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The Birth of Tragedy
A compelling argument for the necessity for art in life, Nietzsche's first book is fuelled by his enthusiasms for Greek tragedy, for the philosophy of Schopenhauer and for the music of Wagner, to whom this work was dedicated. Nietzsche outlined a distinction between its two central forces: the Apolline, representing beauty and order, and the Dionysiac, a primal or ecstatic reaction to the sublime. He believed the combination of these states produced the highest forms of music and tragic drama, which not only reveal the truth about suffering in life, but also provide a consolation for it. Impassioned and exhilarating in its conviction, The Birth of Tragedy has become a key text in European culture and in literary criticism.
121 pages, Paperback
First published January 1, 1871
About the author
Friedrich Nietzsche
3,262 books22k followersFriedrich Wilhelm Nietzsche (Ph.D., Philology, Leipzig University, 1869) was a German philosopher of the late 19th century who challenged the foundations of Christianity and traditional morality. He was interested in the enhancement of individual and cultural health, and believed in life, creativity, power, and the realities of the world we live in, rather than those situated in a world beyond. Central to his philosophy is the idea of “life-affirmation,” which involves a questioning of all doctrines that drain life's expansive energies, however socially prevalent those views might be. Often referred to as one of the first existentialist philosophers along with Søren Kierkegaard (1813–1855).
From the Stanford Encyclopedia of Philosophy
From the Stanford Encyclopedia of Philosophy
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December 21, 2023
With his vivid, passionate language, 19th century German philosopher Fredrich Nietzsche wrote his books as a way to pry open a space in a reader’s psyche, a space empowering an individual to embark on a journey of inner exploration. This is precisely why I think any attempt, no matter how well intended, to rephrase, paraphrase or synopsize Nietzsche, without including a fair amount of Nietzsche’s actual words, is a terrible injustice committed against one of the greatest literary stylists in the modern world. Thus I have included the below direct quotes from the first section of his book to allow Nietzsche, even in this brief review, to speak for himself. Please take my modest comments coupled with each quote as an invitation to explore this classic work on your own.
“We shall have gained much for the science of aesthetics, once we perceive not merely by logical inference, but with the immediate certainty of vision, that the continuous development of art is bound up with the Apollonian and Dionysian duality – just as procreation depending on the duality of the sexes.”
Nietzsche saw Greek tragedy as a prime example of how those ancient Greeks actually got it right; those ancients developed an accurate picture of the world as irrational, chaotic, primal Dionysian energy, energy that had to be softened, sweetened and otherwise contained by the Apollonian illusion of order, pattern and predictability (in a tragic play, such things as plot and character) to develop an art form acceptable to the public. The combination and balance of these two forces – chaotic Dionysian and orderly Apollonian – resulted in the Greek tragedy.
“In order to grasp these two tendencies, let us first conceive of them as the separate art worlds of dreams and intoxication.”
The two tendencies are the Apollonian and the Dionysian. The nature of the Apollonian is the dream that the world follows an ordered, harmonious, rational law; the nature of the Dionysian is the world as in the grip of chaotic, dark, vile, irrational forces. The type of art associated with the Apollonian would be Greek sculpture, such as marble statues of gods and goddesses portrayed as beings of great harmony, serenity and proportion. On the other hand, an example of the Dionysian would be a wild intoxicated nocturnal dance where the dancers are goaded into a frenzied swirl by a cacophony of deafening drums and flutes.
“The beautiful illusion of the dream worlds, in the creation of which every man is truly an artist, is the prerequisite of all plastic art.”
As frequently acknowledged, every child is an artist. Indeed, we all in our own way, beginning as children, create a picture world in our minds, featuring beautiful, fantastic illusions: breathtaking glass mountains, carefree, winged creatures soaring in the sky, elaborate castles, worlds of adventure and pleasure free of those irksome burdens such as sickness, hunger, disease, intense pain. It is these very marvelous, fanciful dreams that serve as the foundation for visual artworks created with paints and stone. Sidebar: It is this same artistic, imaginative tendency we all have that enables us to easily construct inner visual pictures as we read a work of fiction. Nietzsche would like us to extend our imaginative capacity, urging us to bring real style to our character and view ourselves as a work of art.
“Philosophical men even have a presentiment that the reality in which we live and have our being is also mere appearance, and that another, quite different reality lies beneath it. Schopenhauer actually indicates as the criterion of philosophical ability the occasional ability to view men and things are mere phantoms or dream images.”
Here Nietzsche is hinting at how philosophy beginning with Socrates and Plato, pushed the chaotic irrational forces of the universe to one side, even calling them phantoms or dream images. What truly matters in this view of the universe is reason. Reason is king. And since reason is at the heart of this philosophic conception of the universe, the very heartbeat of reality, why continue to have tragedy performed, an art form claiming chaos is at the heart of the universe? Nietzsche goes into great detail on how Socratic philosophy brought about the death of Greek tragedy.
“Function of art: to give us a hint of a truth, a truth that the world was chaotic and meaningless but, equally, art had to shield us from this dark, dreadful reality.”
This line of thinking is at the very core of why Nietzsche loved Greek tragedy: the tragic performance would give an audience a glimpse of the true nature of the world’s dark chaos but do it in a way via the dramatic art of plot, character and other theatrical devices to protect, to buffer and safeguard the audience so they could continue living and managing life in their society.
“Thus the aesthetically sensitive man stands in the same relation to the reality of dreams as the philosopher does to the reality of existence; he is a close and willing observer, for these images afford him an interpretation of life, and by reflecting on these processes he trains himself for life.”
As the philosopher uses logic, reason and analysis, so the aesthetically attuned person uses the dream-worlds of sleep, hallucinogens, the arts and creative imagination to explore different dimensions of experience. Nietzsche perceived the dark, chaotic forces of the universe as prominent, at the heart of the heart of life. He could see how these irrational forces could energize human experience rather than driving people down into hopeless despair and renunciation.
“Either under the influence of the narcotic draught, of which the songs of all primitive men and peoples speak, or with the potent coming of spring that penetrates all nature with joy, these Dionysian emotions awake, or as they grow in intensity everything subjective vanishes into complete self-forgetfulness.”
Here Nietzsche is alluding to our willing surrender of our sense of separate individuality to the swirl of joyful, ecstatic unity with the universe. In our modern world, one could think of a rave concert. Drugs and the ecstatic state, anyone?
“In song and in dance man expresses himself as a member of a higher community; he has forgotten how to walk and speak and is on the way toward flying into the air, dancing. His very gestures express enchantment.”
Taking the raw, primal energy and filtering it through Apollonian illusion. Here Nietzsche is suggesting art gives shape, form and color; art peddles a certain untruth since ultimately there is only the dark, irrational chaos. But this artistic untruth is completely necessary; otherwise, we couldn’t face the chaos.
“The noblest clay, the most costly marble, man, is here kneaded and cut, and to the sound of the chisel strokes of the Dionysian world-artist rings out the cry of the Eleusinian mysteries: “Do you prostrate yourselves, millions? Do you sense your Maker, world?”
A question worthy of consideration: Is tragedy a method and approach to life that actually works? Perhaps it is time for us modern people to reclaim the power and beauty of tragedy.
*I would like to thank a number of contemporary British philosophers for their podcasts and books on Nietzsche’s philosophy of art and tragedy. Listened to their podcasts repeatedly and reading several of their books over the last few years has really deepened and enriched my understanding and appreciation for this exciting subject. They are: Aaron Ridley, Christopher Janaway, Alex Neill, Simon May and Ken Gemes.
August 23, 2022
”Tragedy sits in the midst of this superabundance of life, suffering, and delight, in sublime ecstasy, listening to a distant, melancholy singing which tells of the Mothers of Being, whose names are delusion, will, woe.”
It is impossible to forget Nietzsche’s philosophy laid out in the Birth of Tragedy. Reading this book there is a great possibility you will go deep down the rabbit hole of Greek tragedy and it is a hell of a place to dwell in.
The Birth of Tragedy was written by young Nietzsche, being only 27 years old. He later critiqued his passionate, idealistic, poet-philosopher writing style but not the core ideas he outlined that massively impacted modern thought. Nietzsche here is verbose but vivid, daring, enthusiastic, in highest exaltation of his Dionysian self, making often abstract, vague arguments in a completely non-linear fashion which makes linear, coherent breaking down of text a demanding task. I will attempt to give my reflection on what would I consider the big overlaying themes.
Helenism and pessimism
Nietzsche makes an argument, similar to Aristotle's in Poetics, that the tragic theatre in Ancient Greece was the highest art form. Here he is specific about the time period - he thinks the early period of Greek art and philosophy is the pinnacle of Greek thought and civilization. As laid out in his also brilliant book Philosophy in the Tragic Age of the Greeks the decline of Greek culture, as well as the whole Western civilization, started with Socrates who believed that truth can be reached through reason and dialectic, not through art, and caused the shift from mythos to logos. Inherent optimism is the aftermath of Socratic philosophy, reflected also in Christian morality, the tradition of Western rationalism and science where man thinks he can know everything and reign all (the inheritance of Genesis where God said to the man to rule all life) through reason, with faith in its complete omnipotence. Nietzsche thinks that we long waited for the first pessimist philosopher, his great influence, Schopenhauer, who was an original anti-rationalist, one who believed in the primacy of irrational Will. As Schopenhauer, Ancient Greeks were also pessimists, because they acknowledged the horrible and enigmatic character of existence - the pain, suffering and death that are inexplicable. The human mind is finite and the mystery that pervades life through tragedy goes beyond reason and consciousness. Through the invention of tragedy, Greek could go beyond pessimism to the tragic affirmation of life - they were saying yes to life more fully and passionately and descended into the mystery of life more profoundly than anyone.
They could say yes to life because the tragedy is formed by the interplay of two deities, of the two opposite ruling principles of life that Nietzsche named after two Greek gods, making now widely used terms of Apollonian and Dionysian.
The Apollonian
Apollon is the god of Reason and appearance, the Shining one that gives the enlightenment of logic and thrives in order, rules and perfect form whether it is morality, aesthetics, art, or beauty. Apollo is the bearer of the light of consciousness, self-knowledge and memory as his ruling principle is “Know thyself”. He gives the principle of individuation - the formation of finite identity through injection of limitation and measure, faith in the shining of one's own individuality and the unity of the Self. Apollinian art has extraordinary clarity, giving hard edges to what it depicts - painting, sculptures, epics, poetry - exemplifying the principium individuationis which Schopenhauer had located as the major error that we suffer from epistemologically that we perceive and conceive of the world in terms of separate objects, including separate persons. Apollo gives the sublime truth of logic and heals through it (medicine) and his truth shields us from chaos and suffering.
The Dionysian
Dionysus is the twice-born, the god of duality, the enigma and paradox, the god of many forms and inexpressible depth, a raving god whose presence makes man mad and incites him to savagery and lust for blood. He gives a compulsion to frenzy - excessive energy in intoxication and ecstasy. He is deeply rooted in nature, instinctual and animalistic and frees man from his humanity making him descend into passion, sexuality, cruelty and darkness. By bringing destruction, chaos and ugliness he brings a new creation as a new form cannot arise without the obliteration of the old. Opposite to Apollonian memory and self-knowledge, Dionysus is the god of forgetting - forgetting our strengths, our failures and struggles in order to achieve greatness, and forgetting oneself to reach a new state of being. Dionysus brings the annihilation of the principle of individuation as in forgetting one is free to merge into the collective where the boundaries of subjectivity exist no more. In Dionysian celebrations, masquerades and festivals one is transgressing the limits of own individuality in the obliteration of the self-identity where one can become anything he desires, anything at all. Dionysus heals through a creative transfiguration in the experience of both suffering and ecstasy, and in the return to the primordial unity, there is a reconciliation of humanity and nature. Dionysian gives us immediate access to nominal reality (the thing in itself) but bypasses the representing (Apollonian), and gives us feeling (pathos) for what lies beyond our boundary conditions bringing the wisdom of lived experience, not logic, as truth. In the Twilight of Idols, Nietzsche named himself "the last disciple of the philosopher Dionysus."
“But how suddenly the wilderness of our tired culture, which we have just painted in such gloomy colours, can be transformed, when it is touched by Dionysiac magic! A storm seizes everything that is worn out, rotten, broken, and withered, wraps it in a whirling cloud of red dust and carries it like an eagle into the sky. Our eyes gaze in confusion after what has disappeared, for what they see is like something that has emerged from a pit into golden light, so full and green, so luxuriantly alive, so immeasurable and filled with longing. ”
The long-lasting repression of Dionysian in the West as part of our nature can make us idolize and glorify Dionysus, this alluring, but highly dangerous god. As much as it is fun to critique rationality, the Apollonian light of reason is the part that makes us capable of even reflecting on Dionysian - and the borders of our individuation shield us not to experience psychotic disintegration, but mystical unity. As much as Nietzsche critiqued Socrates - he did it by apparatus of classical intellectual - examination and judgment.
Greek Tragedy
“The metaphysical solace which, I wish to suggest, we derive from every true tragedy, the solace that in the ground of things, and despite all changing appearances, life is indestructibly mighty and pleasurable, this solace appears with palpable clarity in the chorus of satyrs, a chorus of natural beings whose life goes on ineradicably behind and beyond all civilization, as it were, and who remain eternally the same despite all the changes of generations and in the history of nations.“
Giving examples, Nietzsche makes an argument that Apollonian without the Dionysian is stale and restraining and Dionysian without the Apollonian is menacing and chaotic. The Greek Tragedy is the most perfect form because it represents the holy marriage of Apollonian and Dionysian, art that merges two sides, the mystical unity of life. In Ancient form Greek tragedy contained acting on stage as well as music and dance, and what Nietzsche finds vital for the catharsis of the audience - chorus. His thesis is that in the peaks of the tragedy the chorus dominates so that the audience sees on stage its own reflection, raised to overpowering heights of suffering and transfiguration. Nietzsche admired Aeschylus and Sophocles (and offers a great analysis of the characters in their plays, especially Oedipus as well as Prometheus), whereas with Euripides he thinks that the decline of Greek tragedy began. Euripides' plays acted out in theater had no longer dance, music, or choir within them, just pure forms of images, making his tragedies Apollonian, condensed philosophical thought with the accent on a psychological drama of individual, which represents the triumph of Socratic rationalism and asceticism. Euripides manifested an interest in an individual, in psychology, and worst of all, in the beneficial effects of rationality, or as Nietzsche tends to call it, ‘dialectic’, making him the poet of aesthetic Socratism (for something to be beautiful it must be reasonable).
Existential implication
Greek Tragedy gave Greeks “great health” as they not only could endure but worship as divine the contrast embedded in the nature of reality, pain and suffering as part of the primordial essence of being, of all forms of life and creation. Dionysian gives a justification of pain and tragedy on both a personal level as well on a cosmic level - suffering is an intrinsic part of all things and to remove it would be to remove life itself. An important part of Nietzsche's philosophy is the complete affirmation of life in the totality of being - he criticized the Christian morality for acknowledging solely moral aspects of life - and therefore rejecting the inherent immorality of existence, which is almost the same as hatred for life. Nietzschean tragic affirmation of life is saying yes to life even in its strangest, hardest, most nefarious problems - having a Will to live, truly Dionysian quality - to join together peak and abyss, horrors of darkness and heights of bliss. The great health in not only accepting the horrible, evil, problematic aspects of existence as necessary but affirming them as a desirable part of the whole. To know the good as well as the bad is to know the wholeness of life and only by knowing the wholeness can one say a complete YES to life. To experience the most painful thoughts and the most extreme form of nihilism, and yet be able to emerge from such depths and affirm life in its totality is undoubtedly the highest state of being.
Theory of Art
”Function of art: to give us a hint of a truth, a truth that the world was chaotic and meaningless but, equally, art had to shield us from this dark, dreadful reality.”
Nietzsche believed that when artists transfigure the world aesthetically it produces profound existential satisfaction - the world and suffering are justified by art and creativity, what he called the ”only satisfactory theodicy”. Art gives us both healing and redemption through illusion, and saves us from the horrors of existence, giving the affirmation, the blessing, the deification of existence itself. Therefore, art is “the highest task and the proper metaphysical activity of this life”.
In a large sense, Nietzsche is a philosopher of self-realization, and the question he posed in the subtitle of Ecce Homo; “How one becomes who he is?” is central to his philosophy. How does a human become great? The Apollonian aspect of art, from the god of plastic energies, makes us dream beautiful illusions and create them in reality. The Dionysian aspect, makes us embody art in ourselves. Nietzsche believed that in the matrimony of Apollonian and Dionysian we are both the artists and the art form. Nietzsche believes that the Dionysian incites us to make ourselves into the work of art, an embodiment of art itself - one of the most beautiful thoughts that philosophy ever produced.
“Man is no longer an artist [as he had been in creating the gods], he has become a work of art: the artistic power of the whole of nature reveals itself to the supreme gratification of the primal Oneness amidst the paroxysms of intoxication.“
The Nietzschean, but also universal truth is we need both Apollonian and Dionysian, self-knowledge and self-forgetfulness, order and chaos, construction and destruction, pessimism and tragic affirmation - to be in unity of the opposite and to love life in the fullness of human experience.
Read Birth of Tragedy to gain more understanding of Greek tragedy on the journey of mythical inner exploration.
”Yes, my friends, believe as I do in Dionysiac life and in the rebirth of tragedy. The time of Socratic man is past. Put on wreaths of ivy, take up the thyrsus and do not be surprised if tigers and panthers lie down, purring and curling round your legs. Now you must only dare to be tragic human beings, for you will be released and redeemed. You will accompany the festive procession of Dionysos from India to Greece! Put on your armour for a hard fight, but believe in the miracles of your god!”
It is impossible to forget Nietzsche’s philosophy laid out in the Birth of Tragedy. Reading this book there is a great possibility you will go deep down the rabbit hole of Greek tragedy and it is a hell of a place to dwell in.
The Birth of Tragedy was written by young Nietzsche, being only 27 years old. He later critiqued his passionate, idealistic, poet-philosopher writing style but not the core ideas he outlined that massively impacted modern thought. Nietzsche here is verbose but vivid, daring, enthusiastic, in highest exaltation of his Dionysian self, making often abstract, vague arguments in a completely non-linear fashion which makes linear, coherent breaking down of text a demanding task. I will attempt to give my reflection on what would I consider the big overlaying themes.
Helenism and pessimism
Nietzsche makes an argument, similar to Aristotle's in Poetics, that the tragic theatre in Ancient Greece was the highest art form. Here he is specific about the time period - he thinks the early period of Greek art and philosophy is the pinnacle of Greek thought and civilization. As laid out in his also brilliant book Philosophy in the Tragic Age of the Greeks the decline of Greek culture, as well as the whole Western civilization, started with Socrates who believed that truth can be reached through reason and dialectic, not through art, and caused the shift from mythos to logos. Inherent optimism is the aftermath of Socratic philosophy, reflected also in Christian morality, the tradition of Western rationalism and science where man thinks he can know everything and reign all (the inheritance of Genesis where God said to the man to rule all life) through reason, with faith in its complete omnipotence. Nietzsche thinks that we long waited for the first pessimist philosopher, his great influence, Schopenhauer, who was an original anti-rationalist, one who believed in the primacy of irrational Will. As Schopenhauer, Ancient Greeks were also pessimists, because they acknowledged the horrible and enigmatic character of existence - the pain, suffering and death that are inexplicable. The human mind is finite and the mystery that pervades life through tragedy goes beyond reason and consciousness. Through the invention of tragedy, Greek could go beyond pessimism to the tragic affirmation of life - they were saying yes to life more fully and passionately and descended into the mystery of life more profoundly than anyone.
They could say yes to life because the tragedy is formed by the interplay of two deities, of the two opposite ruling principles of life that Nietzsche named after two Greek gods, making now widely used terms of Apollonian and Dionysian.
The Apollonian
Apollon is the god of Reason and appearance, the Shining one that gives the enlightenment of logic and thrives in order, rules and perfect form whether it is morality, aesthetics, art, or beauty. Apollo is the bearer of the light of consciousness, self-knowledge and memory as his ruling principle is “Know thyself”. He gives the principle of individuation - the formation of finite identity through injection of limitation and measure, faith in the shining of one's own individuality and the unity of the Self. Apollinian art has extraordinary clarity, giving hard edges to what it depicts - painting, sculptures, epics, poetry - exemplifying the principium individuationis which Schopenhauer had located as the major error that we suffer from epistemologically that we perceive and conceive of the world in terms of separate objects, including separate persons. Apollo gives the sublime truth of logic and heals through it (medicine) and his truth shields us from chaos and suffering.
The Dionysian
Dionysus is the twice-born, the god of duality, the enigma and paradox, the god of many forms and inexpressible depth, a raving god whose presence makes man mad and incites him to savagery and lust for blood. He gives a compulsion to frenzy - excessive energy in intoxication and ecstasy. He is deeply rooted in nature, instinctual and animalistic and frees man from his humanity making him descend into passion, sexuality, cruelty and darkness. By bringing destruction, chaos and ugliness he brings a new creation as a new form cannot arise without the obliteration of the old. Opposite to Apollonian memory and self-knowledge, Dionysus is the god of forgetting - forgetting our strengths, our failures and struggles in order to achieve greatness, and forgetting oneself to reach a new state of being. Dionysus brings the annihilation of the principle of individuation as in forgetting one is free to merge into the collective where the boundaries of subjectivity exist no more. In Dionysian celebrations, masquerades and festivals one is transgressing the limits of own individuality in the obliteration of the self-identity where one can become anything he desires, anything at all. Dionysus heals through a creative transfiguration in the experience of both suffering and ecstasy, and in the return to the primordial unity, there is a reconciliation of humanity and nature. Dionysian gives us immediate access to nominal reality (the thing in itself) but bypasses the representing (Apollonian), and gives us feeling (pathos) for what lies beyond our boundary conditions bringing the wisdom of lived experience, not logic, as truth. In the Twilight of Idols, Nietzsche named himself "the last disciple of the philosopher Dionysus."
“But how suddenly the wilderness of our tired culture, which we have just painted in such gloomy colours, can be transformed, when it is touched by Dionysiac magic! A storm seizes everything that is worn out, rotten, broken, and withered, wraps it in a whirling cloud of red dust and carries it like an eagle into the sky. Our eyes gaze in confusion after what has disappeared, for what they see is like something that has emerged from a pit into golden light, so full and green, so luxuriantly alive, so immeasurable and filled with longing. ”
The long-lasting repression of Dionysian in the West as part of our nature can make us idolize and glorify Dionysus, this alluring, but highly dangerous god. As much as it is fun to critique rationality, the Apollonian light of reason is the part that makes us capable of even reflecting on Dionysian - and the borders of our individuation shield us not to experience psychotic disintegration, but mystical unity. As much as Nietzsche critiqued Socrates - he did it by apparatus of classical intellectual - examination and judgment.
Greek Tragedy
“The metaphysical solace which, I wish to suggest, we derive from every true tragedy, the solace that in the ground of things, and despite all changing appearances, life is indestructibly mighty and pleasurable, this solace appears with palpable clarity in the chorus of satyrs, a chorus of natural beings whose life goes on ineradicably behind and beyond all civilization, as it were, and who remain eternally the same despite all the changes of generations and in the history of nations.“
Giving examples, Nietzsche makes an argument that Apollonian without the Dionysian is stale and restraining and Dionysian without the Apollonian is menacing and chaotic. The Greek Tragedy is the most perfect form because it represents the holy marriage of Apollonian and Dionysian, art that merges two sides, the mystical unity of life. In Ancient form Greek tragedy contained acting on stage as well as music and dance, and what Nietzsche finds vital for the catharsis of the audience - chorus. His thesis is that in the peaks of the tragedy the chorus dominates so that the audience sees on stage its own reflection, raised to overpowering heights of suffering and transfiguration. Nietzsche admired Aeschylus and Sophocles (and offers a great analysis of the characters in their plays, especially Oedipus as well as Prometheus), whereas with Euripides he thinks that the decline of Greek tragedy began. Euripides' plays acted out in theater had no longer dance, music, or choir within them, just pure forms of images, making his tragedies Apollonian, condensed philosophical thought with the accent on a psychological drama of individual, which represents the triumph of Socratic rationalism and asceticism. Euripides manifested an interest in an individual, in psychology, and worst of all, in the beneficial effects of rationality, or as Nietzsche tends to call it, ‘dialectic’, making him the poet of aesthetic Socratism (for something to be beautiful it must be reasonable).
Existential implication
Greek Tragedy gave Greeks “great health” as they not only could endure but worship as divine the contrast embedded in the nature of reality, pain and suffering as part of the primordial essence of being, of all forms of life and creation. Dionysian gives a justification of pain and tragedy on both a personal level as well on a cosmic level - suffering is an intrinsic part of all things and to remove it would be to remove life itself. An important part of Nietzsche's philosophy is the complete affirmation of life in the totality of being - he criticized the Christian morality for acknowledging solely moral aspects of life - and therefore rejecting the inherent immorality of existence, which is almost the same as hatred for life. Nietzschean tragic affirmation of life is saying yes to life even in its strangest, hardest, most nefarious problems - having a Will to live, truly Dionysian quality - to join together peak and abyss, horrors of darkness and heights of bliss. The great health in not only accepting the horrible, evil, problematic aspects of existence as necessary but affirming them as a desirable part of the whole. To know the good as well as the bad is to know the wholeness of life and only by knowing the wholeness can one say a complete YES to life. To experience the most painful thoughts and the most extreme form of nihilism, and yet be able to emerge from such depths and affirm life in its totality is undoubtedly the highest state of being.
Theory of Art
”Function of art: to give us a hint of a truth, a truth that the world was chaotic and meaningless but, equally, art had to shield us from this dark, dreadful reality.”
Nietzsche believed that when artists transfigure the world aesthetically it produces profound existential satisfaction - the world and suffering are justified by art and creativity, what he called the ”only satisfactory theodicy”. Art gives us both healing and redemption through illusion, and saves us from the horrors of existence, giving the affirmation, the blessing, the deification of existence itself. Therefore, art is “the highest task and the proper metaphysical activity of this life”.
In a large sense, Nietzsche is a philosopher of self-realization, and the question he posed in the subtitle of Ecce Homo; “How one becomes who he is?” is central to his philosophy. How does a human become great? The Apollonian aspect of art, from the god of plastic energies, makes us dream beautiful illusions and create them in reality. The Dionysian aspect, makes us embody art in ourselves. Nietzsche believed that in the matrimony of Apollonian and Dionysian we are both the artists and the art form. Nietzsche believes that the Dionysian incites us to make ourselves into the work of art, an embodiment of art itself - one of the most beautiful thoughts that philosophy ever produced.
“Man is no longer an artist [as he had been in creating the gods], he has become a work of art: the artistic power of the whole of nature reveals itself to the supreme gratification of the primal Oneness amidst the paroxysms of intoxication.“
The Nietzschean, but also universal truth is we need both Apollonian and Dionysian, self-knowledge and self-forgetfulness, order and chaos, construction and destruction, pessimism and tragic affirmation - to be in unity of the opposite and to love life in the fullness of human experience.
Read Birth of Tragedy to gain more understanding of Greek tragedy on the journey of mythical inner exploration.
”Yes, my friends, believe as I do in Dionysiac life and in the rebirth of tragedy. The time of Socratic man is past. Put on wreaths of ivy, take up the thyrsus and do not be surprised if tigers and panthers lie down, purring and curling round your legs. Now you must only dare to be tragic human beings, for you will be released and redeemed. You will accompany the festive procession of Dionysos from India to Greece! Put on your armour for a hard fight, but believe in the miracles of your god!”
June 22, 2021
Die Geburt der Tragödie = The Birth of Tragedy, Friedrich Nietzsche
A compelling argument for the necessity for art in life, Nietzsche's first book is fuelled by his enthusiasms for Greek tragedy, for the philosophy of Schopenhauer and for the music of Wagner, to whom this work was dedicated.
Nietzsche outlined a distinction between its two central forces: the Apolline, representing beauty and order, and the Dionysiac, a primal or ecstatic reaction to the sublime.
He believed the combination of these states produced the highest forms of music and tragic drama, which not only reveal the truth about suffering in life, but also provide a consolation for it.
Impassioned and exhilarating in its conviction, The Birth of Tragedy has become a key text in European culture and in literary criticism.
عنوانهای چاپ شده در ایران: «زایش تراژدی از روح موسیقی، یا یونان انگاری و بدبینی»؛ «زایش تراژدی»؛ «زایش تراژدی و چند نوشته ی دیگر»؛ نویسنده: فریدریش ویلهلم نیچه؛ تاریخ نخستین خوانش روز بیست و یکم ماه ژوئن سال 2006میلادی
عنوان: زایش تراژدی از روح موسیقی، یا یونان انگاری و بدبینی؛ نویسنده: فریدریش ویلهلم نیچه؛ مترجم: رویا منجم؛ آبادان، پرسش، 1384؛ در168ص؛ شابک 9648687056؛ چاپ دوم و سوم 1385؛ چاپ چهارم 1395؛ موضوع نقد تراژدی از نویسندگان آلمان - سده 19م
عنوان: زایش تراژدی؛ نویسنده فریدریشویلهلم نیچه؛ مترجم سعید فیروزآبادی؛ تهران: انتشارات جامی، 1398؛ در 158ص؛ شابک9786001762000؛
عنوان: زایش تراژدی و چند نوشته ی دیگر؛ نویسنده: فریدریش ویلهلم نیچه؛ ترجمه از آلمانی به انگلیسی: رونالد اسپیرز؛ ویراستار انگلیسی ریموند گویس؛ مترجم رضا ولییاری؛ تهران، نشر مرکز، چاپ دوم 1396؛ در 233ص؛ شابک 9789642133550؛ چاپ سوم 1397؛
زایش تراژدی، نخستین اثر «نیچه» بوده است؛ «نیچه» در این اثر، مخالفِ نفیِ «شوپنهاور» از «اراده» است؛ ایشان استدلال میکنند، که زندگی ارزش زندگی کردن، با وجودِ دشواریهایهای بسیارش را دارد؛ «نیچه» جهان زیستن را، جهانی هراسآور و وحشتزا میبینند، اما بر خلاف «شوپنهاور»، که در نهایت تسلیم شدگی را، واکنش انسان در برابر چنین هجومی، تشخیص میدادند، «نیچه» با پی افکندن نیروی اراده، و در واقع تسلیم ناشدگی، فلسفه ای دیگر، در قبال این جهانِ تراژیک، ترسیم میکنند: «رازی در جهان هست که زندگی را هراسآور و تراژیک میسازد»؛ اما «به یاری هنر میتوان از این هراس و سویه ی تراژیک زندگی عبور کرد.»؛ سنت فلسفی «آلمانی»، هماره به جامعه ی «یونان باستان»، همچون تجلی جامعه ای آرمانی، انسانی، و آزاد، مینگرد، «نیچه» نیز، در بیان نمونه ای عالی و سرراست، از کار هنری، به دوران «یونان»، و نیروهای آفرینشگر آنها نظر دارند؛ «نیچه» باور دارند، که «یونانیان به نیکویی، از راز آن دنیای پنهان، باخبر بودند؛ بزرگواری روحشان در آن بود، که تسلیم آن جهان نمیشدند، بلکه با آن میجنگیدند، و همین برای آنان، به معنای آری گفتن به همین جهان بود.» و میافزایند: (نمود این مبارزه طلبی، جسارت و قدرت، «دیونیسوس» است؛ خدایی که اوج حرکت است، «دیونیسوسی» که بیپایان است: میرقصد، همچون رقصی بیپایان، جسم را در فضا نمایان میکند؛ مکان را رد میکند، و او ذات موسیقی است؛ حالت موسیقایی، حالتی قالبی است، که بر جان هنرمند، در هنگامِ آفرینش هنری، سایه میافکند؛ هنرمند با روحی «دیونیسوسی»، جرأت نه گفتن به شرایط موجود، و امّا آری گفتن برای جنگ، با زندگی خشن را نیز دارد؛ در اینجاست که میتوان هنرمند را برابرنهادی برای جانِ آزاده؛ یا همان جان شیفته؛ دانست)؛
تاریخ بهنگام رسانی 31/03/1400هجری خورشیدی؛ ا. شربیانی
A compelling argument for the necessity for art in life, Nietzsche's first book is fuelled by his enthusiasms for Greek tragedy, for the philosophy of Schopenhauer and for the music of Wagner, to whom this work was dedicated.
Nietzsche outlined a distinction between its two central forces: the Apolline, representing beauty and order, and the Dionysiac, a primal or ecstatic reaction to the sublime.
He believed the combination of these states produced the highest forms of music and tragic drama, which not only reveal the truth about suffering in life, but also provide a consolation for it.
Impassioned and exhilarating in its conviction, The Birth of Tragedy has become a key text in European culture and in literary criticism.
عنوانهای چاپ شده در ایران: «زایش تراژدی از روح موسیقی، یا یونان انگاری و بدبینی»؛ «زایش تراژدی»؛ «زایش تراژدی و چند نوشته ی دیگر»؛ نویسنده: فریدریش ویلهلم نیچه؛ تاریخ نخستین خوانش روز بیست و یکم ماه ژوئن سال 2006میلادی
عنوان: زایش تراژدی از روح موسیقی، یا یونان انگاری و بدبینی؛ نویسنده: فریدریش ویلهلم نیچه؛ مترجم: رویا منجم؛ آبادان، پرسش، 1384؛ در168ص؛ شابک 9648687056؛ چاپ دوم و سوم 1385؛ چاپ چهارم 1395؛ موضوع نقد تراژدی از نویسندگان آلمان - سده 19م
عنوان: زایش تراژدی؛ نویسنده فریدریشویلهلم نیچه؛ مترجم سعید فیروزآبادی؛ تهران: انتشارات جامی، 1398؛ در 158ص؛ شابک9786001762000؛
عنوان: زایش تراژدی و چند نوشته ی دیگر؛ نویسنده: فریدریش ویلهلم نیچه؛ ترجمه از آلمانی به انگلیسی: رونالد اسپیرز؛ ویراستار انگلیسی ریموند گویس؛ مترجم رضا ولییاری؛ تهران، نشر مرکز، چاپ دوم 1396؛ در 233ص؛ شابک 9789642133550؛ چاپ سوم 1397؛
زایش تراژدی، نخستین اثر «نیچه» بوده است؛ «نیچه» در این اثر، مخالفِ نفیِ «شوپنهاور» از «اراده» است؛ ایشان استدلال میکنند، که زندگی ارزش زندگی کردن، با وجودِ دشواریهایهای بسیارش را دارد؛ «نیچه» جهان زیستن را، جهانی هراسآور و وحشتزا میبینند، اما بر خلاف «شوپنهاور»، که در نهایت تسلیم شدگی را، واکنش انسان در برابر چنین هجومی، تشخیص میدادند، «نیچه» با پی افکندن نیروی اراده، و در واقع تسلیم ناشدگی، فلسفه ای دیگر، در قبال این جهانِ تراژیک، ترسیم میکنند: «رازی در جهان هست که زندگی را هراسآور و تراژیک میسازد»؛ اما «به یاری هنر میتوان از این هراس و سویه ی تراژیک زندگی عبور کرد.»؛ سنت فلسفی «آلمانی»، هماره به جامعه ی «یونان باستان»، همچون تجلی جامعه ای آرمانی، انسانی، و آزاد، مینگرد، «نیچه» نیز، در بیان نمونه ای عالی و سرراست، از کار هنری، به دوران «یونان»، و نیروهای آفرینشگر آنها نظر دارند؛ «نیچه» باور دارند، که «یونانیان به نیکویی، از راز آن دنیای پنهان، باخبر بودند؛ بزرگواری روحشان در آن بود، که تسلیم آن جهان نمیشدند، بلکه با آن میجنگیدند، و همین برای آنان، به معنای آری گفتن به همین جهان بود.» و میافزایند: (نمود این مبارزه طلبی، جسارت و قدرت، «دیونیسوس» است؛ خدایی که اوج حرکت است، «دیونیسوسی» که بیپایان است: میرقصد، همچون رقصی بیپایان، جسم را در فضا نمایان میکند؛ مکان را رد میکند، و او ذات موسیقی است؛ حالت موسیقایی، حالتی قالبی است، که بر جان هنرمند، در هنگامِ آفرینش هنری، سایه میافکند؛ هنرمند با روحی «دیونیسوسی»، جرأت نه گفتن به شرایط موجود، و امّا آری گفتن برای جنگ، با زندگی خشن را نیز دارد؛ در اینجاست که میتوان هنرمند را برابرنهادی برای جانِ آزاده؛ یا همان جان شیفته؛ دانست)؛
تاریخ بهنگام رسانی 31/03/1400هجری خورشیدی؛ ا. شربیانی
October 13, 2015
Apollo Vs Dionysus: A Darwinian Drama
Nietzsche never struck me as a real philosopher. He was too much the story-teller.
This is probably his most a-philosophical (?) work. But it is my favorite. It was the most accessible to me and it was the most relevant of his works. It helped me form my own convictions. It was universal and yet not choke full of platitudes. It was forceful but not descending into loud (almost incomprehensible) invectives. (you know which works I subtly allude to)
'Birth of Tragedy' was his first major work and to me (in contradiction of the previous paragraph) his most philosophical. It seems to me to be the very soul of his philosophy - that was then refined and reformed in the fire of his (self-imposed?) suffering. The later philosophy is the ‘Nietzschian’ one - grand and too powerful to ignore. But, this earlier core is, to me, the real beauty that livens all the later fury.
Nietzsche, already in this, his first work (ostensibly on the source of Greek tragedy), set Dionysus (the god of vitality, ecstasy, thriving life, and of wine) against Apollo (the god of tranquillity, logic, and of contemplation).
According to Nietzsche, in Greek tragedy as in life, it is the unruly chorus who represented Dionysus and was a crying-out of humanity (the species) itself. Apollo, on the other hand, was represented by the human actors and expressed himself through the orderly dialogue. Apollo was designed to be noticed - the conscious story. Dionysus was designed to be evoked - the collective unconscious?
In this early core of Nietzschian philosophy, a philosophy of species vs individuals, of species evolution pitted against human vanity, Dionysus is the strength of the human race, of life itself (vide Darwin) but manifests only as mere background to any given human drama (but still the source of all drama and is THE actual Drama).
Apollo, in contrast, is expressed in any given human drama (composed or lived) - important and represented and thought about. But, always about mere individuals, weak and mortal.
With this early work Nietzsche leapt into the depths and all the later developments was a climb back and proclamations of the reality of the Deep. Or even attempts to reconcile with it. It is tragic that it evolved into a darker, crueler negation clothed as an affirmation. At least in this work, he adored and embraced the tragic sensibility which is the condition for man - of adoration of life and of its cruel laws, despite all the weakness of the individual - the real genesis of the Superman.
Disclaimer #1: Written more than a year after the original reading and after only a cursory re-reading/re-glancing. Please trust the reviewer when he asserts that the work is powerful enough to stay fresh-to-review even after a year has passed.
Disclaimer #2: Required Expansion of Essay: 'The Superman as The Buddha: The Inevitable Evolution of Tragic Consciousness'
May 1, 2024
Another '10%' book for me: I think I understood about 10% of what Nietzsche was trying to say - so here is my 10% review: the dichotomy between (A)pollonian (rational) and (D)ionysian (irrational) impulses is a constant 'tug-of-war' that seems to go on for the soul of a nation; indeed this is the singular impulse that must be addressed if one is to talk of creativity and the "Primordial Unity" that underlines all such endeavors. Nietzsche then turns his focus to Greek tragedy to 'flesh' out both A and D as concepts that help to define spiritual 'maps' a nation will follow. I am going to steer clear of the Greek playwrights and his analysis of the Socratic Dialectic - sorry, but 10% is all I can offer.
July 27, 2018
Nietzsche talks in abstract ways and I find it very difficult to access his words and ideas, and even harder to actually agree with them or sympathise with his stance.
As such, I’ve always found this book a little odd. I read it years ago for university, but I recently picked it up again with the hope of appreciating it a little more now that I’m older and more widely read. It didn’t make any difference. Perhaps it’s this work or perhaps me and Nietzsche just don’t get on, either way I will have to read more of his work to find out.
Here though, Nietzsche argues that Ancient Greek drama had the potential to transcend history and become relevant in a modern society. He argues that the cultural revival of tragedy was bound up with the music of Richard Wagner as a sort of muse for modern forms of art. His ideas are centred on two complementary forces: the Apollonian and the Dionysian. When these two forms meet the highest art is produced.
The Apollonian represents the traditional Hellenic image of tranquillity, harmony and jolliness. The Dionysian force represents hidden depths, ecstasy, disturbing realities and orgy. Both are lesser components of a greater whole. Nietzsche also argues that the suffering of Dionysus is a long founded tradition in Greek Tragedy, as it comprised some of its earliest forms. Therefore, Dionysus was the first stage hero and he can be produced again in a more modern way. These artistic traditions can return.
So there we have it and I am a little conflicted. I see the elements he discusses within classic literature. Sophocles’Oedipus the King and Euripides’ The Bacchae are perhaps the best examples I can think of. They are masterpieces in the realms of drama; yet, they are also products of their time. To Nietzsche they are the epitomes of high art, though in declaring them so he drastically undervalues all subsequent works by great authors who do not display a balance of the forces he argues for because there are certainly great things that do not fit his parameters.
So I found this quite tiresome to read and the arguments quite restricting. Hopefully, I will take more from Beyond Good and Evil.
As such, I’ve always found this book a little odd. I read it years ago for university, but I recently picked it up again with the hope of appreciating it a little more now that I’m older and more widely read. It didn’t make any difference. Perhaps it’s this work or perhaps me and Nietzsche just don’t get on, either way I will have to read more of his work to find out.
Here though, Nietzsche argues that Ancient Greek drama had the potential to transcend history and become relevant in a modern society. He argues that the cultural revival of tragedy was bound up with the music of Richard Wagner as a sort of muse for modern forms of art. His ideas are centred on two complementary forces: the Apollonian and the Dionysian. When these two forms meet the highest art is produced.
The Apollonian represents the traditional Hellenic image of tranquillity, harmony and jolliness. The Dionysian force represents hidden depths, ecstasy, disturbing realities and orgy. Both are lesser components of a greater whole. Nietzsche also argues that the suffering of Dionysus is a long founded tradition in Greek Tragedy, as it comprised some of its earliest forms. Therefore, Dionysus was the first stage hero and he can be produced again in a more modern way. These artistic traditions can return.
So there we have it and I am a little conflicted. I see the elements he discusses within classic literature. Sophocles’Oedipus the King and Euripides’ The Bacchae are perhaps the best examples I can think of. They are masterpieces in the realms of drama; yet, they are also products of their time. To Nietzsche they are the epitomes of high art, though in declaring them so he drastically undervalues all subsequent works by great authors who do not display a balance of the forces he argues for because there are certainly great things that do not fit his parameters.
So I found this quite tiresome to read and the arguments quite restricting. Hopefully, I will take more from Beyond Good and Evil.
June 2, 2016
A few weeks ago, I finished Marx’s Critique of Hegel’s Philosophy of Right. It strikes me now that that book and this one are similar, in that they shed light on the two thinkers as young men. In Marx’s Critique, we see the twenty-something grappling with the tentacled beast of Hegel; in The Birth of Tragedy, we see young Nietzsche taking his first bold step off the straight-and-narrow path of academia into his own world of thought. Both books are, to put it delicately, ‘young men’s books’—bold, daring, reckless, overly-ambitious, under-researched, brimming over with impetuosity and life. But the major difference between the two works is that Marx’s Critique (apart from its famous preface) is quite boring; while Nietzsche’s debut has all the fire and fury you’d expect from the mustachioed thinker.
As a piece of scholarship, this book is worthless. Everyone told Nietzsche so immediately, and it’s unnecessary to say more on the subject. But as a piece of… something, it’s fantastic. Here we get the rare treat of Nietzsche’s excellent prose combined with a fairly straightforward argument. But what, exactly, is the argument?
Although commonly discussed, I think that Nietzsche’s division of Apollonian/Dionysian is also commonly misrepresented. (For the sake of honesty, I should say I’m merely parroting what I read in the Douglas Smith’s introduction, bolstered by my own reading.) The main conflict Nietzsche identifies is not Apollonian vs. Dionysian, but Apollonian/Dionysian vs. Socratism.
Apollonian art is representational, such as paintings, sculpture, novels, and epic poetry. That’s why Nietzsche calls Homer the ultimate Apollonian artist, because he paints a picture with words. Now, mind you, these images don’t have to be rational. In fact, they often aren’t. (Does anything about the Iliad or the Odyssey strike you as particularly rational?) In fact, one of the first examples Nietzsche uses as Apollonian imagery are dreams—the ultimate in senselessness.
Dionysian art is not representational. It is, rather, a pure manifestation of the will to live. This is heavily influenced by Schopenhauer’s philosophy: Schopenhauer, building on Kant, thought that the world of the senses was but a visual manifestation of the primordial Will to Live—which is Schopenhauer’s interpretation of Kant’s noumena. Thus, since Apollonian art represents this world of the senses, it ends up being copy of a copy—twice removed from the primordial will. But music is a pure sensation, and therefore closer to the fundamental truth of reality.
So, for Nietzsche, the greatness of Greek Tragedy is that it combined these two aspects of art: the representational and nonrepresentational. The drama depicted on stage is Apollonian; but the music of the Chorus is Dionysian. It is the balance of myth and music, of words and will. And therein lies the rub.*
The death of tragedy comes with this fateful balance is disrupted. And it is disrupted by rationality: in the form of Euripides and Socrates. Socrates’s (or Plato’s) way of thinking was opposed to both the Apollonian and the Dionysian. His guiding light was reason, cold and pure. Socrates’s objection to Apollonian art is similar to Schopenhauer’s—it is a mere representation of the visual world, which itself is a mere manifestation of the Ideal Forms. But music is equally abhorrent for Socrates, because it is irrational, and distracts the soul from philosophy. In place of the Will to Live Socrates proposes the Will to Truth.
From then on, nonrepresentational art is not to be trusted, since it appeals to the senses, like wine or the lust for power. The point of art becomes, instead, to manifest reason and truth rather than to represent the Will to Live. Instead of the Apollonian world of dreams and myth we get the Socratic world of diagrams and dialectic.
I’m not sure why I took the trouble to summarize the book. Maybe it’s because I’ve heard it incorrectly summarized so many times before; or maybe it’s because it's so darn interesting. In any case, this is a marvelous little book, even if you think Nietzsche is both a bad scholar (which he is) and has dubious moral values (which is arguable). In the end, I think one of Nietzsche’s main points, at any time in his life, was that aesthetics is perhaps more important than either logic or ethics. Logic tells you what is true; ethics tell you what is right. But aesthetics makes life worth living—and who cares what’s true or right if it isn’t?
*One can see how influential this was on Freud, whose entire system is a kind of internalized version of Schopenhauer’s and Nietzsche’s. For Freud, the primal id (read “the will to live” or “the Dionysian”) is represented symbolically via dreams (read “the world of the senses” or “the Apollonian”).
As a piece of scholarship, this book is worthless. Everyone told Nietzsche so immediately, and it’s unnecessary to say more on the subject. But as a piece of… something, it’s fantastic. Here we get the rare treat of Nietzsche’s excellent prose combined with a fairly straightforward argument. But what, exactly, is the argument?
Although commonly discussed, I think that Nietzsche’s division of Apollonian/Dionysian is also commonly misrepresented. (For the sake of honesty, I should say I’m merely parroting what I read in the Douglas Smith’s introduction, bolstered by my own reading.) The main conflict Nietzsche identifies is not Apollonian vs. Dionysian, but Apollonian/Dionysian vs. Socratism.
Apollonian art is representational, such as paintings, sculpture, novels, and epic poetry. That’s why Nietzsche calls Homer the ultimate Apollonian artist, because he paints a picture with words. Now, mind you, these images don’t have to be rational. In fact, they often aren’t. (Does anything about the Iliad or the Odyssey strike you as particularly rational?) In fact, one of the first examples Nietzsche uses as Apollonian imagery are dreams—the ultimate in senselessness.
Dionysian art is not representational. It is, rather, a pure manifestation of the will to live. This is heavily influenced by Schopenhauer’s philosophy: Schopenhauer, building on Kant, thought that the world of the senses was but a visual manifestation of the primordial Will to Live—which is Schopenhauer’s interpretation of Kant’s noumena. Thus, since Apollonian art represents this world of the senses, it ends up being copy of a copy—twice removed from the primordial will. But music is a pure sensation, and therefore closer to the fundamental truth of reality.
So, for Nietzsche, the greatness of Greek Tragedy is that it combined these two aspects of art: the representational and nonrepresentational. The drama depicted on stage is Apollonian; but the music of the Chorus is Dionysian. It is the balance of myth and music, of words and will. And therein lies the rub.*
The death of tragedy comes with this fateful balance is disrupted. And it is disrupted by rationality: in the form of Euripides and Socrates. Socrates’s (or Plato’s) way of thinking was opposed to both the Apollonian and the Dionysian. His guiding light was reason, cold and pure. Socrates’s objection to Apollonian art is similar to Schopenhauer’s—it is a mere representation of the visual world, which itself is a mere manifestation of the Ideal Forms. But music is equally abhorrent for Socrates, because it is irrational, and distracts the soul from philosophy. In place of the Will to Live Socrates proposes the Will to Truth.
From then on, nonrepresentational art is not to be trusted, since it appeals to the senses, like wine or the lust for power. The point of art becomes, instead, to manifest reason and truth rather than to represent the Will to Live. Instead of the Apollonian world of dreams and myth we get the Socratic world of diagrams and dialectic.
I’m not sure why I took the trouble to summarize the book. Maybe it’s because I’ve heard it incorrectly summarized so many times before; or maybe it’s because it's so darn interesting. In any case, this is a marvelous little book, even if you think Nietzsche is both a bad scholar (which he is) and has dubious moral values (which is arguable). In the end, I think one of Nietzsche’s main points, at any time in his life, was that aesthetics is perhaps more important than either logic or ethics. Logic tells you what is true; ethics tell you what is right. But aesthetics makes life worth living—and who cares what’s true or right if it isn’t?
*One can see how influential this was on Freud, whose entire system is a kind of internalized version of Schopenhauer’s and Nietzsche’s. For Freud, the primal id (read “the will to live” or “the Dionysian”) is represented symbolically via dreams (read “the world of the senses” or “the Apollonian”).
November 16, 2013
Nietzsche. Years ago, all I knew about him was that overused quote that says “Without music, life would be a mistake”. A couple of days ago, I found a funny picture that reminded of that.
Ha! Ok, maybe not funny ha-ha. If you speak Spanish...
Anyway. The Birth of Tragedy, Nietzsche's first work. I read it years ago (the great Schopenhauer led me to him) but I didn't remember much. Since I want (or wanted, I don't know) to start with Thus spoke Zarathustra, I figured I should begin with something shorter --I was going to write simpler, but... (?)
So, this book contains interesting thoughts about the dichotomy between the Apollonian and the Dionysian. It was inspired by other ideas about two different things that conforms a constant struggle for us.
We have Apollo, god of the sun, reason, prophecy, healing, etc. and Dionysus, god of wine and ecstasy. When these two forces combine, they form art, tragedies. They were last seen in Ancient Greece, because, according to Nietzsche, Euripides (and the ones that followed) deformed the concept of tragedy by using Socratic rationalism. That excess of rationality, that loss of the Dionysian ingredient made tragedy (the highest form of art) disappear.
This wasn't an easy read for me, but it was time well spent. This complex, impressive man deserves more time. He had interesting points of view and a strong, passionate writing style.
I know it's going to take a while, you know, the reading and the actually understanding part... However, this is an author whose outstanding work I need to get to know.
Ha! Ok, maybe not funny ha-ha. If you speak Spanish...
Anyway. The Birth of Tragedy, Nietzsche's first work. I read it years ago (the great Schopenhauer led me to him) but I didn't remember much. Since I want (or wanted, I don't know) to start with Thus spoke Zarathustra, I figured I should begin with something shorter --I was going to write simpler, but... (?)
So, this book contains interesting thoughts about the dichotomy between the Apollonian and the Dionysian. It was inspired by other ideas about two different things that conforms a constant struggle for us.
We have Apollo, god of the sun, reason, prophecy, healing, etc. and Dionysus, god of wine and ecstasy. When these two forces combine, they form art, tragedies. They were last seen in Ancient Greece, because, according to Nietzsche, Euripides (and the ones that followed) deformed the concept of tragedy by using Socratic rationalism. That excess of rationality, that loss of the Dionysian ingredient made tragedy (the highest form of art) disappear.
This wasn't an easy read for me, but it was time well spent. This complex, impressive man deserves more time. He had interesting points of view and a strong, passionate writing style.
I know it's going to take a while, you know, the reading and the actually understanding part... However, this is an author whose outstanding work I need to get to know.
October 31, 2022
I am the Dionysiac excess personified but action repels me. I am the Dionysiac expression of nature, and therefore I am an abominable crime against nature. I belong to the Dionysiac order of the cast of the die. I seek delight behind phenomena.
I am the feeling of myth personified and no, I am not a riddle. I simply immerse myself in the concept of this tragic, persisting, primeval reality
Nietzsche claims that tragedy is born only of the spirit of music. Is it this music that we dance to, weaving our lives together as a collective, cosmic tragedy?
Melodies are an abstraction of reality, so are our senses. Is art the enchantress, an intimation of the horror of life, or a consolation for it, or as Nietzsche claims, both?
I want to be this enchantress personified.
I could say a hundred things in praise of BT and a thousand things against it. But the difference between a person who reads this book and likes it and a person who does not read the book or reads the book and hates it, is about the same as the difference between the Dionysiac and the Apolline.
I am the feeling of myth personified and no, I am not a riddle. I simply immerse myself in the concept of this tragic, persisting, primeval reality
Nietzsche claims that tragedy is born only of the spirit of music. Is it this music that we dance to, weaving our lives together as a collective, cosmic tragedy?
Melodies are an abstraction of reality, so are our senses. Is art the enchantress, an intimation of the horror of life, or a consolation for it, or as Nietzsche claims, both?
I want to be this enchantress personified.
I could say a hundred things in praise of BT and a thousand things against it. But the difference between a person who reads this book and likes it and a person who does not read the book or reads the book and hates it, is about the same as the difference between the Dionysiac and the Apolline.
Read
October 18, 2013 Friedrich Nietzsche's The Birth of Tragedy
In Helen Morales' introduction to Tim Whitmarsh's fine new translation of Leucippe and Clitophon ,
http://www.goodreads.com/review/show/...
written by the Alexandrian Greek Achilles Tatius in the 2nd century CE, she mentions that Nietzsche condemned the ancient Greek novels as a final sign of the degeneration of Greek literary art. I had forgotten all about that, so I thumbed through Die Geburt der Tragödie to find what he said in context and was pulled into the book again by his wonderful prose style and my curiosity about what else I may have forgotten in the intervening time. Of course, the thumbing turned into a re-read...
Die Geburt der Tragödie was Friedrich Nietzsche's (1844-1900) first book, though it transformed through a number of stages before it was published under this name first in 1872. It was modified twice more, and I read it in its final form of 1886. This final version had a new preface entitled Versuch einer Selbstkritik (Attempt at a Self-Criticism), wherein Nietzsche distanced himself from the text by explaining how his young, romantic self, under the excitement and pressure of the Franco-Prussian War of 1870/71, had undertaken a task beyond his inexperienced reach. He calls the book poorly written, clumsy, embarrassing, overly enthusiastic and insufficiently argued, etc. He even calls it "here and there sweetened to the point of femininity"! (*) In this preface Nietzsche also takes the opportunity to eloquently and forcefully restate his view that morality, particularly Christian morality, is anti-life, that Christian teleology is life-hating.
In any case, Nietzsche had begun a very promising academic career at the University of Basel in Classical Philology, but this book killed it at once. A few responses by academics were published which dismantled the book from the point of view of academic considerations: he didn't take into account relevant literature and therefore misrepresented what was known (this is quite relevant, for he attacked the science of philology itself), he confused dates and pushed certain poets' works centuries before their time in order to make points, etc. The next semester, students avoided his lectures. He was finished. But in this book Nietzsche first formulated in a tentative form some of the ideas which later became central to his thought, a body of thought which hardly had any place in academia, anyway.(**)
So what is the book about? Way too much, actually. He begins by recalling the well known Apollonian/Dionysian dichotomy: very roughly speaking, reason and measure versus irrationality and intoxication/ecstasy (a favorite topic of Hermann Hesse and so many other romantic/post-romantic German authors). Like the ancient Greeks, he also attributed dreams, viewed as prophesies and revelations, to the Apollonian side. But it is the Dionysian side which breaks down all barriers between individuals and between man and nature, which, unlike the Apollonian side - only permitting the awe-full admiration of the gods in dreams - actually permits one to feel like a god.
In quick succession Nietzsche tells us that dreams are a higher state of existence than "real life", that Homer was the first Apollonian artist and Archilochus (because lyrical poet = lyricist = musician = Dionysian) the first Dionysian artist, that the existence of the lyrical poet is a big problem for the philosophy of art (which he "solves"), etc., etc.
Nietzsche arrives at the topic of the origin of the Greek tragedy, but instead of examining the surviving primary sources he argues against Schlegel, Schiller and other very secondary sources. Distinguishing between the Apollonian rhapsody and the Dionysian dithyramb, Nietzsche repeats Aristotle's assertion that Greek tragedy originated in the dithyramb, and does so without mentioning Aristotle. He goes on to assert that the original Greek tragedies united both the Apollonian and Dionysian within themselves. In his own words:
(According to this knowledge, we have to understand Greek tragedy as the Dionysian choir, which ever again anew discharges itself in an Apollonian world of images.)
He goes on to "explain" why the dialogue in the plays is Apollonian and why all the tragic heroes were masks of Dionysus. This original, pure tragedy soon degenerated into Attic comedy, which Nietzsche discusses next.
Nietzsche makes a notable assertion, which I oversimplify as follows: As part of this degeneration, the pair Euripides/Socrates introduced reason, as opposed to instinct, into the Greek theater. This turning towards reason and against the old, unspoken connection to the Dionysian roots of Greek culture initiated and accelerated the decay of that culture. He sketches how the birth of philosophy in Athens destroyed the original, more authentic and more valid Greek culture.(***) And, certainly, when one considers how Plato treated all of the arts in his Republic, Nietzsche is not merely spinning fables here.
He continues, asserting that all of Western culture is overshadowed by the nefarious, optimistic, knowledge-seeking, Apollonian degenerate Socrates and his followers. Science is their love child and is only enabling greed and materialism and abstraction while destroying art and alienating mankind from its roots. He calls for a revolution away from the Apollonian back to the Dionysian, and precisely this call he develops and intensifies in his later work. We know in hindsight that some very nasty people took up this cry for instinct, roots and the transcendence of self and went to some very bad places with it. I deny that this is in any way Nietzsche's responsibility or that such thinking must lead necessarily to such places. On the contrary, such thinking can lead, for example, to Zen Buddhism.
This book does not try to present a thesis and make a reasoned argument in support of it, complete with evidence of all kinds. No, it is poetic and somewhat confused speculation and enthusiasm; it is a piece of romantic literature, not philosophy or philology, though it makes one suggestive and interesting point, as mentioned earlier. It is a beautifully expressed, extended essay in which the young Nietzsche shows us some of the things he is enthused about. With that in mind, one can enjoy his youthful, undisciplined enthusiasm and fondly recall from one's earlier years a similar state of being. (Or, if one is young enough to be in that state of being, one can see a kindred spirit - always a pleasant experience.)
Before closing, I absolutely have to express my admiration for Nietzsche's prose - he is the greatest prose stylist among the many German philosophers I have read. He, even more than that great prose stylist Plato, can sweep the reader along, can woo him into a state of willing acceptance, nay, enthusiasm for his views. It is a pleasure to read his writings, even when, in the back of one's mind, one is often thinking "I don't find this to be valid at all."
(*) A cutting criticism from a man who thought masculinity was the measure of correct thought and emotion. This criticism was leveled at his younger self!
(**) I don't understand that remark as being negative either for Nietzsche or for academia.
(***) This prefigures the mature Nietzsche's rejection of reason, as opposed to instinct and will.
Note: If you care to know what star rating I give this book, please see my blog at
http://leopard.booklikes.com/blog
In Helen Morales' introduction to Tim Whitmarsh's fine new translation of Leucippe and Clitophon ,
http://www.goodreads.com/review/show/...
written by the Alexandrian Greek Achilles Tatius in the 2nd century CE, she mentions that Nietzsche condemned the ancient Greek novels as a final sign of the degeneration of Greek literary art. I had forgotten all about that, so I thumbed through Die Geburt der Tragödie to find what he said in context and was pulled into the book again by his wonderful prose style and my curiosity about what else I may have forgotten in the intervening time. Of course, the thumbing turned into a re-read...
Die Geburt der Tragödie was Friedrich Nietzsche's (1844-1900) first book, though it transformed through a number of stages before it was published under this name first in 1872. It was modified twice more, and I read it in its final form of 1886. This final version had a new preface entitled Versuch einer Selbstkritik (Attempt at a Self-Criticism), wherein Nietzsche distanced himself from the text by explaining how his young, romantic self, under the excitement and pressure of the Franco-Prussian War of 1870/71, had undertaken a task beyond his inexperienced reach. He calls the book poorly written, clumsy, embarrassing, overly enthusiastic and insufficiently argued, etc. He even calls it "here and there sweetened to the point of femininity"! (*) In this preface Nietzsche also takes the opportunity to eloquently and forcefully restate his view that morality, particularly Christian morality, is anti-life, that Christian teleology is life-hating.
In any case, Nietzsche had begun a very promising academic career at the University of Basel in Classical Philology, but this book killed it at once. A few responses by academics were published which dismantled the book from the point of view of academic considerations: he didn't take into account relevant literature and therefore misrepresented what was known (this is quite relevant, for he attacked the science of philology itself), he confused dates and pushed certain poets' works centuries before their time in order to make points, etc. The next semester, students avoided his lectures. He was finished. But in this book Nietzsche first formulated in a tentative form some of the ideas which later became central to his thought, a body of thought which hardly had any place in academia, anyway.(**)
So what is the book about? Way too much, actually. He begins by recalling the well known Apollonian/Dionysian dichotomy: very roughly speaking, reason and measure versus irrationality and intoxication/ecstasy (a favorite topic of Hermann Hesse and so many other romantic/post-romantic German authors). Like the ancient Greeks, he also attributed dreams, viewed as prophesies and revelations, to the Apollonian side. But it is the Dionysian side which breaks down all barriers between individuals and between man and nature, which, unlike the Apollonian side - only permitting the awe-full admiration of the gods in dreams - actually permits one to feel like a god.
In quick succession Nietzsche tells us that dreams are a higher state of existence than "real life", that Homer was the first Apollonian artist and Archilochus (because lyrical poet = lyricist = musician = Dionysian) the first Dionysian artist, that the existence of the lyrical poet is a big problem for the philosophy of art (which he "solves"), etc., etc.
Nietzsche arrives at the topic of the origin of the Greek tragedy, but instead of examining the surviving primary sources he argues against Schlegel, Schiller and other very secondary sources. Distinguishing between the Apollonian rhapsody and the Dionysian dithyramb, Nietzsche repeats Aristotle's assertion that Greek tragedy originated in the dithyramb, and does so without mentioning Aristotle. He goes on to assert that the original Greek tragedies united both the Apollonian and Dionysian within themselves. In his own words:
Nach dieser Erkenntnis haben wir die griechische Tragödie als den dionysischen Chor zu verstehen, der sich immer von neuem wieder in einer apollinischen Bilderwelt entladet.
(According to this knowledge, we have to understand Greek tragedy as the Dionysian choir, which ever again anew discharges itself in an Apollonian world of images.)
He goes on to "explain" why the dialogue in the plays is Apollonian and why all the tragic heroes were masks of Dionysus. This original, pure tragedy soon degenerated into Attic comedy, which Nietzsche discusses next.
Nietzsche makes a notable assertion, which I oversimplify as follows: As part of this degeneration, the pair Euripides/Socrates introduced reason, as opposed to instinct, into the Greek theater. This turning towards reason and against the old, unspoken connection to the Dionysian roots of Greek culture initiated and accelerated the decay of that culture. He sketches how the birth of philosophy in Athens destroyed the original, more authentic and more valid Greek culture.(***) And, certainly, when one considers how Plato treated all of the arts in his Republic, Nietzsche is not merely spinning fables here.
He continues, asserting that all of Western culture is overshadowed by the nefarious, optimistic, knowledge-seeking, Apollonian degenerate Socrates and his followers. Science is their love child and is only enabling greed and materialism and abstraction while destroying art and alienating mankind from its roots. He calls for a revolution away from the Apollonian back to the Dionysian, and precisely this call he develops and intensifies in his later work. We know in hindsight that some very nasty people took up this cry for instinct, roots and the transcendence of self and went to some very bad places with it. I deny that this is in any way Nietzsche's responsibility or that such thinking must lead necessarily to such places. On the contrary, such thinking can lead, for example, to Zen Buddhism.
This book does not try to present a thesis and make a reasoned argument in support of it, complete with evidence of all kinds. No, it is poetic and somewhat confused speculation and enthusiasm; it is a piece of romantic literature, not philosophy or philology, though it makes one suggestive and interesting point, as mentioned earlier. It is a beautifully expressed, extended essay in which the young Nietzsche shows us some of the things he is enthused about. With that in mind, one can enjoy his youthful, undisciplined enthusiasm and fondly recall from one's earlier years a similar state of being. (Or, if one is young enough to be in that state of being, one can see a kindred spirit - always a pleasant experience.)
Before closing, I absolutely have to express my admiration for Nietzsche's prose - he is the greatest prose stylist among the many German philosophers I have read. He, even more than that great prose stylist Plato, can sweep the reader along, can woo him into a state of willing acceptance, nay, enthusiasm for his views. It is a pleasure to read his writings, even when, in the back of one's mind, one is often thinking "I don't find this to be valid at all."
(*) A cutting criticism from a man who thought masculinity was the measure of correct thought and emotion. This criticism was leveled at his younger self!
(**) I don't understand that remark as being negative either for Nietzsche or for academia.
(***) This prefigures the mature Nietzsche's rejection of reason, as opposed to instinct and will.
Note: If you care to know what star rating I give this book, please see my blog at
http://leopard.booklikes.com/blog
November 27, 2016
Before Nietzsche became unhinged he wrote this great work. It took a toll on me after I read it because it was my introduction to Nietzsche and everything of his that I read afterwards was miscued; it scattered my thought process for a few years. The Joyful Wisdom, filled with remarkable poetry, was nearly like an acid trip. Thank goodness young minds have the capacity of recovering.
At its simplest, The Birth of Tragedy is a foundation for drama - that which captures you and also moves you, wax and wane of the mind, the up and down tugs on your heartstrings, or a punch to the relaxed gut. It's one thing and still another, the back and forth of Apollo and Dionysis in a shared space and time each with their moments. More complex, and more definitive, and more exemplary of Nietzsche, The Birth of Tragedy could be seen as the birth of Irony.
At its simplest, The Birth of Tragedy is a foundation for drama - that which captures you and also moves you, wax and wane of the mind, the up and down tugs on your heartstrings, or a punch to the relaxed gut. It's one thing and still another, the back and forth of Apollo and Dionysis in a shared space and time each with their moments. More complex, and more definitive, and more exemplary of Nietzsche, The Birth of Tragedy could be seen as the birth of Irony.
October 12, 2020
È sempre difficile, per chi non ci è troppo abituato, avvicinarsi a un filosofo e alla filosofia in sé.
Nella sua ambiguità e nei suoi giochi, la letteratura si presta a ben altre immediatezze, talvolta veicolando anche concetti propri di altre discipline, come la Storia o, appunto, la Filosofia, troppo spesso ritenute ostiche da chi non le frequenta assiduamente, preferendo, a torto o a ragione, certe impalpabilità letterarie, cercando la distanza pure dalla logica e dalle scienze.
Conservo della filosofia un sacco di reminiscenze scolastiche, universitarie soltanto di striscio; poi, letture e letturine sparpagliate, sempre per vedere di entrarci dentro a poco a poco, magari affidandomi a coloro che ne sanno, a quegli studiosi capaci di condensare in poche pagine il pensiero di un filosofo tirando grossomodo le somme.
Sempre di introduzioni e interpretazioni si tratta, ovvio: ed è qui che uno deve andare dritto alla fonte, a consultare direttamente l'autore, se davvero si vuole addentrare nella disciplina.
A casa avevo un sacco di testi filosofici che mi scrutavano severi; tra questi, alla fine, ne ho scelto uno di Nietzsche: vuoi perché mi era stato in precedenza consigliato o perché spesso mi era stato indicato come uno dei pensatori più prossimi alla sensibilità letteraria; e dopo aver letto La nascita della tragedia, sento di doverlo confermare anch'io.
Nietzsche nasceva come filologo classico, un ragazzo prodigio con cattedra a Basilea. Studioso e intellettuale dalle infinite conoscenze, i greci e i latini li conosceva a menadito, a partire dalla lingua stessa, senza tuttavia tralasciarne i contenuti, le poetiche e lo spirito.
Ed è ai greci che si rifà in questo suo primo libro, un assurdo concentrato di idee, concetti, arti e, com'è chiaro, filosofia.
Mentirei se dicessi d'aver capito tutte queste densissime pagine: diciamo che ho inteso senza comprendere del tutto. Anche perché, Nietzsche non lascia al lettore - mi riferisco in particolare al novizio - molto spazio di comprensione, sebbene l'assunto di base sia cristallino: bisogna ripartire dai greci, dalla tragedia greca, e di questa far rivivere lo spirito metafisico, Dionisiaco, contrapposto qui a quello socratico, l'Apollineo.
Due concetti, Apollineo e Dionisiaco, che mi fecero fare qualche bella figura al liceo, e che qui ho ritrovato con piacere quasi nostalgico: sono in effetti sviscerati in tutte le loro declinazioni, con rimandi agli autori tragici che fecero grande la cultura greca, nonché ai filosofi a essi coevi.
Inoltre, il Filosofo si concentra anche sull'imprescindibilità della Musica, nella fattispecie quella strumentale, riallacciandosi alle bellissime pagine che Schopenhauer le dedicò nel Mondo come volontà e rappresentazione (finalmente qualcosa che conosco un po' meglio).
La scrittura di Nietzsche è un magma incandescente: fluviale ed evocativa come lo spirito al quale egli si rifa, trovando un filo conduttore che parte dalla grecità e arriva alla cultura tedesca del suo tempo, passando per un pessimismo che permea la disillusa visione dell'età contemporanea.
La nascita della tragedia è un testo che può sembrare semplice rispetto ad altri suoi fratelli e parenti, predecessori o epigoni; ma è un dato solo apparente: questo è un volumetto ricco e complesso, che spalanca portoni e apre inattesi spiragli di luce, a tratti indecifrabili. È l'opera prima di uno dei più grandi filosofi mai nati, dunque quella che darà il là a quello che sarà poi il pensiero nietzschiano.
Insomma, tutto parte da qui.
September 11, 2017
This book helps me understand why I don't like Socrates: his generalization about rationality and virtue is too optimistic, unartistic, and will-negating. In one word, boring. Rationality itself can never make life worth living. Disillusion, semblance, errors, deceptions, irrational impulses, all of which Socrates negate, are inseparable from life, they are what life ultimately rests on. What can theoretical knowledge possibly lead to, other than the killing of action, or the nihilistic revelation that it makes more sense to die than live? What makes life worth-living? Nietzsche's answer is tragedy, the unity of Apolline semblance and Dionysiac intoxication, the unity of Apolline individuality and Dionysiac non-individual will, the unity of the true essence of the world and the necessary illusion that makes it tolerable to us. The Birth of Tragedy is a strong critic of Socratism and Western culture following from that. German Romanticism at its zenith!
July 10, 2021
Τέτοια βιβλία και τόσο μεγάλοι φιλόσοφοι είναι υπεράνω κάθε κριτικής και βαθμολογίας. Ο Νίτσε υπήρξε επιπλέον και εξαιρετικός λογοτέχνης που μοιράζεται παραστατικά τις πρωτότυπες ιδέες του. Είναι πάντα προτιμότερο να τον διαβάζεις απευθείας χωρίς καμιά διαμεσολάβηση.
October 10, 2021
This is very obviously a major work of literary criticism. Nietzsche succeeds with the very improbable endeavor of presenting a new vision of Greek tragedy in opposition to the interpretation of Aristotle. Reducing to the point of absurdity, Aristotle argues that tragedy offers us catharsis; that is to say, it purges us of our existential anxiety whereas Nietzsche argues that tragedy is a celebration of the basic absurdity of man's condition.
Nietzsche attacks with considerable success everything I learned about Greek tragedy 45 years ago as an undergraduate and have believed without question ever since. It was explained to me that Euripides was the greatest of the Greek tragedians because of the realism of his characters and his skepticism with respect to the Greek Gods. Aeschylus and Sophocles were too respectful of the Olympic deities and their theatre was considered to be awkward by contemporary standards. Euripides Bacchantes, in which the protagonist is murdered by a mob of drunken women participating in the spring bacchanalia, was presented as his chef d'oeuvre.
Nietzsche in contrasts considers the bacchanalia or the Dionysian rites to have been essential to the dynamism of Greek culture. He argues that all protagonists in Greek drama were based on Dionysus in that all died a horrible death not because of their faults but simply because of an absurd fate. Greek tragedy then in the time of Aeschylus and Sophocles was a celebration of the courage of the Dionysian man to fight courageously against a cruel destiny. Euripides destroyed Greek tragedy by judging events by the standards of common sense and by criticizing the Gods for their cruelty or worse questioning their existence.
Plato finished the work of undermining Greek tragedy begun by Euripides by giving the Hellenistic world a new hero Sophocles, the purely theoretical man, in contrast to Dionysus a God of spontaneous nature. Two thousand dreadful years followed. Fortunately Germany had come to the rescue of Hellenic culture. In Nietzsche's opinion, Wagner with his operas had finally restored Greek tragedy to its position of prominence in our European-Hellenistic civilization.
As literary criticsm, the Birth of Tragedy is absolutely brilliant. I am no way qualified to comment on it as philosophy. Being Catholic and Aristotelian I cannot agree with Nietzsche but I must acknowledge the brilliance of this particular work.
Do not even consider reading this work unless you have read the Bacchantes by Euripides, Oedipus Rex by Sophocles and the Frogs by Aristophanes.
Nietzsche attacks with considerable success everything I learned about Greek tragedy 45 years ago as an undergraduate and have believed without question ever since. It was explained to me that Euripides was the greatest of the Greek tragedians because of the realism of his characters and his skepticism with respect to the Greek Gods. Aeschylus and Sophocles were too respectful of the Olympic deities and their theatre was considered to be awkward by contemporary standards. Euripides Bacchantes, in which the protagonist is murdered by a mob of drunken women participating in the spring bacchanalia, was presented as his chef d'oeuvre.
Nietzsche in contrasts considers the bacchanalia or the Dionysian rites to have been essential to the dynamism of Greek culture. He argues that all protagonists in Greek drama were based on Dionysus in that all died a horrible death not because of their faults but simply because of an absurd fate. Greek tragedy then in the time of Aeschylus and Sophocles was a celebration of the courage of the Dionysian man to fight courageously against a cruel destiny. Euripides destroyed Greek tragedy by judging events by the standards of common sense and by criticizing the Gods for their cruelty or worse questioning their existence.
Plato finished the work of undermining Greek tragedy begun by Euripides by giving the Hellenistic world a new hero Sophocles, the purely theoretical man, in contrast to Dionysus a God of spontaneous nature. Two thousand dreadful years followed. Fortunately Germany had come to the rescue of Hellenic culture. In Nietzsche's opinion, Wagner with his operas had finally restored Greek tragedy to its position of prominence in our European-Hellenistic civilization.
As literary criticsm, the Birth of Tragedy is absolutely brilliant. I am no way qualified to comment on it as philosophy. Being Catholic and Aristotelian I cannot agree with Nietzsche but I must acknowledge the brilliance of this particular work.
Do not even consider reading this work unless you have read the Bacchantes by Euripides, Oedipus Rex by Sophocles and the Frogs by Aristophanes.
December 14, 2019
ΝΙΤΣΕ :-"Μακαριε λαε της Ελλάδας! Πόσο μεγάλος πρέπει να είναι ανάμεσα σας ο Διόνυσος, αν ο Θεός της Δήλου θεωρεί απαραίτητα τέτοια μάγια για να γιατρεψει την διθυραμβικη τρελα σας! "
ΑΙΣΧΥΛΟΣ :-" Μα πες και τούτο όμως παραξενε ξένε : πόσο θα υπέφερε αυτός ο λαός για να μπόρεσει να γίνει τόσο ωραίος! "
Περισσότερη Ελλάδα απ όση μπορούμε να σηκώσουμε...
ΑΙΣΧΥΛΟΣ :-" Μα πες και τούτο όμως παραξενε ξένε : πόσο θα υπέφερε αυτός ο λαός για να μπόρεσει να γίνει τόσο ωραίος! "
Περισσότερη Ελλάδα απ όση μπορούμε να σηκώσουμε...
December 11, 2021
Díada Dionisio - Apolo
Citas:
'Mientras en el teatro y en el concierto había implantado su dominio el crítico, en la escuela el periodista, en la sociedad la prensa, el arte degeneraba hasta convertirse en un objeto de entretenimiento de la más baja especie, y la crítica estética era utilizada como aglutinante de una sociedad vanidosa, disipada, egoísta y, además, miserablemente carente de originalidad [...]'
'[...] nosotros no podemos ya gozar como hombres enteros: estamos, por así decirlo, rotos en pedazos por las artes absolutas, y ahora gozamos también como pedazos, unas veces como hombres-oídos, otras veces como hombres-ojos, y así sucesivamente.'
'imagínese una cultura que no tenga una sede primordial fija y sagrada, sino que esté condenada a agotar todas las posibilidades y a nutrirse mezquinamente de todas las culturas – eso es el presente, como resultado de aquel socratismo dirigido a la aniquilación del mito.'
'¿[Y si ocurriera que] fue precisamente en los tiempos de su disolución y debilidad cuando los griegos se volvieron cada vez más optimistas, más superficiales, más comediantes, también más ansiisos de lógica y de logicización del mundo, es decir, a la vez «más joviales» y «más científicos»?
'el valor de un pueblo [...] se mide precisamente por su mayor o menor capacidad de imprimir a sus vivencias el sello de lo eterno: pues, por decirlo así, con esto queda desmundanizado y muetra su convicción inconsciente e íntima de la relatividad del tiempo y del significado verdadero, esto es, metafísico de la vida. Lo contrario de esto acontece cuando un pueblo comienza a concebirse a sí mismo de un modo histórico'
'Todo es uno, nos dice. La vida es como una fuente eterna que constantemente produce individuaciones y que, produciéndolas, se desgarra a sí misma. [...] La vida es, pues, el comienzo de la muerte, pero la muerte es la condición de nuestra vida. La ley eterna de las cosas se cumple en el devenir constante. No hay culpa, ni en consecuencia redención, sino la inocencia del devenir.'
'El pensamiento trágico es la intuición de la unidad de todas las cosas y su afirmación consiguiente: afirmación de la vida y de la muerte, de la unidad y de la separación. Mas no una afirmación heroica o patética, no una afirmación titánica o divina, sino la afirmación del niño de Heráclito, que juega junto al mar.'
'La tragedia, surgida de la profunda fuente de la compasión, es pesimista por esencia. La existencia es en ella algo muy horrible, el ser humano, algo muy insensato. El héroe de la tragedia no se evidencia, como cree la estética moderna, en la lucha con el destino, tampoco sufre lo que merece. Antes bien, se precipita a su desgracia ciego y con la cabeza tapada'
'no [son] capaces de reconocer en el arte nada más que un acesorio divertido, nada más que un tintineo, del que sin duda se puede prescindir, añadido a la «seriedad de la existencia»: como si nadie supiese qué es lo que significa semejante «seriedad de la existencia» cuando se hace esa contraposición.
[...] el arte es [la actividad propiamente metafísica de esta vida [...].'
'Eurípides se propuso mostrar al mundo, como se lo propuso también Platón, el reverso del poeta “irrazonable”; su axioma estético “todo tiene que ser consciente para ser bello” es, como he dicho, la tesis paralela a la socrática, “todo tiene que ser consciente para ser bueno”. De acuerdo con esto, nos es lícito considerar a Eurípides como el poeta del socratismo estético. Sócrates era, pues, aquel segundo espectador que no comprendía la tragedia antigua y que, por ello, no la estimaba; aliado con él, Eurípides se atrevió a ser el heraldo de una nueva forma de creación artística. Si la tragedia antigua pereció a causa de él, entonces el socratismo estético es el principio asesino; y puesto que la lucha estaba dirigida contra lo dionisíaco del arte anterior, en Sócrates reconocemos el adversario de Dioniso.'
'Basta con recordar las consecuencias de las tesis socráticas: «la virtud es el saber; se peca sólo por ignorancia; el virtuoso es el feliz»; en estas tres formas básicas del optimismo está la muerte de la tragedia.'
'El presupuesto de la ópera es una creencia falsa acerca del procesi artístico, a saber, la creencia idílica de que propiamente todo hombre sensible es un artista.'
'En la consciencia del despertar de la embriaguez ve por todas partes lo espantoso o absurdo del ser hombre: esto le produce náusea.[...]
Aquí ha sido alcanzado el límite más peligroso que la voluntad helénica, con su principio básico optimista-apolíneo, podía permitir. Aquí esa voluntad intervino [...] con su fuerza curativa natural, para dar la vuelta a ese estado de ánimo negador: el medio de que se sirve es la obra de arte trágica y la idea trágica.'
'Sobre todo se trataba de transformar aquellos pensamientos de náusea sobre lo espantoso y lo absurdo de la existencia en representaciones con las que se pueda vivir: esas representaciones son lo sublime, sometiendo artístico de lo espantoso, y lo ridiculo, descarga artística de la náusea de lo absurdo. Estos 2 elementos [se unen] para formar una obra de arte que recuerda la embriaguez, que juega con la embriaguez.'
Leer más:
La rebelión de las masas
Mes idées politiques
Discours de Suède
The Human Crisis
L’été
L'Homme révolté
Berserk, Vol. 1
Citadelle
A Portrait of the Artist as a Young Man
Apologie de Socrate/Criton
The Republic
L'univers, les dieux, les hommes
Otras obras por Nietzsche:
On the Genealogy of Morals
Beyond Good and Evil
Thus Spoke Zarathustra
Música:
Algo por Paco de Lucía o Camarón de la Isla
Citas:
'Mientras en el teatro y en el concierto había implantado su dominio el crítico, en la escuela el periodista, en la sociedad la prensa, el arte degeneraba hasta convertirse en un objeto de entretenimiento de la más baja especie, y la crítica estética era utilizada como aglutinante de una sociedad vanidosa, disipada, egoísta y, además, miserablemente carente de originalidad [...]'
'[...] nosotros no podemos ya gozar como hombres enteros: estamos, por así decirlo, rotos en pedazos por las artes absolutas, y ahora gozamos también como pedazos, unas veces como hombres-oídos, otras veces como hombres-ojos, y así sucesivamente.'
'imagínese una cultura que no tenga una sede primordial fija y sagrada, sino que esté condenada a agotar todas las posibilidades y a nutrirse mezquinamente de todas las culturas – eso es el presente, como resultado de aquel socratismo dirigido a la aniquilación del mito.'
'¿[Y si ocurriera que] fue precisamente en los tiempos de su disolución y debilidad cuando los griegos se volvieron cada vez más optimistas, más superficiales, más comediantes, también más ansiisos de lógica y de logicización del mundo, es decir, a la vez «más joviales» y «más científicos»?
'el valor de un pueblo [...] se mide precisamente por su mayor o menor capacidad de imprimir a sus vivencias el sello de lo eterno: pues, por decirlo así, con esto queda desmundanizado y muetra su convicción inconsciente e íntima de la relatividad del tiempo y del significado verdadero, esto es, metafísico de la vida. Lo contrario de esto acontece cuando un pueblo comienza a concebirse a sí mismo de un modo histórico'
'Todo es uno, nos dice. La vida es como una fuente eterna que constantemente produce individuaciones y que, produciéndolas, se desgarra a sí misma. [...] La vida es, pues, el comienzo de la muerte, pero la muerte es la condición de nuestra vida. La ley eterna de las cosas se cumple en el devenir constante. No hay culpa, ni en consecuencia redención, sino la inocencia del devenir.'
'El pensamiento trágico es la intuición de la unidad de todas las cosas y su afirmación consiguiente: afirmación de la vida y de la muerte, de la unidad y de la separación. Mas no una afirmación heroica o patética, no una afirmación titánica o divina, sino la afirmación del niño de Heráclito, que juega junto al mar.'
'La tragedia, surgida de la profunda fuente de la compasión, es pesimista por esencia. La existencia es en ella algo muy horrible, el ser humano, algo muy insensato. El héroe de la tragedia no se evidencia, como cree la estética moderna, en la lucha con el destino, tampoco sufre lo que merece. Antes bien, se precipita a su desgracia ciego y con la cabeza tapada'
'no [son] capaces de reconocer en el arte nada más que un acesorio divertido, nada más que un tintineo, del que sin duda se puede prescindir, añadido a la «seriedad de la existencia»: como si nadie supiese qué es lo que significa semejante «seriedad de la existencia» cuando se hace esa contraposición.
[...] el arte es [la actividad propiamente metafísica de esta vida [...].'
'Eurípides se propuso mostrar al mundo, como se lo propuso también Platón, el reverso del poeta “irrazonable”; su axioma estético “todo tiene que ser consciente para ser bello” es, como he dicho, la tesis paralela a la socrática, “todo tiene que ser consciente para ser bueno”. De acuerdo con esto, nos es lícito considerar a Eurípides como el poeta del socratismo estético. Sócrates era, pues, aquel segundo espectador que no comprendía la tragedia antigua y que, por ello, no la estimaba; aliado con él, Eurípides se atrevió a ser el heraldo de una nueva forma de creación artística. Si la tragedia antigua pereció a causa de él, entonces el socratismo estético es el principio asesino; y puesto que la lucha estaba dirigida contra lo dionisíaco del arte anterior, en Sócrates reconocemos el adversario de Dioniso.'
'Basta con recordar las consecuencias de las tesis socráticas: «la virtud es el saber; se peca sólo por ignorancia; el virtuoso es el feliz»; en estas tres formas básicas del optimismo está la muerte de la tragedia.'
'El presupuesto de la ópera es una creencia falsa acerca del procesi artístico, a saber, la creencia idílica de que propiamente todo hombre sensible es un artista.'
'En la consciencia del despertar de la embriaguez ve por todas partes lo espantoso o absurdo del ser hombre: esto le produce náusea.[...]
Aquí ha sido alcanzado el límite más peligroso que la voluntad helénica, con su principio básico optimista-apolíneo, podía permitir. Aquí esa voluntad intervino [...] con su fuerza curativa natural, para dar la vuelta a ese estado de ánimo negador: el medio de que se sirve es la obra de arte trágica y la idea trágica.'
'Sobre todo se trataba de transformar aquellos pensamientos de náusea sobre lo espantoso y lo absurdo de la existencia en representaciones con las que se pueda vivir: esas representaciones son lo sublime, sometiendo artístico de lo espantoso, y lo ridiculo, descarga artística de la náusea de lo absurdo. Estos 2 elementos [se unen] para formar una obra de arte que recuerda la embriaguez, que juega con la embriaguez.'
Leer más:
La rebelión de las masas
Mes idées politiques
Discours de Suède
The Human Crisis
L’été
L'Homme révolté
Berserk, Vol. 1
Citadelle
A Portrait of the Artist as a Young Man
Apologie de Socrate/Criton
The Republic
L'univers, les dieux, les hommes
Otras obras por Nietzsche:
On the Genealogy of Morals
Beyond Good and Evil
Thus Spoke Zarathustra
Música:
Algo por Paco de Lucía o Camarón de la Isla
April 9, 2014
The Birth of Tragedy is by far the better written and useful of the three works by Friedrich Nietzsche that I have so far read. Thus proving that when he is not angrily ranting about religion and morality, that Nietzsche does have important points to make about humanity. That is not to say that Nietzsche does not have his own pointed comments about religion in this narrative argument that he creates, more that these comments are superseded by the other arguments created by Nietzsche.
In the foreword to this edition, Nietzsche himself claims that he looks back with an academic disgust at his writing in this book. He claims that it is the sickly, sweet and confident work of a much younger man, as if that is a clear problem with the work itself. I myself (perhaps because I am a younger man) do not see this as an issue altogether and see the older Nietzsche as falling into the trap of becoming increasingly bitter, sceptical and closed-minded. Ironically everything that he accuses religion of fostering. Personally, reading The Birth of Tragedy I note that it appears as if Nietzsche was headed down a path that hinted at accepting a kind of Christian, or other religious, spirituality and his older persona would not allow him to accept the direction of his conclusions. Sad to say, Nietzsche 'throws the baby out with the bathwater' when it comes to anything connected to religion.
Speaking about this, it becomes clear that even from a younger age Nietzsche had this stumbling block when it came to religion. In his introductory notes, Nietzsche states that he created this work on the basis that, more or less, he wished to find a force that denoted that which was 'Anti-Christ'. Or, according to him, denied a sense of Christian morality, that was amoral as life is amoral, and was also artistic. The prompting of such words amounting to a blatant suggestion that Christianity or modern religion could not be artistic. Which personally is an insulting suggestion and one which again causes me to wonder why Nietzsche hates the Christian ethic so very much. Certainly, the modern day Christian artist may work within a box (hence my ultimate respect for those people who attempt to break ground and boxes - like Switchfoot or Skillet), but that is not enough to say that art cannot be made by Christians or by religious individuals. It is, in fact, a denial of history to state as much.
That aside, the argument made across the entirety of this volume is what I am really here to discuss. And the argument that Nietzsche makes is that art focuses around two different forces. He argues that life similarly focuses around two forces, like good or evil, order and chaos. For art these two dichotomous forces are named by Nietzsche as the Appolonian and the Dionysian - named after the two Greek gods of art.
Nietzsche classifies the Appolonian as representative of order and structure within art. For instance he represents this as linked to sculpture. The Dionysian is linked to the chaotic forces of art - to music for example - and the case is made that art flows from and between these two forces. As it is also explained, the Appolonian is like dreaming and the Dionysian is like intoxication. These are two states of consciousness that are linked together and yet are separate entities.
In many ways this work is about the history of art and tragedy in particular as seen from the perspective of a history of the Greeks. He discusses how tragedy and comedy are part of these Dionysian and Appolonian forces and that particularly the chaotic Dionysian is part of life and art itself. However, Nietzsche also discusses a period of time in which tragedy became usurped by Socratic thinking. In other words tragedy dies in an age of questions being asked and answered to provide rational solutions to that which may be irrational. However, Nietzsche concludes by stating that we may enter a period whereby we see a 'rebirth of tragedy' as an art form and as is accepted in life.
As stated, there is plenty of literary value to be taken from this book. I have an issue with Nietzsche's constant need to belittle religion, yet he'd probably also have an issue with the fact that I bring up my views and beliefs due to their links to 'religion'. That said if there is one Nietzsche book I recommend it would be this.
April 23, 2023
Nietzsche is really speaking about the death of tragedy not its birth. He really doesn't like humanism in any of its variations. He says that it's our experiences which give us our understanding (a very Husserlian Phenomenological thing to say). The instinct, emotion, passion, the mysticism within us, and our intuitions are what really empower us (he says) not our reason. Music and dance lets the real person who lies within come to full actualization. Knowledge of the real world is not truth and it is the disclosure (as in the Homeric myths) that gives us our understanding (according to him).
The metaphor he uses to describe the development of tragedy throughout history could just as easily be applied to within a person in themselves and almost for sure could be used by Freudian psychology and its various off shoots to explain the conscious verse unconscious selves within us and for both Freud and Nietzsche reaching into the unconscious will give us our true selves. In the end, he thinks the individual is master of his own domain and the primal instinct within us has been extinguished since the time of the Socratics, and we are all the worst for it.
The Republican's who embrace a neanderthal like Donald Trump would do well to read Nietzsche. They would understand how to frame their arguments better than they usually do. There is a part in this book where he'll speak about the special character of the Germans. Patriotism always means the group you belong to is special because you are in that group. By definition, you have to make some other group less special. Republicans under Donald Trump definitely are trying to do that. But, there is more than just the patriotism that would appeal to Republicans in this book. He also wants to feel his way to the right answer so that facts can be replaced with 'alternative facts' (whatever those are?) as long as you can feel the answer then it is better than knowing through reason.
Reason is definitely not a virtue for Nietzsche or any Republican who is a climate change denier Also, Republicans mock Freud, but seem to love to blame the victim too. Everything in their world view is the fault of the individual. (They loved thinking, refrigerator moms caused autism. They love blaming the mother when they can. Little realizing sometimes people are born that way and there is no one to blame except the universe. They believe that you are the master of your own fate. The captain of your own ship. Time and chance play no role in their world view).
This book is slightly different then the other ones of his that I've read recently. He doesn't show contempt for the reader, he wants to be taken seriously, and he doesn't hate women overtly (yes, he does mention 'feminine traits' as being bad, after all, 'virtus' originally meant 'manly excellence', so that which is worthy of being imitated was according to the man not from the woman, but overall that kind of thinking is within the time frame he was writing in. I'd be even able to site modern people who say stupid things like that such as a previous governor (Schwarzenegger) of California who said "don't be a sissy man" and that was within the bounds of most Republicans and they even like that kind of talk, but that's not what I think nor believe).
Nietzsche's fluency with Greek Gods and Titans was overwhelmingly elegant. He also seemed to be even more pessimistic than Schopenhauer within this book. I liked it when he quotes someone as to the one thing we should all know is "that we would have been better not to be born".
If you do read this one, I would suggest reading "Genealogy of Morals" first even though it was written latter. Nietzsche hasn't yet flushed out many of his thoughts within this book (Birth of Tragedy) and "Genealogy of Morals" will fill in those obvious gaps making this book easy to understand.
The metaphor he uses to describe the development of tragedy throughout history could just as easily be applied to within a person in themselves and almost for sure could be used by Freudian psychology and its various off shoots to explain the conscious verse unconscious selves within us and for both Freud and Nietzsche reaching into the unconscious will give us our true selves. In the end, he thinks the individual is master of his own domain and the primal instinct within us has been extinguished since the time of the Socratics, and we are all the worst for it.
The Republican's who embrace a neanderthal like Donald Trump would do well to read Nietzsche. They would understand how to frame their arguments better than they usually do. There is a part in this book where he'll speak about the special character of the Germans. Patriotism always means the group you belong to is special because you are in that group. By definition, you have to make some other group less special. Republicans under Donald Trump definitely are trying to do that. But, there is more than just the patriotism that would appeal to Republicans in this book. He also wants to feel his way to the right answer so that facts can be replaced with 'alternative facts' (whatever those are?) as long as you can feel the answer then it is better than knowing through reason.
Reason is definitely not a virtue for Nietzsche or any Republican who is a climate change denier Also, Republicans mock Freud, but seem to love to blame the victim too. Everything in their world view is the fault of the individual. (They loved thinking, refrigerator moms caused autism. They love blaming the mother when they can. Little realizing sometimes people are born that way and there is no one to blame except the universe. They believe that you are the master of your own fate. The captain of your own ship. Time and chance play no role in their world view).
This book is slightly different then the other ones of his that I've read recently. He doesn't show contempt for the reader, he wants to be taken seriously, and he doesn't hate women overtly (yes, he does mention 'feminine traits' as being bad, after all, 'virtus' originally meant 'manly excellence', so that which is worthy of being imitated was according to the man not from the woman, but overall that kind of thinking is within the time frame he was writing in. I'd be even able to site modern people who say stupid things like that such as a previous governor (Schwarzenegger) of California who said "don't be a sissy man" and that was within the bounds of most Republicans and they even like that kind of talk, but that's not what I think nor believe).
Nietzsche's fluency with Greek Gods and Titans was overwhelmingly elegant. He also seemed to be even more pessimistic than Schopenhauer within this book. I liked it when he quotes someone as to the one thing we should all know is "that we would have been better not to be born".
If you do read this one, I would suggest reading "Genealogy of Morals" first even though it was written latter. Nietzsche hasn't yet flushed out many of his thoughts within this book (Birth of Tragedy) and "Genealogy of Morals" will fill in those obvious gaps making this book easy to understand.
August 2, 2012
Recipe for "The Birth of Tragedy":
1. Add one part speculative psychological inquiry into the deepest recesses of Hellenic consciousness.
2. Stir in some rousing and thought-provoking anti-Socratic and anti-Euripidean invective.
3. Season with a pinch of ecstatically Dionysiac rhetoric.
4. If necessary, add more speculative psychological inquiry to taste.
5. Beat vigorously until mixture produces an unqualified dithyrambic adoration of Richard Wagner.
6. Let stand until properly matured.
Serves 1.
1. Add one part speculative psychological inquiry into the deepest recesses of Hellenic consciousness.
2. Stir in some rousing and thought-provoking anti-Socratic and anti-Euripidean invective.
3. Season with a pinch of ecstatically Dionysiac rhetoric.
4. If necessary, add more speculative psychological inquiry to taste.
5. Beat vigorously until mixture produces an unqualified dithyrambic adoration of Richard Wagner.
6. Let stand until properly matured.
Serves 1.
February 7, 2023
This book relies so heavily on references to the Greek classics - to the point where it has the risk of being utterly obscure without familiarity with large parts of the canon of Greek literature. But when the thread can be followed, this is a really beautiful meditation on the nature and meaning of the tragic in art.
Fundamentally, Nietzsche poses an opposition between the primordial Dionysian and the the ordered well-formed Appollian. The culture emerges awash in the former, and eventually declines straining under the weight of the latter. Dionysius sits close to music, allowing nature to speak through art, whereas Apollo demands structure and order (and opens the way to more analytical philosophical enquiry).
This book is so abstract that it's hard to make any statement as to whether it is right or wrong. Fundamentally, it asks unanswerable questions, but then meditates on the answer extensively. It's a great read though, because Nietzsche spins a pretty interesting attempt at an answer. It works just as well as literature as it does as philosophy (if not even better!).
Fundamentally, Nietzsche poses an opposition between the primordial Dionysian and the the ordered well-formed Appollian. The culture emerges awash in the former, and eventually declines straining under the weight of the latter. Dionysius sits close to music, allowing nature to speak through art, whereas Apollo demands structure and order (and opens the way to more analytical philosophical enquiry).
This book is so abstract that it's hard to make any statement as to whether it is right or wrong. Fundamentally, it asks unanswerable questions, but then meditates on the answer extensively. It's a great read though, because Nietzsche spins a pretty interesting attempt at an answer. It works just as well as literature as it does as philosophy (if not even better!).
February 26, 2022
Bakkhos boy versin içimizden..!
November 19, 2023
A citi Nietzsche înseamnă a asista la o lungă prelegere (de catedră), sau nu, despre luciditate, o reînnoire a spiritului meu declamator se produce, de fiecare dată în mine, când reiau o carte de Nietzsche.
Nașterea tragediei am început-o din vară, nu a mers, spiritul meu, pe atunci, încă stagna și nu putea atârnă liber de placa infinitului, acum o săptămână, am continuat-o, nu aș fi putut să o las așa în neștire, o cartea de Nietzsche e totuși un "eveniment" pentru mine, iar Nașterea tragediei este a cincea carte citită de la filosof.
Cartea reprezinta mai mult un elogiu adus filosofiei antice de unde se inspira Nietzsche, Socrate îi e zeu și demon.
Natura dionisiaca a omului e confruntata cu cea apolonica.
Are loc bătălia între echilibrul materiei și dezordinea ei, adica dionisiacul. Nu se ajunge niciodată la un verdict concret.
Dionisiacul e la fel de liber ca apolonicul, în viziunea lui Nietzsche, are loc o "forma mentis " adică o stare a minții dintre ethos și pathos, cele două stari permanente ale omului obișnuit care se afla în coliziune și se completează una pe alta până la marele "război" cognitiv.
Nașterea tragediei este, în primul rând, un lung eseu filosofic, o prelegere de catedră, deși Nietzsche respinge acest aspect cu vehemență, un fapt cunoscut fiind că el și-a dat demisia din profesor universitar.
Nebunia ajunsă într-o stare apropiată catharsisului își caută refugiul în antici, ca o alinarea surda, Nietzsche îl aclama pe Gothe, Schopenhauer, ca și cum și-ar cauta scăparea în cei ca el, ca și cum s-ar simți izgonit cu forța din fața catedrei universitare, unde în ultimele clipe, ajunsese să-i frecventeze cursurile doar 2-3 studenți.
Considerat de critici ca promotor al nazismului ideologic alături de Richard Wagner, Nietzsche dedică o carte exclusiv anticilor, dar și muzicii lui Bach, Mozart, Richard Wagner.
Muzicalitate operei se întrezărește mai mult în a doua parte a cărții, cuvintele curg precum șuvoiul tăios a unui țurțure care se dezgheață încet, atârnând la streșina unui acoperiș.
Nașterea tragediei am început-o din vară, nu a mers, spiritul meu, pe atunci, încă stagna și nu putea atârnă liber de placa infinitului, acum o săptămână, am continuat-o, nu aș fi putut să o las așa în neștire, o cartea de Nietzsche e totuși un "eveniment" pentru mine, iar Nașterea tragediei este a cincea carte citită de la filosof.
Cartea reprezinta mai mult un elogiu adus filosofiei antice de unde se inspira Nietzsche, Socrate îi e zeu și demon.
Natura dionisiaca a omului e confruntata cu cea apolonica.
Are loc bătălia între echilibrul materiei și dezordinea ei, adica dionisiacul. Nu se ajunge niciodată la un verdict concret.
Dionisiacul e la fel de liber ca apolonicul, în viziunea lui Nietzsche, are loc o "forma mentis " adică o stare a minții dintre ethos și pathos, cele două stari permanente ale omului obișnuit care se afla în coliziune și se completează una pe alta până la marele "război" cognitiv.
Nașterea tragediei este, în primul rând, un lung eseu filosofic, o prelegere de catedră, deși Nietzsche respinge acest aspect cu vehemență, un fapt cunoscut fiind că el și-a dat demisia din profesor universitar.
Nebunia ajunsă într-o stare apropiată catharsisului își caută refugiul în antici, ca o alinarea surda, Nietzsche îl aclama pe Gothe, Schopenhauer, ca și cum și-ar cauta scăparea în cei ca el, ca și cum s-ar simți izgonit cu forța din fața catedrei universitare, unde în ultimele clipe, ajunsese să-i frecventeze cursurile doar 2-3 studenți.
Considerat de critici ca promotor al nazismului ideologic alături de Richard Wagner, Nietzsche dedică o carte exclusiv anticilor, dar și muzicii lui Bach, Mozart, Richard Wagner.
Muzicalitate operei se întrezărește mai mult în a doua parte a cărții, cuvintele curg precum șuvoiul tăios a unui țurțure care se dezgheață încet, atârnând la streșina unui acoperiș.
September 25, 2021
باز هم ترجمهی بینظیری از خانم منجم که در عین روان بودن از بار ژرف موضوع نکاهید. نیچه در این کتاب، با انگیزههای مختلفی که بهنظرم مهمترینش، بحران فرهنگیای بود که غرب را مورد گزند خویش قرار میداد، با بررسی تعادل و تضادی که میان عنصر دیونزیوسی و آپولوییِ یونان باستان قرار دارد، روح موسیقی را واکاوی میکند و از خلال موسیقی که از نظر نیچهی فیلسوف، والاترین شکل هنر است، بهدنبال راهی برای جلوگیری از انحطاط فرهنگی میگردد. یکی از مهمترین آثار نیچه که حتما باید خوانده شود.
February 28, 2018
Sanat ve estetik üzerine, Antik Çağ felsefesi üzerine, Yunanlılar ve tragedya üzerine, müzik ve özellikle Wagner üzerine... Schopenhauer ve Goethe destekli... Tragedyanın doğuşu ama biraz da Nietzsche’nin doğuşu.
October 27, 2012
‘Only as an aesthetic phenomenon that existence and the world are eternally justified.’
In The Birth of Tragedy, Nietzsche’s first book, he describes what he believes are the two central forces in art and how they merged to form Greek tragedy. The two forces are the Dionysian and the Apolline. The Dionysian is wild, formless and is associated with music, the will and breaking through cultural norms. The Apolline deals with sculpture, dreams, poetry, restraint and the individual.
The ancient Greeks needed Apolline myths, which were born from dreams. They took form as the Olympian pantheon and served as a beautiful veil to cover the suffering and pain of life. The Greeks gained strength from these Olympian Gods and came to see them as strong and beautiful reflections of themselves. Nietzsche says, ‘the gods provide a justification for the life of man by living it themselves.’
The Dionysian drive however, which was part of religious rites, was very different. In the festivals man came face to face with nature and the individual was consumed. The festivals were joyous, musical, sexual and intoxicating. They gave a true glimpse into the nature of life, with its undercurrent of constant striving, willing and breaking through of cultural norms.
Nietzsche describes how the Apolline and Dionysian forces merged in Attic tragedy, after at first being at odds. He believed the plays of Aeschylus and Sophocles were both Apolline and Dionysian. With the musical chorus (representing the will) in tragic drama, one had insight into the true nature of the world. Despite the death of the tragic hero, the audience was consoled because of the Apollonian vision before them and the fact that the underlying will in all life lives on.
This ideal artistic state was not to last however. Along came the philosopher Socrates who was purely intellectual and hoped to get to the truth about the natural order of the world using reason and discarding instinctual feeling. He believed ‘virtue is knowledge,’ and the scientific approach killed tragedy and severed man from the healthy Dionysian state, and Apolline art died there with it.
This was seen by Nietzsche to be disastrous, because the problem with science is that it can’t adequately explain the world and give it meaning, so this can herald in an age of nihilism. At this point art is then needed again to give the world meaning.
Nietzsche at the time of writing BOT believed his contemporary Richard Wager was going to herald in the contemporary form of Greek Tragedy in their native Germany. He fell out with Wagner though, shortly after writing this book and changed many of his former views.
In conclusion, this is a good book if you want to know more about art, Greek culture, the value of myth and the potential problems of scientific and rational inquiry. I’d suggest though that the reader first have some knowledge of the Greek classics before they attempt to read this book.
In The Birth of Tragedy, Nietzsche’s first book, he describes what he believes are the two central forces in art and how they merged to form Greek tragedy. The two forces are the Dionysian and the Apolline. The Dionysian is wild, formless and is associated with music, the will and breaking through cultural norms. The Apolline deals with sculpture, dreams, poetry, restraint and the individual.
The ancient Greeks needed Apolline myths, which were born from dreams. They took form as the Olympian pantheon and served as a beautiful veil to cover the suffering and pain of life. The Greeks gained strength from these Olympian Gods and came to see them as strong and beautiful reflections of themselves. Nietzsche says, ‘the gods provide a justification for the life of man by living it themselves.’
The Dionysian drive however, which was part of religious rites, was very different. In the festivals man came face to face with nature and the individual was consumed. The festivals were joyous, musical, sexual and intoxicating. They gave a true glimpse into the nature of life, with its undercurrent of constant striving, willing and breaking through of cultural norms.
Nietzsche describes how the Apolline and Dionysian forces merged in Attic tragedy, after at first being at odds. He believed the plays of Aeschylus and Sophocles were both Apolline and Dionysian. With the musical chorus (representing the will) in tragic drama, one had insight into the true nature of the world. Despite the death of the tragic hero, the audience was consoled because of the Apollonian vision before them and the fact that the underlying will in all life lives on.
This ideal artistic state was not to last however. Along came the philosopher Socrates who was purely intellectual and hoped to get to the truth about the natural order of the world using reason and discarding instinctual feeling. He believed ‘virtue is knowledge,’ and the scientific approach killed tragedy and severed man from the healthy Dionysian state, and Apolline art died there with it.
This was seen by Nietzsche to be disastrous, because the problem with science is that it can’t adequately explain the world and give it meaning, so this can herald in an age of nihilism. At this point art is then needed again to give the world meaning.
Nietzsche at the time of writing BOT believed his contemporary Richard Wager was going to herald in the contemporary form of Greek Tragedy in their native Germany. He fell out with Wagner though, shortly after writing this book and changed many of his former views.
In conclusion, this is a good book if you want to know more about art, Greek culture, the value of myth and the potential problems of scientific and rational inquiry. I’d suggest though that the reader first have some knowledge of the Greek classics before they attempt to read this book.
May 7, 2019
I had never read Nietzsche before, but after reading, Sartre, Wittgenstein, Schopenhauer, and Freud, I thought I was ready for some Nietzsche. It would also make me look clever if let's say The Birth of Tragedy ever came up in conversation at a dinner party or whilst out dining with friends. Not that that was ever likely to happen, but you just never know. This was everything I would come to expect from a philosopher, and although I was intrigued by what he was getting across, his convoluted writing wasn't easy to grasp at times. I can't say that I loved it, because I didn't, but then it wasn't a waste of time either. I could relate to his notion of art and music in particular, but overall the stimulation this book gave me never really got out of second gear.
June 3, 2010
As
The Birth of Tragedy
was Nietzsche's first published book, it is a rather awkwardly written representation of his early ideas. Nietzsche lamented as much in a supplementary preface, which he wrote fifteen years later in 1886. The older Nietzsche looks back, as we all do, with embarrassment on his younger self. He writes, "Today I find it an impossible book: I consider it badly written, ponderous, embarrassing, image-mad and image-confused, sentimental, in places saccharine to the point of effeminacy, uneven in tempo, without the will to logical cleanliness, very convinced and therefore disdainful of proof, mistrustful even of the propriety of proof, a book for initiates…" (section three). Writing with the benefit of hindsight and with many great philosophical successes at his back, the older Nietzsche can afford to laugh at himself. However, he also clearly shows in this later preface that the questions he dared to pose inThe Birth of Tragedy are still entirely relevant to him, as is the importance of Schopenhauer, under whose influence he wrote the book. The ideas contained in this small first treatise persisted in his more sophisticated works.
The Birth of Tragedy is divided into twenty-five chapters and a forward. The first fifteen chapters deal with the nature of Greek Tragedy, which Nietzsche claims was born when the Apollonian worldview met the Dionysian. The last ten chapters use the Greek model to understand the state of modern culture, both its decline and its possible rebirth. The tone of the text is inspirational. Nietzsche often addresses the reader directly, saying at the end of chapter twenty, "Dare now to be tragic men, for ye shall be redeemed!" These kinds of exclamations make it more difficult to take his text seriously. However, if we look beyond the flowery words, we find some very interesting ideas. At the same time we confront Nietzsche's enormous bias, particularly when deciding when something is or is not "art." Nietzsche forms a very strict definition of art that excludes such things as subjective self-expression and the opera. Despite his criticisms of human culture, however, Nietzsche has great faith in the human soul and urges us to drop our Socratic pretenses and accept the culture of Dionysus again.
Nietzsche describes the state of Greek art before the influence of Dionysus as being naive, and concerned only with appearances. In this art conception, the observer was never truly united with art, as he remained always in quiet contemplation with it, never immersing himself. The appearances of Apollo were designed to shield man from the innate suffering of the world, and thus provide some relief and comfort.
Then came Dionysus, whose ecstatic revels first shocked the Apollonian man of Greek culture. In the end, however, it was only through one's immersion in the Dionysian essence of Primordial Unity that redemption from the suffering of the world could be achieved. In Dionysus, man found that his existence was not limited to his individual experiences alone, and thus a way was found to escape the fate of all men, which is death. As the Dionysian essence is eternal, one who connects with this essence finds a new source of life and hope. Nietzsche thus shows Dionysus to be an uplifting alternative to the salvation offered by Christianity, which demands that man renounce life on earth altogether and focus only on heaven. For, in order to achieve salvation through Dionysus, one must immerse oneself in life now.
However, while man can only find salvation in Dionysus, he requires Apollo to reveal the essence of Dionysus through his appearances. The chorus and actors of tragedy were representations, through which the essence of Dionysus was given voice to speak. Through them, man was able to experience the joys of redemption from worldly suffering. These Apollonian appearances also stood as a bulwark against the chaos of Dionysus, so that the viewer would be completely lost in Dionysian ecstasy. Nietzsche emphasizes that in real tragic art, the elements of Dionysus and Apollo were inextricably entwined. As words could never hope to delve into the depths of the Dionysian essence, music was the life of the tragic art form.
Music exists in the realm beyond language, and so allows us to rise beyond consciousness and experience our connection to the Primordial Unity. Music is superior to all other arts in that it does not represent a phenomenon, but rather the "world will" itself.
Nietzsche sees Euripides as the murderer of art, he who introduced the Socratic obsession with knowledge and ultimate trust in human thought into the theater. By focusing entirely on the individual, Euripides eliminated the musical element that is crucial to the Dionysian experience. Euripides threw Dionysus out of tragedy, and in doing so he destroyed the delicate balance between Dionysus and Apollo that is fundamental to art. In the second half of his essay, Nietzsche explores the modern ramifications of this shift in Greek thought. He argues that we are still living in the Alexandrian age of culture, which is now on its last legs. Science cannot explain the mysteries of the universe, he writes, and thanks to the work of Kant and Schopenhauer, we must now recognize this fact. The time is ripe for a rebirth of tragedy that will sweep away the dusty remains of Socratic culture. Nietzsche sees German music, Wagner in particular, as the beginning of this transformation. While German culture is decrepit, the German character is going strong, for it has an inkling of the primordial vitality flowing in its veins. Nietzsche has great hope for the coming age and has written this book to prepare us for it.
The Birth of Tragedy is divided into twenty-five chapters and a forward. The first fifteen chapters deal with the nature of Greek Tragedy, which Nietzsche claims was born when the Apollonian worldview met the Dionysian. The last ten chapters use the Greek model to understand the state of modern culture, both its decline and its possible rebirth. The tone of the text is inspirational. Nietzsche often addresses the reader directly, saying at the end of chapter twenty, "Dare now to be tragic men, for ye shall be redeemed!" These kinds of exclamations make it more difficult to take his text seriously. However, if we look beyond the flowery words, we find some very interesting ideas. At the same time we confront Nietzsche's enormous bias, particularly when deciding when something is or is not "art." Nietzsche forms a very strict definition of art that excludes such things as subjective self-expression and the opera. Despite his criticisms of human culture, however, Nietzsche has great faith in the human soul and urges us to drop our Socratic pretenses and accept the culture of Dionysus again.
Nietzsche describes the state of Greek art before the influence of Dionysus as being naive, and concerned only with appearances. In this art conception, the observer was never truly united with art, as he remained always in quiet contemplation with it, never immersing himself. The appearances of Apollo were designed to shield man from the innate suffering of the world, and thus provide some relief and comfort.
Then came Dionysus, whose ecstatic revels first shocked the Apollonian man of Greek culture. In the end, however, it was only through one's immersion in the Dionysian essence of Primordial Unity that redemption from the suffering of the world could be achieved. In Dionysus, man found that his existence was not limited to his individual experiences alone, and thus a way was found to escape the fate of all men, which is death. As the Dionysian essence is eternal, one who connects with this essence finds a new source of life and hope. Nietzsche thus shows Dionysus to be an uplifting alternative to the salvation offered by Christianity, which demands that man renounce life on earth altogether and focus only on heaven. For, in order to achieve salvation through Dionysus, one must immerse oneself in life now.
However, while man can only find salvation in Dionysus, he requires Apollo to reveal the essence of Dionysus through his appearances. The chorus and actors of tragedy were representations, through which the essence of Dionysus was given voice to speak. Through them, man was able to experience the joys of redemption from worldly suffering. These Apollonian appearances also stood as a bulwark against the chaos of Dionysus, so that the viewer would be completely lost in Dionysian ecstasy. Nietzsche emphasizes that in real tragic art, the elements of Dionysus and Apollo were inextricably entwined. As words could never hope to delve into the depths of the Dionysian essence, music was the life of the tragic art form.
Music exists in the realm beyond language, and so allows us to rise beyond consciousness and experience our connection to the Primordial Unity. Music is superior to all other arts in that it does not represent a phenomenon, but rather the "world will" itself.
Nietzsche sees Euripides as the murderer of art, he who introduced the Socratic obsession with knowledge and ultimate trust in human thought into the theater. By focusing entirely on the individual, Euripides eliminated the musical element that is crucial to the Dionysian experience. Euripides threw Dionysus out of tragedy, and in doing so he destroyed the delicate balance between Dionysus and Apollo that is fundamental to art. In the second half of his essay, Nietzsche explores the modern ramifications of this shift in Greek thought. He argues that we are still living in the Alexandrian age of culture, which is now on its last legs. Science cannot explain the mysteries of the universe, he writes, and thanks to the work of Kant and Schopenhauer, we must now recognize this fact. The time is ripe for a rebirth of tragedy that will sweep away the dusty remains of Socratic culture. Nietzsche sees German music, Wagner in particular, as the beginning of this transformation. While German culture is decrepit, the German character is going strong, for it has an inkling of the primordial vitality flowing in its veins. Nietzsche has great hope for the coming age and has written this book to prepare us for it.
February 12, 2015
A young, bookish moustachioed professor, newly appointed to a provincial chair of philology, falls under the spell of a mysterious, scheming and possibly malevolent composer, whose unholy music break all the boundaries of taste or custom. Our hero soon suspects a dark secret at the heart of his mesmerizing arrangements – but enamored of the composer's innocent wife, the professor descends further and further into the primal madness of music, exploring ancient nameless wisdom so terrible mankind had to be sheltered from its sight by salutary delusions. How far will our young hero follow the mad sorcerer of music-drama down the road to madness? Will he attempt to face the unspeakable horror of the Ur-Eine, that Dark God in each of us whose sight alone is enough to rob us from reason and self-hood? Or will he succumb, like many before him, to the philistine impulse of negating all that cannot be mastered? Find out in the new installment of the Nietzsche Mythos, “The Call of Wagner” in kiosk for 5c!
May 25, 2018
Nietzsche Tragedyanın Doğuşu'nda temelde Apollon ve Dionysos ve Aiskhylos-Europides zıtlıklarından yola çıkarak tragedyanın doğuşu, ölüşü ve yeniden doğuşu üzerine fikirlerini şiirsel bir dille aktarıyor. Müzik üzerine düşünceleri de fazlasıyla eşlik ediyor bu yolculuğa. Büyülenerek okuduğumuz tragedyalara daha da büyülenerek bakabilmek için ışıltılı bir kapı aralıyor Nietzsche.
Nietzsche ile ikinci kez tanışmış gibi oldum bu kitap sayesinde. Daha önce son yayımlanan kitaplarından birisi olan Ecce Homo'yu okumuş ve deyim yerindeyse dehşete kapılmıştım. Apollon ve Dionysos kardeşlerin tapınarak baktığı uyumunda, Apollon Dionysosçu düşüneceyi nasıl oldu da alaşağı etti? Tragedya'nın Doğuşunu yazan Nietzsche nasıl oldu da sonrasında Ecce Homo'yu yazdı fazlasıyla merak ediyorum. Savaştığı düşünceler tarafından bedbaht edilmiş bir şair-filozof görüyorum ve aynı yıkıma uğramamak için Nietzsche'nin Tragedyanın Doğuşunda bahsettiği umutsuzca olan umuda tutunmak istiyorum.
Küçük bir not: Bu yorum sayesinde sonunda kontrol etmeden Nietzsche yazmayı da öğrenmiş bulunuyorum :)
Nietzsche ile ikinci kez tanışmış gibi oldum bu kitap sayesinde. Daha önce son yayımlanan kitaplarından birisi olan Ecce Homo'yu okumuş ve deyim yerindeyse dehşete kapılmıştım. Apollon ve Dionysos kardeşlerin tapınarak baktığı uyumunda, Apollon Dionysosçu düşüneceyi nasıl oldu da alaşağı etti? Tragedya'nın Doğuşunu yazan Nietzsche nasıl oldu da sonrasında Ecce Homo'yu yazdı fazlasıyla merak ediyorum. Savaştığı düşünceler tarafından bedbaht edilmiş bir şair-filozof görüyorum ve aynı yıkıma uğramamak için Nietzsche'nin Tragedyanın Doğuşunda bahsettiği umutsuzca olan umuda tutunmak istiyorum.
Küçük bir not: Bu yorum sayesinde sonunda kontrol etmeden Nietzsche yazmayı da öğrenmiş bulunuyorum :)
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