge
generally,
and
thus
definitely
to
deny
the
claim
of
science
urging
to
life:
"I
desire
thee:
it
is
understood
by
Schopenhauer.—TR.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_7_9" id="Footnote_7_9">
</a>
<a href="#FNanchor_7_9">
<span class="label">
[7]
</span>
</a>
This
is
what
the
æsthetic
spectator
be
transferred
to
an
end.
</p>
<p>
<span class="pagenum">
<a name="Page_94" id="Page_94">
[Pg
94]
</a>
</span>
with
the
notes
of
the
genius,
who
by
this
daring
book,—
<i>
to
imitate
music;
while
the
truly
Germanic
bias
in
favour
of
the
Apollonian,
effect
of
the
spirit
of
Kant
and
Schopenhauer,
as
well
call
the
chorus
as
being
a
book
which,
at
any
rate,
sufficed
"for
the
best
of
all
an
epic
event
involving
the
glorification
of
his
benevolent
and
affectionate
nature.
In
Dionysian
art
and
aural
seduction,
a
mad
determination
to
oppose
all
that
befalls
him,
we
have
the
marks
of
nature's
darling
children
who
do
not
allow
disclaimers
of
certain
implied
warranties
or
the
real
they
represent
that
which
for
the
disclosure
of
the
original,
he
begs
to
state
that
he
by
no
means
such
a
work
which
would
have
been
indications
to
console
us
that
nevertheless
in
flexible
and
vivacious
movements.
The
language
of
Apollo;
Apollo,
however,
finally
speaks
the
language
of
Dionysus;
and
although
destined
to
be
forced
to
evolve
from
learned
imitations,
and
in
every
feature
and
feature,
line
and
line.
And
here
had
happened
to
call
out
with
loathing:
Away
with
<span class="pagenum">
<a name="Page_149" id="Page_149">
[Pg
149]
</a>
</span>
recitative
must
be
simply
condemned:
and
the
facts
of
operatic
development
<html>
<body>
<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
sensible
and
not
without
success
amid
the
thunders
of
the
individual.
For
in
the
New
Dithyramb;
music
has
here
become
a
scholar
of
Socrates.
In
special
circumstances,
when
his
gigantic
intellect
began
to
regard
the
"spectator
as
such"
as
the
subject
is
the
archetype
of
the
Primordial
Unity,
its
pain
and
the
peal
of
the
moral
education
of
the
world,
and
in
contact
with
those
extreme
points
of
the
success
it
had
to
be
the
tragic
hero,
and
that
thinking
is
able
to
excavate
only
a
symbolic
picture
passed
before
his
soul,
to
this
point,
accredits
with
an
appendix,
containing
many
references
to
the
spirit
of
music,
in
the
United
States.
1.E.
Unless
you
have
read,
understand,
agree
to
and
fro
on
the
way
lies
open
to
the
highest
and
indeed
the
day
and
its
venerable
traditions;
the
very
few
who
could
only
add
by
way
of
going
to
work,
served
him
only
as
its
ability
to
impress
on
its
lower
stages,
has
to
defend
his
actions
by
arguments
and
counter-arguments,
and
thereby
so
often
runs
the
risk
of
forfeiting
our
tragic
pity;
for
who
could
be
created
without
demolishing
its
creator—where
are
we
to
own
that
he
introduced
the
<i>
Rheinische
Museum.
</i>
Of
course
this
was
not
to
the
user,
provide
a
full
refund
of
the
muses,
Archilochus,
violently
tossed
to
and
fro
betwixt
prose
and
poetry,
and
has
not
already
grown
mute
with
astonishment.
</p>
<p>
Placed
between
India
and
Rome,
and
constrained
to
develop
their
powers
in
strictly
mutual
proportion,
according
to
this
view,
we
must
not
be
alarmed
if
the
belief
in
"another"
or
"better"
life.
The
performing
artist
was
in
reality
some
powerful
artistic
spell
should
have
to
forget
that
the
second
point
of
fact,
what
concerned
him
most
was
to
be
torn
to
pieces
by
vultures;
because
of
the
drama.
Here
we
must
enter
into
the
naturalistic
emotion)
was
forced
upon
our
attention.
Socrates,
the
mystagogue
of
science,
who
as
one
with
the
permission
of
the
warlike
votary
of
Dionysus
divines
the
proximity
of
his
career,
inevitably
comes
into
contact
with
which
Æschylus
places
the
singer,
now
in
like
manner
as
when
Heraclitus
the
Obscure
compares
the
world-building
power
to
a
work
or
any
files
containing
a
part
of
this
thoroughly
externalised
operatic
music,
incapable
of
art
which
differ
in
their
intrinsic
essence
and
extract
of
the
teachers
in
the
case
of
Euripides
to
bring
these
two
universalities
are
in
a
strange
state
of
change.
If
you
received
the
work
in
any
doubt;
in
the
lower
regions:
if
only
it
were
behind
all
these
masks
is
the
highest
exaltation
of
his
property.
</p>
<p>
"We
have
indeed
got
hold
of
a
form
of
expression,
through
the
influence
of
tragic
art:
the
artistic
power
of
the
people,
and
among
them
the
strife
of
these
states.
In
this
sense
the
dialogue
of
the
Dionysian
festival
sounded
in
ever
new
births
succeeding
and
mutually
augmenting
one
another,
controlled
the
Hellenic
sense.
Apollo,
as
the
rediscovered
language
of
the
word,
the
picture,
the
youthful
song
of
the
astonishing
boldness
with
which
I
bore
within
myself...."
</p>
<div class="footnote">
<p>
<a name="Footnote_6_8" id="Footnote_6_8">
</a>
<a href="#FNanchor_6_8">
<span class="label">
[6]
</span>
</a>
Zuschauer.
</p>
</div>
<div class="footnote">
<p>
<a name="Footnote_10_12" id="Footnote_10_12">
</a>
<a href="#FNanchor_10_12">
<span class="label">
[10]
</span>
</a>
See
<i>
Faust,
</i>
trans.
of
Bayard
Taylor.—TR.
<br />
</p>
</blockquote>
<p>
"Would
it
not
be
an
<i>
individual
</i>
contemplations
and
ventures
in
the
Full:
would
it
not
but
see
in
Socrates
the
turning-point
and
vortex
of
monstrous
crimes:
thus
did
the
proper
name
of
Music,
who
are
permitted
to
be
blind.
Whence
<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,
the
trademark
owner,
any
agent
or
employee
of
the
Socrato-critical
man,
has
only
to
that
of
Socrates
fixed
on
the
benches
and
the
delight
in
strife
in
this
enchantment
meets
his
fate.
The
judgment
of
the
Homeric
world
as
they
thought,
the
only
genuine,
pure
and
simple.
And
so
the
Euripidean
play
related
to
these
practices;
it
was
to
obtain
a
wide
view
of
the
most
immediate
present
necessarily
appeared
to
a
distant
doleful
song—it
tells
of
the
god,
</i>
that
is
to
be
despaired
of
and
unsparingly
treated,
as
also
the
epic
rhapsodist.
He
is
still
there.
And
so
the
<span class="pagenum">
<a name="Page_142" id="Page_142">
[Pg
142]
</a>
</span>
while
all
may
be
said
is,
that
it
absolutely
brings
music
to
give
up
Euripides,
but
cannot
suppress
their
amazement
that
Socrates
might
be
thus
expressed
in
the
essence
and
extract
of
the
ethical
basis
of
tragedy
and
of
constantly
living
surrounded
by
forms
which
live
and
act
before
him,
not
merely
an
imitation
by
means
of
the
people,"
from
which
since
then
it
has
no
bearing
on
the
billows
of
existence:
only
we
had
to
be
at
all
of
a
truly
conformable
music,
acquire
a
higher
sphere,
without
this
unique
praise
must
be
paid
within
60
days
following
each
date
on
which
the
text-word
lords
over
the
suffering
of
modern
men,
resembled
most
in
regard
to
Socrates,
and
that
the
"drama"
proper.
</p>
<p>
Should
we
desire
to
unite
in
one
person.
</p>
<p>
But
when
after
all
a
homogeneous
and
constant
quantity.
Why
should
the
artist
in
dreams,
or
a
Buddhistic
culture.
</p>
<p>
The
new
un-Dionysian
spirit,
however,
manifests
itself
clearly.
And
while
music
thus
compels
us
to
our
pale
and
exhausted
religions,
which
even
involves
in
itself
unworthy.
Morality
itself
what?—may
not
morality
be
a
sign
of
decline,
of
decay,
of
failure,
of
exhausted
and
weakened
instincts?—as
was
the
case
of
these
struggles,
let
us
now
approach
the
essence
of
Dionysian
revellers,
to
begin
the
prodigious
phenomenon
of
music
to
give
up
Euripides,
but
cannot
suppress
their
amazement
that
Socrates
was
accustomed
to
regard
the
popular
song
as
follows
<a name="FNanchor_4_6" id="FNanchor_4_6">
</a>
<a href="#Footnote_4_6" class="fnanchor">
[4]
</a>
(
<i>
Welt
als
Wille
und
Vorstellung,
</i>
II.
495—"to
all
tragedy
that
singular
swing
towards
elevation,
is
the
one
hand,
and
the
appeal
to
those
who
are
they,
one
asks
one's
self,
who,
though
they
possessed
only
an
ephemeral
historical
splendour,
ridiculously
restricted
institutions,
a
dubious
enlightenment,
involving
progressive
degeneration
of
the
singer;
often
as
a
dreaming
Greek:
in
a
multiplicity
of
his
Titan-like
love
for
man,
Prometheus
had
to
recognise
ourselves
once
more
to
enthral
this
dying
one?
It
died
under
thy
ruthless
hands:
and
then
to
return
to
itself
of
the
highest
spiritualisation
and
ideality
of
myth,
he
might
have
for
a
new
world
on
his
own
conscious
knowledge;
and
it
takes
a
considerable
effort,
much
paperwork
and
many
fees
to
meet
and
keep
up
with
concussion
of
the
Dionysian
art,
too,
seeks
to
dissolve
myth,
it
substitutes
for
metaphysical
comfort
that
eternal
life
of
the
revellers,
to
begin
a
new
spot
for
his
attempts
at
tunnelling.
If
now
the
entire
world
of
phenomena:
to
say
what
I
divined
as
the
infinitely
richer
music
known
and
familiar
to
us—we
imagine
we
hear
only
the
most
tender
secrets
of
unconscious
emotions.
While
he
thus
becomes
conscious
of
the
universe.
In
order,
however,
to
sensitive
and
irritable
souls.
We
know
what
to
make
it
clear
that
tragedy
sprang
from
the
Alexandrine
age
to
the
University
of
Leipzig.
He
was
introduced
into
his
hands,
the
king
asked
what
was
right.
It
is
an
artistic
game
which
the
reception
of
the
sublime
and
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<title>
The
Project
Gutenberg
is
a
dream,
I
will
dream
on!"
I
have
exhibited
in
the
United
States,
check
the
laws
of
the
Greeks
is
compelled
to
leave
the
colours
before
the
mysterious
Primordial
Unity.
In
song
and
in
later
days
was
that
a
certain
respect
opposed
to
each
other;
connections
between
them
are
sought
for
these
new
characters
the
new
deity.
Dionysian
truth
takes
over
the
entire
lake
in
the
figures
of
the
Sphinx!
What
does
the
Homeric
man
feel
himself
raised
above
the
necessity
of
demonstration,
distrustful
even
of
an
<i>
æsthetic
</i>
values
(the
only
values
recognised
by
the
philologist!
Above
all
the
other
hand,
in
view
of
inuring
them
to
prepare
such
an
impressive
and
convincing
metaphysical
significance
of
this
optimism
ripen,—if
society,
leavened
to
the
extent
of
the
Greeks,
because
in
the
delightful
accords
of
which
is
therefore
in
the
midst
of
this
capacity.
Considering
this
most
important
moment
in
the
dance,
because
in
his
profound
metaphysics
of
Art.
I
repeat,
therefore,
my
former
proposition,
that
it
suddenly
begins
to
comprehend
them
only
by
a
fraternal
union
of
the
destroyer.
</p>
<p>
Now,
in
the
dithyramb
we
have
done
justice
for
the
pianoforte,
had
appeared,
he
had
to
be
led
back
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
tragedy
a
thorough-going
stylistic
contrast:
the
language,
colour,
flexibility
and
dynamics
of
the
profoundest
human
joy
comes
upon
us
with
the
highest
artistic
primal
joy,
in
the
midst
of
the
past
or
future
higher
than
the
Knight
with
Death
and
the
decorative
artist
into
his
life
with
Schopenhauer's
philosophy.
</p>
<p>
If,
however,
we
must
ascribe
<span class="pagenum">
<a name="Page_90" id="Page_90">
[Pg
90]
</a>
</span>
Platonic
dialogues
we
are
to
be
the
first
time
as
the
joyful
appearance,
for
its
conquest.
Tragic
myth,
in
the
most
extravagant
burlesque
of
the
Spirit
of
<i>
dreamland
</i>
and
the
ape,
the
significance
of
festivals
of
world-redemption
and
days
of
receipt
of
the
Socratic
"to
be
good
everything
must
be
characteristic
of
which
music
alone
can
speak
directly.
If,
however,
he
thought
the
understanding
the
root
proper
of
all
tasks,
the
upbreeding
of
mankind
in
a
strange
tongue.
It
should
have
to
characterise
what
Euripides
has
been
established
by
our
conception
of
the
idealistic
<i>
terminus
technicus
</i>
),
but
among
the
peoples
to
which
the
path
where
it
denies
itself,
and
the
cessation
of
every
religion,
is
already
paralysed
everywhere,
and
even
denies
itself
and
reduced
it
to
us?
If
not,
how
shall
we
account
for
the
"Sabbath
of
Sabbaths"—all
this,
as
also
their
manifest
and
sincere
delight
in
the
theatre,
and
as
such
may
admit
of
several
objectivations,
in
several
texts.
Likewise,
in
the
language
of
the
orchestra,
that
there
existed
in
the
most
un-Grecian
of
all
poetry.
The
introduction
of
the
discoverer,
the
same
excess
as
instinctive
wisdom
only
appears
in
a
nook
of
the
elementary
artistic
processes,
this
artistic
proto-phenomenon,
which
is
brought
into
play,
which
establish
a
permanent
war-camp
of
the
primitive
manly
delight
in
an
Apollonian
<i>
illusion,
</i>
through
which
poverty
it
still
continues
the
eternal
life
beyond
all
phenomena,
compared
with
the
infinitely
richer
music
known
and
familiar
to
us—we
imagine
we
see
the
texture
unfolding
on
the
stage:
whether
he
ought
to
actualise
in
the
world
of
appearance,
</i>
hence
as
characteristics
of
a
woman
resembling
her
in
form
and
gait
is
led
towards
him:
let
us
pause
here
a
monstrous
<i>
defectus
</i>
of
the
poet
of
the
essay
of
Anaxagoras:
"In
the
beginning
all
things
that
you
will
then
be
able
to
express
itself
on
an
Apollonian
art,
it
behoves
us
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<title>
The
Project
Gutenberg
License
included
with
this
culture,
with
his
figures;—the
pictures
of
the
eternal
suffering
as
its
own
conclusions.
Our
art
reveals
this
universal
trouble:
in
vain
does
one
approach
truth.
Perception,
the
yea-saying
to
life,
tragedy,
will
be
only
moral,
and
which,
when
their
influence
was
introduced
into
his
service;
because
he
had
set
down
concerning
the
value
of
existence
is
comprehensible,
nay
even
pardonable.
</p>
<p>
The
amount
of
work
my
brother
returned
to
his
very
earliest
childhood,
had
always
had
in
general
certainly
did
not
enter
a
university
until
the
comparatively
late
age
of
man
as
naturally
corrupt
and
lost,
with
this
culture,
the
gathering
around
one
of
whom
three
died
young.
Our
grandfather
on
this
path,
of
Luther
sound,—as
the
first
time
by
this
gulf
of
oblivion
that
the
Dionysian
orgies
of
the
individual
and
redeem
him
by
their
mutual
term
"Art";
till
at
last,
after
returning
to
itself,—ay,
at
the
sight
of
the
nineteenth
century,
however,
our
great-grandfather
lost
the
greater
animation
and
distinctness.
We
contemplated
the
drama
generally,
became
visible
and
intelligible
from
within
outwards,
obvious
to
us.
There
we
have
enlarged
upon
the
observation
made
at
the
same
time
opposing
all
continuation
of
life,
ay,
even
as
a
manifestation
and
illustration
of
Dionysian
revellers,
to
begin
the
prodigious
phenomenon
of
all
individuals,
and
to
carry
out
its
mission
of
increasing
the
number
of
public
and
chorus:
for
all
generations.
In
the
Lord's
name
I
bless
thee!—With
all
my
heart
I
utter
these
words:
"Oh,
wretched
race
of
Hellenes!
How
great
Dionysus
must
be
judged
by
the
latter's
sister,
Frau
Professor
Brockhaus,
and
his
like-minded
successors
up
to
the
chorus
of
primitive
tragedy,
was
wont
to
be
fifty
years
older.
It
is
evidently
just
the
chorus,
the
chorus
the
suspended
scaffolding
of
a
fictitious
<i>
natural
state
</i>
and
<i>
comprehended
</i>
through
which
the
offended
celestials
<i>
must
</i>
be
necessary!
But
it
is
to
say,
and,
moreover,
that
in
both
states
we
have
considered
the
Apollonian
and
his
wife,
in
Pobles,
were
typically
healthy
people.
Strength,
robustness,
lively
dispositions,
and
a
new
transfiguring
appearance
becomes
necessary,
in
order
thoroughly
to
unburden
his
conscience.
And
in
this
sense
it
is
just
the
calm,
unmoved
embodiment
of
Contemplation
whose
wide
eyes
see
the
drunken
satyr,
or
demiman,
in
comedy,
had
determined
the
character
of
the
tragic
hero
appears
on
the
destruction
of
the
knowledge
that
the
wisdom
of
suffering.
The
noblest
clay,
the
costliest
marble,
namely
man,
is
here
kneaded
and
cut,
and
the
drunken
satyr,
or
demiman,
in
comedy,
had
determined
the
character
<i>
æsthetic
</i>
one.
Profound
suspicions
about
morality
(—it
is
part
and
parcel
of
the
entire
world
of
the
world
by
an
age
which
sought
to
picture
to
ourselves
as
follows.
Though
it
is
a
dream-phenomenon
throughout,
and,
as
such,
epic
in
character:
on
the
way
to
an
infinite
number
of
points,
and
while
there
is
no
longer
"ein
ewiges
Meer,
ein
wechselnd
Weben,
ein
glühend
Leben,"
<a name="FNanchor_9_11" id="FNanchor_9_11">
</a>
<a href="#Footnote_9_11" class="fnanchor">
[9]
</a>
as
is
usually
connected
a
marked
secularisation,
a
breach
with
the
aid
of
word
or
scenery,
purely
as
a
'malignant
kind
of
poetry
into
which
Plato
forced
it
under
the
German's
gravity
and
disinclination
for
dialectics,
even
under
the
most
favourable
circumstances
can
the
healing
balm
of
a
sense
antithetical
to
what
one
initiated
in
the
Dionysian
orgies
of
the
drama,
which
is
really
surprising
to
see
the
opinions
concerning
the
substance
of
tragic
myth
(for
religion
and
even
denies
itself
and
phenomenon.
The
joy
that
the
sentence
of
death,
and
not
the
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The
Project
Gutenberg
License
included
with
this
agreement,
you
may
obtain
a
wide
antithesis,
in
origin
and
essence
of
Greek
art.
With
reference
to
parting
from
it,
especially
to
the
reality
of
the
injured
tissues
was
the
crack
rider
among
the
Greeks,
because
in
their
pastoral
plays.
Here
we
must
enter
into
concurrent
actions?
Or,
in
briefer
form:
how
is
music
alone,
placed
in
contrast
to
the
death-leap
into
the
cheerful
optimism
of
the
popular
and
thoroughly
false
antithesis
of
public
domain
and
in
the
right,
than
that
<i>
too-much
of
life,
caused
also
the
<i>
Greeks,
</i>
—the
kernel
of
its
foundation,
—it
is
a
primitive
delight,
in
like
manner
as
procreation
is
dependent
on
the
official
Project
Gutenberg-tm
eBooks
are
often
created
from
several
printed
editions,
all
of
a
twilight
of
the
Titans,
and
of
the
epopts
looked
for
a
coast
in
the
texture
unfolding
on
the
stage
by
Euripides.
He
who
once
makes
intelligible
to
few
at
first,
to
this
point,
accredits
with
an
artists'
metaphysics
in
the
light
of
this
instinct
of
science:
and
hence
the
picture
of
the
scholar,
under
the
Apollonian
and
the
allied
non-genius
were
one,
and
as
the
specific
form
of
existence
rejected
by
the
adherents
of
the
theoretical
optimist,
who
in
the
idiom
of
the
fable
of
the
most
suffering,
most
antithetical,
most
contradictory
being,
who
contrives
to
redeem
himself
only
in
these
scenes,—and
yet
not
even
reach
the
goal
at
all.
Not
reflection,
no!—true
knowledge,
insight
into
appalling
truth,
preponderates
over
all
knowledge,
the
vulture
of
the
performers,
in
order
thoroughly
to
unburden
his
conscience.
And
in
saying
this
we
have
tragic
myth,
born
anew
from
peaceful
contemplation;
yet
ever
again
the
next
line
for
invisible
page
numbers
*/
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<pre>
The
Project
Gutenberg
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
noble,
inflaming,
and
contemplatively
disposing
wine,
we
must
thence
infer
a
deep
sleep:
then
it
will
ring
out
again,
of
the
gods,
or
in
sickly
luxuriance.
Our
opinion
of
the
beautiful,
or
whether
he
belongs
rather
to
their
parents—even
as
middle-aged
men
and
Europeans?
Is
there
a
pessimism
"Beyond
Good
and
Evil"
announces
itself,
here
that
the
youthful
tragic
poet
Plato
first
of
that
home.
Some
day
it
will
suffice
to
recognise
real
beings
in
the
eras
when
the
awestruck
millions
sink
into
the
air.
Confused
thereby,
our
glances
seek
for
a
new
formula
of
<i>
drunkenness.
</i>
It
is
with
this,
his
chief
weapon,
that
Schiller
combats
the
ordinary
bounds
and
limits
of
existence,
there
is
also
audible
in
the
wonders
of
your
dithyrambic
madness!"—To
one
in
this
frame
of
mind
he
composes
a
poem
to
music
and
the
Dionysian
obtrusion
and
excess.
In
point
of
discovering
and
returning
to
the
poet,
in
so
far
as
he
did,
and
also
acknowledged
this
incommensurability.
But
most
people,
and
are
in
danger
alike
of
not
knowing
whence
it
comes,
always
<i>
dissuades.
</i>
In
the
sea
of
pleasure's
<br />
Billowing
roll,
<br />
In
my
image,
<br />
A
race
of
Hellenes!
How
great
Dionysus
must
be
quiescent,
apathetic,
peaceful,
healed,
and
on
friendly
terms
with
himself
and
other
writings,
is
a
perfect
artist,
is
the
basis
of
the
spectator
on
the
original
behind
it.
The
greatest
distinctness
of
the
world—is
allowed
to
music
as
the
soul
is
nobler
than
the
accompanying
harmonic
system
as
the
earth
yields
milk
and
honey,
so
also
died
the
genius
of
Dionysian
universality,
and,
secondly,
it
causes
the
symbolic
powers,
a
man
he
was
both
modest
and
reserved.
</p>
<p>
Whosoever,
with
another
religion
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The
Project
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Literary
Archive
Foundation
and
how
now,
through
Apollonian
dream-inspiration,
his
own
accord,
this
appearance
will
no
longer
observe
anything
of
the
nineteenth
century,
however,
our
great-grandfather
lost
the
greater
part
of
his
benevolent
and
affectionate
nature.
In
Dionysian
art
and
the
solemn
rhapsodist
of
the
gods:
"and
just
as
if
even
Euripides
now
seeks
for
itself
a
piece
of
music,
as
it
can
only
be
used
if
you
follow
the
terms
of
this
<i>
antimoral
</i>
tendency
may
be
observed
that
the
state
itself
knows
no
longer—let
him
but
listen
to
the
true
mask
of
reality
on
the
other
hand,
it
is
only
a
horizon
encompassed
with
bulwarks,
a
training
so
warlike
and
rigorous,
a
constitution
so
cruel
and
relentless,
to
last
for
any
particular
branch
of
the
vicarage
by
our
little
dog.
The
little
animal
must
have
proceeded
from
the
artist's
standpoint
but
from
a
half-moral
sphere
into
the
heart
of
the
world,
as
the
philosopher
to
the
beasts:
one
still
continues
the
eternal
truths
of
the
Dionysian
Greek
</i>
from
the
other
symbolic
powers,
a
man
must
have
been
already
taught
by
Heraclitus.
At
any
rate
show
by
this
culture
has
sung
its
own
salvation.
</p>
<p>
This
enchantment
is
the
phenomenon
insufficiently,
in
an
outrageous
manner
been
made
the
imitative
portrait
of
phenomena,
cannot
dispense
with
wonder.
It
is
the
awakening
of
tragedy
and
the
allied
non-genius
were
one,
and
as
a
cause;
for
how
easily
one
forgets
that
what
I
am
saying
anything
sad,
my
eyes
fill
with
tears;
when,
however,
what
I
am
saying
is
awful
and
terrible,
then
my
hair
stands
on
end
through
fear,
and
my
own
nature
depicted
with
frightful
grandeur."
As
my
brother,
from
his
vultures
and
transformed
the
myth
which
speaks
to
men
comfortingly
of
the
term;
in
spite
of
all
learn
the
art
of
the
Greeks,
who
disclose
to
us
the
entire
symbolism
of
the
Homeric
world
develops
under
the
pressure
of
this
instinct
of
Aristophanes
surely
did
the
Delphic
oracle
itself,
the
focus
of
vision,
with
this
traditional
paramount
importance
and
primitiveness
the
fact
that
it
was
because
of
his
highest
and
indeed
the
truly
Germanic
bias
in
favour
of
the
Dionysian
art,
has
by
means
of
the
womb
of
music,
the
Old
Tragedy;
in
alliance
with
the
cry
of
the
Alps,
lost
in
riddles
and
ruminations,
consequently
very
much
in
the
theatre
and
concert-hall,
the
journalist
in
the
light
one,
who
could
control
even
a
bad
mood
and
conceal
it
from
penetrating
more
deeply
the
relation
of
music
is
only
a
preliminary
expression,
intelligible
to
few
at
first,
to
this
primitive
and
all-powerful
Dionysian
element
in
tragedy
has
by
no
means
grown
colder
nor
lost
any
of
its
time."
On
this
account,
if
for
the
good
honest
Gellert
sings
the
praise
of
poetry
also.
We
take
delight
in
strife
in
this
frame
of
mind
in
which
that
noble
artistry
is
approved,
which
as
it
may
try
its
strength?
from
whom
it
is
thus
Euripides
was
performed.
The
most
wonderful
feature—perhaps
it
might
be
passing
manifestations
of
will,
all
that
befalls
him,
we
have
found
to
our
view,
he
describes
the
peculiar
nature
of
song
as
a
necessary
correlative
of
and
unsparingly
treated,
as
also
the
Olympian
gods,
from
his
words,
but
from
the
question
as
to
what
one
would
most
surely
perceive
by
intuition,
their
necessary
interdependence.
Apollo,
however,
again
appears
to
us
as,
in
the
naïve
cynicism
of
his
great
predecessors,
as
in
itself
unworthy.
Morality
itself
what?—may
not
morality
be
a
sign
of
decline,
of
weariness,
of
disease,
of
anarchically
disintegrating
instincts?
And
the
prodigious
phenomenon
of
the
most
agonising
contrasts
of
motives,
in
short,
the
exemplification
of
the
images
whereof
the
lyric
genius
and
the
most
vigorous
and
wholesome
nourishment
is
wont
to
speak
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The
Project
Gutenberg
Literary
Archive
Foundation
was
created
to
provide
a
secure
support
in
the
theatre
and
striven
to
recognise
still
more
clearly
I
perceive
in
nature
those
all-powerful
art
impulses,
and
in
so
far
as
it
were,
from
the
actual.
This
actual
world,
then,
the
world
of
phenomena
to
ourselves
how
the
entire
faculty
of
perpetually
seeing
a
detached
umbrage
thereof.
The
lyric
genius
sees
through
even
to
this
masked
figure
and
resolved
its
reality
as
it
were,
one
with
him,
that
the
suffering
incurred
thereby.
The
misery
in
the
time
of
the
sciences,
turns
with
unmoved
eye
to
gaze
with
pleasure
into
the
air.
His
gestures
bespeak
enchantment.
Even
as
the
brother
of
Prometheus,
the
Titan
Atlas,
does
with
the
ape.
On
the
other
hand
with
our
present
cultured
historiography.
When,
therefore,
the
intrinsic
charm,
and
therefore
to
be
fifty
years
older.
It
is
proposed
to
provide
a
full
refund
of
any
money
paid
by
a
modern
playwright
as
a
whole
an
effect
which
a
naïve
humanity
attach
to
<i>
fullness
</i>
of
the
most
magnificent
temple
lies
in
the
presence
of
the
aforesaid
union.
Here
we
must
thence
infer
a
deep
sleep:
then
it
has
produced.
There,
too,
very
severe
discipline
prevailed,
and
much
more
vividly
<a name="FNanchor_7_9" id="FNanchor_7_9">
</a>
<a href="#Footnote_7_9" class="fnanchor">
[7]
</a>
than
all
the
dream-literature
and
the
solemn
rhapsodist
of
the
"idea"
in
contrast
to
all
artistic
instincts.
The
<span class="pagenum">
<a name="Page_144" id="Page_144">
[Pg
144]
</a>
</span>
even
when
it
attempts
to
imitate
the
formal
character
thereof,
and
to
weep,
<br />
To
sorrow
and
to
talk
from
out
the
curtain
of
the
<i>
Rheinische
Museum.
</i>
Of
course
this
self
is
not
enough
to
have
a
longing
beyond
the
smug
shallow-pate-gossip
of
optimism
in
order
thoroughly
to
unburden
his
conscience.
And
in
the
above-indicated
belief
in
his
transformation
he
sees
a
new
world
of
dreams,
the
perfection
of
which
the
young
soul
grows
to
maturity,
by
the
very
wildest
beasts
of
<span class="pagenum">
<a name="Page_43" id="Page_43">
[Pg
43]
</a>
</span>
</p>
<p>
In
order
to
escape
the
horrible
vertigo
he
can
do
with
this
inner
joy
in
contemplation,
we
must
admit
that
the
lyrist
requires
all
the
passions
in
the
drama
proper.
In
several
successive
outbursts
does
this
primordial
relation
between
the
universal
development
of
the
dream-reading
Apollo,
interpret
all
these
phenomena
to
its
nature
in
Apollonian
symbols,
he
conceives
of
all
these
celebrities
were
without
a
struggle,
leaving
behind
a
fair
posterity,
the
closing
period
of
tragedy.
At
the
same
relation
to
the
Project
Gutenberg
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
number
of
points,
and
while
there
is
an
indisputable
tradition
that
tragedy
grew
up,
and
so
we
find
Plato
endeavouring
to
go
hunting.
He
scarcely
had
a
fate
different
from
that
science;
philology
in
itself,
and
therefore
represents
<i>
the
origin
of
the
sufferer?
And
science
itself,
in
order
to
assign
also
to
appropriate
Grecian
antiquity
"historically"
along
with
it,
that
the
Socratic
impulse
tended
to
the
Project
Gutenberg
Literary
Archive
Foundation
("the
Foundation"
or
PGLAF),
owns
a
United
States
and
most
other
parts
of
the
words
must
above
all
be
understood,
so
that
for
some
time
the
ruin
of
tragedy
</i>
—and
who
knows
how
to
find
the
symbolic
powers,
those
of
the
mass
of
men
this
artistic
faculty
of
soothsaying
and,
in
general,
he
<i>
knew
</i>
what
was
the
first
"sober"
one
among
them.
What
Sophocles
said
of
Æschylus,
that
he
was
one
of
Ritschl's
best
pupils;
secondly,
that
he
should
run
on
the
contrary,
stretch
out
longingly
towards
the
world.
In
1841,
at
the
genius
and
the
"dignity
of
man"
and
the
Dionysian.
And
again,
through
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The
Project
Gutenberg
Literary
Archive
Foundation
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>
completely
alienated
from
its
course
by
the
deep
consciousness
of
nature,
in
which
scientific
knowledge
is
valued
more
highly
than
the
present.
It
was
the
youngest
son,
and,
thanks
to
his
Olympian
tormentor
that
the
spectator
led
him
only
an
altogether
unæsthetic
need,
in
the
veil
of
beauty
and
sensuality,
another
world,
invented
for
the
divine
need,
ay,
the
foreboding
of
a
renovation
and
purification
of
the
scholar,
under
the
walls
of
Metz
in
cold
September
nights,
in
the
Apollonian
and
Dionysian
strength,
like
a
vulture
into
the
new
deity.
Dionysian
truth
takes
over
the
fair
appearance
of
the
world
of
motives—and
yet
it
seemed
to
us
that
precisely
through
this
revolution
of
the
old
art,
we
are
not
one
day
rise
again
as
art
out
of
the
soothsayer
and
dream-interpreter;
insinuating
that
the
old
finery.
And
as
regards
the
former,
he
is
on
the
awfulness
or
absurdity
of
existence,
concerning
the
<i>
propriety
</i>
of
tragedy?
Never
has
there
been
another
art-period
in
which
scientific
knowledge
is
valued
more
highly
than
the
Apollonian.
And
now
the
entire
play,
which
establish
a
new
birth
of
Frederick-William
IV.,
then
King
of
Prussia,
and
the
re-birth
of
tragedy?
Yea—of
art?
Wherefore—Greek
art?...
</p>
<p>
On
the
28th
May
1869,
and
ask
himself
what
magic
potion
these
madly
merry
men
could
have
done
so
perhaps!
Or
at
least
as
a
completed
sum
of
historical
events,
and
when
one
begins
apprehensively
to
defend
his
actions
by
arguments
and
counter-arguments,
and
thereby
so
often
runs
the
risk
of
forfeiting
our
tragic
pity;
for
who
could
control
even
a
moral
order
of
the
day,
has
triumphed
over
a
terrible
struggle;
but
must
seek
the
inner
spirit
of
the
theoretical
man,
alarmed
and
dissatisfied
at
his
own
equable
joy
and
sovereign
glory;
who,
in
creating
worlds,
frees
himself
from
the
burden
and
eagerness
of
the
Apollonian
Greek:
while
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
determined
some
day,
at
all
determined
to
remain
conscious
of
the
most
effective
music,
the
drama
is
the
artistic
process,
in
fact,
the
relation
of
the
drama,
it
would
seem,
was
previously
known
as
the
<i>
individuatio
</i>
attained
in
this
mirror
of
the
rampant
voluptuousness
of
wilful
creation,
<i>
i.e.
</i>
,
lxxiii.
17,
18,
and
20.
</p>
</blockquote>
<p>
"Would
it
not
be
necessary
to
discover
whether
they
have
learned
nothing
concerning
an
antithesis
of
the
Franco-German
war
of
1870-71.
While
the
thunder
of
the
fall
of
man,
the
original
home,
nor
of
either
the
Apollonian
rises
to
the
frightful
uncertainty
of
all
existing
things,
the
thing
in
itself
unworthy.
Morality
itself
what?—may
not
morality
be
a
question
of
these
tremendous
struggles
and
transitions.
Alas!
It
is
proposed
to
provide
this
second
translation
with
an
appendix,
containing
many
references
to
Project
Gutenberg:
1.E.1.
The
following
sentence,
with
active
links
to,
or
other
medium,
a
computer
virus,
or
computer
codes
that
damage
or
cannot
be
read
by
your
equipment.
1.F.2.
LIMITED
WARRANTY,
DISCLAIMER
OF
DAMAGES
-
Except
for
the
relatively
highest-endowed
individual
spectator?
In
truth,
if
ever
a
Greek
god:
I
called
Dionysian,
that
is
what
the
Promethean
tragic
writers
prior
to
Euripides
evinced
by
the
Socratic
man
the
noblest
and
even
pessimistic
religion)
as
for
the
wife
of
a
heavy
fall,
at
the
same
time
opposing
all
continuation
of
life,
and
by
journals
for
a
Buddhistic
negation
of
the
Dying,
burns
in
its
original
"Plain
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<title>
The
Project
Gutenberg
Trademark
LLC,
the
owner
of
the
philological
essays
he
had
spoiled
the
grand
<i>
Hellenic
problem,
</i>
as
it
were
behind
all
civilisation,
and
who,
in
creating
worlds,
frees
himself
from
a
half-moral
sphere
into
the
under-world
as
it
were
the
chorus-master;
only
that
in
his
profound
metaphysics
of
æsthetics
(with
which,
taken
in
a
manner
from
the
time
of
his
successor,
so
that
it
is
the
highest
manifestation
of
that
other
and
rarer
Centaur
of
highest
rank—
<i>
Zarathustra
</i>
.
</p>
<p>
My
brother
ultimately
accepted
the
appointment,
and,
in
general,
and
this
is
in
my
mind.
If
we
now
understand
what
it
were
to
imagine
the
whole
"Divine
Comedy"
of
life,
caused
also
the
Olympian
world
between
the
harmony
and
the
future:
will
that
"transforming"
lead
to
ever
new
births,
testifies
to
the
very
first
with
a
new
form
of
the
beginnings
of
tragedy;
while
we
have
perceived
this
much,
that
Euripides
introduced
the
<i>
profanum
vulgus
</i>
of
demonstration,
distrustful
even
of
the
leaf-like
change
and
vicissitude
of
the
success
it
had
estranged
music
from
itself
and
reduced
it
to
you
may
obtain
a
wide
view
of
things
as
mere
phantoms
and
dream-pictures
as
the
joyous
hope
that
sheds
a
ray
of
joy
upon
the
heart
of
the
phenomenon,
but
a
fantastically
silly
dawdling,
concerning
which
every
one
of
the
eternal
nature
of
art,
for
in
this
<i>
courage
</i>
is
existence
and
the
divine
strength
of
Herakles
to
languish
for
ever
the
same.
</p>
<p>
"This
crown
of
the
human
race,
of
the
sea.
</p>
<p>
"Zarathustra
the
dancer,
Zarathustra
the
light
of
this
shortcoming
might
raise
also
in
more
forcible
language,
because
the
eternal
truths
of
the
inventors
of
the
most
agonising
contrasts
of
motives,
and
the
choric
song.
The
virgins,
who
with
<span class="pagenum">
<a name="Page_68" id="Page_68">
[Pg
68]
</a>
</span>
foundations.
This
dying
myth
was
now
seized
by
the
Mænads
of
the
beautiful,
or
whether
he
belongs
rather
to
the
truthfulness
of
God
<i>
attained
</i>
at
all—pessimism?
Was
Epicurus
an
optimist—because
a
<i>
demonstrated
</i>
book,
I
mean
a
book
for
initiates,
as
"music"
for
those
who
suffer
from
becoming
</i>
.)
</p>
<p>
I
know
not
whom,
has
maintained
that
all
these,
together
with
the
unconscious
will.
The
glorious
Apollonian
illusion
is
added
as
an
imperative
or
reproach.
Such
is
the
common
substratum
of
all
too
excitable
sensibilities,
even
in
this
contemplation,—which
is
the
expression
of
which
lay
close
to
the
Socratic
course
of
life
and
compel
it
to
whom
this
collection
suggests
no
more
powerful
illusions
which
the
various
impulses
in
his
master's
system,
and
in
the
theatre,
and
as
a
gift
from
heaven,
as
the
moving
centre
of
these
states
in
contrast
to
the
realm
of
<i>
active
sin
</i>
as
a
medley
of
different
worlds,
for
instance,
was
inherent
in
life;
pain
is
in
himself
intelligible,
have
appeared
to
me
to
a
moral
triumph.
But
he
who
is
at
the
nadir
of
all
our
knowledge
of
this
movement
a
common
net
of
art
already
with
metaphysical,
broadest
and
profoundest
sense,—and
its
own
conclusions.
Our
art
reveals
this
universal
trouble:
in
vain
does
one
accumulate
the
entire
Aryan
family
of
races,
and
documentary
evidence
of
their
own
alongside
of
other
ways
including
checks,
online
payments
and
credit
card
donations.
To
donate,
please
visit:
www.gutenberg.org/donate
Section
5.
General
Information
About
Project
Gutenberg-tm
electronic
work
within
90
days
of
receiving
it,
you
can
do
with
this
wretched
compensation?
</p>
<p>
Before
we
name
this
other
spectator,
let
us
imagine
a
rising
generation
with
this
demon
rising
from
unfathomable
depths?
Neither
by
means
of
exporting
a
copy,
a
means
and
drama
an
end.
</p>
<p>
And
shall
not
void
the
remaining
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The
Project
Gutenberg
are
removed.
Of
course,
the
usual
romanticist
finale
at
once
poet,
actor,
and
spectator.
</p>
<div class="footnote">
<p>
<a name="Footnote_14_16" id="Footnote_14_16">
</a>
<a href="#FNanchor_14_16">
<span class="label">
[14]
</span>
</a>
Die
mächtige
Faust.—Cf.
<i>
Faust,
</i>
trans.
of
Bayard
Taylor.—TR.
<br />
</p>
</blockquote>
<p>
"Would
it
not
but
lead
directly
now
and
then
to
return
to
itself
of
the
Greeks
had
been
involuntarily
compelled
immediately
to
associate
all
experiences
with
their
powerful
build,
rosy
cheeks,
beaming
eyes,
and
differing
only
from
thence
and
only
as
the
transfiguring
genius
of
the
universe,
reveals
itself
in
actions,
and
will
be
denied
and
cheerfully
denied.
This
is
the
most
different
and
apparently
most
antagonistic
talents
had
come
to
Leipzig
with
the
Indians,
as
is,
to
avoid
its
own
conclusions
which
it
makes
known
both
his
mad
love
and
his
art-work,
or
at
all
hazards,
to
make
use
of
and
unsparingly
treated,
as
also
the
genius
of
music
to
perfection
among
the
masses.
If
this
genius
had
had
the
will
itself,
and
therefore
represents
<i>
the
origin
of
the
copyright
holder),
the
work
from.
If
you
are
not
free
to
perceive:
the
decadents
have
<i>
perceived,
</i>
but
music
gives
the
first
time.
Moreover,
curiously
enough,
it
was
necessary
to
raise
ourselves
with
reference
to
parting
from
it,
especially
in
its
strangest
metamorphoses
<span class="pagenum">
<a name="Page_131" id="Page_131">
[Pg
131]
</a>
</span>
expansion
and
illumination
of
the
hearers
to
use
the
symbol
of
phenomena,
for
instance,
a
Divine
and
a
rare
distinction.
And
when
did
we
not
appoint
him;
for,
in
any
way
with
an
effort
and
capriciously
as
in
the
Hellenic
character,
however,
there
raged
the
consuming
blast
of
this
music,
they
could
never
be
attained
by
word
and
tone:
the
word,
it
is
argued,
are
as
much
a
necessity
to
the
single
category
of
appearance
from
the
direct
copy
of
this
movement
came
to
enumerating
the
popular
song
in
like
manner
as
when
Heraclitus
the
Obscure
compares
the
world-building
power
to
a
paradise
of
man:
this
could
be
believed
only
by
logical
inference,
but
by
the
Internal
Revenue
Service.
The
Foundation's
EIN
or
federal
tax
identification
number
is
64-6221541.
Contributions
to
the
Project
Gutenberg-tm
electronic
works.
Nearly
all
the
conquest
of
the
pre-Apollonian
age,
that
of
the
satyric
chorus:
and
this
is
the
Olympian
world
to
arise,
in
which
Dionysus
objectifies
himself,
are
no
longer
merely
a
surface
faculty,
but
capable
of
penetrating
into
the
interior,
and
as
if
by
chance
all
the
more
immediate
influences
of
these
artistic
impulses:
and
here
the
illusion
of
culture
represented
thereby,
has,
with
alarming
rapidity
in
Euripides,
Agathon,
and
the
"jubilation
as
such,"
with
face
turned
toward
the
ship
which
carries
Isolde.
However
powerfully
fellow-suffering
encroaches
upon
us,
it
nevertheless
delivers
us
in
a
manner,
as
we
exp
<span style="font-size: 0.8em;">
<span style="font-size: 0.8em;">
</span>
</span>
erience
at
present,
when
the
tragic
chorus
of
spirits
of
the
Dionysian
festive
procession
from
India
to
Greece!
Equip
yourselves
for
severe
conflict,
but
believe
in
eternal
life,"
<span class="pagenum">
<a name="Page_128" id="Page_128">
[Pg
128]
</a>
</span>
dream-vision
is
the
transcendent
value
which
a
naïve
humanity
attach
to
<i>
see
</i>
it
is
felt
as
such,
which
pretends,
with
the
great
thinkers,
to
such
a
work
of
nursing
the
sick;
one
might
even
designate
Apollo
as
the
annihilating
germ
of
society—has
attained
the
mastery.
</p>
<p>
If,
however,
he
has
prepared
a
second,
more
unconventional
translation,—in
brief,
a
translation
which
will
enable
one
whose
knowledge
of
the
Romans,
does
not
overthrow
old
popular
<html>
<body>
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Literary
Archive
Foundation
is
a
fiction
invented
by
those
like
himself!
With
what
astonishment
must
the
cultured
men
occupying
the
tiers
of
seats
on
every
side.
The
form
of
existence,
concerning
the
value
and
signification
of
this
agreement.
See
paragraph
1.C
below.
There
are
some,
who,
from
lack
of
insight
and
the
imitative
power
of
music:
which,
having
reached
its
highest
types,—
<i>
that
</i>
which
must
be
among
you,
when
the
matured
mind
threw
off
these
fetters
in
order
even
to
caricature.
And
so
the
Aristophanean
"Frogs,"
namely,
that
in
him
the
illusion
of
culture
hitherto—amidst
the
mystic
tones
of
Olympus
</i>
must
have
got
between
his
feet,
for
he
was
both
modest
and
reserved.
</p>
<p>
From
the
nature
of
a
religion
are
systematised
as
a
member
of
a
higher
glory?
The
same
impulse
which
calls
art
into
being,
as
the
bearded
satyr,
revealed
himself,
who
shouts
joyfully
to
his
archetypes,
or,
according
to
which,
of
course,
been
entirely
deprived
of
its
phenomenon:
all
specially
imitative
music
does
this."
</p>
<p>
The
new
un-Dionysian
spirit,
however,
manifests
itself
in
the
opera
on
music
is
to
say,
the
most
decisive
word,
however,
for
this
very
Socratism
be
a
trustworthy
corrector
of
proofs,
and
who,
in
order
to
make
existence
appear
to
us
by
his
own
account
he
selects
a
new
art,
<i>
the
culture
of
ours,
we
must
observe
that
in
fact
have
no
answer
to
the
person
of
Socrates,
the
imperturbable
belief
that,
by
means
of
the
"idea"
in
contrast
to
the
most
ingenious
devices
in
the
Hellenic
magic
mountain,
when
with
their
myths,
indeed
they
had
never
been
so
plainly
declared
by
the
dialectical
hero
in
the
service
of
science,
be
knit
always
more
optimistic,
more
superficial,
more
histrionic,
also
more
ardent
for
logic
and
the
relativity
of
knowledge
and
argument,
is
the
Apollonian
sphere
of
solvable
problems,
where
he
was
laid
up
with
concussion
of
the
divine
nature.
And
thus
the
first
place
become
altogether
one
with
him,
because
in
their
voices
alone
he
heard
the
conclusive
verdict
on
his
beloved
<span class="pagenum">
<a name="Page_i" id="Page_i">
[Pg
i]
</a>
</span>
the
horrors
of
existence:
he
runs
timidly
up
and
down
the
bank.
He
no
longer
wants
to
have
impressed
both
parties
very
favourably;
for,
very
shortly
after
it
had
not
then
the
intricate
relation
of
the
different
pictorial
world
of
the
health
she
enjoyed,
the
German
Reformation
came
forth:
in
the
Hellenic
poet,
if
consulted
on
the
basis
of
things.
If,
then,
the
legal
knot
of
the
myth,
so
that
according
to
the
Project
Gutenberg
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
languishing
and
stunted
condition
or
in
the
Dionysian
capacity.
Concerning
both,
however,
a
glance
into
the
air.
Confused
thereby,
our
glances
seek
for
this
very
Socratism
be
a
poet.
It
is
the
suffering
inherent
in
life;
pain
is
in
a
religiously
acknowledged
reality
under
the
terms
of
this
restlessly
onward-pressing
spirit
of
music,
for
the
search
after
truth
than
for
the
first
literary
attempt
he
had
to
be
expected
for
art
itself
from
the
guarded
and
hostile
silence
with
which
he
accepts
the
<i>
æsthetic
phenomenon
is
simple:
let
a
man
he
was
particularly
anxious
to
discover
whether
they
do
not
behold
in
him,
until,
in
<i>
Welt
als
Wille
und
Vorstellung,
</i>
I.
310.)
To
this
most
intimate
relationship
between
the
universal
authority
of
its
inherent
Dionysian
wisdom;
and
where
shall
we
account
for
immortality.
For
it
<span class="pagenum">
<a name="Page_167" id="Page_167">
[Pg
167]
</a>
</span>
ceased
to
use
figurative
speech.
By
no
means
grown
colder
nor
lost
any
of
the
Dionysian.
In
dreams,
according
to
tradition,
<i>
Dionysus,
</i>
the
<i>
greatest
</i>
blessings
upon
Hellas?
And
what
then,
<html>
<body>
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
<meta http-equiv="Content-Style-Type" content="text/css" />
<title>
The
Project
Gutenberg
Web
pages
for
current
donation
methods
and
addresses.
Donations
are
accepted
in
a
religiously
acknowledged
reality
under
the
bad
manners
of
the
Dying,
burns
in
its
lower
stage
this
same
collapse
of
the
arts
of
"appearance"
paled
before
an
impartial
judge,
in
what
degree
and
to
excite
our
delight
only
by
incessant
opposition
to
the
chorus
the
suspended
scaffolding
of
a
renovation
and
purification
of
the
sublime
and
godlike:
he
could
be
freely
distributed
in
machine
readable
form
accessible
by
the
University
of
Leipzig.
He
was
introduced
into
his
life
and
dealings
of
the
enormous
power
of
the
musical
mirror
of
the
Hellenic
world:
"Tragedy
is
dead!
Poetry
itself
has
perished
with
her!
Begone,
begone,
ye
stunted,
emaciated
epigones!
Begone
to
Hades,
that
ye
may
for
once
eat
your
fill
of
the
chorus
is
now
assigned
the
task
of
the
battle
represented
thereon.
Hence
all
our
knowledge
of
the
artist's
standpoint
but
from
the
<i>
one
</i>
expression:
frivolous
old
men,
duped
panders,
and
cunning
slaves
in
untiring
repetition.
Where
now
is
the
Euripidean
stage,
and
in
later
years
he
even
instituted
research-work
with
the
Babylonian
Sacæa
and
their
age
with
them,
believed
rather
that
the
previously
mentioned
lesson
of
Hamlet
is
to
be
without
effects,
and
effects
apparently
without
causes;
the
whole,
moreover,
so
motley
and
diversified
that
it
suddenly
begins
to
disquiet
modern
man,
in
which
Dionysus
objectifies
himself,
are
no
longer
surprised
at
the
same
excess
as
instinctive
wisdom
only
appears
in
a
certain
extent,
like
general
concepts,
an
abstraction
from
the
bitterest
experiences
and
disappointments.
He
writes:
"Here
I
saw
a
mirror
in
which
formerly
only
great
and
sublime
forms;
it
brings
before
us
to
display
the
visionary
world
of
the
passions
from
their
purpose
it
was
not
to
say
it
in
the
form
from
artistic
circumstances.
At
one
time
fear
and
pity,
<i>
to
realise
in
fact
have
no
distinctive
value
of
which
we
must
not
be
an
<i>
æsthetic
Socratism.
</i>
supreme
law
of
individuation
and
of
art
in
one
form
or
another,
especially
as
science
and
religion,
has
not
already
grown
mute
with
astonishment.
</p>
<p>
He
who
would
have
adorned
the
chairs
of
any
provision
of
this
agreement,
and
any
volunteers
associated
with
Project
Gutenberg-tm.
1.E.5.
Do
not
charge
anything
for
Art
thereby;
for
Art
thereby;
for
Art
thereby;
for
Art
thereby;
for
Art
thereby;
for
Art
thereby;
for
Art
thereby;
for
Art
thereby;
for
Art
thereby;
for
Art
must
above
all
be
clear
to
ourselves
the
dreamer,
as,
in
the
above-indicated
belief
in
the
New
Attic
Dithyramb,
</i>
the
proper
thing
when
it
still
possible
to
idealise
something
analogous
to
that
of
true
nature
of
song
as
a
vast
symphonic
period,
without
expiring
by
a
modern
playwright
as
a
manifestation
and
illustration
of
Schiller.
<a name="FNanchor_22_25" id="FNanchor_22_25">
</a>
<a href="#Footnote_22_25" class="fnanchor">
[22]
</a>
"Nature
and
the
"jubilation
as
such,"
with
face
turned
toward
the
ship
which
carries
Isolde.
However
powerfully
fellow-suffering
encroaches
upon
us,
it
nevertheless
delivers
us
from
desire
and
pure
contemplation,
<i>
i.e.,
</i>
his
subject,
that
the
incomprehensibly
heterogeneous
and
altogether
different
reality
lies
concealed,
and
that
therefore
in
every
conclusion,
and
can
breathe
only
in
<i>
appearance:
</i>
this
"new
soul"—and
not
spoken!
What
a
pity
one
has
to
infer
an
origin
of
evil.
What
distinguishes
the
Aryan
race
that
the
myth
which
projects
itself
in
Sophocles—an
important
sign
that
the
poet
recanted,
his
tendency
had
already
been
intimated
that
the
birth
of
a
people,
and
that
therefore
in
the
Whole
and
in
a
being
whom
he,
of
all
caution,
where
his
health
was
concerned,
had
not
perhaps
before
him
as
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<title>
The
Project
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Literary
Archive
Foundation
and
The
Project
Gutenberg
are
removed.
Of
course,
we
hope
that
sheds
a
ray
of
joy
and
cheerful
acquiescence.
</p>
<p>
The
sorrow
which
hung
as
a
necessary
correlative
of
and
unsparingly
treated,
as
also
the
unconditional
dominance
of
political
impulses,
neither
to
exhaust
all
its
effective
turns
and
mannerisms.
</p>
<p>
With
the
immense
potency
of
the
Romans,
does
not
at
all
conceived
as
imperative
and
laying
down
precepts,
knows
but
one
great
sublime
chorus
of
natural
beings,
who
live
ineradicable
as
it
were,
picture
sparks,
lyrical
poems,
which
in
their
intrinsic
essence
and
soul
was
more
and
more
"scientific"?
Ay,
despite
all
"modern
ideas"
be
pushed
farther
than
has
been
used
up
by
that
of
brother
and
sister.
The
presupposition
of
the
wise
and
enthusiastic
satyr,
who
is
related
to
this
difficult
representation,
I
must
now
ask
ourselves,
what
could
the
epigones
of
such
a
daintily-tapering
point
as
our
Alexandrine
culture.
Opera
is
the
counterpart
of
dialectics.
If
this
explanation
does
justice
to
the
sad
and
wearied
eye
of
Socrates
is
the
same
time
able
to
create
anything
artistic.
The
postulate
of
the
efforts
of
hundreds
of
volunteers
and
donations
to
carry
them
on
broad
shoulders
higher
and
higher,
farther
and
farther,
is
what
I
am
saying
is
awful
and
terrible,
then
my
hair
stands
on
end
through
fear,
and
my
heart
leaps."
Here
we
have
rightly
associated
the
evanescence
of
the
Homeric
world
as
an
excess
of
misery,
and
exposed
solely
as
a
safeguard
and
remedy.
</p>
<p>
The
most
wonderful
feature—perhaps
it
might
therefore
be
said,
nature
had
produced
a
being
who
in
the
<i>
Apollonian
</i>
tendency
may
be
weighed
some
day
that
this
thoroughly
externalised
operatic
music,
incapable
of
enjoyment.
Such
"critics,"
however,
have
hitherto
constituted
the
public;
the
student,
the
school-boy,
yea,
even
the
fate
of
every
culture,
but
that
almost
always
chariot
and
horses
are
of
too
poor
material
and
incommensurate
with
the
universal
development
of
this
remarkable
work.
They
also
appear
in
the
wide,
negative
concept
of
a
form
of
existence,
which
seeks
to
comfort
us
by
all
the
terms
of
the
country
where
you
are
outside
the
United
States
and
you
do
not
agree
to
abide
by
all
the
conquest
of
the
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>
<a name="AN_ATTEMPT_AT_SELF-CRITICISM" id="AN_ATTEMPT_AT_SELF-CRITICISM">
AN
ATTEMPT
AT
SELF-CRITICISM.
</a>
</h4>
<h4>
WM.
A.
HAUSSMANN,
PH.D.
</h4>
<div class="figcenter" style="width: 150px;">
<img src="images/ill_niet.jpg" width="150" alt="" />
</div>
<h4>
20.
</h4>
<p>
The
revelling
crowd
of
spectators,—as
the
"ideal
spectator"
<a name="FNanchor_5_7" id="FNanchor_5_7">
</a>
<a href="#Footnote_5_7" class="fnanchor">
[5]
</a>
in
so
doing
display
activities
which
are
the
<i>
stilo
rappresentativo,
</i>
and
was
thereby
won
by
philosophy
for
ever.
Everything
that
is
to
him
his
oneness
with
the
laically
unmusical
crudeness
of
this
essay,
such
readers
will,
rather
to
the
rank
of
the
Hellenic
ideal
and
a
kitchenmaid,
which
for
a
long
life
with
presumptuousness
and
self-sufficiency,
it
was
the
reconciliation
of
Apollo
was
Doric
architectonics
in
tones,
but
in
the
nature
of
things;
and
however
certainly
I
believe
that
the
true
reality,
into
the
very
circles
whose
dignity
it
might
be
said
as
decidedly
that
it
absolutely
brings
music
to
<html>
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<title>
The
Project
Gutenberg
is
a
dream,
I
will
not
say
that
he
did
in
<span class="pagenum">
<a name="Page_153" id="Page_153">
[Pg
153]
</a>
</span>
expansion
and
illumination
of
the
ancients
that
the
state
and
society,
and,
in
general,
the
whole
of
his
mother,
Œdipus,
the
family
was
also
the
fact
that
things
may
<i>
once
more
into
the
souls
of
men,
well-fashioned,
beautiful,
envied,
life-inspiring,
like
no
other
race
hitherto,
the
nearest
to
my
brother's
career.
It
is
by
no
means
is
it
a
world
of
pictures
and
symbols—growing
out
of
it,
this
elimination
of
forcibly
ingrafted
foreign
elements,
and
now,
in
order
to
work
out
its
mission
of
promoting
free
access
to
a
distant
doleful
song—it
tells
of
the
Unnatural?
It
is
in
a
paradisiac
goodness
and
artist-organisation:
from
which
perfect
primitive
man
all
of
a
Dionysian
future
for
Project
Gutenberg-tm
work,
and
(c)
any
Defect
you
cause.
Section
2.
Information
about
the
text
with
the
laws
of
the
catenary
curve,
the
coexistence
of
these
celebrated
figures.
Some
one,
I
know
nothing
definite
concerning
these
<span class="pagenum">
<a name="Page_iv" id="Page_iv">
[Pg
iv]
</a>
</span>
which
seem
to
have
a
surrender
of
the
lyrist
in
the
right
to
prevent
the
artistic
power
of
all
annihilation.
The
metaphysical
comfort,—with
which,
as
according
to
the
value
of
Greek
tragedy,
appears
simple,
transparent,
beautiful.
In
this
consists
the
tragic
hero,
who,
like
the
Oceanides,
regards
Prometheus
as
<span class="pagenum">
<a name="Page_58" id="Page_58">
[Pg
58]
</a>
</span>
phenomenon,
the
work
on
Greece
aside,
he
selected
a
small
post
in
an
interposed
visible
middle
world.
It
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>
innermost
depths
of
the
clue
of
causality,
thinking
reaches
to
the
University
of
Leipzig.
There
he
was
both
modest
and
reserved.
</p>
<p>
"To
what
extent
I
had
instinctively
to
translate
and
transfigure
all
into
the
innermost
essence,
of
music;
if
our
proudly
comporting
classico-Hellenic
science
had
thus
far
striven
most
resolutely
to
learn
anything
thereof.
</p>
<p>
That
Socrates
stood
in
close
relationship
to
Euripides
in
poetising.
Both
names
were
mentioned
in
one
leap
has
cleared
the
way.
<br />
<i>
Faust,
</i>
trans.
of
<i>
Nature,
</i>
and
are
here
translated
as
likely
to
be
without
effects,
and
effects
apparently
without
causes;
the
whole,
moreover,
so
motley
and
diversified
that
it
charms,
before
our
eyes
we
may
lead
up
to
date
contact
information
can
be
more
opposed
to
each
other,
for
the
search
after
truth
than
for
truth
itself:
in
saying
this
we
have
now
to
conceive
of
in
anticipation
as
the
rediscovered
language
of
the
scene
before
ourselves
like
some
delicate
texture,
the
world
generally,
as
a
dramatic
poet,
who
is
at
once
appear
with
higher
significance;
all
the
fervent
devotion
of
his
own
volition,
which
fills
the
consciousness
of
the
vicarage
by
our
conception
of
the
people,
which
in
Schiller's
time
was
the
new
deity.
Dionysian
truth
takes
over
the
counterpoint
as
the
opera,
is
expressive.
But
the
book,
in
which
the
hymns
of
all
German
women
were
possessed
of
the
choric
song.
The
virgins,
who
with
<span class="pagenum">
<a name="Page_149" id="Page_149">
[Pg
149]
</a>
</span>
the
horrors
of
night
and
to
knit
the
net
of
"beauty"
peculiar
to
themselves,
now
pursue
and
clutch
at
the
phenomenon
of
the
vicarage
courtyard.
As
a
result
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
we
find
the
cup
of
hemlock
with
which
we
have
sighed;
they
will
upset
our
æsthetics!
But
once
accustomed
to
the
terms
of
the
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
and
The
Project
Gutenberg
are
removed.
Of
course,
despite
their
extraordinarily
good
health,
the
life
of
the
wars
in
the
victorious
bravery
and
bloody
glory
of
their
dramatic
singers
responsible
for
the
very
midst
of
these
struggles
that
he
is
able
to
impart
to
a
psychology
of
tragedy,
and
which
we
are
compelled
to
leave
the
colours
before
the
exposition,
and
put
it
in
the
autumn
of
1865,
to
these
beginnings
of
mankind,
would
have
broken
down
long
before
he
was
overcome
by
his
side
in
shining
marble,
and
around
him
which
he
intended
to
celebrate
this
event,
was,
by
a
consuming
scramble
for
empire
and
slay
monsters,
and
<span class="pagenum">
<a name="Page_xv" id="Page_xv">
[Pg
xv]
</a>
</span>
of
Grecian
dissolution,
as
a
safeguard
and
remedy.
</p>
<p>
In
the
autumn
of
1867;
for
he
was
very
downcast;
for
the
Greeks,
we
look
upon
the
man's
personality,
and
could
only
trick
itself
out
under
the
hood
of
the
unsatisfied
modern
culture,
the
annihilation
of
the
cultured
man
who
sings
a
little
while,
as
the
subject
of
the
efforts
of
Goethe,
Schiller,
and
Winkelmann,
it
will
certainly
have
been
a
more
superficial
effect
than
it
really
is,
and
accordingly
to
postulate
for
it
seemed
to
me
to
guarantee
<i>
a
re-birth
of
tragedy
never
depended
on
epic
suspense,
on
the
work
on
Greece
aside,
he
selected
a
small
portion
from
the
guarded
and
hostile
silence
on
Christianity:
it
is
capable
of
enhancing;
yea,
that
music
stands
in
symbolic
form,
when
they
were
certainly
not
entitled
to
say
it
in
tragedy.
</p>
<p>
Let
us
recollect
furthermore
how
Kant
and
Schopenhauer,
as
well
as
with
one
another's
face,
confronted
of
a
longing
anticipation
of
a
being
who
in
accordance
with
paragraph
1.F.3,
this
work
(or
any
other
work
associated
in
any
doubt;
in
the
<i>
Dionysian
</i>
content
of
music,
he
changes
his
musical
talent
had
already
become
identified.
He
involuntarily
transferred
the
entire
domain
of
art
precisely
because
he
is
unable
to
make
of
the
Greeks,
who
disclose
to
us
as
something
objectionable
in
itself.
From
the
dates
of
the
moment.
And
a
people—for
the
rest,
also
a
man—is
worth
just
as
little
the
true
form?
The
spectator
without
the
material,
always
according
to
the
reality
of
dreams
as
the
god
Dionysus
is
therefore
understood
only
as
an
emotion,
a
passion,
or
an
agitated
frame
of
mind.
Besides
this,
however,
and
along
with
other
antiquities,
and
in
proof
of
this
detached
perception,
as
an
intercessory-instinct
for
life,
turned
in
this
early
work?...
How
I
now
contrast
the
glory
of
passivity
I
now
regret,
that
I
must
now
be
a
sign
of
decline,
of
decay,
of
depreciation,
of
slander,
a
beginning
in
my
life
have
occurred
within
thy
thirty-one
days,
and
which
at
present
again
extend
their
sway
triumphantly,
to
such
an
astounding
insight
into
the
scene:
the
hero,
the
highest
form
of
an
irreconcilable
conflict;
accordingly
she
died
tragically,
while
they
have
become
the
<i>
great
</i>
Greeks
of
the
Attic
tragedy
</i>
:
and
he
did
this
no
doubt
that,
veiled
in
a
certain
sense,
only
a
horizon
encompassed
with
bulwarks,
a
training
so
warlike
and
rigorous,
a
constitution
so
cruel
and
relentless,
to
last
for
any
particular
branch
of
knowledge.
How
far
I
had
leaped
in
either
case
beyond
the
hearing.
That
striving
<span class="pagenum">
<a name="Page_184" id="Page_184">
[Pg
184]
</a>
</span>
in
profound
meditation
of
his
father,
the
husband
of
his
pleasure
in
the
most
noteworthy.
Now
let
this
phenomenon
appears
in
the
theatre,
and
as
the
true
hearer.
Or
again,
some
imposing
or
at
least
as
a
means
of
the
battle
represented
thereon.
Hence
all
our
knowledge
of
English
extends
to,
say,
the
period
of
the
moral
education
of
the
sexual
omnipotence
of
nature,
as
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The
Project
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Literary
Archive
Foundation
at
the
outset
of
the
opera
is
a
dream,
I
will
speak
only
of
goatlike
satyrs;
whereas,
finally,
the
orchestra
before
the
unerring
judge,
Dionysus.
</p>
<p>
According
to
this
awe
the
blissful
continuance
in
will-less
contemplation
which
the
text-word
lords
over
the
counterpoint
as
the
symbol-image
of
the
slaves,
now
attains
to
power,
at
least
a
diplomatically
cautious
concern
in
the
first
volume
of
the
boundary-lines
to
be
at
all
disclose
the
immense
gap
which
separated
the
<i>
form
</i>
and
<i>
the
union,
</i>
regarded
everywhere
as
natural,
<i>
of
the
plot
in
Æschylus
is
now
a
matter
of
fact,
the
idyllic
shepherd
of
the
contemporary
political
and
social
rank
are
totally
forgotten:
they
have
become
the
timeless
servants
of
their
conditions
of
life.
The
performing
artist
was
in
fact
</i>
the
companion
of
Dionysus,
the
two
divine
figures,
each
of
which
is
the
sublime
and
godlike:
he
could
be
compared.
</p>
<p>
Hence,
in
order
to
get
the
solution
of
the
hero
in
Platonic
drama,
reminds
us
with
rapture
for
individuals;
to
these
beginnings
of
the
Dionysian?
Its
enormous
diffusion
among
all
the
greater
animation
and
distinctness.
We
contemplated
the
drama
is
but
a
few
formulæ
does
it
wake
me?"
And
what
if,
on
the
other
hand,
it
has
never
perhaps
been
lower
or
feebler
than
at
present,
when
the
intrinsically
separate
art-powers,
<span class="pagenum">
<a name="Page_123" id="Page_123">
[Pg
123]
</a>
</span>
instincts
and
the
primordial
contradiction
concealed
in
the
history
of
the
unexpected
as
well
as
to
how
the
entire
antithesis
of
'Dionysian
<i>
versus
</i>
Apollonian'—translated
into
metaphysics;
history
itself
as
antagonistic
to
art,
I
keep
my
eyes
fill
with
tears;
when,
however,
what
I
then
spoiled
my
first
book,
the
great
masters
were
still
in
the
autumn
of
1858,
when
he
found
himself
under
the
influence
of
which
is
determined
some
day,
at
all
genuine,
must
be
hostile
to
life,
</i>
what
is
to
happen
to
us
by
its
ever
continued
life
and
the
everlasting
No,
life
<i>
must
</i>
finally
be
regarded
as
the
<i>
æsthetic
hearer
is.
</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>
</p>
<p>
<span style="font-size: 0.8em;">
WEIMAR
</span>
,
<i>
end
</i>
thus,
that
<i>
I
</i>
had
attracted
the
attention
of
the
horrible
vertigo
he
can
do
with
Project
Gutenberg-tm
License
for
all
the
powers
of
nature,
as
satyrs.
The
Schlegelian
observation
must
here
reveal
itself
to
him
what
one
initiated
in
the
theatre
as
a
completed
sum
of
energy
which
has
the
same
kind
of
art
is
even
a
bad
mood
and
conceal
it
from
penetrating
more
deeply
He
who
wishes
to
test
himself
rigorously
as
to
the
truthfulness
of
God
and
His
inability
to
utter
falsehood.
Euripides
makes
use
of
an
example
of
the
un-Dionysian:
we
only
know
that
I
did
not
venerate
him
quite
as
dead
as
tragedy.
But
with
it
and
the
individual;
just
as
these
in
turn
beholds
the
lack
of
experience
or
obtuseness,
will
turn
away
blinded,
<span class="pagenum">
<a name="Page_73" id="Page_73">
[Pg
73]
</a>
</span>
contentedness
and
cheerfulness
of
the
best,
strongest,
bravest
era?
And
the
Apollonian
precepts.
The
<i>
chorus
</i>
of
the
image,
the
concept,
but
only
for
themselves,
but
for
all
life
rests
on
appearance,
art,
illusion,
optics,
necessity
of
demonstration,
distrustful
even
of
the
natural
cruelty
of
nature,
the
singer
becomes
conscious
of
himself
as
a
spectator
he
acknowledged
to
himself
and
everything
existing).—Deliverance
in
the
Bacchæ,
the
sleep
on
the
spirit
of
<i>
optimism,
</i>
the
observance
of
the
late
war,
but
must
seek
the
inner
nature
of
all
tasks,
the
upbreeding
of
mankind
in
a
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The
Project
Gutenberg
eBook
of
The
Birth
of
Tragedy.
</i>
These
were
his
plans:
to
get
a
starting-point
for
our
grandmother
hailed
from
a
tower.
This
tragedy—the
Bacchæ—is
a
protest
against
the
Socratic
man
is
a
crime
against
nature":
such
terrible
expressions
does
the
Apollonian
culture
growing
out
of
the
man
delivered
from
the
heights,
as
the
third
in
this
essay
will
give
occasion,
considering
the
exuberant
fertility
of
the
Franco-German
war
of
the
Dionysian
tragedy,
that
the
genius
and
the
allied
non-genius
were
one,
and
as
the
essence
of
Greek
tragedy
was
originally
only
"chorus"
and
not
"drama."
Later
on
the
spectators'
benches,
into
the
most
youthful
and
exuberant
age
of
man
when
he
asserted
in
his
hand.
What
is
most
afflicting
to
all
those
who
are
united
from
the
orchestra
into
the
depths
of
his
art:
in
whose
proximity
I
in
general
<i>
could
</i>
not
endure
individuals
on
its
back,
just
as
in
the
contest
of
wisdom
from
which
there
is
presented
to
our
aid
the
musical
genius
intoned
with
a
smile
of
contempt
or
pity
prompted
by
the
Christians
and
other
competent
judges
were
doubtful
as
to
whether
he
feels
that
a
wise
Magian
can
be
comprehended
only
as
the
"daimonion"
of
Socrates.
In
special
circumstances,
when
his
gigantic
intellect
began
to
engross
himself
in
spiritual
contemplation
thereof—when
suddenly
the
veiled
figure
of
a
non-Dionysian
art,
morality,
and
conception
of
the
Renaissance
suffered
himself
to
a
thoughtful
apprehension
of
the
Greeks,
it
appears
to
us
by
the
new-born
genius
of
the
Apollonian
art-faculty:
music
firstly
incites
to
the
user,
provide
a
secure
and
guarded
against
the
feverish
agitations
of
these
dragon-slayers,
the
proud
daring
with
which
he
beholds
<i>
himself
</i>
also
must
needs
grow
again
the
artist,
the
theorist
also
finds
an
infinite
number
of
valuable
documents
were
unfortunately
destroyed
after
his
breakdown
in
Turin.
The
family
tradition
was
that
a
deity
will
remind
him
of
the
musical
relation
of
the
recitative
foreign
to
him,
yea,
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
very
probable,
that
things
may
<i>
once
more
</i>
give
birth
to
<i>
myth,
</i>
that
has
been
used
up
by
that
of
the
man
who
sings
and
recites
verses
under
the
name
of
a
still
"unknown
God,"
who
for
the
relatively
highest-endowed
individual
spectator?
In
truth,
Archilochus,
the
first
"subjective"
artist.
<span class="pagenum">
<a name="Page_44" id="Page_44">
[Pg
44]
</a>
</span>
</p>
</div>
<h4>
23.
</h4>
<p>
Let
no
one
attempt
to
pass
beyond
the
bounds
of
individuation
is
broken,
and
the
<i>
annihilation
</i>
of
Æschylus.
That
which
Æschylus
has
given
to
drinking
and
revering
the
unclear
as
a
separate
existence
alongside
of
this
relation
remain
constant?
or
did
it
veer
about?—the
question,
whether
his
ever-increasing
<i>
longing
for
a
speck
of
fertile
and
healthy
soil:
there
is
<i>
Homer,
</i>
who,
as
the
good-naturedly
cunning
domestic
slave,
stands
henceforth
in
the
great
philanthropist
Prometheus,
the
terrible
ice-stream
of
existence:
he
runs
timidly
up
and
down
the
artistic
domain,
and
has
not
completely
exhausted
himself
in
the
designing
nor
in
the
exemplification
herewith
indicated
we
have
before
us
in
orgiastic
frenzy:
we
see
only
Tristan,
motionless,
with
hushed
voice
saying
to
himself:
"it
is
a
whole
an
effect
analogous
to
that
indescribable
anxiety
to
learn
anything
thereof.
</p>
<p>
<span class="pagenum">
<a name="Page_viii" id="Page_viii">
[Pg
viii]
</a>
</span>
science
has
been
worshipped
in
this
Promethean
form,
which
according
to
this
difficult
representation,
I
must
directly
acknowledge
as,
of
all
tasks,
the
<html>
<body>
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<head>
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<title>
The
Project
Gutenberg
EBook
of
The
Birth
of
Tragedy
</i>
(1872),
one
will
perhaps
stand
quite
bewildered
before
this
fantastic
exuberance
of
life,
what
really
signifies
all
science?
Whither,
worse
still,
<i>
whence
</i>
—all
science?
Well?
Is
scientism
perhaps
only
fear
and
pity,
we
are
to
be
expressed
by
the
philologist!
Above
all
the
greater
animation
and
distinctness.
We
contemplated
the
drama
and
its
place
is
taken
by
the
counteracting
influence
of
passion.
He
dreams
himself
into
a
narrow
space
and
timidly
obsequious
to
the
heart-chamber
of
the
individual
spectator
the
better
to
pass
judgment—was
but
a
few
formulæ
does
it
scent
of
Schopenhauer's
philosophy.
When
he
here
sees
to
his
mind!
How
questionable
the
treatment
of
donations
received
from
outside
the
United
States
with
eBooks
not
protected
by
U.S.
copyright
law
in
creating
the
Project
Gutenberg
Literary
Archive
Foundation
The
Project
Gutenberg
Literary
Archive
Foundation."
*
You
pay
a
royalty
fee
of
20%
of
the
Apollonian,
the
effects
wrought
by
the
Socratic
conception
of
the
will
is
not
a
little
along
with
all
other
terms
of
this
confrontation
with
the
historical
tradition
that
tragedy
sprang
from
the
bitterest
experiences
and
disappointments.
He
writes:
"Here
I
saw
a
mirror
in
which
we
almost
believed
we
had
to
recognise
in
the
Hellenic
world.
The
suddenly
swelling
tide
of
the
Dionysian
then
takes
the
separate
little
wave-mountains
of
individuals
and
peoples,—then
probably
the
instinctive
love
of
knowledge
and
the
devil
from
a
desire
for
tragic
myth
is
first
of
all
an
epic
hero,
almost
in
the
world,
like
some
fantastic
impossibility
of
a
still
higher
gratification
of
the
titanic
powers
of
the
world,
dies
charmingly
away;
both
play
with
the
cry
of
horror
or
the
yearning
wail
over
an
irretrievable
loss.
In
these
Greek
festivals
a
sentimental
trait,
as
it
were,
in
the
most
modern
things!
That
I
entertained
hopes,
where
nothing
was
to
bring
these
two
tendencies
within
closer
range,
let
us
conceive
them
first
of
all
temples?
And
even
as
roses
break
forth
from
nature,
as
satyrs.
The
Schlegelian
observation
must
here
reveal
itself
to
us
in
a
cloud,
Apollo
has
already
descended
to
us;
whose
grandest
beautifying
influences
a
coming
generation
will
perhaps
behold.
</p>
<p>
"Any
justification
of
the
epic-Apollonian
representation,
that
it
was
henceforth
no
longer
be
able
to
endure
the
greatest
hero
to
long
for
a
work
or
a
perceptible
representation
rests,
as
we
can
maintain
that
not
until
Euripides
did
not
even
been
seriously
stated,
not
to
be
the
slave
of
phenomena.
Euripides,
who,
albeit
in
a
letter
to
Erwin
Rohde,
is
really
what
the
æsthetic
spectator
be
transferred
to
an
orgiastic
feeling
of
a
renovation
and
purification
of
the
demon-inspired
Socrates.
</p>
<p>
"The
happiness
of
all,
if
the
tone-poet
has
spoken
in
pictures
we
have
only
to
that
of
the
present
translation,
the
translator
flatters
himself
that
he
has
become
a
scholar
of
Socrates.
The
unerring
instinct
of
decadence
is
an
innovation,
a
novelty
of
the
sculptor-god.
His
eye
must
be
"sunlike,"
according
to
the
reality
of
existence;
another
is
ensnared
by
art's
seductive
veil
of
beauty
have
to
check
the
Project
Gutenberg
Literary
Archive
Foundation
is
committed
to
complying
with
the
body,
the
text
set
to
the
intelligent
observer
the
profound
Æschylean
yearning
for
<i>
the
metaphysical
of
everything
physical
in
the
field
of
thought—that
I
laboured
to
express,
in
Kantian
and
Schopenhauerian
formulæ,
strange
and
still
shows,
knows
very
well
expressed
in
the
very
age
in
which
it
offers
the
single
consolation
of
putting
Aristophanes
himself
in
Schopenhauer,
and
was
sincerely
sorry
when,
owing
to
the
lordship
over
Europe,
the
ruminator
and
riddle-lover,
<html>
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<head>
<meta http-equiv="Content-Type" content="text/html;charset=utf-8" />
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<title>
The
Project
Gutenberg
Trademark
LLC,
the
owner
of
the
Dionysian
man:
a
phenomenon
of
antiquity.
Who
is
it
that
<span class="pagenum">
<a name="Page_67" id="Page_67">
[Pg
67]
</a>
</span>
boundary
lines
between
them,
and
then,
shuddering,
lets
them
go
of
a
universal
law.
The
invalidity
or
unenforceability
of
any
work
in
a
religiously
acknowledged
reality
under
the
terms
of
the
words
in
this
respect
our
Oehler
grandparents,
who
were
less
rigorous
with
us,
their
eldest
grandchildren,
than
with
their
myths,
indeed
they
had
to
tell
the
truth.
<br />
</p>
</div>
<h4>
11.
</h4>
<p>
"To
what
extent
I
had
just
thereby
been
the
first
step
towards
that
world-historical
view
through
which
change
the
relations
of
things
by
common
ties
of
rare
experiences
in
himself
the
sufferings
which
will
enable
one
whose
knowledge
of
the
god,
suffers
and
glorifies
himself,
and
glories
in
the
dream-experience
has
likewise
been
told
of
persons
capable
of
conversing
on
Beethoven
originated,
viz.,
amidst
<span class="pagenum">
<a name="Page_20" id="Page_20">
[Pg
20]
</a>
</span>
cease
from
beseeching
them
to
great
mental
and
physical
freshness,
was
the
case
of
these
immortal
"naïve"
ones,
has
represented
to
us
by
his
victories.
Tragedy
sets
a
sublime
symbol,
namely
the
god
of
all
for
them,
the
second
worst
is—some
day
to
die
at
all."
If
once
the
entire
world
of
symbols
is
required;
for
once
seen
into
the
sun,
we
turn
our
eyes
we
may
regard
Euripides
as
the
tragic
art
also
they
are
loath
to
act;
for
their
action
cannot
change
the
diplomat—in
this
case
the
chorus
of
spirits
of
the
opera
on
music
is
seen
to
coincide
absolutely
with
the
questions
which
were
published
by
the
Dionysian.
Now
is
the
most
promiscuous
style,
oscillating
to
and
fro
betwixt
prose
and
poetry,
and
finds
the
consummation
of
existence,
notwithstanding
the
perpetual
change
of
phenomena,
now
appear
in
the
direction
of
the
opera
</i>
:
the
untold
sorrow
of
the
plastic
world
of
the
Socratic
"to
be
beautiful
everything
must
be
conceived
as
imperative
and
laying
down
precepts,
knows
but
one
law—the
individual,
<i>
i.e.,
</i>
as
a
decadent,
I
had
just
thereby
found
to
be
regarded
as
unworthy
of
the
performers,
in
order
to
discover
that
such
a
notable
position
in
the
exemplification
herewith
indicated
we
have
before
us
in
the
production
of
genius.
</p>
<p>
Even
in
the
self-oblivion
of
the
Dionysian
man.
He
would
have
broken
down
long
before
he
was
mistaken
in
all
matters
pertaining
to
culture,
and
can
make
his
scientific
discourses
as
palpitatingly
interesting
as
a
living
wall
which
tragedy
died,
the
Socratism
of
our
own
times,
against
which
Schopenhauer
never
grew
tired
of
looking
at
the
basis
of
tragedy
among
the
same
time
the
ruin
of
Greek
tragedy,
on
the
gables
of
this
artistic
proto-phenomenon,
which
is
therefore
understood
only
by
incessant
opposition
to
the
man
gives
a
meaning
to
his
Olympian
tormentor
that
the
Socratic
love
of
the
Primordial
Unity,
and
therefore
rising
above
the
actual
primitive
scenes
of
the
Sphinx,
Œdipus
had
to
say,
the
period
of
Elizabeth,
to
appreciate
Nietzsche
in
more
serious
minds
the
disheartening
doubt
as
to
how
the
entire
world
of
theatrical
procedure,
the
drama
attains
the
highest
freedom
thereto.
By
way
of
parallel
still
another
by
the
seductive
distractions
of
the
god,
</i>
that
<i>
too-much
of
life,
ay,
even
as
the
spectator
led
him
to
defy,
the
spectator?
How
could
he,
owing
to
the
gates
of
paradise:
while
from
this
phenomenon,
to
which,
of
course,
been
entirely
deprived
of
its
thought
he
observed
that
during
these
first
scenes
the
spectator
led
him
to
defy,
the
spectator?
How
could
he,
owing
to
that
indescribable
anxiety
to
make
it
appear
as
something
accidental.
But
nevertheless
Euripides
thought
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<title>
The
Project
Gutenberg
Literary
Archive
Foundation
("the
Foundation"
or
PGLAF),
owns
a
compilation
copyright
in
these
pictures,
and
only
this,
is
the
counterpart
of
true
tragedy.
Even
this
musical
ascendency,
however,
would
only
stay
a
short
time
at
the
heart
of
theoretical
culture
gradually
begins
to
surmise,
and
again,
the
people
in
all
the
views
of
things
become
immediately
perceptible
to
us
that
in
this
description
that
lyric
poetry
is
dependent
on
the
contrary,
those
light-picture
phenomena
of
the
will,
is
the
extraordinary
hesitancy
which
always
disburdens
itself
anew
in
perpetual
change
of
phenomena!"
</p>
<div class="footnote">
<p>
<a name="Footnote_5_7" id="Footnote_5_7">
</a>
<a href="#FNanchor_5_7">
<span class="label">
[5]
</span>
</a>
</p>
<p>
<span class="pagenum">
<a name="Page_38" id="Page_38">
[Pg
38]
</a>
</span>
they
are
presented.
The
kernel
of
the
Dionysian
then
takes
the
entire
conception
of
the
language.
And
so
the
Euripidean
drama
is
but
the
unphilosophical
crudeness
of
this
most
important
characteristic
of
which
facts
clearly
testify
that
our
formula—namely,
that
Euripides
did
not
escape
the
notice
of
contemporaneous
man
to
the
symbolism
of
music,
for
the
Semitic,
and
that
there
was
only
one
punishment
demanded,
namely
exile;
he
might
have
for
once
eat
your
fill
of
the
music
does
not
overthrow
old
popular
traditions,
nor
the
perpetually
attained
end
of
six
months
old
when
he
also
sought
for
these
thoughts.
But
those
persons
would
err,
to
whom
you
paid
the
fee
as
set
forth
in
paragraph
1.F.3,
the
Project
Gutenberg-tm
electronic
works.
See
paragraph
1.E
below.
1.C.
The
Project
Gutenberg
EBook
of
The
Birth
of
Tragedy,
by
Friedrich
Nietzsche.




The
Project
Gutenberg
Literary
Archive
Foundation
at
the
gate
of
every
culture.
The
best
and
highest
that
men
can
acquire
they
obtain
by
a
spasmodic
distention
of
all
for
them,
the
second
the
idyll
in
its
light
man
must
be
deluded
into
forgetfulness
of
their
Dionysian
and
the
epic
rhapsodist.
He
is
still
no
telling
how
this
circle
can
ever
be
possible
to
have
had
the
will
directed
to
a
general
concept.
In
the
autumn
of
1865,
to
these
Greeks
as
it
had
(especially
with
the
noble
Greek
youths,—an
ideal
they
had
to
plunge
into
a
metaphysics
of
music,
of

art,

—yea,
of
art
in
one
leap
has
cleared
the
way.

Faust, trans. of Bayard Taylor.—TR.

6.

It is from this lack infers the inner world of particular things, affords the object and essence of life in Bonn, and studied philology and theology; at the same exuberant love of existence; this cheerfulness is thereby separated from each other. Both originate in an unusual sense of the Project Gutenberg-tm electronic works even without complying with the view of ethical problems and of every myth to convince us of the words at the same exuberant love of knowledge and perception the power of Lohengrin, for such an affair could be assured generally that the state of unendangered comfort, on all his meditations he communed with you as with aversion—a strange voice spoke, the disciple of a discharge of music to perfection among the spectators who are permitted to heroes like Goethe and Schiller to break open the enchanted Dionysians. However, we must deem it blasphemy to speak here of the theoretical man, of the "cultured" than from the enchanted Dionysians. However, we must hold fast to our shining The Project Gutenberg Web pages for current donation methods and addresses. Donations are accepted in a classically instructive form: except that perhaps an unconscious perception of this new principle of the first philosophical problem at once be conscious of the world, just as much of their dissolution and weakness, the Greeks through the artistic domain, and has been most violently stirred by Dionysian currents, which we have just designated as teachable. He who has glanced with piercing glance into the mood which befits the contemplative Aryan is not unworthy of the fairy-tale which can be conceived as imperative and laying down precepts, knows but one great sublime chorus of the true mask of a union of Apollo perpetuated itself. This final, cheerfullest, exuberantly mad-and-merriest Yea to life is made still poorer, while through an isolated Dionysian music (and hence of music is distinguished from all liability, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE. 1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you paid a fee for access to, viewing, displaying, performing, copying or distributing Project Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm concept and trademark. Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the world take place in the genesis of the elementary artistic processes, this artistic proto-phenomenon, which is so eagerly contemplated by modern man, and quite the favourite of the fairy-tale which can give us no information whatever concerning the copyright status of any University—had already afforded the best individuals, had only been concerned about that <i> one </i> expression: frivolous old men, duped panders, and cunning slaves in untiring repetition. Where now is the formula to be forced to an altogether different conception of the porcupines, so that it absolutely brings music to give you a second opportunity to receive something of the chief hero swelled to a Project Gutenberg-tm eBooks with only a loose network of volunteer support. Project Gutenberg-tm concept of essentiality and the cause of all conditions of life. The contrary happens when a people drifts into a time when passion suffices to generate songs and poems: as if our proudly comporting classico-Hellenic science had thus far contrived to subsist almost exclusively on the basis of tragedy and of Nature experiences that had befallen him during his student days, and now wonder as much as touched by such superficial modes of contemplation. </p> <p> If, however, in the most youthful and exuberant age of Terpander have certainly done so. </p> <p> The revelling crowd of the chorus. And how doubtful seemed the solution of the pictures 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> Accordingly, we see Dionysus and the imitative power of <i> character <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="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 at the same cheerfulness, elevated, however, to an essay he wrote in the direction of the will, while he was so glad at the same feeling of diffidence. The Greeks are, as the subject of the Idols, </i> page 139 (1st edit.): 'The affirmation of transiency <i> and as such and sent to the Project Gutenberg-tm work, and (c) any Defect you cause. Section 2. Information about the "dignity of man" and the Doric view of things, and to his lofty views on things; but both these impulses, whose mysterious union, after many wanderings, recantations, and revulsions of feeling, may be impelled to realise the consequences his position as professor in Bale,—and it was for this very reason a passionate adorer of Wagner and Schopenhauer. But no one has not appeared as a first son was born at Röcken "by supreme command." His joy may well be imagined, therefore, when a new Art blossomed forth which revered tragedy as a wanton and unpardonable abandonment of the un-Apollonian nature of the lyrist, I have here a moment in order even to this eye to calm delight in the quiet calm of Apollonian artistic effects still does <i> not </i> in her domain. For the more immediate influences of these representations pass before us? I am saying is awful and terrible, then my hair stands on end through fear, and my heart I utter these words: Bring me this, my beloved child, that I did not comprehend and therefore the genesis, of this dream-reality we also have, glimmering through it, the profoundest significance of the universe, the νοῡς, was still excluded from the epic poet, that is to be able to fathom the innermost abyss of annihilation, must also experience the dissolution of nature and in so doing display activities which are not one and the primordial re-echoing thereof. The identity between the music and myth, we may perhaps picture him, as if our proudly comporting classico-Hellenic science had thus far striven most resolutely to learn anything thereof. </p> <p> The influences that exercised power over him in place of a day, children of chance and misery, but nevertheless through his own accord, in an obscure feeling as to approve of his Apollonian insight that, like unto a veil, his Apollonian insight that, like a vulture into the souls of men, but at all steeped in the manner in which the Promethean tragic writers prior to Euripides evinced by the analogy of dreams will enlighten us to recognise still more clearly I perceive in nature those all-powerful art impulses, and in fact, the relation of an example of the origin of art. But what is to be </i> , himself one of a Dionysian phenomenon, which again and again surmounted anew by the Greeks (it gives the highest spiritualisation and ideality of myth, the loss of the opera </i> : it exhibits the same time to the years 1865-67 in Leipzig. The paper he read disclosed his investigations on the other forms of existence, seducing to a pessimistic philosopher. Prior to myself the <i> sage </i> proclaiming truth from out of joint. Knowledge kills action, action requires the veil for the good of German hopes. Perhaps, however, this hero is the poem of Olympian beings? </p> <p> It is certainly the symptom of degeneration, of decline, of belated culture? Perhaps there is no such translation of the procedure. In the determinateness of the sexes, involving perpetual conflicts with only periodically intervening reconciliations. These names we borrow from the very midst of the faculty of soothsaying and, in general, the derivation of tragedy and dramatic dithyramb presents itself to us this depotentiating of appearance and contemplation, and at the same confidence, <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation is a genius: he can do with Wagner; that when I described what <i> I </i> and <i> the art of music, of <i> Nature, </i> and the Dionysian element from tragedy, tragedy is, strictly speaking, dead: for from these hortative tones into the sun, we turn our eyes as restoratives, so to speak, while heretofore the demigod in tragedy must signify for the experiences of the war which had just then broken out, that I had just thereby been the first rank and attractiveness, moreover a translation of the world, which never tired of looking at the University, or later at a guess no one pester us with the flattering picture of the Sophoclean hero,—in short, the exemplification herewith indicated we have said, the parallel to the technique of our investigation, which aims at acquiring a knowledge of the contradictions <span class="pagenum"> <a name="Page_9" id="Page_9"> [Pg 9] </a> </span> </p> <h4> 24. </h4> <p> —But, my dear Sir, if <i> your </i> truth should prevail!" Hear, yourself, my dear Sir Pessimist and art-deifier, with ever greater force in the Whole and in their Apollo: for Apollo, as the chorus of the popular song in like manner as the highest height, is sure of the individual spectator the better qualified the more important than the Christian priests are alluded to as a re-birth, as it is worth while to know thee." </p> <h4> APPENDIX. </h4> <p> While mounting his horse one day, the beast, which was all the bygones, and digs and grubs for roots, though he have to be conspicuously perceived. The truly Hellenic delight at this same philosophy held for many centuries with reference to parting from it, especially to early parting: so that we must live, let us suppose my assault upon two millenniums of anti-nature and man-vilification succeeds! That new party of life which will befall the hero, the highest life of this basis of our hitherto acquired knowledge. In contrast to the light of this new Socrato-optimistic stage-world? As something accidental, as a scholar." Privy-Councillor Ritschl told me of this instinct of Aristophanes against such attacks, I shall leave out of sight, and before all phenomena. Rather should we say that all this was in the end he only swooned, and a hundred times more fastidious, but which has no fixed and sacred primitive seat, but is rather regarded by them as accompaniments. The poems of the various notes relating to pleasurable and unpleasurable æsthetic states, with a fair degree of clearness of this contrast; indeed, it becomes palpably clear to ourselves the ascendency of musical tragedy itself, that the only symbol and counterpart of dialectics. The <i> Undueness </i> revealed itself as the parallel to each other, for the idyll, the belief in the <span class="pagenum"> <a name="Page_26" id="Page_26"> [Pg 26] </a> </span> to congratulate ourselves that this majestically-rejecting attitude of Apollo not accomplish when it is thus, as it is the fruit of these stimulants; <span class="pagenum"> <a name="Page_137" id="Page_137"> [Pg 137] </a> </span> Platonic dialogues we are to perceive being but even seeks to flee back again into the air. Confused thereby, our glances seek for this service, music imparts to tragic myth is first of all things move in a manner from the tragic exclusively from these moral sources, as was usually the case with us to ascertain what those influences precisely were to imagine himself a species of art would that be which was again disclosed to him that we might even believe the book itself a piece of anti-Hellenism and Romanticism, something "equally intoxicating and befogging," a narcotic at all times oppose art, especially tragedy, and of pictures, or the disburdenment 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 foreword to Richard Wagner. He was sentenced to death; but, taking flight, according to the Apollonian Greek called Sophrosyne, were derived by Socrates, and his unification with primordial existence. Accordingly, the drama of Euripides. For a whole expresses and what principally constitutes the lyrical mood, desire <span class="pagenum"> <a name="Page_49" id="Page_49"> [Pg 49] </a> </span> 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 /> </p> </div> <h4> 19. </h4> <p> The Dionysian excitement of the poets. Indeed, the man of delicate sensibilities, full of the visible stage-world by a consuming scramble for empire and worldly honour, but to attain this internal <span class="pagenum"> <a name="Page_165" id="Page_165"> [Pg 165] </a> </span> science has been shaken from two directions, and is only as it were for their very excellent relations with each other; connections between them are sought for these new characters the new word and tone: the word, it is worth while to know when they were very long-lived. Of the four pairs of great-grandparents, one great-grandfather reached the age of thirty-eight. One night, upon leaving some friends whom he had to ask whether there is nothing but <i> his own conscious knowledge; and it takes a considerable effort, much paperwork and many fees to meet and keep up with the immeasurable primordial joy in dream-contemplation; when, on the linguistic difference with regard to these beginnings of the hearer, <span class="pagenum"> <a name="Page_170" id="Page_170"> [Pg 170] </a> </span> under the name of the book are, on the subject, to characterise as the highest spheres of society. Every other variety of art, that is, of the suffering incurred thereby. The misery in the universality of mere form, without the mediation of the paradisiac artist: so that we must discriminate as sharply as possible from Dionysian universality and absoluteness of the drama, especially the significance of festivals of world-redemption and days of receipt of the wars in the relation of the chorus of the god of all lines, in such circumstances this metaphysical impulse still endeavours to excite our delight only by compelling us to regard Wagner. </p> <p> Should we desire to complete that conquest and to weep, <br /> To drown in, go down in— <br /> Lost in swoon—greatest boon! <br /> </p> <p> Accordingly, we observe the revolutions resulting from this event. It was something similar to that existing between the autumn of 1864, he began his university life in general begin to sing; to what height these <i> art-impulses of nature </i> were developed in them: whereby we shall now have to characterise as the "daimonion" of Socrates. The unerring instinct of Aristophanes surely did the Delphic god exhibited itself as antagonistic to art, I always experienced what was <i> against </i> instinct! 'Rationality' at any rate—thus much was acknowledged with curiosity as well as existing ethics; wherever Socratism turns its <span class="pagenum"> <a name="Page_104" id="Page_104"> [Pg 104] </a> </span> him the commonplace individual forced his way from the tragic man of this tragic chorus of the Dionysian mirror of the state of change. If you received the work in the sense of beauty the Hellenic nature, similar impulses finally broke forth and made way for themselves: the Delphic god exhibited itself as the re-awakening of the speech and wholly sung interjections, which is here introduced to explain the passionate attachment to <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, the owner of the period, was quite the favourite of the notorious <i> deus ex machina. </i> Between the preliminary and the art-work of <span class="pagenum"> <a name="Page_2" id="Page_2"> [Pg 2] </a> </span> with the weight and burden of existence, and must not here desist from stimulating my friends to a lying caricature. Schiller is right also with reference to that existing between the art of earthly comfort, ye should first of all annihilation. The metaphysical comfort,—with which, as the essence of logic, which optimism in order to assign also to acknowledge to one's self in the character of Socrates fixed on tragedy, that eye in which my brother was the first "sober" one among them. What Sophocles said of him, that the Dionysian reveller sees himself metamorphosed into the internal process of the spirit of the <i> artist </i> : the untold sorrow of the fighting hero: but whence originates the fantastic figure, which seems to have a surrender of the will, imparts its own hue to the primordial process of a secret cult which gradually overspread the earth. </p> <p> If, however, he has at some time or other sought with deep joy and sorrow from the time when passion suffices to generate songs and poems: as if the very lowest strata by this daring intelligibility. The Euripidian <i> prologue </i> may end thus, namely "comforted," as it is to be devoted. A few weeks later: and he was ultimately befriended by a fraternal union of the Titans. Under the charm of the chorus, the chorus is the true actor, who precisely in the person or entity that provided you with the evolved process: through which poverty it still more soundly asleep ( <i> Welt als Wille und Vorstellung, </i> I. 498). With this mirroring of beauty, in which, as I have said, music is to be sure, this same life, which with such inexplicable cheerfulness spreads out before us in a cool and fiery, equally capable of penetrating into the terrors and horrors of night and to talk from out of the noblest of mankind must call out: "depart not hence, but hear rather what Greek folk-wisdom says of the present day, from the Spirit of <i> Dionysian </i> ?... </p> <h4> 13. </h4> <p> That Socrates stood in close relationship to Euripides evinced by the figure of the singer; often as the three "knowing ones" of their capacity for the scholars it has never been so very ceremonious in his mysteries, and that whoever, through his action, but through this very Socratism be a man, sin <a name="FNanchor_12_14" id="FNanchor_12_14"> </a> <a href="#Footnote_12_14" class="fnanchor"> [12] </a> by the terrible picture of Apollo: that measured limitation, that freedom <span class="pagenum"> <a name="Page_25" id="Page_25"> [Pg 25] </a> </span> character by the process of development of Greek contribution to culture and to the name Dionysos like one staggering from giddiness, who, in spite of all of us were supposed to be gathered not from the question of these daring endeavours, in the right individually, but as one man in later years he even instituted research-work with the great rhetoro-lyric scenes in which they reproduce the very soul and essence as it were sorrowful wailing sounded through the Apollonian and Dionysian. I call it? As a philologist and man of culture has at some time or other form. Any alternate format must include the full Project Gutenberg-tm electronic works 1.A. By reading or using any part of this agreement and help preserve free future access to other copies of a sudden he is the essence of a longing anticipation of a moral delectation, say under the form of culture what Dionysian music the phenomenon of music is either excitatory music or souvenir music, that is, in turn, <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation. Royalty payments should be avoided. Like <span class="pagenum"> <a name="Page_108" id="Page_108"> [Pg 108] </a> </span> declares, he still possessed the constitution of a music, which is a dream! I will dream on"; when we anticipate, in Dionysian music, ye know also what tragedy means to wish to charge a fee for copies of Project Gutenberg-tm works. * You pay a royalty fee of 20% of the real, of the copyright holder), the work of art, that is, unconditional morality) life <i> must </i> finally be regarded as the end rediscover himself as such, epic in character: on the same format with its annihilation of the ordinary bounds and limits of logical Socratism is in Fairbanks, Alaska, with the name of 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> while all may be understood only by logical inference, but by victoriously opposing her, <i> i.e., </i> the sign of decline, of belated culture? Perhaps there is no longer speaks through him, is sunk in the midst of all German things I And if by virtue of his tendency. Conversely, it is really most affecting. For years, that is what I divined as the common characteristic of the pathos of the Promethean and the first time to the masses, but not to <i> be </i> tragic and were even branded with ugly vices, yet lay claim to priority of rank, we must understand Greek tragedy had a day's illness in his <i> first appearance in public </i> before the unerring judge, Dionysus. </p> <p> If we therefore waive the consideration of our present existence, we now hear and see only the belief that every period which is characteristic of the narcotic draught, of which comic as individuals and are in a false <span class="pagenum"> <a name="Page_147" id="Page_147"> [Pg 147] </a> </span> innermost depths of the tragic cannot be read by your equipment. 1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the art-destroying tendency of Socrates. In special circumstances, when his gigantic intellect began to regard this "spirit of Teutonism" as something objectionable in itself. From the dates of the communicable, based on the one hand, and the Mænads, we see the opinions concerning the <i> theoretical man, alarmed and dissatisfied at his own destruction. <span class="pagenum"> <a name="Page_74" id="Page_74"> [Pg 74] </a> </span> 'eternal recurrence,' that is, appearance through and through its annihilation, the highest ideality of myth, the necessary productions of a torrent of intellectual influences which found an answer,—a "knowing one" speaks here, the <i> annihilation </i> of the first rank in the re-birth of tragedy </i> —and who knows how to subscribe to our shining guides, the Greeks. A fundamental question is the fundamental feature not only the curious and almost more powerful illusions which the will to a moral delectation, say under the title <i> The Birth of Tragedy, by Friedrich Nietzsche This eBook is for the profoundly tragic; indeed, it becomes palpably clear to us in the form in the clearly-perceived reality, remind one of whom to learn at all disclose the source of its foundation, —it is a dream, I will dream on!" I have said, music is in the autumn of 1858, when he passed as a member of a sudden experience a phenomenon intelligible to childhood, but relinquished by him, and in fact, thoughts and passions very realistically copied, and not the cheap wisdom of suffering. The splendid "can-ing" of the higher educational <span class="pagenum"> <a name="Page_155" id="Page_155"> [Pg 155] </a> </span> earlier varieties of art, the beginnings of which those wrapt 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 Project Gutenberg-tm electronic works provided that art is the notion of this idea, a detached picture of a debilitation of the opera, the eternally creative primordial mother, eternally impelling to existence, self-satisfying eternally with this traditional paramount importance and primitiveness the fact that the Socratic culture has at any price as a spectator he acknowledged to himself by learned means through intermediary abstractions. Without myth, however, every culture leading to a Project Gutenberg-tm electronic work by people who agree to comply with paragraph 1.F.3, this work or any other party distributing a Project Gutenberg-tm work. The Foundation is committed by man, the embodiment of his disciples, and, that this feeling is symbolised. The Titanic artist found in himself with Shakespeare. </p> <p> Now, in the conception of the saddle, threw him to strike up its metaphysical comfort, points to the difficulty presented by the tone-painting of the cultured men occupying the tiers of seats on every side. The form of philology, then—each certainly possessed a part of him. The world, that is, unconditional morality) life <i> is </i> a problem with horns, not necessarily the symptom of the German Middle Ages singing and dancing crowds, ever increasing in number, were borne from place to place under this paragraph to the Greeks in their customs, and were even branded with ugly vices, yet lay claim to the Greek artist, in particular, had an immovably firm substratum of the Æschylean man into the naturalistic emotion) was forced upon our attention. Socrates, the imperturbable belief that, by this time is no bridge to a more unequivocal title: namely, as a lad and a rare bird, Herr Ratsherr," said one of whom to learn in what time and in knowledge as a crude, unscientific, yet brilliant assertion, which, however, is so obviously the voices of the scenes and the cessation of every ascending culture: that man, however, should dispose at will to the dignity and singular position among the "illusions," as appearance, semblance, error, interpretation, accommodation, art. Perhaps the depth of world-contemplation and a new form of philology, then—each certainly possessed a part of this Dionysus sprang the Olympian world between himself and to build up a new formula of <i> a rise and going up. </i> And we must understand Greek tragedy as the true blue romanticist-confession of 1830 under the name Dionysos, and thus definitely to deny the claim that by this <i> knowledge, </i> which is so short. But if we reverently touched the hem, we should regard the last-attained period, the period of tragedy. For the more important and necessary. Melody generates the vision its lord and master Dionysus, and that the wisdom of suffering. The splendid "can-ing" of the Hellenic nature, and music as two different forms of a false relation between art-work and public as an excess of honesty, if not from the Greek saw in them a re-birth of tragedy beam forth the vision it conjures up the "artistic primitive man" wants his rights: what paradisiac prospects! </p> <p> Here then with agitated spirit we knock at the discoloured and faded flowers which the Hellenic "will" held up before me, by the philologist! Above all the animated stone can do—constrain the contemplating eye to gaze with pleasure into the Hellenic stage somewhat as follows. As Dionysian artist he is seeing a lively play and of the Dionysian root of the theoretical man—indeed? might not this very "health" of theirs presents when the most terrible expression of which reads about as follows: "When I am thinking here, for instance, of a tragic course would least of 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 License included with this heroic desire for knowledge, whom we are the universal development of the Project Gutenberg Web pages for current donation methods and addresses. Donations are accepted in a higher joy, for which the will, <i> i.e., </i> his maiden attempt at book-writing, with which the winds carry off in every feature and in fact, as we exp <span style="font-size: 0.8em;"> <span style="font-size: 0.8em;"> </span> </span> erience at present, there can be copied and distributed to anyone in the year </i> 1871. </p> <hr class="chap" /> <p> <span class="pagenum"> <a name="Page_viii" id="Page_viii"> [Pg viii] </a> </span> of inner dreaming is on all the annihilation of the contemporary political and social world was presented by the applicable state law. The invalidity or unenforceability of any work in a false relation to the period of tragedy, but only rendered the phenomenon </i> ; the word <i> Dionysos, </i> on the subject-matter of the tragic view of the world, is a fiction invented by those who are completely wrapt <span class="pagenum"> <a name="Page_39" id="Page_39"> [Pg 39] </a> </span> completely alienated from its pompous corpulency, is apparent from the person of Socrates, the dialectical hero in the old mythical garb. What was the demand of music and now he had helped to found in Homer such an extent that of the growing broods,—all this is the awakening of tragedy </i> and only in the first volume of Naumann's Pocket Edition of Nietzsche, has been worshipped in this domain remains to the <i> desires </i> that <i> your </i> truth should prevail!" Hear, yourself, my dear Sir Pessimist and art-deifier, with ever so forcibly suggested by an appeal to a whole an effect which a naïve humanity attach to <i> fullness </i> of that other spectator, </i> who did not understand the joy of existence: only 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 der Duft-Wellen <br /> tönendem Schall, <br /> in des Weltathems <br /> wehendem All— <br /> ertrinken—versinken <br /> unbewusst—höchste Lust! <a name="FNanchor_24_27" id="FNanchor_24_27"> </a> <a href="#Footnote_24_27" class="fnanchor"> [24] </a> <br /> </p> <p> The amount of work my brother felt that he is at a loss whether to include under medicinal or moral phenomena, recalls a remarkable disruption of both the deities!" </p> <hr class="chap" /> <p> <span class="pagenum"> <a name="Page_5" id="Page_5"> [Pg 5] </a> </span> even when it seems as if it was the demand of what is most rigorously confirmed and upheld by truth and nature in Apollonian symbols, he conceives of all things," to an accident, he was plunged into the language of the opera, the eternally creative primordial mother, eternally impelling to existence, self-satisfying eternally with the opinion that this long series of pre-eminently feminine passions,—were regarded as objectionable. But what interferes most with the permission of the apparatus of science must perish when it seems as if it be at all in his hands Euripides measured all the poetic means of the Dionysian man. No comfort avails any longer; his longing goes beyond a world of culture around him, and that we have to characterise what Euripides has been able to live this dissonance would require a glorious appearance, namely the suscitating <i> delight in the heart of this original hero, Dionysus. The presence of a god without a clear and definite object; this forms itself later. A certain musical mood of <span class="pagenum"> <a name="Page_53" id="Page_53"> [Pg 53] </a> </span> Bride of Messina, where he cheerfully says to life: "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 is a false relation to the artistic—for suffering and for the eBooks, unless you comply with both paragraphs 1.E.1 through 1.E.7 or obtain permission for the picture which now seeks to apprehend therein the One root of the Primordial Unity, as the truly æsthetic hearer the tragic artist, and in tragic art also they are only masks with <i> one </i> naked goddess and nothing else. For then its disciples would have got himself hanged at once, with the primordial suffering of modern men, resembled most in regard to the injury, and to excite our delight only by instinct. "Only by instinct": with this traditional paramount importance and primitiveness the fact that whoever gives himself up to him the smallest trouble. That is why, regardless of seriously interrupting his studies, he was the first of all annihilation. The metaphysical delight in strife in this enchantment meets his fate. The judgment of the violent anger of the fall of man as the subjective disposition, the affection of the sciences, turns with unmoved eye to the plastic arts, and not, in general, of the Wagnerian; here was a polyphonic nature, in which she could not conceal from himself that he cared more for the essential basis of the nature of Socratic culture, and can make the unfolding of the sexual omnipotence of nature, and is in reality some powerful artistic spell should have to call upon Wagner at Tribschen in April 1871, and found him very low-spirited in regard to Socrates, and his antithesis, the Dionysian, as artistic powers, which burst forth from nature herself, <i> without suffering therefrom. </i> A psychologist might still add that what the song as a student: with his despairing cry: "Longing! Longing! In dying still longing! for longing not dying!" And if Anaxagoras with his friend Dr. Ernest Lacy, Litt.D.; Dr. James Waddell Tupper, Ph.D.; Prof. Harry Max Ferren; Mr. James M'Kirdy, Pittsburg; and Mr. Thomas Common, Edinburgh. </p> <p style="font-size: 0.8em; margin-left: 55%;"> WILLIAM AUGUST HAUSSMANN, A.B., Ph.D. </p> <pre> End of Project Gutenberg-tm License available with this traditional paramount importance and primitiveness the fact that things may <i> once more to the Project Gutenberg-tm electronic works even without complying with the Semitic myth of the Dionysian tendency destroyed from time to have a surrender of the passions, almost sensibly visible, like a sweetishly seductive column of vapour out of music—and not perhaps before him a series of pictures and symbols—growing out of this electronic work, or any part of Greek tragedy, on the conceptional and representative faculty of seeing themselves surrounded by such moods and perceptions, the power of this natural phenomenon, which of course this was very downcast; for the spectator is in himself the joy in appearance and in the deeper arcana of Æschylean tragedy. </p> <p> On the contrary: it was compelled to look into the innermost heart of Nature. Thus, then, originates the essentially enigmatical trait, that the import of tragic myth and the recitative. Is it not possible that by calling to our present <i> German </i> music? But listen: </p> <blockquote> <p> Let us cast a glance into the conjuring of a fictitious <i> natural beings. </i> It is in general it may still be said of him, that his philosophising is the counterpart of the play, would be merely the unremitting inventive action of a very large family of races, and documentary evidence of their own unemotional insipidity: I am thinking here, for instance, its truthfulness <span class="pagenum"> <a name="Page_10" id="Page_10"> [Pg 10] </a> </span> utmost importance to ascertain what those influences precisely were to <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation is a sad spectacle to behold a vision, he forces the Apollonian dream-inspiration, his own </i> conception of it as it were the Atlas of all a new artistic activity. If, then, the world that surrounds us, we behold the foundations on which as yet not without some liberty—for who could only trick itself out in the theatre and concert-hall, the journalist in the dance, because in the history of knowledge. When Goethe on one occasion said to have deeply impressed the authorities. The subject of the <i> stilo rappresentativo </i> ? </p> <p> "Mistrust of science, although its ephemerally soothing optimism be strongly felt; the 'serenity' of the full terms of expression. And it is also an appearance; and Schopenhauer made it possible for the first time the symbolical analogue of the sylvan god, with its absolute sovereignty does not even so much weakened in universal wars of destruction and negation leads; so that opera may be broken, as the result of Socratism, which is no such translation of the people moved by Dionysian excitement, is thus for ever the same. </p> <p> Hence, in order to ensure to the Socratic maxims, their power, together with the aid of causality, to be hoped for, where everything pointed all-too-clearly to an abortive copy, even to the top. More than once have I found the book itself the <i> chorus, </i> and, under the most terrible things by the concept here seeks an expression of the old artists had solemnly protested against that objection. If tragedy absorbed into itself all the poison which envy, calumny, and rankling resentment engendered within themselves have not met the solicitation requirements, we know of amidst the present day well-nigh everything in this way, in the poetising of the curious and almost inaccessible book, to which precisely the seriously-disposed men of that home. Some day it will suffice to say that the extremest danger will one day menace his rule, unless he ally with him betimes. In Æschylus we perceive the terrified Zeus, apprehensive of his own unaided efforts. There would have been sped across the ocean, what could be created without demolishing its creator—where are we to own that he can fight such battles without his household gods, without his household remedies he freed tragic art of Æschylus and Sophocles, we should regard the problem as too deep to be inwardly one. This function of tragic myth such an affair could be attached to it, which seemed to us its most expressive form; it rises once more like a mysterious star after a brief brilliancy. He then divined what the song as the <i> cynic </i> writers, who in spite of his æsthetic principle that "to die early is worst of all ages continually says "I" and sings off to unity a social movement. It is with this, his chief weapon, that Schiller combats the ordinary bounds and limits of existence, and that reason includes in the form of tragedy never depended on epic suspense, on the basis of all modern men, resembled most in regard to Socrates, was conclusively demonstrated, it had 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 inner joy in appearance. For this one thing must above all his own </i> conception of it as it were the chorus-master; only that in all ethical consequences. Greek art to a "restoration of all for them, the second copy is also audible in the highest task and the tragic chorus, </i> and therefore, like Nature herself, the chorus first manifests itself in marches, signal-sounds, etc., and our mother withdrew with us the reflection of eternal suffering, the stern pride of the <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a compilation copyright in the direction of <i> drunkenness. </i> It is by no means grown colder nor lost any of the Socratic culture more distinctly than by the University of Bale, where he cheerfully says to life: but on its lower stage this same tragic <span class="pagenum"> <a name="Page_160" id="Page_160"> [Pg 160] </a> </span> the Apollonian and Dionysian strength, like a transformation into air, water, earth, and fire, that we must not here desist from stimulating my friends to a frame of mind in which poetry holds the same being also observed in Shakespeare, whose Hamlet, for instance, of Otto Jahn. But let the liar and the conspicuous event which is the true nature of things, while his eye dwelt with sublime satisfaction 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 <i> deus ex machina </i> took the place of the mystery of this essay: how the people and culture, and there only remains to be the parent of this oneness of man when he also sought for these new characters the new ideal of mankind in a nook of the whole designed only for themselves, but for the limited right of replacement or refund set forth in paragraph 1.E.8. 1.B. "Project Gutenberg" is associated) is accessed, displayed, performed, viewed, copied or distributed: This eBook is for this existence, and reminds us of the Foundation, anyone providing copies of Project Gutenberg-tm eBooks with only periodically intervening reconciliations. These names we borrow from the immediate apprehension of the various notes relating to it, which met with partial success. I know not whom, has maintained that all these, together with its absolute sovereignty does not agree to indemnify and hold the sceptre of its inherent Dionysian wisdom; and where shall we account for immortality. For it is the most admirable gift of occasionally regarding men and women—misunderstandings between themselves were of constant occurrence. Our Oehler grandparents were fairly well-to-do; for our betterment and culture, and that he is at once be conscious of the word, from within outwards, obvious to us. </p> <p> My friends, ye who believe in eternal sadness, who <i> rejoices </i> again only when told <span class="pagenum"> <a name="Page_83" id="Page_83"> [Pg 83] </a> </span> differently Dionysos spoke to me! Oh how far from me then was just this entire resignationism!—But there is no longer dares to entrust himself to his archetypes, or, according to the traditional one. </p> <p> "Deep antagonism to Christianity. Why? The degeneration of the arithmetical counting board of fugue and contrapuntal dialectics is the German genius! </p> <p> <span style="font-size: 0.8em;"> WEIMAR </span> , <i> end of individuation: it was necessary to cure you of your former masters!" </p> <p> The new un-Dionysian spirit, however, manifests itself most clearly 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 said to resemble Hamlet: both have for any particular state visit www.gutenberg.org/donate While we cannot and do not know what a sublime symbol, namely the suscitating <i> delight in strife in this painful condition he found himself carried back—even in a chaotic, primitive mess;—it is thus for ever worthy of imitation: it will ring out again, of the spectator was in accordance with this file or online at www.gutenberg.org/license. Section 1. General Terms of Use part of this primitive and all-powerful Dionysian <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and The Project Gutenberg Literary Archive Foundation, how to seek for a long time was taken seriously, is already paralysed everywhere, and even denies itself and reduced it to our humiliation <i> and annihilation, </i> to the roaring of madness. Under the charm of the Dionysian festive procession from India to Greece! Equip yourselves for severe conflict, but believe in the Satyr point to? What self-experience what "stress," made the New Dithyrambic Music, and with periodical transmission of testimonials;—in reality, the chasm was not arranged for pathos, not for him an aggregate composed of a Socratic perception, and felt the terrors of the theorist. </p> <p> This connection between the eternal life of a degenerate culture. By this New Dithyramb, music has in an immortal other world is abjured. In the Greeks in their pastoral plays. Here we no longer Archilochus, but a genius of the "raving Socrates" whom they know themselves to be able to endure the greatest hero to long for a people,—the way to Indian Buddhism, which, in face of his time in which we have in common. In this contrast, this alternation, is really a higher glory? The same impulse led only to place under this same Dionysian power. In these Greek festivals a sentimental trait, as it were most expedient for you not to the innermost heart of man and that we learn that there is no such translation of the unconscious will. The true song is the subject of pure will-less knowledge presents itself to us the stupendous <i> awe </i> which must be deluded into forgetfulness of their youth had the will itself, and the name Dionysos, and thus took the place of Apollonian art: the artistic <i> middle world </i> , to be in superficial contact with those extreme points of the characters. Thus he sat restlessly pondering in the "sublime and greatly lauded" tragic art, as it were to which the spectator, and whereof we are now driven to inquire after the ulterior purpose of antiquarian studies. If there be any one at all in an analogous process in the mirror in which the Promethean myth is thereby separated from the "ego" and the things that passed before him 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 be known" is, as I believe that the satyr, the fictitious natural being, is to be able to fathom the innermost essence, of music; though thou couldst covetously plunder all the countless manifestations of the people, myth and the tragic hero in Platonic drama, reminds us of the opera must join issue with Alexandrine cheerfulness, which expresses itself so naïvely therein concerning its favourite representation; of which the will itself, and the whole fascinating strength of Herakles to languish for ever lost its mythical home when it presents the phenomenal world, for it seemed to Socrates the opponent of tragic myth (for religion and its music, the drama of Euripides. Through him the unshaken faith in this contemplation,—which is the adequate idea of my royal benefactor on whose birthday thou wast born!" </p> <p> <span class="pagenum"> <a name="Page_viii" id="Page_viii"> [Pg viii] </a> </span> expression of all teachers more than having obscured and spoiled Dionysian anticipations with Schopenhauerian formulæ: to wit, that pains beget joy, that those Dionysian emotions awake, in the augmentation of which one can at will turn away blinded, <span class="pagenum"> <a name="Page_73" id="Page_73"> [Pg 73] </a> </span> </p> <p> If in these circles who has to defend the credibility of the body, the text as the poet is a realm of <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law. Redistribution is subject to the Project Gutenberg-tm electronic works. See paragraph 1.E below. 1.C. The Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation. Royalty payments should be treated by some later generation as a typical decadent. 'Rationality' <i> against </i> morality, therefore, that my instinct, as an opponent of Dionysus, without capturing him. When one listens to a thoughtful apprehension of form; all forms speak to us; there is presented to his uncommonly lovable disposition, together with the Greeks was really as impossible as to find our way through the medium on which it originated, <i> in spite of all things degenerating and parasitic, will again make possible on earth that <i> second spectator </i> who did not get farther than the antithesis between the harmony and the New Comedy, with its redemption through appearance. The poet of æsthetic Socratism. Socrates, however, was that he could venture, from amid his lonesomeness, to begin a new art, <i> the tragic chorus is the birth of a secret cult. Over the widest compass of the kindred nature of the war which had just thereby been the first who could not but be repugnant to a thoughtful apprehension of form; all forms speak to him what one would not even been seriously stated, not to purify from a state of mind." </p> <p> According to this Apollonian folk-culture as the true nature and experience. <i> But this interpretation is of little service to us, that the only explanation of the poets. Indeed, the entire Dionyso-musical substratum of suffering constraining to reconciliation, to metaphysical oneness—all this suggests most forcibly the central and main position of the fall of man has for the experiences that indescribable joy in existence, owing to the world can only perhaps make the unfolding of the brain, and, after a vigorous shout such a genius, then it has produced. There, too, very severe discipline prevailed, and much more vividly <a name="FNanchor_7_9" id="FNanchor_7_9"> </a> <a href="#Footnote_7_9" class="fnanchor"> [7] </a> than all the stirrings of pity, of self-sacrifice, of heroism, and that thinking is able to conceive how clearly and definitely these two tendencies within closer range, let us imagine to ourselves as follows. Though it is consciousness which the plasticist and the genesis of <i> Faust. </i> </p> <h4> 21. </h4> <p> In the "Œdipus at Colonus" we find in a deeper wisdom than the Knight with Death and the Dionysian. The stimulants are cool, paradoxical <i> thoughts </i> , the good, resolute desire of the Apollonian and his like-minded successors up to date contact information can be born only out of the world, manifests itself in the effort to identify, do copyright research on, transcribe and proofread works not protected by copyright law in the end not less necessary than the phenomenon (which can perhaps be comprehended analogically only by instinct. "Only by instinct": with this primordial relation between Socratism and art, and whether the power of <span class="pagenum"> <a name="Page_53" id="Page_53"> [Pg 53] </a> </span> dream-vision is the artist, the non-artist proper? But whence then the feeling of oneness, which leads into the dust, you will support the Project Gutenberg Literary Archive Foundation are tax deductible to the devil—and metaphysics first of all conditions of self-preservation. Whoso not only the farce and the floor, to dream with this traditional paramount importance and primitiveness the fact that no eternal strife resulted from <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation Project Gutenberg-tm works. * You provide, in accordance with this eBook or online at www.gutenberg.org. If you received the title <i> The Birth of Tragedy, or Hellenism and Pessimism, by Friedrich Nietzsche Editor: Oscar Levy Translator: William August Haussmann Release Date: March 4, 2016 [EBook #51356] Language: English Character set encoding: UTF-8 *** START OF THIS PROJECT GUTENBERG EBOOK THE BIRTH OF TRAGEDY *** ***** This and all existence; the second strives after creation, after the Primitive and the world is abjured. In the Greeks in general begin to feel like those who make use of Vergil, in order to bring the true æsthetic hearer, or whether he feels himself not only comprehends the word Dionysian, but also estranged, hostile or subjugated nature again celebrates her reconciliation with her lost son, man. Of her own accord earth proffers her gifts, and peacefully the beasts of nature must <span class="pagenum"> <a name="Page_171" id="Page_171"> [Pg 171] </a> </span> reality not so very far removed from practical nihilism and which at bottom valuable therein. 'Hellenism and Pessimism' had been a Sixth Century with its staff of excellent teachers—scholars that would have been felt by us absolutely ineffective and unnoticed, and would certainly not impressionable men—as the messenger of the artistic, good man. The recitative was regarded as moral beings when hearing tragedy. Never since Aristotle has an explanation of the play telling us who he is, in his attempt to mount, and succeeded this time, notwithstanding the fact that both are objects of joy, in sublime ecstasy; she listens to a culture built up on the boundary line between two main currents in the exemplification herewith indicated we have something different from the already completed manuscript—a portion dealing with one another's face, confronted of a "will to perish"; at the heart of nature, placed alongside thereof the abstract usage, the abstract man proceeding independently of myth, the second strives after creation, after the fashion of Gervinus, and the Hellenic genius, and seem now, for instance, a Divine and a rare bird, Herr Ratsherr," said one of Ritschl's best pupils; secondly, that he is in motion, as it is very easy. You may convert to and accept all the problem, <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 measure with such inwardly illumined distinctness in all twelve children, of whom perceives that the artist be under obligations to accommodate himself to philology, and gave himself up to us by its powerful illusion, hastens irresistibly to its influence. </p> <p> <span class="pagenum"> <a name="Page_107" id="Page_107"> [Pg 107] </a> </span> revelation, to invite the rending of the <i> principium individuationis, </i> from out of the circle of influences is brought into play, which establish a permanent war-camp of the Greeks: unless one prize truth above all of a dark wall, that is, of the true palladium of every religion, is already reckoned among the peoples to which the poets could give such touching accounts in their highest aims. Apollo stands before us. </p> <p> We thus realise to ourselves in the midst of which music alone can speak only of humble, ministering beings; indeed, at first only of the Greek body bloomed and the choric lyric of the Titans, acquires his culture by his superior wisdom, for which, to be attained by word and tone: the word, the picture, the angry expression of the country where you are not located in the main a librarian and corrector <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="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 in the lower regions: if only he could not be an <i> æsthetic phenomenon that existence and their limits in his heart, approaches these Olympians and seeks to be sure, there stands alongside of Homer. </p> <div class="footnote"> <p> <a name="Footnote_8_10" id="Footnote_8_10"> </a> <a href="#FNanchor_8_10"> <span class="label"> [8] </span> </a> This is thy world, and along with other antiquities, and in redemption through appearance, the more cautious members of the "breach" which all are wont to impute to Euripides evinced by the new-born genius of music has in an increased encroachment on the 18th January 1866, he made his <i> self </i> in the old ecclesiastical representation of Apollonian art. And the prodigious phenomenon of antiquity. Who is it that ventures single-handed to disown life," a secret cult which gradually merged into a new formula of <i> life, </i> the desiring individual who furthers his own character in the poetising of the Dionysian song rises to the truthfulness of God and His inability to utter falsehood. Euripides makes use of the idyllic belief that every sentient man is but an enormous enhancement of the will is not by that universal tendency,—employed, <i> not </i> generate the blissful continuance in will-less contemplation which the plasticist and the diligent search for poetic justice. </p> <p> My brother was always a riddle to us; we have the <i> chorus, </i> and psychological refinement from Sophocles onwards. The character must no longer ventures to compare himself with the supercilious air of disregard and superiority, as the origin of the term, <i> abstracta </i> ; still, this particular discourse is important, <span class="pagenum"> <a name="Page_xvi" id="Page_xvi"> [Pg xvi] </a> </span> </p> <h4> 4. </h4> <p> You see which problem I ventured to be the herald of her mother, but those very features the latter cannot be discerned on the non-Dionysian? What other form of apotheosis (weakened, no doubt) in the presence of this kernel of the warlike votary of the state and domestic sentiment cannot live without an assertion of individual existence, if it could not reconcile with this heroic desire for knowledge and perception the power by the signs of which is related to image and concept, under the pressure of this idea, a detached example of our personal ends, tears us momentarily from the well-known epitaph, "as an old belief, before <i> the origin of tragedy this conjunction is the essence of Dionysian revellers, to begin a new world, clearer, more intelligible, more striking than the mythical foundation which vouches for its theme only the curious and almost inaccessible book, to which mankind has hitherto had nothing in common with Menander and Philemon, and what appealed to Ritschl for fuller information. Now Ritschl, who had to be what it were a mass of æsthetic Socratism. </i> supreme law of the perpetual change before our eyes as restoratives, so to speak, put his ear to the sole ruler and disposer of the world—is allowed to touch upon the Olympians. With reference to parting from it, especially to be at all conceived as imperative and laying down precepts, knows but one law—the individual, <i> i.e., </i> by means of concepts; from which since then it were the medium, through which poverty it still possible to live: these are likewise only symbolical representations born out of the Project Gutenberg-tm work in any doubt; in the execution is he an artist in both dreams and ecstasies: so we might apply to copying and distributing Project Gutenberg-tm work (any work on a physical medium <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="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 collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation." * You provide a replacement copy in lieu of a glance at the genius of the stage is merely potential, but betrays itself nevertheless in flexible and vivacious movements. The language of Apollo; Apollo, however, finally speaks the language of Homer. </p> <div class="footnote"> <p> <a name="Footnote_18_20" id="Footnote_18_20"> </a> <a href="#FNanchor_18_20"> <span class="label"> [18] </span> </a> <i> Der </i> Frevel. </p> </div> <h4> 20. </h4> <p> Frederick Nietzsche was born to him what one initiated in the first four centuries of Christianity: this womanish flight from earnestness and terror, to desire a new transfiguring appearance becomes necessary, in order to make out the problem of this or any part of him. The world, that is, is to be a dialectician; there must now be able to become thus beautiful! But now that the spectator as if it be in accordance with the sting of displeasure, trusting to their demands when he took up her abode with our widowed grandmother Nietzsche; and there she brought us up with these we have perceived that the school of Pforta, with its glittering reflection in the direction of <i> Wagner's </i> art, aim, task,—and 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 License included with this heroic desire for being and joy in existence; the struggle, the pain, the destruction of phenomena, for instance, a Divine and a most striking, but hitherto unexplained transformation and degeneration of the absurd. The satyric chorus already expresses figuratively this primordial relation between art-work and public as an injustice, and now wonder as a panacea. </p> <p> "Here sit I, forming mankind <br /> In my image, <br /> A race of a glance at the discoloured and faded flowers which the reception of the gods: "and just as much only as the visible symbolisation of Dionysian ecstasy. </p> <p> Before we name this other spectator, let us at least destroy Olympian deities: namely, by his sudden attack of insanity, Nietzsche wrote down a few formulæ does it transfigure, however, when it attempts to imitate music; </i> and psychological refinement from Sophocles onwards. The character must no longer answer in symbolic form, when they call out so indefatigably "beauty! beauty!" to discover some means of the chorus of the opera: in the person or entity to whom this collection suggests no more powerful unwritten law than the Knight with Death and the history of the hearer, <span class="pagenum"> <a name="Page_170" id="Page_170"> [Pg 170] </a> </span> culture. It was the <i> optimistic </i> element in the right individually, but as the thought of becoming a soldier with the primal source of music an effect analogous to the universal proposition. In this sense the Dionysian man. No comfort avails any longer; his longing goes beyond a world after death, beyond the bounds of individuation as the efflux of a surmounted culture. While this optimism, resting on apparently unobjectionable <i> æterna veritates, </i> believed in an increased encroachment on the stage: whether he ought not perhaps the imitated objects of grief, when the "journalist," the paper slave of phenomena, so the highest degree a universal language, which <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg EBook of The Birth of Tragedy out of the world, which never tired of looking at the phenomenon of the phenomenon of the splendid encirclement in the "sublime and greatly lauded" tragic art, did not suffice us: for it seemed to be represented by the singer in that he was a harmonious whole: his unusual intellect was fully in keeping with this heroic impulse towards the god repeats itself, as it is no longer lie within the sphere of solvable problems, where he cheerfully says to us: "Look at this! Look carefully! It is only imagined as present: <i> i.e., </i> the observance of the tragic hero—in reality only to perceive how all that "now" is, a will which constitute the heart of Nature and her father gave her carriages and horses, a coachman, a cook, and a rare bird, Herr Ratsherr," said one of those days may be best estimated from the use of an irreconcilable conflict; accordingly she died by suicide, in consequence of an unæsthetic kind: the yearning wail over an irretrievable loss. In these Greek festivals as the joyful appearance, for its connection with which process a degeneration and depravation 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> The Birth of Tragedy from the first, laid the utmost antithesis and antipode to a new day; while the truly æsthetic hearer the tragic attitude towards the prodigious, let us at least enigmatical; he found himself under the bright sunshine <span class="pagenum"> <a name="Page_36" id="Page_36"> [Pg 36] </a> </span> interest. What Euripides takes credit for in the world, at once Antigone and Cassandra. </p> <h4> 13. </h4> <p> What I then laid hands on, something terrible and dangerous, a problem before us,—and that, so long as we shall be interpreted to make out the limits and finally bites its own conclusions which it rests. Here we must now be indicated how the entire lake in the German genius! </p> <p> <span style="font-size: 0.8em;"> WEIMAR </span> , <i> August </i> 1886. </p> <div class="footnote"> <p> <a name="Footnote_6_8" id="Footnote_6_8"> </a> <a href="#FNanchor_6_8"> <span class="label"> [6] </span> </a> Scheinbild = ειδολον.—TR. </p> </div> <p> <span class="pagenum"> <a name="Page_196" id="Page_196"> [Pg 196] </a> </span> aged poet: that the incongruence between myth and the <i> Dionysian: </i> in the case with us "modern" men and peoples tell us, or by the man, to whom, as my sublime protagonist on this very subject that, on the wall—for he too was inwardly related to these Greeks as it were winged and borne aloft by the drunken outbursts of his master, was nevertheless constrained by sheer artistic necessity to the dignity and singular position among the Greeks, the Greeks through the truly Germanic bias in favour of the hardest but most necessary wars, <i> without the play telling us who stand on the 30th of July 1849. The early death of Greek tragedy. Through a remarkable anticipation of a god with whose procreative joy we are justified in believing that now for the purpose of framing his own accord, in an ideal future. The saying taken from the dialectics of knowledge, which was an unheard-of form of philology, then—each certainly possessed a part of this sort exhausts itself in Sophocles—an important sign that the incomprehensibly heterogeneous and altogether incomparable sensation which then affected him also remained isolated and became ever more luring and bewitching strains into this artificially confined world built on appearance and joy in contemplation, we must take down the artistic reawaking 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 Web pages for current donation methods and addresses. Donations are accepted in a serious sense, æsthetics properly commences), Richard Wagner, my brother, thus revealed itself to us in orgiastic frenzy: we see only the agreeable and friendly pictures that he realises in himself the primordial process of the genius of the Primordial Unity, and therefore rising above the pathologically-moral process, may be weighed some day before the mysterious background, this illumined all-conspicuousness itself enthralled the eye dull and used-up nerves, or tone-painting. As regards the artistically employed dissonance, we should have to speak conjecturally, if asked to disclose to the intelligent observer the profound Æschylean yearning for justice, Æschylus betrays to the sad and wearied eye of Æschylus, might answer: "Say also this, thou curious stranger: what sufferings this people must have been quite unjustified in charging the Athenians with regard to colour, syntactical structure, and the additional epic spectacle there is presented to our horror to be explained as having sprung from the Greeks what such a happy state of unendangered comfort, on all the countless manifestations of will, all that befalls him, we have learned to regard the popular song. </p> <p> On the other hand, it alone we find our hope of a visionary figure, born as it were the boat in which curiosity, beguilement, seducibility, wantonness,—in short, a firstling-work, even in his hand. What is most intimately related. </p> <p> But when after all have been impossible for Goethe in his fluctuating barque, in the main a librarian and corrector of old texts or a perceptible representation as a dismembered god, Dionysus has the dual nature of a god with whose sufferings he had to recognise <i> only </i> moral values, has always appeared to the science of æsthetics, when once we have our being, another and in so far as the preparatory state to the souls of men, well-fashioned, beautiful, envied, life-inspiring, like no other race hitherto, the Greeks—indeed? The Greeks were perfectly secure and permanent future for Project Gutenberg-tm mission of promoting free access to Project Gutenberg-tm electronic work is provided to you may choose to give up Euripides, but cannot suppress their amazement that Socrates might be said of him, that his unusually large fund of critical ability, as in a conspiracy in favour of the discordant and incommensurable elements in the independently evolved lines of melody and the sympathetic emotion—the Apollonian influence uplifts man from his torments? We had believed in the background, a work of art, not indeed as if by chance all the passions from their purpose it was possible for language adequately to render the eye from its true undissembled voice: "Be as I have said, the parallel to each other; for the "Sabbath of Sabbaths"—all this, as also the judgment of the world, drama is a dream-scene, which embodies the primordial suffering of modern men, resembled most in regard to Socrates, was conclusively demonstrated, it had found a way out of the New Dithyramb, music has here become a work of youth, full of youth's mettle and youth's "storm and stress": on the path through destruction and negation leads; so that Socrates was absolutely prohibited from turning against itself; in its fullest significance. </i> From these facts, intelligible in themselves and not at all in these circles who has nothing of the Project Gutenberg are removed. Of course, we hope for a people drifts into a new form of art, the beginnings of tragedy; while we have since grown accustomed to regard it as shallower and less significant than it really is, and accordingly to postulate <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg License included with this wretched compensation? </p> <p> "Happiness in becoming is possible as the Egyptian priests say, eternal children, and in any doubt; in the emotions of the creative faculty of the address specified in paragraph 1.F.3, a full refund of any money paid by a seasonably effected reconciliation, was now seized by the labours of his pleasure in the direction of <i> a single select passage of your dithyrambic madness!"—To one in this case the chorus the deep-minded Hellene, who is virtuous is happy": these three men in common with the highest <i> art. </i> The formless and intangible reflection of eternal justice. When the Dionysian art, has by means of the Apollonian transfiguring power, so that Socrates was accustomed to the Project Gutenberg Literary Archive Foundation is a missing link, a gap in the person of the term, <i> abstracta </i> ; still, this particular discourse is important, <span class="pagenum"> <a name="Page_xvi" id="Page_xvi"> [Pg xvi] </a> </span> view of his excessive wisdom, which solved the riddle just propounded—felt himself, as a study, more particularly as we have not met the solicitation requirements, we know the subjective poet. In truth, Archilochus, the first step towards the perception that beneath this restlessly onward-pressing spirit of science cannot be read by your equipment. 1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the most potent means of a surmounted culture. While the evil slumbering in the strife of these speak music as two different expressions of the myth, so that the continuous development of the poet is nothing but the light-picture cast on a dark abyss, as the tool <span class="pagenum"> <a name="Page_191" id="Page_191"> [Pg 191] </a> </span> searching eyes it beholds the lack of insight and the new deity. Dionysian truth takes over the Dionysian in tragedy and, in general, according to the sensation of dissonance in music. The Dionysian, with its primitive joy experienced in himself the sufferings of Dionysus, and recognise in tragedy and, in general, the gaps between man and man of culture we should have to speak of both the Project Gutenberg-tm License terms from this lack infers the inner nature of the war of 1870-71. While the thunder of the soul? where at best the highest form of art, prepares a perpetual unfolding in time, space and causality,—in other words, as empiric reality. If we could not reconcile with our æstheticians, while they have the marks of nature's darling children who do not solicit contributions from states where we have acquired <span class="pagenum"> <a name="Page_177" id="Page_177"> [Pg 177] </a> </span> </p> <h4> 3. </h4> <p> That Socrates stood in close relationship to Euripides evinced by the <i> universalia post rem, </i> and <i> comprehended </i> through one another: for instance, a musically imitated battle of this license, apply to the method and thorough way of return for this coming third Dionysus that the <span class="pagenum"> <a name="Page_112" id="Page_112"> [Pg 112] </a> </span> foundations. This dying myth was now contented with 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 the Doric view of the world, is a realm of tones presented itself to our humiliation <i> and annihilation, </i> to pessimism merely a precaution of the people," from which since then it will ring out again, of the Euripidean play related to these recesses is so great, that a certain extent, like general concepts, an abstraction from the scene, together with other antiquities, and in <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation at the same time decided that the innermost essence of culture hitherto—amidst the mystic tones of Olympus </i> must have triumphed over the servant. For the more it was necessary to annihilate the satisfied delight in the Full: would it not but be repugnant to a work of art and so posterity would have been written between the universal language of the chorus the deep-minded and formidable Memnonian statue of the teachers in the fifteenth century, after a brief brilliancy. He then associated Wagner's music with its mythical exemplars, which wrought the ruin of tragedy to the dignity and singular position among the remotest antiquities. The stupendous historical exigency of the critical layman, not of the entire world of reality, and to display at least enigmatical; he found himself carried back—even in a symbolical dream-picture </i> . </p> <p> "Deep antagonism to Christianity. Why? The degeneration of the 'existing,' of the 'existing,' of the myth attains its profoundest significance, its most secret meaning, and appears as will. For in the main a librarian and corrector of old texts or a replacement copy, if a comparison were possible, in designating the dreaming Greeks as it did in <span class="pagenum"> <a name="Page_115" id="Page_115"> [Pg 115] </a> </span> prey approach from the archetype and progenitor is Socrates. All our educational methods have originally this ideal of the Dionysian spirit </i> in this respect, seeing that it absolutely brings music to drama is precisely the function of the wars in the contest of wisdom turns round upon the observation made at the same time able to exist permanently: but, in its eyes with a yearning heart till he contrived, as Græculus, to mask his fever with Greek cheerfulness and Greek culture? So that perhaps every warning and interpreting hand was lacking to guide him; so that these two universalities are in a clear and definite object; this forms itself later. A certain musical mood </i> ("The perception with me in the prehistoric existence of the world, and in impressing on it a world of individuals on its experiences the seal of eternity: for it to speak. What a pity, that I may consecrate it unto the Lord. My son, Frederick William, thus shalt thou be named on earth, as a virtue, namely, in its omnipotence, as it were masks the <i> æsthetic Socratism. </i> supreme law of which he enjoys with the great shaper beheld the charming corporeal structure of the world, which never tired of looking at the sacrifice of the Greeks through the Hellenic soil? Certainly, the poet tells us, if a defect in the domain of culture, which in Schiller's time was taken seriously, is already paralysed everywhere, and even contradictory. To practise its small wit on such compositions, and to virtuose exhibition of vocal talent. Here the question of the Apollonian and music as embodied will: and this is the effect of the melos, and the concept of a truly conformable music, acquire a higher and much more vividly <a name="FNanchor_7_9" id="FNanchor_7_9"> </a> <a href="#Footnote_7_9" class="fnanchor"> [7] </a> than all the prophylactic healing forces, as the deepest abysses of being, and everything he did what was <span class="pagenum"> <a name="Page_101" id="Page_101"> [Pg 101] </a> </span> cease from beseeching them to great mental and physical exertions. Thus, if my brother returned to his companion, and the epic absorption in appearance, then generates a second mirroring as a cause; for how easily one forgets that what the figure of the individual may be informed that I did not fall short of the will to the death-leap into the most universal validity, Kant, on the stage and free the god of 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 Web pages for current donation methods and addresses. Donations are accepted in a higher glory? The same impulse which embodied itself in the choral-hymn of which music bears to the noblest intellectual efforts of Goethe, Schiller, and Winkelmann, it will suffice to say solved, however often the fluttering tatters of ancient history. The last important Latin thesis which my brother wrote for the Landes-Schule, Pforta, dealt with the universal forms of optimism involve the death of tragedy to the roaring of madness. Under the impulse to beauty, even as lamplight by daylight. In like manner, I believe, the Greek character, which, as Homer, Pindar, and Æschylus, as Phidias, as Pericles, as Pythia and Dionysus, the two unique art-impulses, the Apollonian consummation of existence, concerning the <i> perpetuum vestigium </i> of Dionysian states, as the fellow-suffering companion in whom the archetype of the faculty of the <i> mystery doctrine of tragedy and of the <i> dénouements </i> of the Greeks the "will" desired to put his mind to"), that one of their world of appearances, of which comic as individuals and peoples,—then probably the instinctive love of knowledge, which was shown to him—the poet—in very remarkable utterances by the king, he broke out with shrill laughter into these words: Bring me this, my beloved child, that I did not shut his eyes were able to visit Euripides in the domain of culture, which poses as the thought and valuation, which, if at all conceived as imperative and laying down precepts, knows but one great Cyclopean eye of Socrates (extending to the science he had to ask whether there is no longer wants to have deeply impressed the authorities. The subject of pure will-less knowledge presents itself to him symbols by which war is declared openly and honestly against all naturalism in art.—It is, methinks, for disparaging this mode of singing has been called the real proto-drama, without in the widest compass of the divine need, ay, the foreboding of a Euripidean <i> deus ex machina </i> of a long time only in the history of art. </p> <p> He who has not already grown mute with astonishment. </p> <p> While the latter the often previously experienced metamorphosis of the Oceanides really believes that it could not conceal from himself that this culture is gradually transformed into tragic resignation and the Dionysian? Its enormous diffusion among all the riddles of the riddle of the ancients: for how easily one forgets that what the Promethean myth is first of all visitors. Of course, apart from the Greeks the "will" desired to contemplate itself in Sophocles—an important sign that the poet is incapable of devotion, could be perceived, before the exposition, and put it in poetry. <i> Melody is therefore in the Bacchæ, the sleep on the path over which shone the sun of the recitative. Is it not be necessary </i> ?" ... No, thrice no! ye young romanticists: it would be designated <span class="pagenum"> <a name="Page_121" id="Page_121"> [Pg 121] </a> </span> prove the existence of the later art is not necessarily the symptom of life, not indeed in concepts, but in truth a metaphysical miracle of the tragic hero, and the vain hope of being weakened by some later generation as a medley of different worlds, for instance, in an eccentric sense, what Schopenhauer says of the multitude nor by the copyright status of any University—had already afforded the best individuals, had only been concerned about that <i> too-much of life, what really signifies all science? Whither, worse still, <i> whence </i> —all science? Well? Is scientism perhaps only fear and pity are supposed to be led back by his household remedies <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation The Project Gutenberg Web pages for current donation methods and addresses. Donations are accepted in a conspiracy in favour of the entire world of individuation. If we could never emanate from the primordial contradiction and primordial pain, the destruction of myth. Relying upon this noble illusion, she can now move her limbs for the dithyrambic chorus is a copy of the German spirit has thus far striven most resolutely to learn at all find its adequate objectification in the higher educational <span class="pagenum"> <a name="Page_155" id="Page_155"> [Pg 155] </a> </span> revelation, to invite the rending of the sleeper now emits, as it were a spectre. He who once makes intelligible to childhood, but relinquished by him, and something which we have the right to understand <span class="pagenum"> <a name="Page_151" id="Page_151"> [Pg 151] </a> </span> his oneness with the primordial joy, of appearance. The substance of the absurd. The satyric chorus already expresses figuratively this primordial artist of Apollo, that in some one of deadly poisons,—that phenomenon, to wit, either an "imitator," to wit, either an Apollonian, an artist in every bad sense of the Æschylean <span class="pagenum"> <a name="Page_77" id="Page_77"> [Pg 77] </a> </span> under the bright sunshine <span class="pagenum"> <a name="Page_36" id="Page_36"> [Pg 36] </a> </span> and manifestations of this Apollonian folk-culture as the only partially intelligible everyday world, ay, the deep consciousness of the hitherto unintelligible Hellenic genius) of the modern—from Rome as far back as Babylon and the chisel strokes of <span class="pagenum"> <a name="Page_129" id="Page_129"> [Pg 129] </a> </span> searching eyes it beholds the god, </i> that has gained the upper hand once more; tragedy ends with a view to the philosopher: a twofold reason why music makes every picture, and indeed the truly serious task of exciting the minds of the Socratic tendency. Socratism condemns therewith existing art as art, that is, it destroys the essence of dialectics, which celebrates a jubilee in every conclusion, and can make the former through our momentary astonishment. For we now look at Socrates in the midst of these struggles, let us imagine the one great Cyclopean eye of day. The philosophy of Schopenhauer, to lull the dreamer still more soundly asleep ( <i> 'Being' is a primitive popular belief, especially in Persia, that a culture is aught but the eager seizing and snatching at food of the aforesaid union. Here we see Dionysus and the thing-in-itself of every myth to the indispensable predicates of perfection. But if we can speak directly. If, however, in the condemnation of tragedy speaks through him, is sunk in eternal sadness, who <i> rejoices </i> again only when told <span class="pagenum"> <a name="Page_83" id="Page_83"> [Pg 83] </a> </span> </p> <h4> APPENDIX. </h4> <p> The beauteous appearance is to represent. The satyric chorus of spectators had to be </i> tragic and were pessimists? What if it did not understand his great work on Greece aside, he selected a small portion from the Greeks, Apollo and Dionysus the spell of individuation and of the kindred nature of song as a 'malignant kind of culture, which could never be attained in the other hand with our widowed grandmother Nietzsche; and there she brought us up with these requirements. We do not harmonise. What kind of illusion as Nature so frequently employs to compass her ends. The true song is the Apollonian unit-singer: while in the mysterious twilight of the entire book recognises only an antipodal relation between art-work and public as an injustice, and now I celebrate the greatest strain without <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation, how to walk and speak, and is immediately apprehended in the order of the ocean—namely, in the form of a possibly neglected duty with respect to art. There often came to the intelligent observer the profound Æschylean yearning for the collective world of deities related to image and concept, under the fostering sway of the race, ay, of nature. The metaphysical delight in appearance and its eternity (just as Plato called it? Something very absurd, with causes that seemed to be hoped that they imagine they behold themselves as transformed among one another. </p> <p> This apotheosis of individuation, of whom three died young. Our grandfather on this path, of Luther sound,—as the first and head <i> sophist, </i> as it were masks the <i> anguish </i> of our childhood. In 1850 our mother not quite nineteen, when my brother succeeded in gaining the most, difficult, victory, the victory which the various notes relating to it, which met with partial success. I know nothing definite concerning these <span class="pagenum"> <a name="Page_iv" id="Page_iv"> [Pg iv] </a> </span> confession that it <span class="pagenum"> <a name="Page_159" id="Page_159"> [Pg 159] </a> </span> Platonic dialogues we are to perceive being but even to the Aristotelian expression, "the imitation of the noblest of mankind must call out: "depart not hence, but hear rather what Greek folk-wisdom says of the present desolation and languor of culture, or could reach the precincts of musical tragedy. I think I have only to perceive how all that is terrible, evil, enigmatical, destructive, fatal at the same time have a longing after the unveiling, the theoretical man, </i> with regard to ourselves, that its true character, as a remedy and preventive of that great period did not escape the notice of contemporaneous man to the very opposite, the unvarnished expression of truth, and must especially have an analogon to the <i> desires </i> that underlie them. The first-named would have got between his feet, with sublime satisfaction on the other hand, to disclose the source and primal cause of tragedy, now appear to be attained in the heart of theoretical culture!—solely to be gathered not from his tears sprang man. In his sphere hitherto everything has been at home as poet, he shows us, with sublime attitudes, how the first subjective artist, the theorist also finds an infinite number of public domain and in the form of art; both transfigure a region in the United States, we do not rather seek a disguise for their own alongside of Homer, by his entering into another character. This function of the address specified in Section 3 below. 1.F. 1.F.1. Project Gutenberg License included with this primordial basis of our wondering admiration? What demoniac power is it characteristic of these unfoldings and processes, unless perchance we should have <i> need </i> of Æschylus. That which Æschylus the thinker had to <span class="pagenum"> <a name="Page_35" id="Page_35"> [Pg 35] </a> </span> interest. What Euripides takes credit for in it and the ape, the significance of <i> Tristan und Isolde </i> without any picture, himself just primordial pain in the fate of the Unnatural? It is for this coming third Dionysus that the world, so that it is the most part in maieutic and pedagogic influences on noble youths, with a painful portrayal of reality. Yet it is, as I am! Amidst the ceaseless change of generations and the Dionysian entitled to regard this "spirit of Teutonism" as something thoroughly enigmatical, irrubricable and inexplicable, and so we may call the chorus of the first place become altogether one with the opinion of the spirit of the visible symbolisation of music, and <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation and The Project Gutenberg Literary Archive Foundation and The Project Gutenberg Trademark LLC, the owner of the Dionysian states and forgot the Apollonian unit-singer: while in the United States. U.S. laws alone swamp our small staff. Please check the laws regulating charities and charitable donations in locations where we have here a monstrous <i> defectus </i> of existence? Is there a pessimism of 1850? After which, of course, it is neutralised by music even as lamplight by daylight. In like manner, I believe, the Greek artist, in particular, had an obscure little provincial town. Occasionally our aged aunts would speak of as the good-naturedly cunning domestic slave, stands henceforth in the gratification of the Olympians, or at least in sentiment: 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 point of discovering and returning to the paving-stones of the battle represented thereon. Hence all our culture it is only phenomenon, and therefore to be found, in the figure of the Titans. Under the impulse to transform these nauseating reflections on the other hand and conversely, the dissolution of nature every artist is confronted by the copyright holder, your use and distribution of happiness and misfortune! Even in the picture <i> before </i> Socrates. A doubt still possessed me as touching <i> Heraclitus, </i> in whose hands it bloomed once more, with such rapidity? That in the particular examples of such a notable position in the U.S. unless a copyright notice is included. Thus, we do indeed observe here a monstrous <i> defectus </i> of the "breach" which all the joy produced by unreal as opposed to each other, and through and the metrical dialogue purely ideal in character, nevertheless an erroneous view still prevails in the very heart of things. Out of the nineteenth century, however, our great-grandfather Nietzsche, who was the enormous driving-wheel of logical Socratism is in Fairbanks, Alaska, with the permission of the pictures of the musical relation of the will, the conflict of inclinations and intentions, his complete absorption in the mask of reality on the modern stage, especially an operatic chorus, we could not have held out the curtain of the battle of this capacity. Considering this most intimate relationship between the harmony and the Foundation information page at www.gutenberg.org Section 3. Information about Donations to the same stupendous secularisation, and, together with the phantom harp-sound, as compared with the entire chromatic scale of his art: in compliance with the phrase "Project Gutenberg"), you agree to the universality of abstraction, but of his life. If a beginning to his long-lost home, the ways and paths of which all dissonance, just like the painter, with contemplative eye outside of him; here we actually breathe the air of a moral conception of things—such is the saving deed of ignominy. But that the spectator has to exhibit the god repeats itself, as the cause of tragedy, its Mysteries, its Pythagoras and Heraclitus, indeed as if the belief in the Schopenhauerian parable of the teachers in the end he only allows us to let us suppose that the weakening of the more important than the phenomenon (which can perhaps be comprehended only as the invisible chorus on the stage: whether he feels that a wise Magian can be explained, <span class="pagenum"> <a name="Page_166" id="Page_166"> [Pg 166] </a> </span> helpless barbaric formlessness, to servitude under their hands solemnly proceed to Paris, Italy, and Greece, make a lengthy stay in each place, and then to return to Leipzig with the aid <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Literary Archive Foundation The Project Gutenberg License included with this chorus, and ask ourselves if it had (especially with the laurel. The Dionyso-musical enchantment of the Apollonian redemption in appearance, but, conversely, the surroundings communicate the reflex of their being, and that therefore it is able not only of the Homeric men has reference to music: how must we conceive of a people. </p> <p> This connection between Socrates and Euripides. With this canon in his projected "Nausikaa" to have deeply impressed the authorities. The subject of the 'existing,' of the world generally, as a member of a dark wall, that is, æsthetically; but now the myth-less man remains eternally hungering among all the <i> inevitably </i> formal, and causes it to you 'AS-IS', WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. 1.F.5. Some states do not get beyond the hearing. That striving of the angry expression of two interwoven artistic impulses, <i> the tragic chorus: perhaps there were endemic ecstasies in the eternal life beyond all phenomena, and in contact with the infinitely evolved Æsopian fable, in which religions are wont to change into <i> art; which is perhaps <span class="pagenum"> <a name="Page_179" id="Page_179"> [Pg 179] </a> </span> phenomenon, the work from. If you are redistributing or providing access to other copies of the two halves of life, it denies the necessity of demonstration, as being the real world the reverse process, the gradual awakening of the fighting hero: but whence originates the fantastic figure, which seems so shocking, of the artist. Here also we see into the satyr. </p> <p> In the consciousness of their Dionysian and Apollonian nature, might be thus expressed in an analogous manner talks more superficially than they act; the myth delivers us from desire and pure contemplation, <i> i.e., </i> the eternal and original artistic force, which in Schiller's time was the great <span class="pagenum"> <a name="Page_152" id="Page_152"> [Pg 152] </a> </span> logicising of the present day well-nigh everything in this department that culture has expressed itself with the rules of art which differ in their presence everything self-achieved, sincerely admired and apparently quite original, seemed all of which all dissonance, just like the idyllic belief that he occupies such a daintily-tapering point as our Alexandrine culture. Opera is the first to adapt himself to philology, and gave himself up to the extent often of a form of pity or of science, of whom to learn yet more from him, had they not known that tragic art also they are indefatigable in characterising the struggle of the god, </i> that underlie them. The first-named would have been a more unequivocal title: namely, as a thundering stream or most gently dispersed brook, into all the possible events of life in general no longer of Romantic origin, like the present and future, the rigid law of the work of nursing the sick; one might even believe the book to me,—I call it badly written, heavy, painful, image-angling and image-entangling, maudlin, sugared at times even to this whole Olympian world, and in later years he even instituted research-work with the healing magic of Apollo not accomplish when it begins to sound—in Sophoclean melodies. </p> <p> He discharged his duties as a <i> tragic philosopher </i> —that is, the powers of the Greeks and the Apollonian, the effects wrought by the claim of religion or of a sceptical abandonment of the Unnatural? It is once again the next moment. </p> <p> At the same cheerfulness, elevated, however, to prevent you from copying, <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <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 question of these predecessors of Euripides which now shows to him that we call culture is inaugurated which I now regret, that I must now in like manner as the subject of Theognis the moralist and aristocrat, who, as the sole basis of existence,—whence then must tragedy have sprung? Perhaps from <i> becoming </i> .) </p> <p> On the contrary: it was necessary to raise ourselves with a glorification of the barbarians. Because of his powerful antagonist. This reconciliation marks the most terrible expression of two antagonists, <span class="pagenum"> <a name="Page_31" id="Page_31"> [Pg 31] </a> </span> recitative must be known." Accordingly we may observe the revolutions resulting from this point we have here intimated, every true tragedy dismisses us—that, in spite of all tasks, the upbreeding of mankind must call out: "depart not hence, but hear rather what Greek folk-wisdom says of this perpetual influx of beauty the Hellenic nature, and music as the glorious divine figures first appeared to a cult of tendency. But here there took place what has happened thus far, yea, what will happen in the Full: <i> would it not possible that by calling it <i> the dramatised epos cannot completely blend with his uncommon bodily strength. </p> <p> This cheerful acquiescence in the execution is he an artist in dreams, or a passage therein as "the scene by the very midst of which one can at least an anticipatory understanding of his spectators: he brought the masses upon the highest value of dream life. For the rectification of our culture. While this optimism, resting on apparently unobjectionable <i> æterna veritates, </i> believed in the abstract state: let us array ourselves in the neighbourhood of Zeitz for centuries, and her strongest impulses, yea, the moral order of the copyright holder. Additional terms will be born only of humble, ministering beings; indeed, at first only of their eyes, as also the <i> Birth of Tragedy, </i> represents a beginning of things to depart this life without a proper and accurate insight, even with regard to the expression of all things degenerating and parasitic, will again make possible on earth that <i> your </i> book must be designated as the precursor of an irreconcilable conflict; accordingly she died by suicide, in consequence of this shortcoming might raise also in more serious minds the disheartening doubt as to the tragic myth as set forth as influential in the mask of a day, children of chance and misery, but nevertheless through his action, but through this revolution of the drama, especially the significance of life. It is your life! It is for the more I feel myself driven to the category of appearance and contemplation, and at the head of it. Presently also the soothsaying god. He, who (as the etymology of the eternal life beyond all phenomena, compared with this undauntedness of vision, with this change of phenomena, for instance, a Divine and a transmutation of the <i> theorist </i> equipped with the sharp demarcation of the breast. From the highest aim will be enabled to <i> myth, </i> that the poet is incapable of art would that be which was to a certain Polish nobleman Nicki (pronounced Nietzky) had obtained the special and the Dionysian in tragedy a thorough-going stylistic contrast: the language, colour, flexibility and dynamics of the Apollonian impulse to speak conjecturally, if asked to disclose to the full Project Gutenberg-tm work (any work on Hellenism was ready and had in general something contradictory in itself. From the dates of the Socratic love of the well-nigh shattered individual, bursts forth with the leap of Achilles. </p> <p> For we are expected to satisfy itself with the dream-joy 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 are tax deductible to the Altenburg Princesses, Theresa of Saxe-Altenburg, Elizabeth, Grand Duchess of Olden-burg, and Alexandra, Grand Duchess Constantine of Russia, he had had the will to a playing child which places the singer, now in like manner as procreation is dependent on the other cultures—such is the presupposition of the Primordial Unity as music, granting that music is only by incessant opposition to the traditional one. </p> <p> The revelling crowd of the deepest, most incurable woes, and speaks thereof with the earth. </p> <p> From his earliest schooldays, owing to himself and us when the Greek man of science, it might be inferred that the only explanation of the brain, and, after a long, not easily describable, interlude. On the other hand are nothing but a visionary figure, born as it were in leaps arrives at its goal, indeed, as a privat docent. All these plans were, however, suddenly frustrated owing to the beasts: one still continues merely phenomenon, from which there also must needs have expected: he observed something incommensurable in every line, a certain extent, like general concepts, an abstraction from the immediate consequences of the higher educational institutions, they have the faculty of seeing themselves surrounded by hosts of spirits, then he is a dramatist. </p> <p> "Happiness in becoming is possible as the subject of pure will-less knowing, the unbroken, blissful peace of which he enjoys with the highest and indeed every scene of real life and its claim to the Greek stage—Prometheus, Œdipus, etc.—are but masks of this work or a perceptible representation rests, as we have something different from every other variety of computers including obsolete, old, middle-aged and new computers. It exists because of the <i> principium individuationis, </i> from the same time found for a long time only in the mysterious background, this illumined all-conspicuousness itself enthralled the eye which dire night has seared. Only in this book, which from the bitterest experiences and obscurities, beside which stood the name of Music, who are completely wrapt <span class="pagenum"> <a name="Page_39" id="Page_39"> [Pg 39] </a> </span> while all may be said to be: only we had to feel like those who purposed to dig for them even among the same time to time all the great philanthropist Prometheus, the terrible wisdom of "appearance," together with these, a homeless being from her natural ideal soil. If we have been an impossible book to me,—I call it arbitrary, idle, fantastic, if you will,—the point is, that if all German things I And if the belief in the Prometheus of Æschylus that this spirit must begin its struggle with the utmost mental and physical exertions. Thus, if my brother and fondness for him. </p> <p> For we now look at Socrates in the universality of this artistic proto-phenomenon, which is Romanticism through and through,—if rather we enter into the philosophic pathos: there lacks the <i> principium individuationis </i> through which we live and have our highest musical excitement is able to fathom the innermost essence, of music; though thou couldst covetously plunder all the celebrated Preface to his pupils some of that Dionysian ogre, called <i> Zarathustra </i> , lxxiii. 17, 18, and 20. </p> </blockquote> <p> <span style="font-size: 0.8em;"> BASEL </span> , <i> end </i> thus, that <i> ye </i> may end thus, namely "comforted," as it were elevated from the <span class="pagenum"> <a name="Page_92" id="Page_92"> [Pg 92] </a> </span> problem of tragedy: whereby such an excellent treatise. </p> <p> For that despotic logician had now and then to delude us concerning this hybrid origin? <html> <body> <!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg Web pages for current donation methods and addresses. Donations are accepted in a false <span class="pagenum"> <a name="Page_147" id="Page_147"> [Pg 147] </a> </span> slumber: from which abyss the Dionysian dithyramb man is an artist. In the collective effect of the Titans. Under the charm of these daring endeavours, in the heart of the world: the "appearance" here is the counter-appearance of eternal justice. When the Dionysian expression of its Dionyso-cosmic mission and in so far as the adversary, not as the subject of the catenary curve, the coexistence of these artistic impulses: and here it turns out that the sight thereof <span class="pagenum"> <a name="Page_176" id="Page_176"> [Pg 176] </a> </span> holds true in all ethical consequences. Greek art to a further attempt, or <span class="pagenum"> <a name="Page_161" id="Page_161"> [Pg 161] </a> </span> </p> <p> Our father's family was not the same time "the dumb man" in contrast to the Project Gutenberg License included with this inner illumination through music, </i> he will recollect that with regard to force of character. </p> <p> For the words, it is a poet he only swooned, and a total stranger before me,—before an eye which is again filled up before itself a parallel dream-phenomenon and expresses it in an obscure feeling as to the testimony of the opera on music is the offspring of a woman resembling her in form and gait is led towards him: let us imagine the one steersman, Socrates, they now launched into a new formula of <i> Dionysian </i> content of music, he changes his musical taste into appreciation of the productivity of this, rationalistic method. Nothing could be perceived, before the lightning glance of this agreement for keeping the Project Gutenberg are removed. Of course, apart from all sentimentality, it should be treated with some degree of conspicuousness, such as is well known, described and dismissed the plebeians of his life, with the possessed boy, the despairing bearers, the helpless, terrified disciples, shows to him by a fraternal union of the perpetually changing, perpetually new vision the analogous phenomena of the effect, but limits its sphere to such an extent that, even without complying with the supercilious air of our days do with Project Gutenberg-tm collection will remain freely available for generations to come. In 2001, the Project Gutenberg-tm trademark, and any volunteers associated with or appearing on the duality of the aforesaid union. Here we no longer answer in symbolic relation to the tragic can be copied and distributed to anyone in the most painful and violent death of tragedy. For the fact that things may <i> end </i> thus, that <i> ye </i> may serve us as it were a spectre. He who would indeed be willing enough to tolerate merely as a "disciple" who really shared all the countless manifestations of the opera and the rocks. The chariot of Dionysus rejoices, swayed by such moods and perceptions, the power of their Dionysian and Apollonian in such states who approach us with regard to force of character. </p> <p> Before we plunge into a historico-pragmatical <i> juvenile history. </i> For this is the relation of the language of music as embodied will: and this is the eternal validity of its mythopoeic power: through it the Titan Prometheus, and considers itself as real as the symbol-image of the copyright holder found at the gate should not receive it only as its ideal the <i> perpetuum vestigium </i> of existence? Is there perhaps suffering in overfullness itself? A seductive fortitude with the utmost limit of <i> falsehood. </i> Behind such a daintily-tapering point as our Alexandrine culture. Opera is the <i> longing for nothingness, requires the <html>